A jury has rejected legal claims brought against Chance the Rapper by his longtime manager Pat Corcoran, known as Pat the Manager.

Chicago jurors came back with the verdict on Friday night (March 20) following a two-and-a-half week trial in the messy legal battle between Chance (born Chancelor Bennett) and Corcoran, who were once inseparable but parted ways on bad terms a few years back.

Corcoran first sued Chance in 2020, alleging he was owed $3.8 million in unpaid commissions — including under a so-called “sunset clause” that ran three years post-termination — even though the two never had a written contract. The jury rejected those claims on Friday, according to the Chicago Sun-Times.

Jurors also sided with Chance on his 2021 countersuit, which accused Cocoran of breaching fiduciary duties and exploiting career opportunities for his own benefit.  But they awarded the rapper only $35 in damages, per the Sun-Times, rather than the $1 million sought by Chance.

In a statement sent to Billboard, Jay Scharkey, an attorney for Corcoran, said, “We respect the jury’s decision, but the message to music managers is clear: Get it in writing. The jury award of $35 speaks to how seriously the jury viewed Chance’s case.”

A representative for Chance did not immediately provide comment on the outcome.

The verdict followed closing arguments on Friday, during which lawyers for Chance and Corcoran made their final pitches to the jury in the years-long legal fight.

“This story is about someone who becomes famous and forgets what it took to get him there,” said Robert D. Sweeney, one of Corcoran’s lawyers, setting the tone for his closing statement. 

Sweeney argued that the case centers on securing the money Corcoran says he’s owed under a 15% net deal allegedly struck early in Chance’s career in 2013, including the three-year post-termination “sunset clause.” 

Sweeney pointed to Corcoran as the “common denominator” in Chance’s success, citing the 2016 album Coloring Book’s feats on the Billboard 200, where it spent 125 weeks, plus his three Grammy wins the following year. He went on to compare it to Chance’s 2025 Star Line, released after the two stopped working together, which spent just one week on the Billboard 200. “You can be great, but if you don’t have the right people around you, how’s that going to work out?” Sweeney said.

Sweeney added that there was “no doubt Pat loved this guy,” describing how Corcoran went the extra mile by taking on roles in promotion and distribution. “Pat took his 15% and did everything to prove the big labels wrong and the importance of staying independent,” he said. 

“This [case] is about two guys working their butts off, then having a disagreement, parting ways and someone not getting paid,” Sweeney said, adding: “Pat brings a claim for breach of contract of an oral agreement. It’s hard to know what was said, so it’s about which story makes sense.” 

When Chance’s lawyer, Precious S. Jacobs-Perry, took the floor, she told jurors that there is “no evidence” of a sunset agreement beyond “Pat’s own say so,” framing the case as “all about Pat’s greed and wanting something he doesn’t deserve. Just because you want it, doesn’t mean you take it.”  

Jacobs-Perry presented written communications between the two parties starting in 2014, in which Corcoran outlined the oral agreement, which included the 15% management commission but made no mention of the post-termination agreement. The alleged sunset clause, she said, was first mentioned in Corcoran’s November 2020 lawsuit.

She went on to argue that Corcoran took undue credit for the rapper’s success while building his own ventures, ultimately neglecting Chance’s projects. “All companies he created had nothing to do with Chance, he was investing in himself. Pat used his position to enrich himself repeatedly,” she said, adding, “He chose not to be by Chance’s side like he was before.” 

Jacobs-Perry also pointed to alleged lapses in management, including 24,000 merchandise orders that went unfulfilled in 2019, arguing Corcoran had become “absent” and overly reliant on delegation. 

She further accused Corcoran of seeking equity in Chance’s recordings through UnitedMasters in 2017. According to Jacobs-Perry, Chance confronted him after the fact, “hoping his friend would tell him it wasn’t true.” Sweeney, however, maintained his client was not seeking ownership, but compensation for past work. 

In closing, Jacobs-Perry said two key questions remain: whether the alleged sunset agreement exists, and whether Corcoran “interfered” in Chance’s career by inserting himself into deals without the artist’s knowledge. 

“Pat filed his complaint, Chance decided to stand up for himself,” she said. “Chance chose independence, freedom and Pat had a golden opportunity to work with a talented artist. But he squandered that opportunity by betraying his friend.” 

The Pussycat Dolls couldn’t stay hush-hush forever about original member Carmit Bachar claiming that she wasn’t invited to the band’s upcoming reunion trek.

In an interview on Today on Friday (March 20) — three days after Bachar wrote on Instagram that she “was not contacted” ahead of the girl group’s new music release and tour announcement — Nicole Scherzinger, Kimberly Wyatt and Ashley Roberts were asked head-on why they hadn’t included their former bandmate in the comeback. “Well, I mean, listen — we are just, so, as women today …,” Scherzinger began, struggling momentarily to find the words.

“I mean, it has been an ever-changing lineup, and this is what it looks like now in 2026,” Wyatt jumped in. “You never know what comes next. Ultimately, we’ve got to protect our peace, and when something like The Pussycat Dolls has so much history … we have ruptured in the past, and right now we are repairing, and we’re sort of on the same page with that.”

Scherzinger then spoke up again to finish her thought. “But what I wanted to say is, we have so much love and respect for all of the women that have been part of the PCD legacy. Once a Doll, always a Doll.”

Now a trio, the Pussycat Dolls launched their grand return on March 12, dropping new banger “Club Song” and sharing plans for a 53-date reunion tour kicking off in June. A few days after the news, Bachar posted a lengthy message, writing, “In light of recent developments, I feel it is important to speak honestly and respectfully. I was not contacted regarding the group’s decision to move forward, and I learned of these plans at the same time as the public.”

“Given my history with the brand, having been part of its foundation long before its commercial debut and instrumental in the connections that led to the record deal … I would have appreciated direct communication,” she continued at the time. “While this is disappointing on a personal level, I remain proud of the role I played in helping shape what The Pussycat Dolls became.”

Debuting in 1995, the Pussycat Dolls started out as a sextet that also featured Melody Thornton and Jessica Sutta. Over the years, they’ve charted 11 songs on the Billboard Hot 100 and two albums on the Billboard 200.

Bachar was part of the Dolls’ reunion in 2019, for which they performed as a quintet — sans Thornton — on The X Factor: Celebrity, later dropping “React” in February 2020. That comeback was short-lived, however, as the COVID-19 pandemic forced them to postpone a tour they’d had planned for that year. The trek was eventually scrapped entirely in 2022, at which point Bachar and Sutta wrote on Instagram that they hadn’t been notified before the announcement of its cancelation.

Watch Scherzinger, Wyatt and Roberts address Bachar’s claims on Today above.

Reports are swirling that Netflix may take its breakout film KPop Demon Hunters on the road, a possibility that would surely sell well within the live industry. However, no official confirmation has surfaced, and what’s been reported thus far appears to be in the earliest of stages.

While the KPop Demon Hunters soundtrack featured two groups, HUNTR/X and Saja Boys, the former quickly became a viral sensation. The soundtrack’s lead single, “Golden,” reached No. 1 on the Billboard Hot 100, making HUNTR/X the first K-pop girl group to hit the top spot. The track was nominated for four Grammys, including song of the year, and won one, winning for best song written for visual media. It also took home the Oscar for best original song (with all three HUNTR/X members — EJAE, Audrey Nuna and REI AMI — performing during the ceremony) and a Golden Globe for best original song for a motion picture. 

Following the film’s success — the movie has reached more than 500 million views on Netflix since its initial release in June 2025 —  the group’s members have made limited live appearances as a trio. Their first performance took place last October, when they took the stage on The Tonight Show Starring Jimmy Fallon to sing “Golden.” 

Demand for a live HUNTR/X show would be high, and any tour would be sure to make big money for all involved. But given how the band came together — as part of a fictional group for a film created for Netflix that is nonetheless comprised of real singers — an outing wouldn’t be straightforward, and a spokesperson for WME, which reps EJAE and Audrey Nuna, told Billboard they had not heard of any tour conversations happening. (Reps for UTA, which represents REI AMI, and Netflix did not respond to requests for comment.)

Below, Billboard breaks down what a possible tour might look like — and whether such a thing is even possible.

What’s been reported so far?

According to Bloomberg, Netflix is looking into some sort of tour involving KPop Demon Hunters ahead of the animated film’s sequel, which was announced on March 12 (no release date has yet been set). No promoter has been confirmed, and details for the tour continue to be worked out, sources told the publication. 

While the ideal would include all three human members of HUNTR/X taking the stage as a group, the report floated the suggestion of utilizing virtual performers for a live show, possibly as holograms, instead of the actual singers.

Bloomberg suggests the supposed tour would enter arenas with stops in major markets.

(Saja Boys, the antagonist group in the film — made up of Danny Chung, Neckwav, Andrew Choi, Kevin Woo and samUIL — made their first public appearance on the Oscars red carpet and have yet to perform live together. They have not been connected publicly to discussions of a tour.)

Why would this be so complicated?

Simply put, there are different rights involved for the live performers vs. the animated characters, and multiple different parties are involved.

EJAE is managed by Nick Guilmette, senior director of A&R at Prescription Songs, and Audrey Nuna is managed by Soft Serve founder Paula Park; both are booked by WME. Meanwhile, REI AMI is managed by Tropf Management’s Aaron Tropf and booked by UTA. While tours among artists with different teams are not uncommon, it can add a layer of complication, while scheduling conflicts could also limit options.

Then there’s the Netflix angle. Should EJAE, Nuna and REI AMI tour without Netflix’s sign-off, they’d be able to perform the songs from the film, but could not reference KPop Demon Hunters, which Netflix owns as a trademark. That would be tough from a marketing standpoint, given the ubiquity of the film’s title compared to the singers’ names individually and as a group, unless they came to an agreement with Netflix on licensing the name for the tour.

On the other hand, Netflix could potentially launch a live outing without the three singers, using either animated or hologram replacements. That would be a logistical challenge for Netflix, which does not have a track record of staging live performances in any capacity, and it would presumably necessitate partnering with an outside company that could bring such a stage presentation to life. Whether that would be worth it for the streaming giant is unclear, though there’s a demonstrated demand for audiences to go leave their homes for the film: Netflix hosted several public releases for the film in theaters over the winter, which brought in an estimated $18 million at the box office, according to widespread reports. 

Among the HUNTR/X singers, EJAE has released two singles since the movie’s release, including “In Another World” in October and “Time After Time” in February. She does not currently have any tour dates on the calendar. 

Nuna has three albums under her belt, including 2021’s A Liquid Breakfast, 2022’s Chump Change and 2024’s Trench, and she’s set to appear at Gurtenfestival in Wabern bei Bern, Switzerland, on July 15. Her website does not feature any further tour dates.  

REI AMI released a mixtape, Foil, back in 2021, with her EP Shhh arriving in 2023. She currently has no confirmed tour dates on the calendar. 

With so few dates on the performers’ calendars, the possibilities of a tour being announced — either together, or for each artist solo — isn’t out of the question. 

What could a tour look like?

A full-fledged arena tour could be a possibility (and would surely have high demand). However, with only six songs on the soundtrack, HUNTR/X may struggle to fill an entire arena-length show. With Nuna and REI AMI boasting discographies of their own, and EJAE beginning to release some singles, they might be able to fill a setlist with each solo artist performing their own songs.

If an arena run were taken off the table, other possible avenues could include a theater tour that features the film, with HUNTR/X appearing to perform the songs live; a KPop Demon Hunters musical theater run could also allow them to take the stage with musical performances of the soundtrack’s big hits. Both those possibilities would require all parties to work with Netflix, which seems like the option that would be the most lucrative for everybody — though complexities would still remain.

What has the band said?

In an interview with “Who Let Us Out” last September, REI AMI responded this way when asked whether HUNTR/X would be interested in going on tour out in the real world: “I don’t think it’d be shocking, because they did like a whole world tour in the movie.” Elsewhere, EJAE said she “would be down,” and Nuna said she “would not be surprised. This is perhaps in the works. I haven’t heard an official thing about it.” 

What is Netflix’s position?

Billboard reached out to Netflix for comment but has not received a response. The streaming giant didn’t comment on the Bloomberg report either.

In the past, popular films have had successful live runs. Stage adaptations have often hit the road, with Disney’s Frozen being a recent example. Following that film’s success, the musical was transformed into a Broadway show, which later toured North America in 2019. Should Netflix choose to create a live show without EJAE, Nuna and REI AMI, a touring musical could be a viable option. 

Of course, Disney has a long track record of producing live events: Its Disney On Ice franchise is popular with the kids-and-parents set, for example, and numerous other live event initiatives can be found throughout the entertainment giant’s business model. Netflix doesn’t yet have that experience in its arsenal.

Brandy will receive a star on the Hollywood Walk of Fame on Monday (March 30) at 11:30 a.m. PT at 6201 Hollywood Boulevard. The event will be streamed live at the Walk of Fame site.

Actress/writer Issa Rae and singer/producer Kenneth “Babyface” Edmonds will speak at the ceremony, which will be emceed by host and sports and entertainment presenter Sibley Scoles.

Babyface (who got his own star on the famed sidewalk attraction in 2013) wrote “Sittin’ Up in My Room” which Brandy recorded on the Waiting to Exhale soundtrack in 1995. Her single reached No. 2 on both the Billboard Hot 100 and the Hot R&B/Hip-Hop Songs chart.

This has been a year of honors for Brandy. On Jan. 29, she was saluted at the Recording Academy Honors Presented by the Black Music Collective, alongside Pharrell Williams and Kirk Franklin. The event was held at the Fairmont Century Plaza in Los Angeles.

Brandy’s biggest hit is “The Boy Is Mine,” a 1998 collab with Monica that topped the Hot 100 for 13 weeks. That set a record (which it still holds) as the longest-running No. 1 hit for a collaboration by two female artists. The smash also won a Grammy for best R&B performance by a duo or group with vocal – Brandy’s only Grammy win to date from 13 nominations.

Brandy has landed two No. 1 hits on the Hot 100 and three on the Hot R&B/Hip-Hop Songs chart. She has amassed four top 10 albums on the Billboard 200 – all of which made the top three. While Brandy is receiving her star in the category of recording, she has also acted in several high-profile projects. She played the lead role on the UPN sitcom Moesha (1996–2001) and portrayed Cinderella in the TV film Rodgers & Hammerstein’s Cinderella (1997), alongside Whitney Houston.

“Brandy has captivated audiences for decades with a voice and artistry that helped shape modern R&B and inspire generations of performers,” Ana Martinez, Walk of Fame producer, said in a statement. “Honoring her with a star on the Hollywood Walk of Fame is a celebration of not only her extraordinary music career, but also her lasting impact on television, film, and popular culture.”

For those keeping count, this will be the 2,839th star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce administers the Walk of Fame for the City of Los Angeles. Millions of people have visited this cultural landmark since 1960.