After nearly a decade together, Katy Perry and Orlando Bloom have split, People magazine has confirmed. TMZ and Us Weekly also reported on the end of their engagement, citing unnamed sources.
Billboard has reached out to their reps for comment.
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The news comes after weeks of reports that their relationship was struggling. But as recently as mid May, the Grammy-nominated singer gave no indication that there was any trouble in their romance. She even playfully called out a fan at one of her concert dates in Nevada, joking, “If you keep DMing my man, I’m going to have you removed. Seriously, get your own life — I’m his wife,” before launching into her 143 single “I’m His, He’s Mine.”
Perry first confirmed she and the British actor were dating in a May 2016 Instagram post featuring a photo of the two together. Months later in August, their Italian vacation went viral when paparazzi snapped photos of the two paddleboarding together — but Bloom was in the nude.
Their relationship wasn’t without some trouble at the beginning. After a few months together, rumors surfaced that November they had split already. Their reps later confirmed in a March 2017 statement that the two stars were going their separate ways. But after five months apart, Bloom and Perry were spotted snuggling at an Ed Sheeran concert. The singer confirmed to Entertainment Tonight in April 2018 that the two had indeed reignited their romance.
Then on Feb. 15, 2019, the two teased their engagement with an Instagram photo of Perry holding up her ring finger, which sported a stunning ruby and diamond ring. She confirmed later that month on Jimmy Kimmel Live! that the two were indeed engaged.
The following month, the pop star dropped the music video for “Never Worn White,” which offered some big news about the couple’s life together — she showed off a baby bump, revealing that they were expecting their first child together. Daughter Daisy Dove was born in August 2020.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-26 14:07:012025-06-26 14:07:01Katy Perry & Orlando Bloom Split After 9 Years Together
There was an immigration raid last night at a small Latina-owned garment factory just off Times Square in mid-Manhattan. The workers hid in the dark listening to la migra (or ICE) take away the people next door — it was terrifying.
I can’t tell you what happened after — but I know there’s another raid planned for tonight. Actually, six nights a week, and twice on Wednesdays and Saturdays.
Those raids are fictional — they are a key plot point in Broadway show Real Women Have Curves. It’s a musical set in Boyle Heights, the Chicano neighborhood in Los Angeles. And although the show says a lot about immigrants in the 1980’s, it says just as much about immigrants today.
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Joy Huerta (of Grammy-winning duo Jesse & Joy) co-wrote the Tony-nominated score with Benjamin Velez. She is the first Mexican woman nominated for a Tony award in a composing category for Broadway (disclosure: she’s also a friend and client). She packed a ton of immigrant reality into her songs: generational solidarity and conflict, workplace drudgery and exploitation, young women’s dreams — some extinguished, some still burning bright. It’s a show about finding your place, chasing the future, flying high. But with the constant fear that it could all come crashing down with someone pounding at the door.
I know that story well. I am the daughter of immigrants from Mexico and Guatemala and I hold all of those struggles and fears deep in my heart. It’s no wonder that I cried at least five times watching this musical—as I watched my story and the story of other immigrants and children of immigrants play out right in front of me.
This isn’t a review or a plug. It’s a call to action. This year, this week, today, real federal agents are brutalizing real people in the real Boyle Heights — and in cities and neighborhoods all over the country. Workers are being dragged from their jobs into prisons. Citizen children are being caught in the middle.
At a time of dehumanizing language and rampant violence against immigrants, Real Women steps up to its moment. It isn’t afraid to shine a pro-immigrant light into Trumpian darkness.
But on this country’s vast stage, that light is comparatively tiny. You can see this literally the minute you leave the show, at the James Earl Jones Theater. Turn right and in 250 feet, you’re at the headquarters of Fox News, which dominates the corner of 48th Street and Sixth Avenue, its digital news zipper blaring all the latest disasters from Trumpworld.
Talk about immigration fiction.
Fox is ground zero for the kinds of vicious lies about immigrants that Trump has been spewing on the presidential stage for a decade. (He launched his first campaign by slandering Mexico as a nation of rapists on June 15, 2015.) And the MAGA megaphone is colossal, while this hit Broadway show can reach only about a thousand people a night.
We need more and louder pro-immigrant voices and defenders. We need more Joy Huertas. More performers like Tatianna Córdoba, Justina Machado, Florencia Cuenca and the other cast members just as wonderful who bring Real Women to life every night. Imagine being these women, in this moment, being able to choke back tears as you perform the realities of our communities night after the night.
