Chiquis chatted with Billboard’s Ingrid Fajardo and Jessica Roiz ahead of Billboard Latin Women in Music 2026.
JOY chatted with Billboard’s Ingrid Fajardo and Jessica Roiz ahead of Billboard Latin Women in Music 2026.
The Recording Academy convened music creators, industry leaders and lawmakers in Washington, D.C., this week for its 25th Grammys on the Hill initiative. The three-day event ran from April 21-23.
“Grammys on the Hill represents the core of the Recording Academy’s year-round work to advocate for music people and ensure their rights are safeguarded in our culture,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “As we mark 25 years of Grammys on the Hill, we are reminded that music creators must remain at the center of every conversation shaping the future of the industry, especially as AI and other emerging technologies continue to transform it.”
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On Tuesday (April 21), more than 200 Recording Academy members, industry leaders and members of Congress gathered at The Hamilton Live in downtown Washington, D.C., for the Grammys on the Hill Awards, which honored Sen. Chris Coons (D-DE) and Rep. María Elvira Salazar (R-FL) for their bipartisan work to protect musicians as artificial intelligence continues to reshape the music industry. They are champions of the NO FAKES Act, legislation that would establish federal protections against unauthorized AI-generated replicas of a person’s voice and likeness.
“Today, too many artists have had their intellectual property, likenesses and livelihoods stolen by online pirates and AI artists,” said Sen. Coons. “I’m proud to be spearheading efforts in Congress to safeguard your ideas and creativity because what you do cannot be replaced. As a Senator, I’ve had the opportunity to travel all over the world and have seen how American music helps people see us, understand us, and believe in our American dream.”
“I’m truly honored to be recognized by the Recording Academy, a distinction that underscores the vital role music creators play in shaping our culture and economy,” said Rep. Salazar. “At a time of rapid technological change, protecting the voices, rights and livelihoods of artists is more important than ever. I remain committed to advancing policies like No Fakes Act to ensure creators are respected, their work is protected, and their likeness is never exploited.”
Grammys on the Hill Advocacy Day, held on Wednesday (April 22), brought artists, songwriters, producers and other music advocates to Capitol Hill to meet with lawmakers to discuss one of the most pressing issues facing creators today: the impact of AI on the music community. As AI reshapes the music landscape, the Recording Academy is advocating for policies that ensure human creators are protected, credited and fairly compensated. Artists including Durand Bernarr, Grace Potter, Israel Houghton, Maggie Rose and Molly Tuttle met with lawmakers including Sens. Alex Padilla (D-CA), Bernie Sanders (I-VT) and Lisa Blunt Rochester (D-DE), and Reps. Darrell Issa (R-CA), Erin Houchin (R-IN), Jason Smith (R-MO), Maxwell Frost (D-FL), Nathaniel Moran (R-TX), and Sydney Kamlager-Dove (D-CA) to discuss the importance of the NO FAKES Act, as well as the TRAIN Act and the CLEAR Act.
Grammys on the Hill Advocacy Day also included a roundtable briefing focused on AI and the future of music with Sens. Marsha Blackburn (R-TN) and Peter Welch (D-VT). The day concluded with a reception on Capitol Hill hosted by the Academy’s Black Music Collective, in cooperation with the Congressional Black Caucus, to honor the enduring influence of Black music. The reception featured a performance by Bernarr, who won his first Grammy in February: best progressive R&B album for BLOOM. It also featured a presentation of a $10,000 donation from Amazon Music and the co-chairs of the Black Music Collective to Howard University as recipients of the 2026 “Your Future Is Now” music equipment grant.
Grammys on the Hill concluded on Thursday (April 23) with the third annual Future Forum, a conference convening music creators, industry leaders and policymakers for discussions on the most pressing issues shaping the music industry. Future Forum featured a keynote conversation with Mason and Lyor Cohen, YouTube’s global head of music, exploring how the creative community and industry leaders can work together to face the challenges presented by AI.
Dr. Chelsey Green, chair of the Recording Academy board of trustees, led a panel on the role of music education in preparing the next generation for the future. Other programming included a panel presented with the Academy’s Producers & Engineers Wing on how artists are using AI in the recording studio.
Since its inception, Grammys on the Hill has led to several major legislative victories, including the landmark Music Modernization Act in 2018 and the PEACE Through Music Diplomacy Act in 2022.
