More than 40 years after its release, Thriller yet again vaults Michael Jackson into the record books. The landmark album spends a 39th nonconsecutive week at No. 1 on Top R&B/Hip-Hop Albums (dated May 23), bringing the King of Pop’s total weeks at No. 1 — across his nine No. 1 albums — to an even 100. He is the first solo artist to reach the triple-digit mark in the chart’s 61-year history.

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For its latest week in charge, Thriller earned 66,000 equivalent album units in the tracking week of May 8-14 in the United States, according to Luminate. The album improved 6% in units compared to its previous week’s count.

The smash album, released in 1982, reclaimed the top spot last week for the first time since 1984 as fan reaction to the Michael biopic has prompted massive surges in Jackson’s overall streaming catalog across all of his songs. For the fourth consecutive week, Jackson reaches a new best streaming week career for his solo material in U.S. official on-demand streams. His May 8-14 sum of 190.4 million follows his 181.6 million count (May 1-7), 137.6 million (April 24-30) and 55.9 million (April 17-23).

With Thriller retaining the crown, Jackson adds his 100th career week at No. 1 on Top R&B/Hip-Hop Albums. He claims the second-best career total in the chart’s history, after only The Temptations, whose record 17 No. 1s on the chart combined for 109 weeks in the top spot. Jackson joins the triple-digit club via these nine No. 1s:

Weeks at No. 1, Album Title, Year(s) at No. 1

  • 16, Off the Wall, 1979-80
  • 39, Thriller, 1983-84; 2026
  • 18, Bad, 1987-88
  • 12, Dangerous, 1992
  • two, HIStory: Past Present and Future Book 1, 1995
  • four, Invincible, 2001
  • four, Michael Jackson’s This Is It Soundtrack, 2009
  • two, Michael, 2011
  • three, Xscape, 2014

In its original era, Thriller clocked a then-record 37 weeks at No. 1 in 1983-84 off the strength of classic singles including “Billie Jean,” “Beat It” and the title track. Its mark stood for 41 years until SZA’s SOS, reinforced with its SOS Deluxe: LANA edition, surpassed it in June 2025 and extended to 46 total weeks at the top.

“Billie Jean” leads Jackson’s song catalog again, at No. 3 on the Hot R&B/Hip-Hop Songs chart, maintaining last week’s position. The former No. 1 is joined by Thriller tracks “Human Nature” (6-4) and “Beat It” (7-6) closely behind. In total, Jackson lands 14 cuts on the chart, the most simultaneous appearances he’s ever had in a single week.


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There are Survivor fans, and then there’s Sia — a Grammy-nominated pop star who has given away more than $1 million of her own money to numerous contestants across eight seasons. And, after a brief pause, she’s bringing back her tradition for the season 50 finale with a fan-centric twist.

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The Sia Prize began in 2016 as an unofficial cash reward for players whose personal stories resonated with the “Chandelier” singer. After she surpassed the $1 million mark, host Jeff Probst put his foot down. “I’m stopping this because you’ll just keep giving money and you have a family,” he told Rolling Stone in an interview published Tuesday (May 19).

Now, 10 years after the inception of the Sia Prize, the reward will return, with the Australian singer-songwriter asking fans to vote for “the kind of player she always recognizes.” In keeping with this season’s “In the Hands of the Fans” theme, this year’s Sia Prize winner will be announced during the season finale on Wednesday, May 20, and walk away with $100,000.

At press time, representatives for Sia have not responded to Billboard’s request for comment.

“When we decided that Survivor 50 was going to be ‘In the Hands of the Fans,’ I reached out to Sia to let her know what we were doing and to see if she had any interest in being part of it again,” Probst explained to RS. “She loved the idea of fans having a real voice in shaping the game and was very enthusiastic about participating. And the twist on the Sia Prize was actually her idea. She said, ‘If this season is truly about the fans having a say, then the fans should choose the winner of the Sia Prize too.’”

Sia last handed out her prize in 2023 for the show’s 45th season, with Katurah Topps winning $100,000 and Jake O’Kane and Kaleb Gebrewold each earning $15,000. “‘I’ve been really fortunate [and] music has been good to me,’” Probst recalled Sia telling him. “‘I make a lot of money, and Survivor brings me a lot of joy, so I want to share my money with people who brought me a lot of joy.’”

Season 50 of Survivor has a strong musical bent — and it doesn’t stop with Sia. Green Day’s Billie Joe Armstrong and his son, Jakob, recorded a cover of David Bowie’s “Heroes” for this season’s promos, and Probst’s original song, “Survivor 50 Come and Get It,” was recorded in the same studio as Joni Mitchell’s Blue and Carole King’s Tapestry. Country star Zac Brown also launched his own “epic spearfishing” prize this season, while Jack Harlow, Billie Eilish and Doja Cat have all proved themselves to be major Survivor fans over the years.

When RS asked Probst why musical artists might be drawn to the long-running competition, he shared: “From the music perspective, because people like Sia are fans who happen to be musicians. But I think, to extrapolate, our son is a musician. When he plays us a song he just wrote, he’s nervous. It’s from his soul. And that’s Survivor: real people telling you their truth. Being vulnerable. Like the vulnerability of sharing your art. That’s what people connect with.”

Sia’s most recent solo studio album, Reasonable Woman, arrived in 2024 and reached No. 153 on the Billboard 200. At the top of this year (Jan. 29), she released a 10th anniversary edition of her 2016 This Is Acting LP, which spawned her Sean Paul-assisted, RIAA Diamond-certified Billboard Hot 100 No. 1 single “Cheap Thrills.”

Survivor airs Wednesdays on CBS at 8 p.m., and streams on Paramount+.


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Cardi B isn’t letting motherhood cramp her style, unless you count 7-year-old daughter Kulture stealing pieces from her closet on the regular.

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When asked by E News! in a Wednesday (May 20) article whether having kids has changed her approach to fashion, the rapper responded with her signature bluntness. “It hasn’t,” she said. “F–k that, they haven’t changed me for s–t!”

“I like to get dressed up, I like to feel nice,” the Grammy winner continued. “When you look good, you want to work, you want to go outside, you want to do something.”

That said, there are some boundaries here and there that Cardi has. “I’m not gonna go to my daughter’s school with a see-through shirt or with a shirt [where] my nipples are rock hard,” she told the publication.

The interview comes as Cardi — who shares Kulture and two other kids with estranged husband Offset as well as a baby boy with Stefon Diggs — is launching her partnership with Fashionphile. In her new commercial for the consignment company, she quips that the resale platform is perfect for anyone who’s “got bags, jewelry and watches just sitting, like the ones from certain exes.”

One person who may need to try out the website in the future is Kulture, because Cardi says she’s not planning on sharing her purse collection with her eldest child anytime soon. “Oh my god. This girl is always in my closet,” the rapper added to E. “I’m about sick of it, but she already knows the rules — my clothes, whatever, and my shoes, whatever, but don’t touch Mommy’s purses. You already wrote on one of them.”

Cardi’s latest money move comes about a month after she wrapped her Little Miss Drama Tour, which grossed more than $70 million across 453,000 tickets sold, according to numbers reported to Billboard Boxscore. The trek supported her long-awaited sophomore album, Am I the Drama?, which debuted atop the Billboard 200 in October.

Watch Cardi’s new commercial for Fashionphile above.


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In 2011, Shakira spent 163 days in Spain between stops on her blockbuster Sale el Sol world tour. That tally ended up being crucial in the star’s long quest to void a $69 million tax penalty levied by the European nation — showing just how granular the work of international tour accounting can get.

Experts helped Billboard unpack Shakira’s Monday (May 18) legal victory following an eight-year battle with Spanish tax authorities. In this ruling, Spain’s National Court acquitted the Colombian star of tax fraud and ordered the return of 60 million euros ($69 million) that had been levied for the 2011 income tax year. She separately paid a $7.6 million fine in 2023 for Spanish taxes between the years of 2012 and 2014.

