Jessica Simpson has gotten used to gossipers gossiping about her private life. And while the singer/actress/fashion designer has learned to expertly brush off the tabloid dirt off her shoulder over the years, one tall tale that has had long legs is the rumor that she used to spend $1,000 a week to keep her skin perfectly tan.

Now the 45-year-old mother of three has finally putting those whispers to rest in an ELLE magazine interview in which she opened up about her skin routine.

Texas-bred Simpson said she has always been a “sun lover,” recalling that she frequently spent her July birthdays in a pool. “My buns were always tan,” she said, recalling not really wearing any sunscreen in her younger days. Back then, her routine was like that of many young women her age: Sun-In and lemon juice to make her hair as blonde as possible and, yikes, Crisco on her skin to really get that crispy finish.

“I had really great moments of worshipping the sun,” she told the magazine, noting that these days she’s constantly spraying herself and her kids down with sunscreen when they go outside despite her old habits, because she’s realized the danger of not properly protecting her epidermis.

Okay, but what about those persistent four-digit-a-week tanning rumors?

“No, $1,000? Gosh. I’d rather have lain out in the sun,” she said. “Maybe it depends if you’re going to factor in a vacation with that budget.” She explained that when she was playing Daisy Duke in the 2005 The Dukes of Hazzard movie she had to be tan during the entire four-month shoot where she was “damn near naked the whole time” in Duke’s signature crop tops, bikinis and signature bun-bearing shorts.

“The only way to be confident then when shooting was to spray it, and do body makeup,” she confirmed. “But I also didn’t want it to be too orange, so I had to have a base tan. It was all thought out. I used to be the type of person that would put an SPF 15 on my stomach, but I would put an SPF 50 on my knees because I didn’t want them to wrinkle. I would do that math in my head.”

Don’t get her wrong, she still loves a good tan, saying that she and her family are gearing up for spring break and she’s sure her son, Ace Knute, 12, will try to escape when she comes at him with the sunscreen, though daughters Maxwell Drew, 14, and Birdie Mae, 6, are “pretty good” about slathering lotion on. “I still like the tan, trust me, but there are ways to go about it,” she said. “My daughter teaches me more about skin care than I could ever teach her. Maxwell is 14 and she knows about skin. We challenge each other on water drinking, and we fill each other in on what masks to wear, and how to make your skin dewy and everything.”

These days a vacation means getting tan in a “healthy way,” since Simpson is into laying around with friends and, she joked, flipping like a “rotisserie chicken.” Unlike the olden days, though, now she and her pals take turns spraying each other down, since she is not one of those people who worried about staying out of the sun to avoid wrinkles. “It just happens and is a part of life,” she said.

Simpson was back in public this week when she made a rare appearance on stage at The Masked Singer to give the final clue before season 14’s winner was revealed as her younger sister, Ashlee Simpson. The singer released the five-song country-leaning EP Nashville Canyon, Pt. 1 last year and is gearing up to hit the road for a string of dates next month, beginning at the Hard Rock Live in Cantoosa, Okla. on May 23.

BTS is continuing to keep ARMY on its toes, with the band unleashing a surprise hidden ARIRANG track on Friday (April 3) that’s only available on the project’s deluxe vinyl.

The special red-and-white disc, which is available now to purchase on the boy band’s website, arrives exactly two weeks after the 14-track — well, 15-track — album dropped, debuting at No. 1 on the Billboard 200. Fans who received their vinyls have been posting videos of the bonus song titled “Come Over” on social media.

“I’m lost, can I come over?” the ethereal dance song’s hook goes. “I just wanna say I’m sorry.”

The septet comprised of RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook first announced the hidden track’s existence during a Wednesday (April 1) livestream on Weverse, during which they also celebrated ARIRANG‘s debut atop the U.S. albums chart as well as lead single “SWIM” entering the Billboard Hot 100 at No. 1. Toward the end, SUGA told viewers, “A song that I produced is coming out soon — it’s finally coming out, a special song on the LP.”