Kevin Hart is cautious when it comes to Cam’ron‘s interview style — and rightfully so, because the Harlem rapper isn’t afraid to ask the tough questions.
During a recent taping of Talk With Flee, Cam started the show off explaining how he ran into the actor and tried to get him on the episode. However, Hart wasn’t going for it, telling him, “Absolutely not,” because — according to him — Cam’ron has “the most dangerous show in the world” due to the controversial subjects Killa has the propensity to bring up. Although, the comedian did say that he would appear on the show, only if they “schedule it the right way.”
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Thankfully, though, Kevin happened to walk by the studio as Cam finished speaking about him and was eventually coerced into sitting down for a quick couple of questions after being flagged down. And as soon as he walked in, he pleaded with Cam saying, “Please don’t f— up my career.”
When Hart was asked why he blurted out “damn!” after fellow actor Don Cheadle told him his age in a now-viral clip, he said: “It was a real reaction. I’m shocked at the age of some, and Don definitely looks his age, but I wasn’t ready to hear it. So that was just a real reaction. ‘Damn!’ But then I immediately retracted it, which made it right.”
Hart then allowed Cam to ask him one more question, and this is where things took a turn. Cam’ron brought up the 2002 movie Paper Soldiers, in which Hart made his film debut thanks to a mutual friend. “Your very first movie you did — I was actually in it,” Cam said. “When you see Dame Dash today, what do you think?”
Without answering, Hart just got up and walked out of the interview which, of course, caused the entire studio to erupt in laughter.
Killa has a knack for going viral. The most recent interview to get traction was his sitdown with J. Cole, where the two hashed out their differences over a lawsuit Cam filed regarding his guest verse on the Carolina rapper’s mixtape Might Delete Later.
You can watch the full episode below.
With his third studio album, El Baifo, Quevedo delivers a project that feels closer, more personal. Following Donde Quiero Estar (2023) and Buenas Noches (2024), the Spanish artist places the focus on the Canary Islands — not as a passing reference, but as a constant presence throughout the 14 tracks on the independently released record.
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“I believe the Canary Islands are a key point, and that anyone who understands where I come from also understands my career’s processes and stages much better,” Quevedo tells Billboard Español.
“Baifo” is the term used in the Canary Islands to describe a baby goat, a word that is very present in the daily life of the islands. The album also plays with the idea of “GOAT” — as in “greatest of all time.” “I would love for people to feel what I feel when they listen to the album and to understand where I come from,” the artist adds.
That intention resonates throughout the set, which moves through various moods: from celebration to reflection, and to deeply personal moments. El Baifo navigates this emotional range from the very beginning, with an energy tied to festivity and an identity that doesn’t need to be explained. Songs like “Al Golpito,” featuring Canarian group Nueva Línea, take us into a recognizable space: celebration, family, local festivals.
“Mi Balcón” slows things down and provides one of the most introspective moments. With the timple as its foundation, the song is inspired by a very specific image — Canarian balconies. “They’re something very typical here, with a unique architecture. The song talks about a little bit of everything but from a place of nostalgia,” Quevedo explains.
In “La Graciosa,” a merengue track, Quevedo collaborates with Elvis Crespo. In the Canary Islands, Crespo’s music is a staple during carnival celebrations, giving the collab a special weight. “Elvis is a legend. He’s someone who knows our history; he’s been visiting the islands for years,” Quevedo says.
“For me, it’s a dream to have recorded with him,” he adds. “We’re from completely different generations, but at the same time, he connects with everyone. Mothers adore him. His music has been passed down from generation to generation.”
“Ni Borracho” — which debuted at No. 1 on Billboard‘s Spain Songs chart — falls into that same celebratory space while maintaining its ties to Quevedo’s roots. For the artist, both that track and “La Graciosa” serve as “a celebration of being from here and an embrace of the islands.”
The closing song is “Hijo del Volcán,” featuring Los Gofiones, a traditional Canarian music group founded in 1968. Here, the album shifts to a more intimate place. “I feel like it’s a union of generations of Canarians… the end of a very beautiful circle,” he says.
In the track, the artist delves into what he’s experienced in recent years and the things he’s still trying to make sense of. “I think it’s cool to make such an honest track… I also talk about how I’ve adjusted to this life,” Quevedo concludes. “I still have my anxieties in my head.”
Listen to El Baifo in full below:
After sweeping the publisher rankings for the Hot 100 and Top Radio Airplay songs by ranking No. 1 on both charts in all four quarters, it’s no surprise that Sony Music Publishing comes in as the No. 1-ranked publisher for both those charts for the full year, thanks to a 28.33% market share for the Hot 100 and an even better 29.85% showing for Radio Airplay.
Probably the main reason Sony ranked as the top publisher for the year in 2025 is that it had stakes in 70 or more songs on both of the charts for three of the year’s four quarters. Its best showing came in the second quarter, when it had a share in 75 songs on the Hot 100 chart and 73 songs in that quarter’s Radio Airplay chart. Moreover, that quarter was one of two quarters — with the other being the third quarter — in which it topped the 30% market share marker for both charts. In the third quarter, it snared 30.90% for Radio Airplay and 33.88% for the Hot 100 — with the latter being the single highest market share performance Sony attained during the year.
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With regard to the publisher rankings, among Sony’s top-performing songs during the year were Leon Thomas’ “Mutt,” Alex Warren’s “Ordinary,” and Kendrick Lamar & SZA’s “Luther.” Other factors boosting Sony’s stellar year-long performance include having the top songwriter for both the Top Radio Airplay and Hot 100 charts in the third quarter and also coming in with the top songwriter on the fourth quarter’s Radio Airplay chart on its roster: Shane “sombr” Boose.
Also during the year, Sony absorbed a big chunk of the Hipgnosis song catalog when it struck a deal with Blackstone and became its administrator. Blackstone acquired the previously publicly-traded Hipgnosis Songs Fund in mid-2024, merged it with its privately owned Hipgnosis Songs Capital, and then rebranded those catalogs as Recognition Music in March 2025. Blackstone subsequently sold the Hipgnosis Songs Group administration platform and some publishing assets to Sony in June 2025 and made that company its main publishing administration partner.
While Sony’s eight percentage point spread in the Hot 100 rankings and seven percentage point spread in the Radio Airplay rankings shows it would have been the No. 1 publisher for 2025 with its own song catalog alone, the addition of the Hipgnosis catalog boosted its overall percentage to attain that lofty spread. Indeed, in 2024, Hipgnosis made the top 10 publisher rankings for both the Hot 100 and Radio Airplay charts in every quarter, with its market share ranging from 1.59% (on the Hot 100 ranking in the first quarter of that year) to the 4.36% (on the Radio Airplay ranking in the second quarter). In the first quarter of 2025, Recognition boasted a 1.83% share on the first quarter’s Hot 100 tally.
Coming in as the second-ranked music publisher for the full year for both the Hot 100 and the Radio Airplay charts is Warner Chappell Music, which was the only other music publisher besides Sony to surpass the 20% market share milestone on both charts. Its best showing in 2025 was on the Radio Airplay chart, where it garnered 22.50% for the full year, while it produced a 20.29% showing on the Hot 100 chart. Moreover, Warner Chappell managed to attain better than the 20% market share marker in seven of its eight opportunities during the year, only failing to reach that threshold on the Hot 100 chart in the fourth quarter, when it had a 16.92% share. Its best showing came in the third quarter, when it had a 22.32% share on the Hot 100 chart and a 23.67% share on the Radio Airplay chart.
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Warner Chappell’s top songs during the year included “Die With A Smile” by Lady Gaga and Bruno Mars, Alex Warren’s “Ordinary,” and “Doechii’s “Anxiety.” Meanwhile, it was the top-ranked publisher on Country Airplay, finishing the year with 31.02% — more than four percentage points higher than its closest rival, Sony, which garnered 26.76% on that chart in 2025.
Coming in as the No. 3 ranked publisher last year on both the Hot 100 and the Radio Airplay charts was Universal Music Publishing Group (UMPG), which garnered a 19.38% market share for the Hot 100 and 15.81% for Radio Airplay. UMPG’s best showing during the year came in the first quarter, when it tallied a 25.04% market share on the Hot 100 chart, enough to make it the No. 2 ranked publisher on the tally. Its top songs during the year included Taylor Swift’s “The Fate Of Ophelia,” Justin Bieber’s “Daisies,” Shaboozey’s “Good News,” and HUNTR/X: EJAE, Audrey Nuna & REI AMI’s “Golden.” Moreover, a UMPG songwriter — namely Drake — was named the top songwriter on both the Hot 100 charts and Top Radio Airplay charts in the second quarter, while in the first quarter Kendrick Lamar was the top songwriter on the Hot 100 and Taylor Swift was the top songwriter on the Hot 100 chart in the fourth quarter — a distinction she shared with two of her co-writers.
Kobalt, the No. 4 ranked publisher on both the Hot 100 and Radio Airplay charts in 2025, was the only other publisher to attain a double-digit percentage market share for the year, finishing with 11.9% on the former chart and 10.22% on the latter. Its best performance in 2025 came in the last quarter of the year, when it finished as the No. 2 publisher on the Hot 100 with a 21.43% share. Its top songs during the year included “Die With A Smile” by Lady Gaga and Bruno Mars, “Doechii’s “Anxiety,” Shaboozey’s “Good News,” and Morgan Wallen’s “What I Want” featuring Tate McRae.
While BMG is usually the No. 5 ranked publisher and maintained its hold on that position for the full year, it bucked its traditional ranking in the third quarter, when it hit No. 4 on the Hot 100 ranking with a 12.75% share. Its top songs during the year included Shaboozey’s “Good News,” Kendrick Lamar & SZA’s “Luther,” HUNTR/X: EJAE, Audrey Nuna & REI AMI’s “Golden,” and “Die With A Smile” by Lady Gaga and Bruno Mars. Overall, BMG scored 5.61% market share on the Radio Airplay chart and 6.91% on the Hot 100 for the year.
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Three publishers appear in the second half of the Top 10 publishers rankings on both charts: Pulse, Position and Concord. The latter enjoyed the best performance, coming in at No. 6 on the Radio Airplay ranking and at No. 7 on the Hot 100 with a market share of 1.71% and 1.14%, respectively. What’s more, its separately operated joint-venture with Pulse finished at No. 8 on the Radio Airplay ranking with a 1.13% share and at No. 10 on the Hot 100 ranking with 0.64%, just beating out the No. 11-slotted peer music’s 0.63% showing on the Hot 100.
If Concord and Pulse’s market share was consolidated, it would have been the No. 6 publisher on the Hot 100 ranking with 1.78%. However, its combined 2.84% in Radio Airplay market share would still leave it in the No. 6 spot on that ranking.
As for the other publisher to make both charts, Position Music was boosted by having three songs from the Benson Boone catalog, all its top-performing tunes last year: “Sorry I’m Here for Someone Else,” “Beautiful Things” and “Mystical Magical.” It finished at No. 8 on the Hot 100 and No. 9 on Radio Airplay for the year.
Rounding out the Top 10 publisher rankings on the Hot 100 was St. Nicholas Music, which came in No. 6 based solely on its fourth quarter showing, when the Christmas songs of the late Johnny Marks made their annual revisit on the charts; and Reservoir, which ranked at No. 9 thanks to a strong performance in the first quarter when its top song was Sabrina Carpenter’s “Espresso.”
On the Radio Airplay ranking, Big Machine Music came in at No. 7 with 1.17% for the year, thanks to its strong third quarter performance with a 1.75% tally, when Russell Dickerson’s “Happen To Me” was its top song; and Spirit Music Group, which ranks No. 10 with a 1.07% share when its various catalogs are consolidated — just beating out the No. 11-ranked Me Gusta Music with a 1.06% share.
METHODOLOGY
In order to come up with an annual publisher ranking, Billboard added together the Hot 100 point totals for each publisher for each of the four quarters, then divided each publisher’s point total by the Hot 100 point totals for all four quarters combined, to come up with each publisher’s market share for the year. Billboard did the same for the radio airplay rankings, adding up each publisher’s song detections for the year for the top 100 songs in each quarter and then dividing their respective totals by the total play detections for the Top 100 songs from all four quarters.
To determine the top 10 publishers on the Top Radio Airplay chart, percentage calculations were based upon the overall top 100 detecting songs electronically monitored by Mediabase (which provides data to Luminate for Billboard’s airplay charts) at: 3,066 U.S. radio stations in the first quarter and second quarters; 3,133 stations in the third quarter; and 3022 stations in the fourth quarter. Monitoring was done 24 hours a day, seven days a week for each of the successive four calendar quarters for the year beginning Jan. 1 through Dec. 31, 2025.
To determine the top 10 publishers on Hot 100 Songs, percentage calculations were based upon the top 100 songs for each quarter as ranked by Billboard Hot 100 points calculated from digital sales, streaming and radio airplay detections tracked by Mediabase (which provides data to Luminate for Billboard’s airplay charts) during the respective periods of: Dec. 27, 2024 to March 27, 2025, reflecting the chart dates of Jan. 11 to April 5; March 28 to June 26, reflecting the chart dates of April 12 through July 5; June 27, 2025, to Oct. 4, 2025, reflecting the chart dates of July 12, 2025 through Oct. 4, 2025; and Sept. 25 to Dec. 25, 2025, reflecting the chart dates of Oct. 11, 2025, to Jan. 3, 2026. Publisher information for musical works on both charts has been identified by the Harry Fox Agency. A “publisher” is defined as an administrator, copyright owner and/or controlling party.
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.
In the mood for a music-filled California vacation? Nestled between Los Angeles and San Francisco along the coast, the Hilton Santa Barbara beachfront resort is an exciting weekend getaway blending coastal charm with a vibrant live music scene. With 335 spacious rooms and 25 suites sitting on a 24-acre beachfront resort, enjoy stunning Spanish-style architecture, tree-lined pools and iconic music venues nearby, such as the Santa Barbara Bowl.
If you can, travel to the Hilton Santa Barbara resort by car and make sure to drive along the Pacific Coast Highway, which offers breathtaking views of the California coast. Once you arrive, you’ll be taken away by the city and resort’s signature Mediterranean-style, white stucco buildings with red-tile roofs. Located across from East Beach and 1 mile from the Funk Zone district, the Hilton Santa Barbara resort delivers a mix of comfort and luxury with their “pool walkout rooms.” Equipped with private firepit patios and direct access to the pool, guests can take in the coastal air and relax after a day at the beach.
The 4-star resort also offers plenty of dining options, including the Set, a bistro-style restaurant with gorgeous ocean views, cozy fire pits and specialty cocktails for lunch, dinner, and weekend brunch. If wine is more your speed, this Hilton includes a designated tasting room to sip and try a curated list of amazing California vino.
Once you’re nice and fed, exploring Santa Barbara is only steps away. If you’re a fellow concertgoer, the Santa Barbara Bowl is a must. The 4,562-seat amphitheater will be home for many upcoming musicians and comedians, including Bob Dylan, Charlie Puth and the Black Keys, as well as comedians Trevor Noah and Gabriel Iglesias. Right outside of the downtown area is the Palm Tree music festival taking place at the Santa Barbara Bowl & Racquet Club. This year’s October event will feature John Mayer, Kygo and Sofi Tucker.
After a night of dancing, the Hilton Santa Barbara resort will help you wind down with their Float Luxury Spa Beachfront. Guests can enjoy an exclusive selection of rejuvenating treatments, from therapeutic massages to revitalizing facials and body rituals all the while still taking in the breathtaking coastal views of the pacific. No better way to end a vacation.
Starting at approximately $355 per night, book your California getaway at Hilton Santa Barbara beachfront resort. Book between the dates: 4/24 – 6/1/26 with stay dates for: 5/1/26 – 1/10/27. Learn more about the Summer Stays During the Hilton Sale here.
Zara Larsson gives a lot of credit to Tate McRae for inviting her to open on the Miss Possessive Tour last year, a major steppingstone that helped the Swedish pop star reach her still-unfolding breakout moment in 2026. But at the time, some of her fans questioned why she wasn’t the one headlining major arenas instead of the Canadian hitmaker.
On a new episode of Call Her Daddy posted Wednesday (April 22), Larsson addressed those comments. Starting off by calling McRae “incredible” and noting that their pairing was a “perfect match,” the 28-year-old performer speculated that certain people may have pitted her against her tourmate because she’s “been doing this for longer.”
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“I’m older,” Larsson continued. “And maybe some people felt like I deserved to be in the arena.”
Her response to those people? “I’m like, ‘Well, buy the ticket then,’” Larsson said frankly. “That’s not Tate’s fault.”
The “Midnight Sun” singer opened for McRae for about two months on the Miss Possessive trek, playing arenas such as Madison Square Garden in New York City, the United Center in Chicago and the Kia Forum in Los Angeles. At the very end of the stint, Larsson released what would become her breakthrough album, Midnight Sun, in late September. (She’s now gearing up to drop a deluxe featuring a bevy of guest artists, including Shakira, PinkPantheress, Robyn and more.)
After her final show on the tour, Larsson also shared a photo with McRae on Instagram and wrote, “It’s been strange seeing some people putting us against each other when we’re just two pop girls who love and support each other back stage!”
But on Call Her Daddy, she elaborated, “I think it’s just the nature of how people speak about girls in pop.
“We are similar in the sense that we both dance, although she’s a way better dancer,” Larsson added. “And I do pop, she does pop. I think it’s easier to root for someone who’s an underdog, you know?”
Both performers will be honored at this year’s Billboard Women in Music ceremony, with Larsson set to take home the Breakthrough prize and McRae to receive the Hitmaker recognition.
Watch Larsson’s full interview on Call Her Daddy above.
Jack Harlow is back in the news again, but it’s not about his controversial Monica rollout this time.
The Kentucky rapper is now making headlines after telling Rolling Stone that he thought Drake was the “best rapper alive” after listening to the Canadian MC’s 2015 album If You’re Reading This It’s Too Late.
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“I remember vividly this album coming out and me being like, ‘Oh, Drake’s the best rapper alive,’” he recalled. “Right then. It was powerful. Powerful.”
Harlow was also asked what the experience was like when he finally got the chance to work with Drake on their single “Churchhill Downs,” and he seemed to be in awe to have the privilege to watch one of the biggest artists in the world do what they do best.
“It was an amazing experience,” Harlow said. “He recorded the verse in front of me. Watching him work, not punching in, delivering that whole way through. It’s just cool to see a rapper be a rapper and not be some packaged thing that a team is putting together. He’s a rapper. He can perform the act. He can do it. That might sound like a given, but it’s not always like that, I feel like. It’s so cool to see the skillset in real time.”
In other Drake news, the rapper is set to drop his highly anticipated ninth solo album Iceman next month, on May 15. Still no word on a track list or features yet, so we’re not sure if Harlow might reunite with Drizzy.
You can watch the full conversation below.
Between mixed reviews from critics and feverish anticipation from fans around the world, Michael is all but guaranteed to dominate the global box office this weekend. But a key figure from the King of Pop’s young adult years is conspicuously absent from the new film.
On Thursday (April 23), Kat Graham — who was cast as Diana Ross in the film back in March 2024 — took to her official Instagram Story to explain why she no longer appears in the Antoine Fuqua-helmed musical biopic.
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“I want to share that certain legal considerations affected a few scenes, including ones I filmed with an incredible cast,” she wrote. “Unfortunately, those moments are no longer part of the final cut, though the team worked hard to preserve as much of the story as possible.”
Not only was Ross’ alleged discovery of The Jackson 5 a key part of Motown’s marketing and promotional plan for the then-burgeoning family band, but The Supremes frontwoman would also appear on the silver screen alongside MJ in 1978’s The Wiz. And that’s not to mention the close friendship the two legends shared outside of the industry.
In addition to Graham, who’s best known for her work in The Vampire Diaries, that March 2024 casting announcement also confirmed the involvement of Larenz Tate (as Motown founder Berry Gordy), Kendrick Sampson (as Quincy Jones), Jessica Sula (as LaToya Jackson), Kevin Shinick (as Dick Clark) and Liv Symone (as Gladys Knight). Each of those actors, save for Graham, still appears in the blockbuster biopic, which hits theaters on Friday.
Michael has been plagued by legal issues throughout its production process. One version of the script reportedly had to be stripped of all references to Jackson’s child sexual abuse allegations after his estate discovered a settlement clause that forbade any mention of Jordan Chandler, one of MJ’s accusers, in the film.
Penned by John Logan, Michael covers Jackson’s legendary life and career from his 1960s Jackson 5 days to his seismic late-’80s Bad Tour. Jaafar Jackson, the son of Jermaine Jackson and MJ’s nephew, portrays his uncle, leading a cast comprised of two-time Oscar nominee Colman Domingo (as Joe Jackson), Emmy nominee Miles Teller (as entertainment lawyer John Branca), three-time NAACP Image Award winner Nia Long (as Katherine Jackson), Actor Award nominee Laura Harrier (as Suzanne de Passe), and Emmy winner Mike Myers (as music industry executive Walter Yetnikoff).
Click here to read Kat Graham’s full explanation for Diana Ross’ absence in the Michael biopic.