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Spanish authorities alleged in the 2011 case that Shakira owed taxes to them because she was a resident of Spain while on tour that year and dating Spanish soccer player Gerard Piqué. Shakira maintained she merely visited the country frequently for a long-distance relationship, and her true country of residence was the Bahamas.

Music industry professionals say the question of where one lives can be complicated for someone whose job requires them to traverse the globe. “Touring artists live unusually mobile lives,” says Russell King, an entertainment lawyer who handles tax structuring for many touring musicians. King, who was not involved in the Shakira case, says this means musicians have some flexibility in deciding where to declare residence — but they must show they have real roots in a country to satisfy the tax authorities. 

“Countries such as Spain have really tightened their regimes and are looking to enforce this,” explains King. “That’s what happened here, but it turned out Shakira had done things properly and was able to emerge victoriously.”

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In Spain, and in many other jurisdictions, a person is considered a resident for tax purposes if they spend at least 183 days of a year within the country’s borders. (The country has been particularly aggressive with celebrities in recent years, bringing tax cases against the likes of Lionel Messi and Cristiano Ronaldo over the past decade.) That means Shakira’s case came down to meticulously retracing the star’s 2011 calendar for the court to ultimately determine that she was 20 days short of that threshold.

This sort of to-the-day schedule tracking is a crucial tax consideration for international touring artists, since they don’t want to cross the 183-day limit for multiple countries and become at risk of double taxation. “I advise my clients to maintain a calendar where they document every single day where they are, just for this reason,” King says.

Timothy Jorstad, a business manager for rock acts who also had no involvement in Shakira’s case, similarly tells Billboard that keeping an eye on the calendar is a big part of his job when it comes to certain touring musicians. This is the case for his client Arnel Pineda, the lead singer of Journey, who is a resident of the Philippines but spends much of any given year in the U.S. on tour.

“We monitor that very closely,” says Jorstad of Pineda’s calendar. “We make him go to Canada for part of the tour, or Mexico or South America or Europe. We try to keep him out of here if he’s coming close to that 180-day period.”

An artist’s country of residence is just one piece of the complex accounting system that managers and attorneys must handle for international tours. There is also the issue of taxes in each country they visit on tour, where artists must pay a portion of concert revenues to the local authorities. If handled correctly, these foreign taxes can be applied as credits to get money deducted from home-country income taxes.

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This work can be complicated by the fact that each country has a separate taxation system with its own quirks. In the U.S., for example, the IRS will levy a 30% tax on international acts’ concert gross revenues unless they enter into what’s known as a central withholding agreement. King says he often helps his clients sign these advance agreements to reduce withholding, since the 30% rate “is often such a harsh cash-flow hit that it can grind tours to a halt.”

As Jorstad puts it, “some countries are more difficult than others” when it comes to tax regimes. He cites as an example his client the Doobie Brothers, who were recently denied touring-specific tax deductions for some U.K. shows after the British government claimed these were actually “album promotion costs.”

“England is getting to be a pain in the ass,” says Jorstad.

The trick to navigating this mathematical puzzle, says Jorstad, is to contract with local accountants and specialty law firms at each tour stop. By working with people who are experts in a country’s specific tax requirements, artists can be sure they are in full compliance with the laws of every place they pass through while on the road.

King also says artists should rely on professionals, not “shortcuts,” to make sure their cross-border touring finances are structured correctly. Significant work should be put into mapping out all this at the outset of a tour; otherwise, an artist could come to regret it later on.

King works with many Latin musicians and says he often invokes the Spanish saying “lo barato sale caro” to get this point across. Rough translation: “What is cheap eventually becomes expensive.”


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Kehlani steps into the Billboard history books with “Folded,” which achieves a record-breaking 17th week at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart. With its latest term, on the chart dated May 23, the track becomes the longest-running leader in the radio ranking’s history, from its launch in September 1993.

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“Folded” holds the line despite a 6% dip in plays from panel-contributing mainstream R&B/hip-hop radio stations during the track week of May 8-14, in the United States, compared with the week prior, according to Luminate.

The all-time champ reached No. 1 for the first time on the chart dated Dec. 13, 2025, and reigned for 12 consecutive weeks. It recaptured the top spot on April 11 for two more weeks and rebounded for three more frames beginning May 9. During its record-breaking run, it jostled for the crown with its main competitors, Chris Brown’s “It Depends,” featuring Bryson Tiller, and T.I.’s “Let Em Know,” on multiple occasions.

By landing at a 17th week at No. 1, “Folded” breaks a tie with Future’s “Wait for U,” featuring Drake and Tems, for the most weeks at No. 1 on Mainstream R&B/Hip-Hop Airplay. As the leaderboard reshuffles, here’s a review of the longest-lasting leaders:

Weeks at No. 1, Song Title, Artist, Date Reached No. 1

  • 17, “Folded,” Kehlani, Dec. 13, 2025
  • 16, “Wait for U,” Future feat. Drake & Tems, July 2, 2022
  • 13, “Super Gremlin,” Kodak Black, Feb. 26, 2022
  • 12, “Blame It,” Jamie Foxx feat. T-Pain, March 7, 2009
  • 12, “Not Like Us,” Kendrick Lamar, June 22, 2024
  • 11, “No Scrubs,” TLC, March 20, 1999
  • 11, “Adorn,” Miguel, Sept. 22, 2012
  • 11, “The Box,” Roddy Ricch, Feb. 22, 2020
  • 11, “Laugh Now Cry Later,” Drake feat. Lil Durk, Oct. 3, 2020
  • 11, “TGIF,” GloRilla, Sept. 21, 2024

Paralleling its record-breaking success, “Folded” unlocked new achievements for Kehlani across a host of charts, including as the singer-songwriter’s first No. 1 on Hot R&B/Hip-Hop Songs and top 10 breakthrough on the all-genre Billboard Hot 100. It also scored Kehlani their first two Grammy Awards, winning best R&B performance and best R&B song at the ceremony on Feb. 8.

Elsewhere, “Folded” also picks up a 17th week at No. 1 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from the adult R&B and mainstream R&B/hip-hop panel stations. The single registered 23.1 million in audience (down 4% from the previous week) but has noticeable clearance of the No. 2 title, “It Depends” (17.9 million, also down 4%).


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On the heels of Drake giving Kevin Durant a shout-out on Maid of Honour, Drizzy and KD star alongside one another in a hilarious commercial for the Houston Rockets forward’s new KD19 Nike sneaker, which arrives on June 17.

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“OK, first thought, transcending the game,” Drake said to Durant when getting a first look at a blue and orange pair of KD sneakers that are essentially half cowboy boots. “You need a banjo for those. Those are crazy. Y’all went home, home, home on the range with it. Wow. You’re in 2038 with those.”

“Come on, bro, I can’t hoop in these,” Durant responded before breaking out an all-white pair of fluffy kicks that have seemingly been growing hair for years.

“This guy’s an abominable snowman. They’re hard. This guy’s trying to dominate the Alaskan market,” Drake quipped. “You gotta keep the ankles warm. Those are crazy.”

Durant goes on to question if Drake’s “even a real friend,” as the 37-year-old couldn’t believe the 6 God co-signed the pairs of kicks. “Are you a yes man, bro?” he snapped at Drizzy.

KD finally brought out the real KD19’s in a capri blue colorway, which Durant nicknamed the “Candy’s.” Drake immediately hyped the monochromatic sneaker and joked that he suffered a cavity after just holding the pair.

“Someone call the dentist,” Drake said before continuing to nudge Durant about other colors on the way, which annoyed the NBA star. The Nike ad comes to a close with a tagline: “Everyone needs a yes man.”

“Normalize glazing the bros @easymoneysniper 19th sneaker available on nike.com and SNKRs 6.17,” Drake captioned his post to IG regarding the commercial.

While Drake has had his issues with NBA stars such as LeBron James and DeMar DeRozan, Drizzy and Durant have been close friends for some time now. KD pulled up to Drake’s Iceman release party on Thursday night (May 14) in Toronto.

The 6 God even gave Durant a shout-out on Maid of Honour‘s “Q&A.” “Me and KD got way too much cheese like the— yeah, yeah/ I got some questions for you and I need answers for ’em,” he raps.

Drake returned to the music scene on Friday (May 15) with three brand new albums, as Iceman was joined by the aforementioned Maid of Honour and Habibti. It marked Drake’s first solo LP since For All the Dogs, which topped the Billboard 200 in 2023.

Watch the funny commercial starring Drake and Durant below.


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John Summit will embark on the biggest tour of his career this fall when he plays a 20-date arena run that begins on Oct. 1. This CTRL ESCAPE tour follows his album of the same name, released on April 15.

The tour will start in Champaign, Ill., notably the city where Summit studied accounting at the University of Illinois Urbana-Champaign, with the theme of him leaving this life as an accountant informing much of his latest album.

From here, the tour crosses the border for three dates in Canada before returning to the U.S. for a run down the East Coast, across the south (with two dates in his adopted town of Miami) before going back north for a pair of dates in his actual hometown of Chicago before shows in Philadelphia and Brooklyn and a tour-closing performance in Oakland, Calif.

The tour adds momentum to an already characteristically busy year for Summit, with the producer playing a residency at [UNVRS] in Ibiza this summer, headlining Lollapalooza in late July and putting on the second edition of his Experts Only festival on Randall’s Island in New York this Sept. 19-20.

Summit has teased the arena tour a bit on his social media, recently sharing a rendering of an arena setup. An arena tour of this scale is a rare feat for an electronic artist and follows Summit’s previous arena shows at Folsom Field in Boulder, Colo., and New York’s Madison Square Garden.

See the complete tour schedule below.

John Summit's CTRL ESCAPE 2026 tour dates

John Summit’s CTRL ESCAPE 2026 tour dates


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Megan Thee Stallion is heading back to the 305. The Houston rapper announced on Wednesday (May 20) that she’s hosting another runway show at Paraiso Miami Swim Week for her Hot Girl Summer swimwear line on May 28.

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Megan strutted down the runway in heels for the debut Hot Girl Summer show at Miami Swim Week last year, and she’s returning to showcase the latest pieces from her second-ever collection later this month. The collection will feature garments for men, women and pets.

The show is set to start at 10 p.m. ET and will find Megan and plenty of models showing off the 20-piece women’s collection, which includes bikinis, one-piece bathing suits and cover-ups.

Members of season six’s Love Island attended the 2025 show, which became part of an episode of Peacock’s Behind the Villa. Megan picked up some hardware at least year’s Miami Swim Week, where she was honored with the Cultural Icon award at the first-ever Swimwear Icons  Honors Night.

“I really wanted to expand my reach with this year’s collection and bring everyone into my Hot Girl Universe,” Megan said in a statement when the collection arrived in April. It’s currently available at various Walmarts as well as her own online shop. “Our brand is all about inclusivity, so it was important for me to design pieces for everyone to kick off the summer in style. It’s going to be so much fun seeing the Hotties and their pets wearing their matching looks.”

Megan Thee Stallion has been booked and busy for the first half of 2026. She hopped on Juvenile’s “B.B.B.” remix, which reached No. 67 in March on the Billboard Hot 100, in addition to debuting on Broadway as part of Moulin Rouge!, and she starred as Denise in The Fall & Rise of Reggie Dinkins.


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Natasha Bedingfield‘s “Unwritten” has lived a lot of lives in the two-plus decades since its 2004 release, from being the theme song for MTV’s The Hills starting in 2006 to its prominent placement in the 2023 rom-com Anyone But You. Now it’s back again, as the first-ever cover song on the Moonbug Entertainment kids’ series Emmie’s Wonder Wardrobe.

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Billboard Family is exclusively premiering the “Unwritten” cover and video below from the Little Angel spin-off, which follows Baby John’s pink-haired big sister Emmie, “whose closet is bursting with costumes, colors, and endless possibilities,” according to a show synopsis. In the new video, Emmie and her friends make the most of a rainy day by dressing up like mermaids who embrace the water instead of hiding from it. As they ride scooters through muddy puddles while wearing mermaid tails, Bedingfield’s lyrics perfectly match the mood: “Feel the rain on your skin/ No one else can feel it for you/ Only you can let it in.”

Lola Reynoso, music director for Emmie’s Wonder Wardrobe — which premiered last month on April — explained why the top five Billboard Hot 100 hit was a great fit for the newest series from Moonbug Entertainment (CoComelon, Blippi).

“‘Unwritten’ is a timeless pop song that as soon as you hear it you want to sing it at the top of your lungs,” Reynoso tells Billboard Family. “It’s positive and uplifting energy was an inspiration for the music in Emmie’s Wonder Wardrobe and was the perfect first cover for the show because its message of self-discovery and embracing who you are is at the heart of the series. We hope families sing along together and that kids come away feeling inspired to express themselves and celebrate their individuality just like Emmie does in every episode.”

Another reason “Unwritten” makes sense for Emmie’s Wonder Wardrobe is that the series is targeting older preschoolers who are making the transition from the nursery rhymes of CoComelon to family-friendly pop hits like this one.

Watch the “Unwritten” video below, or stream the new cover here.

Kenny Chesney lands his milestone 100th entry on Billboard’s Hot Country Songs chart as “Carry On” opens at No. 31 on the May 23 list. It totaled 1.5 million chart-eligible U.S. streams, 10.5 million in radio airplay audience and 2,000 sold May 8-14, according to Luminate.

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The track marks Chesney’s first single on Hey Now Records, which launched in March, and previews his 21st album, due later this year. He has scored 55 top 10s, including 23 No. 1s. The song also starts at No. 20 on Country Airplay, where it’s likewise his 100th appearance.

The 100-title milestone lifts Chesney into elite company among acts with 100 or more hits on Hot Country Songs, which dates to October 1958. George Jones leads with 157. Dating to Chesney’s first charted title, “Whatever It Takes,” in December 1993, he boasts the third-most, after Morgan Wallen (119) and Taylor Swift (108). (The chart adopted its current multimetric methodology — a combination of streaming, airplay and sales — in October 2012.)

On Country Airplay, which began in January 1990 and solely tracks country radio airplay, Chesney’s 100th charted title ties him for the lead with George Strait. Garth Brooks (93), Tim McGraw (91) and Alan Jackson (82) round out the top five.

Chesney also stands out among Hot Country Songs’ most prolific No. 1 artists. His 23 leaders place him 11th overall, behind Strait’s 44, Conway Twitty’s 40, Merle Haggard’s 38, Ronnie Milsap’s 35, Alabama’s 33, Charley Pride’s 29, Jackson and McGraw’s 26 each, Dolly Parton’s 25 and Reba McEntire’s 24. In that legacy-heavy group, Chesney earned a first No. 1 most recently, with “She’s Got It All” in 1997.

Chesney’s power is even more apparent at country radio. His 33 Country Airplay No. 1s put him firmly in first place, ahead of Blake Shelton (30), McGraw (29), Jason Aldean, Luke Bryan, Jackson, Strait (26 each), Keith Urban, Thomas Rhett (21 each), Brooks & Dunn, Luke Combs, Toby Keith, Brad Paisley and Wallen (20 each).

Plus, since Chesney notched his first No. 1 on Top Country Albums, his Greatest Hits, in October 2000, his 17 leaders are the most among all artists in that span.

The milestones underscore the scope of Chesney’s career, one that has made him both a country radio standard-bearer and one of the most prolific hitmakers in the nine-decade history of Billboard’s country charts.


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