RM also teased, “For those coming to the Goyang concert next week, you might be able to hear it.” (The group’s world tour in support of ARIRANG kicks off April 9 with three shows at Goyang Stadium in South Korea.) Several of the guys also agreed on the livestream that “Come Over” will be the next “Take Two,” their 2023 single that reached No. 48 on the Hot 100. When Jimin asked whether the new track would be shared on streaming services, the consensus was that it’ll remain exclusive to the physical deluxe vinyl.

ARIRANG was released on March 20, finally putting an end to BTS’ yearslong music drought that was necessitated by the members enlisting in the South Korean military and working on solo projects. But even before their temporary break from band activities, ARMY hadn’t gotten a new full-length from BTS since 2020, the year Be topped the Billboard 200 and spawned No. 1 U.S. singles “Dynamite” and “Life Goes On.”

God gave him style, but now 50 Cent’s asking for forgiveness for his enemies — and there are plenty of them — for simply “misunderstanding” him over the years.

The G-Unit mogul penned a prayer to the man above on Good Friday (April 3), which he shared on Instagram.

“Father God forgive me for my sins, forgive me for eating so much peanut butter and jelly, I’m big a— s—t now,” he quipped. “Father God forgive my enemies for misunderstanding me, allow your light to shine so bright with in me that my aura glows, in the name of the father the son and the Holy Spirit Amen.”

It’s unclear which of 50’s enemies he’s targeting, as that laundry list is tough to narrow down. In recent months, he’s gone after T.I., Ja Rule, Rick Ross, Papoose, Young Buck and Jim Jones, to name a few.

“I think I got 50 ptsd because I thought this was some negative s—t about someone,” one fan joked in 50’s comments section.

The Queens legend posted another photo of a younger 50 in a suit. “Positive vibes it’s Good Friday I’m gonna get some work done,” he wrote to kick off Easter weekend.

50 Cent previously rapped about asking the Lord for forgiveness on Power of the Dollar‘s “Ghetto Qu’ran (Forgive Me).” The track later appeared on 50’s Guess Who’s Back? 2002 mixtape. “Lord, forgive me, for I’ve sinned/ Over and over again just to stay on top,” he raps.

In late March, 50 gave back to the community by donating $500,000 to nine non-profit organizations around Shreveport, La. Earlier this week, 50 Cent called out Shreveport City Councilman Alan Jackson for creating “negative energy” surrounding his donations to the city.

“This guy is trying to create negative energy around me donating 500k to organizations in need,” he wrote. “To the organization who received the grants in the nicest way when you see him say F–K YOU ALAN !”

After an at least two-year search for an independent distribution and services company, Warner Music Group (WMG) announced plans this week to acquire Israel-based Revelator to expand its reach to the indie segment of the music industry. So how did the company attract WMG’s interest?

Independent distribution companies have for years handled an increasing share of the songs that do best on streaming services. That growing market share prompted major music companies like Universal Music Group to acquire companies like Downtown Music Group, which offer the services music companies operating outside the major-label system require to publish and promote their music.

In 2024, WMG made an offer to acquire Paris-based independent music company Believe, but ultimately withdrew it over concerns arising from the due diligence process. Following that, it considered acquiring smaller targets or building a solution in-house.

Considered the industry standard for distribution when physical music was the primary way to play songs, ADA’s market share now lags the offerings at other majors. For the first three months of 2026, ADA generated a 1.33% overall market share compared to Sony-owned The Orchard’s 8.64% and Universal-owned Virgin Music’s 2.84%, according to Luminate data. ADA finished 2025 with an overall market share of 1.85% and currently has 1.17% share.

Enter Revelator, which provides digital distribution, royalty tracking, financial accounting, and rights and catalog management to indie labels, distributors, and artists, and has gained a reputation for superior technology. Founded in 2012 by CEO Bruno Guez, the company has more than 200 clients worldwide, with a notable presence in Asia. Developer clients can also build their own applications using Revelator’s back-end technology to automate tasks like calculations and royalty reporting.