We need recording stars like Snow Tha Product and Ángela Aguilar to summon the courage to say and sing out loud: Stop attacking immigrants. ICE out of L.A., out of N.Y., out of everywhere.
The war on immigrants is devastating and lawless and needs to stop.
It’s a simple message that happens to be true. Immigrants are hard-working people just trying to make their way. Like the Irish, Italians, Germans and others who had their stories told on Broadway back in the day. If Joy Huerta had written a show about the Boyle Heights of a few decades earlier, it could have been a Californian “Fiddler on the Roof” — that’s how Jewish Boyle Heights used to be.
A lesson the U.S. keeps learning and forgetting is that immigrants are us. They love, fight, bleed, suffer, weep like everyone else. They deserve justice, as we all do.
Real Women Have Curves didn’t set out to be a musical for the Trump era. But it is. And now it needs backup. It’s closing on June 29. We need more songs, more voices, more artists.
Yes, it’s scary. High profiles make big targets. Artists who stick their necks out can lose revenue. Some can get detained and deported. But millions of regular people, many of them vulnerable immigrants, conquered their fear and took to the streets last weekend.
Who in the entertainment world will join them, to keep this struggle going?
Entertainment attorney Marjorie García is partner at King, Holmes, Paterno & Soriano.
The Weeknd has a love-hate relationship with Los Angeles. He wanted to flee from the fast life on “Escape From LA” from his 2020 blockbuster album After Hours. Five years later, he reflected on simpler, sun-soaked times on “Take Me Back to LA” off of his latest album Hurry Up Tomorrow. But on Wednesday night (June 25), he seemed genuinely happy to be back in the city he’s called home for years.
“It’s been way too long, Los Angeles. It’s been way too long. We have some memories on this stage right here, don’t we?” he reminded the 70,000 fans at SoFi Stadium.
The Weeknd and SoFi have quite the history. During his second of two sold-out shows at the Inglewood, Calif. stadium in September 2022, the Ethiopian-Canadian superstar lost his voice, an incident that made the pop star feel so defeated that he began debating taking a curtain call on the persona fans have come to know and love and inspired his first feature filmHurry Up Tomorrow that was released in theaters earlier this year. Even though he performed two make-up shows in November 2022, one might expect him to experience PTSD stepping back on that stage three years later. But for The Weeknd, how could he fear a venue he’s now made history at? KTLA 5 reported that the “Blinding Lights” hitmaker now holds the record for the most sold-out shows by a male artist at SoFi Stadium with a total of seven shows, three from the 2022 leg of the After Hours Til Dawn Tour and four from this current 2025 leg.
Here are the seven best moments from The Weeknd’s first SoFi Stadium stop of his After Hours Til Dawn Tour.
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Australia asked for more AC/DC, and they delivered.
Just hours after tickets went on sale Thursday (June 26) for the legendary rock band’s 2025 stadium tour, promoter TEG Van Egmond has announced second dates in Sydney, Melbourne and Brisbane due to overwhelming demand.
The newly added shows will take place on Sunday, Nov. 16 at Melbourne Cricket Ground, Tuesday, Nov. 25 at Accor Stadium in Sydney, and Thursday, Dec. 18 at Brisbane’s Suncorp Stadium. Each is being billed as the final date for that city.
The Power Up Tour now spans eight dates, kicking off Nov. 12 in Melbourne and wrapping Dec. 18 in Brisbane, marking AC/DC’s first full national tour of Australia in nearly a decade. The band will play shows in each of the country’s five major cities — Melbourne, Sydney, Adelaide, Perth and Brisbane — with support from Australian punk outfit Amyl and the Sniffers.
The tour is in support of AC/DC’s 2020 album Power Up, which debuted at No. 1 in Australia and both sides of the Atlantic. The release cemented the band’s place in Australian chart history, becoming their sixth No. 1 album — the most of any Australian group, tied with Hilltop Hoods. Power Up followed their streak of chart-toppers including Back In Black (1981), Live (1992), Ballbreaker (1995), Black Ice (2008), and Rock or Bust (2014).
Internationally, the Power Up era has been box-office gold. In 2023, the band sold over 2 million tickets across 24 European shows. They recently wrapped a 10-date sold-out run in North America, and are about to begin a 15-show tour across Europe this week before bringing the show home to Australia for the summer leg.
It’s been 10 years since AC/DC’s last visit to Australian shores. The band’s 2015 Rock or Bust tour saw over 520,000 tickets sold across 11 dates, including shows in Auckland and Wellington.
Produced by TEG Van Egmond, the 2025 tour is one of the most anticipated Australian rock events in recent memory. The addition of second and final shows in three major cities cements the band’s enduring legacy — and the unshakable demand to see them live.
AC/DC 2025 Australian Tour Dates with special guests Amyl and The Sniffers
Wednesday, Nov. 12 – Melbourne Cricket Ground
Sunday, Nov. 16 – Melbourne Cricket Ground (NEW SHOW)
Friday, Nov. 21 – Sydney, Accor Stadium
Tuesday, Nov. 25 – Sydney, Accor Stadium
Sunday, Nov. 30 – Adelaide, bp Adelaide Grand Final
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“Twenty-seven years in the making,” Brandy said, describing the long-awaited joint tour. The 24-date run, named after their 1998 No. 1 hit “The Boy Is Mine,” kicks off Oct. 16 and marks their first time hitting the road together.
During their sit-down with Fallon, Brandy also revealed that the idea for their chart-topping duet was sparked by an episode of Jerry Springer. “I was a huge Jerry Springer fan. One of the topics was ‘The boy is mine,’ and I’m like, ‘Oh my God. Song idea. Let’s do this,’” she recalled.
The singers also reflected on their initial collaboration, Grammy win, and how their friendship has evolved in the decades since. “We’re a musical marriage, it is a musical marriage,” Monica said with a laugh.
Their conversation touched on a range of moments from their careers, including their 1999 Grammy win for best R&B performance by a duo or group. “I actually ran to the stage,” Brandy said, while Monica recalled following slowly behind in Chanel heels. “She left me,” Monica joked. “I was tiptoeing behind her like, ‘Girl, we just won a Grammy!’”
Fallon also brought up Ariana Grande’s recent remix of “The Boy Is Mine,” which both singers praised for its respect toward the original. “I think it was how personable that she was that made us feel so comfortable. We’ve always been very adamant about people leaving history as it is,” Monica said. “But the integrity is still there.”
When asked if fans can expect new music, the pair confirmed they’re aiming to head into the studio soon. “We’ll start working on some music immediately,” Monica said, adding that the new material could be promoted while they’re still on tour. “But no studio tour bus,” she clarified with a grin. “That’s for the rappers.”
The tease comes over a decade after their last joint release, 2012’s “It All Belongs to Me,” and nearly three decades after “The Boy Is Mine” spent 13 weeks at No. 1 on the Billboard Hot 100. The track remains one of the most iconic duets in pop and R&B history.
The two also paid tribute to their late mentor Whitney Houston, whom they say would’ve been thrilled about their reunion. “She’d be sarcastic, like, ‘Finally,’” Monica laughed as Brandy added, “But proud!”
The Boy Is Mine Tour kicks off in Oakland, California, and will hit cities including New York, Atlanta, Chicago and Los Angeles. Tickets are on sale Friday (June 28) via Ticketmaster.
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LeAnn Rimes is laughing through the pain after an unexpected onstage dental mishap.
The country-pop star abruptly left the stage mid-performance at a recent show in Washington when her front dental bridge unexpectedly fell out. The incident occurred while Rimes was singing her 1996 hit “One Way Ticket” at The Skagit Casino Resort, prompting the visibly flustered singer to rush offstage to address the situation.
“I feel something pop in my mouth,” Rimes explained in a candid video posted to Instagram following the show. “And if you’ve been around, you know I’ve had a lot of dental surgeries and I have a bridge in the front, and it fell out in the middle of my song last night.”
Rather than cancel the show, the 42-year-old performer made a swift recovery, rejoining her band onstage and finishing the set while discreetly attempting to push her bridge back into place between lines.
“I literally was like this, pushing my teeth in,” she said, demonstrating the gesture. “‘Can’t Fight the Moonlight,’ the teeth completely fell in my mouth.”
Despite the unexpected interruption, Rimes took the moment in stride, calling it “the most epic experience ever.”
“There wasn’t a f—ing thing I could do about it except either walk off or just hold my teeth in and sing, so I just ran with it,” she said. “The show can go on, even in the midst of sheer, utter embarrassment. You just gotta be real with people.”
Rimes, who has long been open about her dental struggles, including a history of botched dental work that has required 29 surgeries, previously filed a malpractice lawsuit in 2013 against her former dentist, citing chronic pain and complications from failed veneers.
In her Instagram update, she jokingly warned the front row of that evening’s second show at the same venue to be on alert: “If you catch them, please return them.”
As of now, Rimes says her teeth are “in for now,” adding that the whole ordeal was an unforgettable reminder that anything can happen live, and the only option is to power through with humor and honesty.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-26 04:55:362025-06-26 04:55:36LeAnn Rimes’ Teeth Fall Out Mid-Performance During Washington Concert
President Donald Trump’s appearance at the NATO Summit in The Hague this week was already making headlines, but the White House made sure to turn it up a notch by pairing a video montage of the trip with Usher’s “Hey Daddy (Daddy’s Home).”
On Wednesday (June 26), the official White House X account posted a video of Trump arriving at the NATO Summit, dramatically set to Usher’s 2010 R&B single “Hey Daddy (Daddy’s Home)” from his album Raymond v. Raymond.
The clip was captioned, “🎶 Daddy’s home… Hey, hey, hey, Daddy,” referencing the lyrics of Usher’s song and the unexpected moment earlier that day when NATO Secretary-General Mark Rutte referred to Trump as “Daddy” during their bilateral meeting.
🎶 Daddy’s home… Hey, hey, hey, Daddy.
President Donald J. Trump attended the NATO Summit in The Hague, Netherlands. pic.twitter.com/asJb5FD2Ii
“You know, they fight like hell. You can’t stop them. Let them fight for about two-three minutes, then it’s easy to stop them,” Trump said of the Israel-Iran ceasefire tensions during a discussion with Rutte. The secretary-general responded, “Daddy has to sometimes use strong language to get them to stop.”
“You have to use strong language,” Trump agreed. “Every so often, you have to use a certain word.”
Later at a press conference, Trump appeared to embrace the nickname. “No, [Rutte] likes me. I think he likes me. If he doesn’t, I’ll let you know. I’ll come back and I’ll hit him hard, OK? He did it very affectionately, ‘Daddy, you’re my Daddy.’”
Rutte later defended the remark, adding that Trump was a “good friend” and insisting his language was a matter of personal taste. “I think he deserves all the praise,” Rutte said when asked about the U.S. president’s decision to strike Iran and push for a ceasefire.
The White House’s choice to soundtrack the footage with Usher’s “Hey Daddy” quickly went viral, prompting a wave of reactions across social media. The original track, released in 2010, appears on Usher’s album Raymond v. Raymond and peaked at No. 24 on the Billboard Hot 100 and No. 2 on the Hot R&B/Hip-Hop Songs chart.
Billboard has reached out to Usher’s representatives for comment.
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President Donald Trump’s appearance at the NATO Summit in The Hague this week was already making headlines, but the White House made sure to turn it up a notch by pairing his arrival with Usher’s “Hey Daddy (Daddy’s Home).”
On Wednesday (June 26), the official White House X account posted a video of Trump arriving at the NATO Summit, dramatically set to Usher’s 2010 R&B single “Hey Daddy (Daddy’s Home)” from his album Raymond v. Raymond.
The clip was captioned, “🎶 Daddy’s home… Hey, hey, hey, Daddy,” referencing the lyrics of Usher’s song and the unexpected moment earlier that day when NATO Secretary-General Mark Rutte referred to Trump as “Daddy” during their bilateral meeting.
🎶 Daddy’s home… Hey, hey, hey, Daddy.
President Donald J. Trump attended the NATO Summit in The Hague, Netherlands. pic.twitter.com/asJb5FD2Ii
“You know, they fight like hell. You can’t stop them. Let them fight for about two-three minutes, then it’s easy to stop them,” Trump said of the Israel-Iran ceasefire tensions during a discussion with Rutte. The secretary-general responded, “Daddy has to sometimes use strong language to get them to stop.”
“You have to use strong language,” Trump agreed. “Every so often, you have to use a certain word.”
Later at a press conference, Trump appeared to embrace the nickname. “No, [Rutte] likes me. I think he likes me. If he doesn’t, I’ll let you know. I’ll come back and I’ll hit him hard, OK? He did it very affectionately, ‘Daddy, you’re my Daddy.’”
Rutte later defended the remark, adding that Trump was a “good friend” and insisting his language was a matter of personal taste. “I think he deserves all the praise,” Rutte said when asked about the U.S. president’s decision to strike Iran and push for a ceasefire.
The White House’s choice to soundtrack the footage with Usher’s “Hey Daddy” quickly went viral, prompting a wave of reactions across social media. The original track, released in 2010, appears on Usher’s album Raymond v. Raymond and peaked at No. 24 on the Billboard Hot 100 and No. 2 on the Hot R&B/Hip-Hop Songs chart.
Billboard has reached out to Usher’s representatives for comment.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-26 04:21:142025-06-26 04:21:14White House Soundtracks Trump’s NATO Entrance With Usher’s ‘Hey Daddy’
British singer, producer and songwriter PinkPantheress sat down with Jake Shane for the latest episode of his viral podcast Therapuss, where she discussed everything from her creative process and internet beginnings to her OCD and the evolution of her sound.
In the hourlong episode, PinkPantheress—born Victoria Walker—spoke candidly about her earliest days making music, revealing that her now-iconic stage name came from a random game show moment. “I was making a TikTok account,” she explained.
“I was watching a game show called The Chase and the answer to one of the questions was Pantheress… I wanted to call myself that, but then it was taken. So I think pink in front of it. Like the movie.”
She also opened up about the production inspirations behind her “Tonight” music video, citing Jamiroquai’s “King for a Day” and Madonna’s 1989 Vogue performance, and broke down the genre confusion surrounding her sound. “A lot of people describe [my] music as hyperpop,” she said. “But the genre is called drum and bass… or jungle… That’s what Americans call hyperpop because it’s very sped up. It’s not that. But who makes the rules? No one makes the rules.”
Touching on her OCD, PinkPantheress explained, “I don’t necessarily have many of the fears that you might have about certain things… I do have this thing where once I have a thought it loops, loops, loops for a month and it will never stop.” She added, “If I don’t consider myself a certain standard at what I’m doing, I don’t see the point doing it… That’s something birthed from my OCD, by not being satisfied by anything less than perfect.”
Elsewhere in the episode, the artist shared stories about producing her Barbie soundtrack standout “Angel” alongside Charlie Puth (“He’s kind of like AI in a person musically”), her micro phase of maladaptive daydreaming (“I would act like I had a boyfriend around the house”), and her evolving relationship with live performance.
Pink also explained her shift from anonymity to showing her face publicly. “I really did the whole, when I did the ‘Boy’s a Liar Pt. 2’ video, that was when it was really ‘This is her.’”
She’s now embracing the spotlight more fully. On June 16, Pink revealed that she’d be embarking on a residency-style North American tour titled An Evening With PinkPantheress.
The nine North American dates will see the singer come to New York, Chicago, Los Angeles and more cities for the first time, marking her first headlining U.S. shows since 2024’s Capable of Love ’24 Tour.
Watch the full episode of Therapuss on YouTube, Spotify or Apple Podcasts.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-26 03:11:212025-06-26 03:11:21PinkPantheress Opens Up About OCD and Her Musical Origins on ‘Therapuss’
Fat Joe has officially responded to a salacious lawsuit filed by his ex-hypeman that accuses him of pedophilia, forced labor and sex trafficking, taking to Instagram to deny the claims and reassure fans.
The post on Wednesday (June 25) is Fat Joe’s first personal statement since he was sued last week by Terrance “T.A.” Dixon, who accused the rapper of running a wide-ranging racketeering enterprise in which he trafficked underage girls for sex and subjected his employees to abusive working conditions. Fat Joe’s attorneys have vehemently denied the claims and already have a pending counter-lawsuit accusing Dixon and his lawyer, Tyrone Blackburn, of extortion.
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“I’ve been tested the last few months — I’ve lost my big brother, my father, my mother and now I’m fighting against these disgusting lies,” wrote Fat Joe in the Instagram post. “But please know I will not break and I will NEVER back down.”
The rapper’s statement echoes his attorneys’ allegations that Dixon fabricated the claims in pursuit of a payday. “They figure they can make up the most insane stories and, if they threaten you with a lawsuit, then you’ll pay and they’ll feel like they finally won,” he continued in the post.
“Problem with your theory,” he added, “I’ve never let anyone on the streets extort me, so how would I ever let a crooked attorney and a coward ex-hype man extort me?? I’m from the Bronx!”
Fat Joe’s statement concludes by taking a dig directly at Blackburn: “Since you want the clout, we will finish you in court. The time of lawyers using their law license as a badge to extort people and destroy families with no evidence is over!! I’m not the one!! You’ve messed with the wrong one this time!”
The statement arrived the same day as another strange twist in the dispute, after Blackburn was arrested Wednesday morning and charged with assault for allegedly running over Fat Joe’s process server with his car last month.
Blackburn has pled not guilty to the charges, and his defense lawyer told Billboard the case seems to be “at the very least…a misunderstanding or an accident, and at the most an attempt to extort some money out of my client.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-26 00:38:122025-06-26 00:38:12Fat Joe Responds to Ex-Hypeman’s Underage Sex Claims: ‘Disgusting Lies’
