Dave Mason, the celebrated singer, songwriter and musician who was inducted into the Rock And Roll Hall Of Fame as a co-founder of Traffic, died Sunday (April 19) at the age of 79.

“On behalf of his family, it is with deep and profound sadness that we share the news of the passing of Dave Mason,” reads a statement from his publicists. Mason, the message continues, “lived a remarkable life devoted to the music and the people he loved.”

Born in post-war England, in 1946, Mason rose to prominence with the rock band Traffic, for which he contributed writing credits and lead vocals for such tracks such as “Hole in My Shoe” and “Feelin Alright?”. Mason also enjoyed a impressive solo career, which got underway in 1970 with his debut solo album, Alone Together, which peaked at No. 22 on the Billboard 200, and featured the Billboard Hot 100 hit “Only You Know and I Know,” one of four appearances on the national singles chart.

As a collaborator, Mason was a wanted man. Across the years, he recorded or performed with the likes of George Harrison, the Rolling Stones, Jimi Hendrix, Eric Clapton, Michael Jackson and others. His acoustic guitar work can be heard on Hendrix’s “All Along the Watchtower” and he played a part on George Harrison post-Beatles classic All Things Must Pass.

Traffic finally broke up in 1974 after releasing 11 albums, four of which landed cracked the top 10 on the Billboard 200. Traffic reunited two decades later to tour in 1993-94, while Mason hit the road with Traffic drummer Jim Capaldi in 1998.

In 2004, Mason was inducted into the Rock and Roll Hall of Fame as a member Traffic, in a class that included Prince, ZZ Top, Jackson Browne, and Bob Seger. Bandmate Jim Capaldi and Steve Winwood performed “Dear Mr. Fantasy” at the ceremony. The following year, Capaldi died after a brief battle with stomach cancer, aged 60.

According to reps, Mason passed away peacefully at his home in Gardnerville, NV.

Mason is survived by his beloved wife and partner, Winifred Wilson, his daughter Danielle, nephew John (Trish) Leonard and niece Michelle Leonard, as well as his brothers in law Sloan (Claudia) Wilson and Walton (Barbara Sims) Wilson. He was preceded in death by his son, True and his sister, Valerie Leonard.

Keith Urban has identified his rising star.

The Australia-raised country music superstar taps Ethan Calway as the inaugural recipient of the Keith Urban Rising Star Scholarship, a new initiative with the Tamworth Country Music Festival that spotlights country talent that should make international waves.

Urban and Co. started the national search earlier in the year, to find one rising Australian country artist ready to take the next step internationally, an exportable act. Calway stood out from a “strong field,” reps say.

“Ethan has something really special,” says Urban, who broke the news with a Zoom call. “There’s a rawness and honesty in what he does that really connects. I’m excited to see what this next chapter brings for him and to be part of that journey.”

As the first recipient, Calway will receive career-changing opportunities in Nashville, including the chance to perform, write, record, and connect with key industry figures and enjoy dedicated recording time at Urban’s studio, The Sound.

Hailing from Warragul, in country Victoria, Calway possesses electrifying guitar skills, a raw, emotive vocal style and an authenticity that signals strong global potential, say organizers of the scholarship, with a knack for blending country, rock and storytelling. Indeed, he has been compared to a young Keith Urban.

He’s not coming in from the cold. Calway was a grand finalist in the 2023 Gympie NAB Talent Search and a top 10 Finalist in the 2024 Toyota Star Maker. Then, in 2025, he presented his stuff to the nation on The Voice Australia, where he enjoyed a four-chart during the Blind Auditions, after which he joined Richard Marx’s team.

“His artistry reflects both lived experience and a clear creative vision – marking him as one of Australia’s most exciting emerging voices,” reads a statement following his scholarship win.

To celebrate, Calway drops the new single “Better Tomorrow.” Stream it in full below.

“What an incredible opportunity – I’m beyond grateful to be chosen for something like this,” enthuses Calway. “To learn, write and record in Nashville, and to have that kind of support behind me, is something I’ve always dreamed about. I can’t wait to get over there and make the most of it.”

Look ahead, the Tamworth Country Music Festival and Urban’s teams will work closely with Calway as he soaks up the scholarship experience.

“The response to the scholarship has been extraordinary, and Ethan is a truly deserving recipient,” comments Peter Ross, executive manager of the Tamworth Country Music Festival.

“This initiative reflects the shared values of the Festival and Keith – creating meaningful opportunities for artists to grow and reach new audiences,” Ross continues. “Keith is the living embodiment of the Tamworth pathway to success, and together we are proud to support the next generation of Australian country artists as they take their music to the world.”

A four-time Grammy Award winner, Urban has stayed true to his Australian roots. He has collected six ARIA Awards (in addition to hosting, and performing at the annual event) and won 15 Golden Guitar Awards. In 2025, he was inducted into the Roll of Renown at the Golden Guitar Awards, the highest honor in Australasian country music.

Before he made it big in the United States, Urban cut his teeth busking on Tamworth’s Peel Street, performing in local venues, and won the Star Maker competition at age 22, a moment that provided a launch pad for his career.

Country music is going gangbusters in Australia. “Step Into Country”, a 30-page report from Live Nation, published in 2025, found that Australia is the third biggest market for the genre, behind the United States and Canada, respectively.

In the previous three years, the volume of country music streams in Australia had lifted by 115%, according to Spotify data detailed in the document, while some two-thirds of respondents were found to follow at least one country music artist on social media.

Almost 80% of Australian music fans said that country music is now “mainstream.”

It’s been less than a week since Madonna announced Confessions II, the sequel to her 2005 electro-pop dance classic Confessions On a Dance Floor. But so much has happened in the days since.

After she announced the album’s July 3 release date, Madonna released “I Feel So Free” — the first song from the project — on Friday and then joined Sabrina Carpenter at Coachella weekend 2 to tease their potential Confessions II collab and duet on 1989’s “Like a Prayer” and 1990’s “Like a Prayer.”

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On the new Billboard Pop Shop Podcast, Katie & Keith are talking about all the buzz around Madonna and her new album and what we could expect next ahead of the album sequel.

Also on the show, we’ve got chart news on how Ella Langley debuts atop the Billboard 200 with her first No. 1 album Dandelion, while its single “Choosin’ Texas” continues to stand tall at No. 1 on the Billboard Hot 100. Plus, how Lady Gaga and Doechii’s “Runway,” from The Devil Wears Prada 2, struts onto the charts and how Coachella headliners Justin Bieber and Carpenter make a big splash on the charts following the festival’s first weekend.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

It’s been almost three decades since the LA-based casual wear brand Juicy Couture first hit store shelves, and the Hollywood-loved label has made its way back into the spotlight in recent years thanks to the Y2K trend resurgence and newfound love from influencers online.

Best known for its T-shirts, handbags and yes, those velour tracksuits (reportedly designed exclusively for Madonna at first), Juicy Couture pieces were seen on practically every major celebrity in the 2000s, from Paris Hilton and Britney Spears, to Jennifer Lopez and Kim Kardashian. Musicians like Miley Cyrus, Nicole Scherzinger and even Beyoncé have also been spotted wearing Juicy Couture, and now, a new Amazon deal makes it easy for you to get into some JC as well.

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Amazon is selling a five-pack of Juicy Couture T-shirts right now for just $39. Part of the “Juicy Sport” line, the cropped T-shirts are made from a super soft and breathable “performance” fabric that features a touch of spandex for easy movement and stretch.


That makes the T-shirts as ideal for a workout or yoga session as they are for pairing with your everyday ‘fits. The crop top look leans into the Y2K aesthetic and Amazon’s website shows the shirts styled with shorts, leggings and mini skirts alike.

This Amazon deal gets you five Juicy Couture T-shirts for under $40. That brings the price of each tee down to less than $8 — a virtually unheard of deal for generic T-shirts, let alone a brand name pick.

We like the five-pack above, which gets you a T-shirt in two shades of pink (including a light pink with the signature Juicy Couture cherries), plus navy blue, gray and black. You can choose from other color combinations online. The tees are available in sizes small to XXL.

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Don’t need five T-shirts? Amazon also sells a three-pack of Juicy Couture tees for just $30, bringing the price of each individual shirt to under $10.


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And if you need a bag to take to the gym (or for an overnight stay), we like this mini barrel-style duffle bag, on sale for 43% off. The two-tone bag measures approximate 8.2 x 4.9 inches in size, which is enough room for your wallet, keys, change of clothes and toiletries. Choose to carry the bag via the top handle or with the detachable shoulder straps.


All of the above picks are officially-licensed products sold through Amazon’s Juicy Couture storefront. As with all Amazon deals, the sale prices could end at anytime, so we recommend adding the deals to cart while they are still live.

Between the Artemis II launch and the success of the Ryan Gosling-led Project Hail Mary, it seems like everyone is interested in outer space right now. And a select few think outer space is interested in them too.

Over the last decade, alleged UFO sightings have become more frequent, thanks in part to cell phone cameras and social media allowing for easier documentation of bizarre events. And the conspiracy theories around aliens are not limited to internet-obsessed tin foil hat wearers.

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A number of celebrities have shared their thoughts and personal experiences with aliens, making a compelling argument for extraterrestrial life. Tom DeLonge of Blink-182 fame, for example, has spent decades researching the matter. The first instance of DeLonge’s alien obsession being made known publicly was in 1999, with Blink-182’s aptly named single “Aliens Exist.” Turns out the song wasn’t just a fun play on a favorite sci-fi topic; it was a confession of DeLonge’s beliefs. Over the following two decades, DeLonge would go on to talk about the existence of alien life in countless interviews. There are so many instances of DeLonge referencing the extraterritorial that Billboard was able to compile a list of every time the pop-punk star mentioned our friends from above.

DeLonge is not the only musician to talk about aliens and encountering them. Though not as zealous as the Blink-182 member, several artists have also shared their alien encounters with the public. Demi Lovato even once hung out with “one of the world’s foremost authority figures regarding Extraterrestrial Intelligence.”

From the aforementioned DeLonge and Lovato to Kacey Musgraves, here are a few musicians who’ve talked about their interactions with the extraterrestrial.

Anthropic says it’s time to end a copyright lawsuit brought by Universal Music Group (UMG) and other publishers over the use of song lyrics to train Claude, its mega-successful artificial intelligence chatbot.

UMG and the other music companies urged a federal judge last month to find that Anthropic’s use of its intellectual property was not “fair use” — a legal tenet that excludes “transformative” uses of a work from copyright protection. Now the AI giant is hitting back, saying in a Monday (April 20) brief of its own that the publishers cannot “meaningfully dispute that training on lyrics (and other copyrighted text) is transformative.”

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According to Anthropic, Claude ingests lyrics alongside trillions of other words to “understand the interrelationships between words and concepts in human language” so it can code software, conduct research and write documents. Anthropic says this is what fair use is all about: turning the publishers’ lyrics into something completely different.

“Claude’s transformative training creates a flexible, general-purpose model that can be used in myriad beneficial ways — the vast majority of which are wholly unrelated to lyrics or music,” write Anthropic’s lawyers.

Anthropic also says the publishers have no evidence that Claude is harming them in the market, which is another element of a judge’s fair use analysis. The AI company points out that the opposite was actually conveyed by UMG’s own chief digital officer, Michael Nash, during the company’s earnings call last month, when he told investors, “Thoughtful analysis will conclude that the impact AI will have on our business will be overwhelmingly net positive.”

In a statement to Billboard on Tuesday (April 21), a rep for the music publishers said, “There is no excuse for Anthropic’s blatant infringement of Publishers’ copyrighted song lyrics.”

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“Anthropic’s recent filing is wrong on the facts and the law in numerous respects, and Publishers look forward to rebutting those arguments and correcting the record when they file their opposition brief,” added the rep.

The question of whether AI training constitutes fair use is an unsettled legal question at the heart of dozens of ongoing copyright cases that have been filed against these booming new tech companies in recent years.

The music industry entered this battle on two fronts: publishers led by UMG sued Anthropic in 2023, and then all three major label groups brought their own copyright cases against AI music generators Suno and Udio in 2024. The Suno and Udio lawsuits also remain ongoing, despite some partial licensing settlements inked at the end of last year.  


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After debuting in Los Angeles last year, Fantastic Reality — a three-day mixed reality 3D live festival featuring independent virtual and VTuber talents — is returning this summer.

The fest will happen at Vermont Hollywood Theater in Los Angeles on July 2-4, with the three nights each featuring a unique lineup.

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Night one will present Fantastic Reality: Found Futures presented by IRIAM, a show headlined by VTubers Matara Kan, kson and Lilypichu, along with the debut of Virtual Signal, a group being billed as the first rock band made up of entirely of virtual talent. The event will also be Matara Kan’s first live concert, Lilypichu’s first live in-person concert as a VTuber and first performances by Virtual Signal and its lead singer Emilya Fell.

Night two of Fantastic Reality will feature Anibash: Crossroads, a co-production with dance music label Asahi Crew, known for their high energy Tokyo-style club rave parties. Day three will be a matinee performance of Doki Doki: Rewind Time, a concert co-produced, curated and headlined by Vtuber Dokibird. Organizers note that the combined cross-platform social reach of the participating talents exceeds 24 million. Additional Fantastic Reality artists will be announced in the coming months.

Tickets for Fantastic Reality are on sale now, with phase two ticket sale with GA and VIP options opening on April 28 at 4 p.m. PT. Tickets are available here.

“Fantastic Reality strives to create community through inspirational experiences showcasing the world’s top virtual talents” Fantastic Reality co-producer Spencer Burnham says in a statement. “We’re thrilled to have internationally-recognized virtual stars Dokibird, Matara Kan, kson, Lilypichu and friends perform with our house band in an awe-inspiring, intimate irl space.”

Fantastic Reality 2026 follows a successful 2025 debut that featured performances by virtual star Ironmouse, along with a host of other VTuber virtual talent.

OVI — who gained international recognition as the first Cuban artist to tap into the corridos tumbados space — has signed an exclusive deal with Universal Music Latino. 

Duarte Figueira, senior vp of A&R at Universal Music Latino, and Daniel Luna, who was recently appointed general manager at the label, were present at the signing.

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“I’m incredibly excited about this stage of my life because I feel that, for the first time, I’m going to have a real team by my side, supporting me through the good and the bad,” OVI expressed in a press statement. “That means the most to me, and I know that with Universal Latino’s new team, my music will reach new heights.”

Born in Ciego de Ávila, Cuba, and currently residing in Miami, the artist and rapper (real name Ovidio Crespo Retureta) kicked off his music career in 2018. He initially tapped into the Música Mexicana realm, where he teamed up with acts such as Natanael Cano, Junior H, Adriel Favela and Snow Tha Product, fusing Cuban rhythms with Regional Mexican. 

OVI’s first Billboard entry was on the Hot Latin Songs chat with the Cano-assisted “Pacas Verdes” in 2020. The following year, he charted on Hot Latin Songs with “Envidioso” in collaboration with Ozuna, while his album Retumban2 peaked at No. 21 on Top Latin Albums. In 2022, “Que Locura” with Gente de Zona charted on Tropical Airplay, and in 2024, “No Drama” with Duki and Lucho SSJ entered the Billboard Argentina Hot 100. 

Throughout his career, OVI has also collaborated with Eladio Carrion, Grupo Firme, Myke Towers and Arcángel, among others. 

OVI is expected to release his forthcoming album, which includes his next single, “Cash,” in collaboration with Almighty, under the new deal with Universal Music Latino. 

Ize Graphics


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Just about every week on the Billboard charts so far in 2026 has been a big week for country singer-songwriter Ella Langley. But this last one might just be her biggest yet.

On this week’s Billboard 200, dated Apr. 18, Langley debuts at No. 1 with her sophomore LP Dandelion, moving 169,000 units in the set’s first week. Meanwhile, she simultaenously tops the Billboard Hot 100 for a seventh week with her crossover smash “Choosin’ Texas,” while also hitting the top five with her follow-up hit “Be Her” (8-4 this week), and notching 15 songs total from Dandelion on the chart.

How do these returns compare to our expectations? And does this performance confirm her as a newly minted pop star? Billboard staffers answer these questions and more below.

1. Dandelion debuts atop the Billboard 200 with 169,000 first-week units. Are those numbers better, worse or about what you expected for its first-week returns?  

Kyle Denis: This is right on par, if not better than what I was expecting for Dandelion’s first week. With her sophomore album debuting comfortably in the six-figure range, Ella’s has proven she can move albums as well as singles.  

Lyndsey Havens: A bit better and a bit expected at the same time. Having been well aware that this album would be a huge win for Ella, given the performance of early singles and continued Hot 100 dominance of “Choosin’ Texas,” this first-week number feels right on target. Yet, I’m also still a bit surprised by it; despite Ella’s years of hard work and patience for this moment, it does feel like a bit of a whirlwind right now. And I imagine for those who haven’t been paying attention, this feels like a total shock. 

Melinda Newman: They are about what I thought they would, be given her growing crossover popularity. It’s the largest opening week for a woman this year and the largest opening week for a country artist, topping first week numbers this year from Megan Moroney, Zach Bryan and Luke Combs. She is really drawing from pop fans, probably almost as much as country fans at this point.

Andrew Unterberger: Pretty much exactly what I expected — a little lower or a little higher wouldn’t have shocked me either. She’s rapidly approaching the point where it’s tough to really be that surprised by any commercial achievement of hers.

Jessica Nicholson: That is about what I expected. Those are huge numbers and recognize how her song “Choosin’ Texas” has dominated the Hot 100 for seven weeks, in addition to seeing more songs from her album Dandelion proliferate the chart.

2. “Choosin’ Texas” simultaneously enjoys its seventh week atop the Hot 100, while “Be Her” becomes her second top five hit by jumping No. 8-4. Do you think the latter will eventually follow “Texas” to the chart’s top spot?  

Kyle Denis: It’s certainly possible! I wouldn’t be surprised if Ella simultaneously held the top two spots on the Hot 100 in the coming weeks. As summer draws nearer and rumored new albums from the likes of Drake and Ariana Grande potentially materialize, “Be Her” could have a difficult journey to No. 1 — but it’s not out of the question. 

Lyndsey Havens: I genuinely hope so. I love “Be Her,” from its sultry start to the catchy (and yes, TikTok-primed) hand claps. And look, the concept isn’t new — there’s a whole library of songs about a woman feeling envious of another, including Kelsea Ballerini’s latest “Emerald City” But here, Ella take’s it to the point of wanting to be her. It’s a song that fits perfectly on Dandelion and suits Ella’s voice and own storyline right now, and I do think it could climb to No. 1 with the right push.

Melinda Newman: Yes. I think there’s something about Langley that is undeniable right now. People are very curious about her and she hasn’t been overexposed. This is a sweet time for her where she can do no wrong. I don’t think it will be No. 1 for as long as “Choosin’ Texas” though. It doesn’t have the same appeal — but how incredible would it be if it replaces “Choosin’ Texas” at No. 1? 

Jessica Nicholson: That is a large jump, but Olivia Dean’s “Man I Need” is also holding strong and seems destined to take the pinnacle at some point, while Ella has the powerful Morgan Wallen collab coming this week.

Andrew Unterberger: I’d say probably not — but only because it’s about to get really crowded at the top of the Hot 100, including with another song of her own devising. Getting to the top five is a huge, huge win for “Be Her” and Langley in general regardless.

3. While Langley is enjoying her wins for Dandelion and its hits, she’s already moving onto a new single, with an upcoming duet with Morgan Wallen — unveiled live over the weekend — expected to be released this Friday. Does the timing of that now-much-anticipated collaboration make sense to you, or would you have waited more than two weeks after the full album to drop such a near-guaranteed smash?  

Kyle Denis: Sure, she could have waited — but why not strike while the iron is hot? The country can’t get enough of Ella right now. She also has a successful history with male-female duets, and there’s no such song on Dandelion, meaning she’s offering the marketplace another style of song and not just a throwaway loosie. More importantly, this is about positioning. Wallen is undisputably the current King of Country, and him tapping Ella as his first female country duet partner — and second female collaborator overall, following Tate McRae last year — solidifies her crown as country’s current Queen.  

Lyndsey Havens: Either way, it seems like a guaranteed win. Morgan and now Ella have played a huge role in rewriting country music’s chart records of late, so putting them together at any time does seem like a guaranteed smash. That said, I don’t think it would have hurt to wait a bit and give Dandelion just a bit more room to live and breath on its own.

Melinda Newman: It is rare for country to have a genuine “event record” and this is it. Given that they are on tour together, but only for a handful of dates, it makes sense to release it now and get the biggest bang for the buck they can while they can do it live. It’s also unclear whose album it will be on since it’s not on Dandelion, so it creates excitement in terms of: Will it be on a deluxe edition of Dandelion, or on Wallen’s next album — or will it be a stand-alone like the Chris Stapleton/Miranda Lambert duet? 

Jessica Nicholson: Ideally, I would have waited a bit to give all the songs on the album more breathing room — but the release also closely follows Ella’s first night opening for Wallen’s current Still the Problem Tour, so the timing for that makes sense.

Andrew Unterberger: My instinct is to say she could have waited here, let Dandelion enjoy a few weeks of blockbuster success on its own merits, and then maybe a month or so down the line, hit ’em with the Wallen collab and let ’em know you’re not going anywhere anytime soon. But doing it just two weeks after the album release — and announcing it with a live duet just one week after — is such a power move I can’t really hate on it, either. This is your moment, why not do whatever you can to make it as big as possible?

4. Does the first week performance of Dandelion combined with the extended success of “Choosin’ Texas” and the album’s other singles — and now an incoming teamup with the biggest artist in country — confirm Langley as a bonafide pop star to you, or do you still need to see more from her before giving her that status?  

Kyle Denis: In the sense that country is pop right now, yes. But I’d like to see her plastered across commercials, showing with high billing on all-genre festival lineups and playing gigs like SNL before I truly regard her as a “bonafide pop star.” 

Lyndsey Havens: I lean on the more giving side with that title, but I do think she’s totally earned it.  Let’s not forget, she’s already had her long-lasting breakout moment with Riley Green on “You Look Like You Love Me.” I think there were some who thought that would be the peak, but it was always just setting Ella up for her own time to shine — and it certainly feels like that time has come. I don’t think it will pass anytime soon.

Melinda Newman: Pop star or country star? We toss star around “star” too lightly and soon we’ll be calling her a superstar. I would still call her a rising star. She’s had three No. 1s on Country Airplay and one No. 1 on the Hot 100. It’s too soon to tell if she’s a genuine pop sensation or she’s a country singer who has one massive pop hit. I need to see more from her, but her promise is undeniable and it’s really exciting to watch her rise and how far she’s going to go.

Jessica Nicholson: She’s definitely one of the fastest-rising artists out there right now. Country music has regularly dominated the all-genre charts for a few years now, and the songs on her new album are strong, so she’s definitely cemented herself as an artist who is here to stay.

Andrew Unterberger: It’s tough to call someone a pop star when they’ve never, say, played the VMAs, or appeared at a non-genre music festival, or any number of the usual moves that signify an artist traveling the path to pop stardom. But the fervor around Ella Langley is so insane right now it might just not matter. We are very possibly headed towards a Hot 100 in a couple weeks’ time in which she has three of the top five songs — something only a handful of other artists have ever done in the chart’s history. Are we really going to say that’s not a pop star?

5. Make a prediction: How many total weeks will “Choosin’ Texas” spend atop the Hot 100? 

Kyle Denis: I think 10-11 weeks, but I’d keep my eye on Olivia Dean’s “So Easy (To Fall In Love)” and my ear to the streets regarding yet-to-be-announced high-profile releases. 

Lyndsey Havens: I’m rooting for 19 weeks. That will force a tie with “Old Town Road,” and fall just a few weeks behind the reigning queen, Mariah Carey, with her eternal holiday hit. Seems like a nice place to land.

Melinda Newman: I’m going for an even 10, though, as we pointed out before, “Be Her” could knock “Choosin’ Texas” out — as could her duet with Wallen — so “Choosin’ Texas” may be a victim of her own success, which would not be a bad thing at all!

Jessica Nicholson: I would guess 9-10 total.

Andrew Unterberger: I’ll say 12 total. But more would not surprise me in the slightest.

 


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Prince’s death in 2016 set off waves of grief at the passing of a music icon. It also set in motion complex legal battles that took years to resolve and have never fully ended.

The star, who died of a fentanyl overdose ten years ago Tuesday (April 21), was legendary for his attention to detail — in his image, his music and his intellectual property. He spent years battling with Warner Bros. over his record deals, closely policed his copyrights in the early days of YouTube, and later pulled his music from Spotify and other streamers over gripes about fair compensation.

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But owing to his sudden passing, that same meticulous artist also died without any sort of will, sparking a seemingly endless legal process to settle his estate. “It[‘s] a real mess that he left behind,” a legal expert told the Associated Press at the time. “I find it so hard to believe. How can there not be a will?”

The stakes were high. When he died, Prince left behind a sprawling set of property, including not just his famous Paisley Park mansion and other physical property, but also a prolific music catalog that had been bolstered in 2014 when Warner Bros. returned his masters for iconic albums like Purple Rain and 1999.

Because Prince had no children or spouse, the first challenge was to decide who would even be his heirs. The court eventually settled on his siblings, including sister Tyka Nelson and five half-siblings: Sharon, Norrine, and John R. Nelson; Omarr Baker; and Alfred Jackson. A bank, Comerica Bank & Trust, was named as a court-appointed administrator, handling the estate’s affairs while the probate case was litigated.

Three of the siblings later sold all or most of their shares to Primary Wave, giving that industry heavyweight control over half of the estate’s fate. The three others allied themselves with longtime Prince advisors L. Londell McMillan and Charles Spicer, who were themselves granted control of an undisclosed stake of the estate.

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After years of litigation, the case finally moved toward resolution in January 2022, when the heirs reached a deal with the Internal Revenue Service to set a final tax valuation of $156 million. The court then split the estate evenly in two, with Primary Wave controlling an entity called Prince Oat Holdings LLC and the McMillan-Spicer group controlling another called Prince Legacy LLC. The two groups have since operated under an agreement dictating how they administer his music and other jointly-held assets.

The final discharge of the probate case ended the legal battle over the future of the estate, which the heirs said would allow them to “protect and grow Prince’s incomparable legacy.” But it didn’t end the estate’s legal battles.

In 2024, McMillan and Spicer filed a lawsuit claiming heirs Sharon and Norrine Nelson were trying to force them out and seize control of Prince Legacy, even though they were “simply not capable” of running the estate: “They lack any business and management experience, have no experience in the music and entertainment industries, and have no experience negotiating and managing high-level deals,” McMillan and Spicer wrote at the time.

McMillan and Spicer largely won the dispute a few months later, when a judge ruled that the heirs had vested the two advisors with “broad and exclusive” powers and could not now amend the agreement simply because they “came to regret this decision.” But some elements of the case remain pending and await more litigation in Delaware court.

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Later in 2024, Primary Wave and Prince Legacy flexed their legal muscle to get Netflix to cancel a nine-part documentary by filmmaker Ezra Edelman that had been greenlit years earlier, citing “dramatic” inaccuracies and “sensationalized” claims.

Netflix formally pulled the plug in early 2025 and announced an estate-sanctioned replacement documentary, prompting Edelman to blast the move as a “joke.” He said nobody would see his film because he didn’t “feel like getting sued,” but that nothing in it had been inaccurate: “I can’t get past this — the short-sightedness of a group of people whose interest is their own bottom line.”

Then last year, the estate was sued by the singer Apollonia, a Prince protegee who claimed the estate had “embarked on an aggressive campaign” to cancel her trademark registrations to her name. She claimed that after Prince’s death, his estate had been on a mission to “acquire all things related to Prince even though it has no legal right to do so.”

In its own court filings, the estate said it had never asked her to change her name, but that it had rightly tried to revoke trademarks she had obtained during the “chaotic period” after his passing, when certain people secured trademarks that “rightfully belonged to Prince.” The case ended in a confidential settlement last month.


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