One factor that likely drew WMG’s attention was Revelator’s strong growth; as Guez noted in a Music Business Worldwide article last May, Revelator expected revenue to at least double in 2025. According to the company, in the 12 months leading up to April 30, 2025, it delivered 15 billion streams for clients, and music it represented was used in more than 300 million TikTok creations.

The company sells its distribution, catalog, and rights management and accounting platform, Revelator Pro, for a monthly rate starting at $249. Meanwhile, it earns a share of revenue from clients that sign up for a white-labeled version of Revelator’s distributor. Revelator also charges a delivery fee for clients who use its technology for supply chain infrastructure.

Guez tells Billboard that Revelator aims to provide clients with “independent pipes” that work with any deals already in place. While the company has a distributor, Guez says they built the platform to work for clients who may want to keep external distribution deals or membership with groups like Merlin. He adds that some clients use FUGA, AudioSalad and DistroKid for distribution but use Revelator for “everything else.”

“Independence today means you can control the way you want to run your business,” says Guez. “Autonomy and optionality are key to this, and I think the tech we built offers the independent community those things.”

Prior to Revelator, Guez ran Quango Music Group, an independent label based in Los Angeles that became an imprint of Island Records in the late 1990s. He moved to Israel in the late 2000s and founded Revelator because he couldn’t find the tools needed to run Quango remotely without the support of his L.A.-based team. Revelator now has around 80 clients who work remotely worldwide, Guez says.

WMG says it plans to use Revelator’s technology for all Warner labels and its indie distribution arm ADA. Fully integrating new technology into a legacy major like Warner will likely take years, but WMG says it will scale its distribution and services offerings to existing clients of all its labels and allow them to attract new ones to ADA.

Terms of the Revelator acquisition were not disclosed, and WMG is not expected to reveal financial details of the transaction in SEC filings as it is not a material investment, according to a source. The deal is expected to close in the second half of the year.

In our Latin Remix of the Week series, we spotlight remixes that the Billboard Latin and Billboard Español editors deem to be exceptional and distinct from the rest. We might not publish a review every week. This is our selection today.

Mexican singer-songwriter Bratty lends her voice to a Spanish remix of The Cranberries classic “Linger” in celebration of the 33rd anniversary of the band’s iconic 1993 debut album Everybody Else Is Doing It So Why Can’t We?, on which the song is featured. This remix is part of a deluxe edition of the Irish band’s LP that Island/Ume will release on May 22 in seven configurations, including a version with remixes in Spanish.

Originally released as the second single from The Cranberries’ album, “Linger” — which peaked at No. 8 on the Billboard Hot 100 — became the song that put the group, led by the late singer Dolores O’Riordan, on the global rock map. The quartet never imagined that the album would mark the beginning of a solid career with a legacy that has lasted three decades. “We come from a small town in Ireland where these things don’t happen, so it was like a fairy tale,” guitarist Noel Hogan said in a statement from Universal Music.

With an intro featuring an acoustic guitar, unlike the original’s unmistakable string arrangement, this beautiful ballad begins with O’Riordan’s melodious voice that gradually blends with Bratty’s Spanish vocals. “Juré que ibas a cambiar/ Me prometiste días atrás/ Hoy te veo de la mano con ella/ Si no dices la verdad/ ¿Cómo es que voy a confiar?/ Si soy un juego para ti,” sings the Mexican artist in a chorus that later intertwines with the original, masterfully performed by O’Riordan.

The song continues in English with the deep, virtuoso vocals of the legendary Irish singer, before blending once again with Bratty’s soft voice in Spanish: “Si tú/ Dejaras de mentir/ Al menos decidir/ Solo prolongas mi sufrir/ Esperando algo más/ Algo que no llegará/ Porque yo te quiero a ti.”

The young singer-songwriter from the Mexican state of Sinaloa challenges purists with a bold remix that pays tribute to one of the most beautiful ballads of the 1990s and to its creator, O’Riordan, as one of the most iconic rock singers of the era.

Listen to our Latin Remix of the Week below: