Brandon Flowers is stepping back into the scene as a solo artist with the announcement of his forthcoming album Thrasher.
This is The Killers frontman’s first solo project in more than a decade. On Tuesday (June 23), Flowers revealed that the 10-track project will arrive Aug. 21 via Island Records. This marks his first solo full-length release since 2015’s The Desired Effect. Alongside the announcement, Flowers confirmed that the album’s lead single, “Plans,” will be released Friday.
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According to a press release, the album explores family relationships, loss, memory and life in a small town through a collection of songs. Several tracks are inspired directly by Flowers’ personal experiences, including reflections on loved ones, childhood memories, and the picturesque landscapes that formed him long before he achieved international success.
Thrasher traces its roots to earlier moments in Flowers’ life, when he lived in Nephi, Utah, during his childhood before eventually fronting one of rock’s most iconic bands. In the press release, Flowers reveals that he drew inspiration from the music he grew up hearing with his father, including classic country storytellers such as Johnny Cash and Waylon Jennings.
“As I’ve gotten older, I’ve found my way back to my father’s music — ‘Country-Western’ (as he called it) — and discovered that the stories I carry really feel most at home in the skin of this beautiful American tradition,” Flowers said in a statement.
In the official album trailer, Flowers is seen taking a scenic drive in his car and revisiting places that connect him to his roots in Utah. In the video, he explains the reason for releasing Thrasher, making it clear that he’s not shying away from the genre that made him famous, but rather experimenting with others.
“This is not me running away from rock and roll. I don’t want to replace my old songs. I simply found room for more,” he says in the video.
Recorded at Nashville’s historic RCA Studio A, Thrasher reveals Flowers’ affinity for country and Americana influences, which have been modestly threaded through his songwriting for years. Produced by Shawn Everett and Jonathan Rado, who are longtime collaborators, the album also features contributions from guitarist David Rawlings, pedal steel player Bruce Bouton and harmonica player Charlie McCoy.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-24 03:02:422026-06-24 03:02:42Brandon Flowers Announces ‘Thrasher,’ Country-Inspired Album Marking His Solo Comeback After 11 Years
Jack White’s wife of four years, the singer Olivia Jean, has filed for divorce from the rock star.
Jean, a fellow rocker under White’s label Third Man Records, married the White Stripes frontman onstage during a 2022 concert in their shared hometown of Detroit. She submitted divorce papers on June 3 in Nashville.
The court filing cites “irreconcilable differences and inappropriate marital conduct” as the reason Jean (full name Olivia Jean Markel) wants a divorce from White (born John Anthony White). Further details are not provided, and reps for Jean and White did not immediately return requests for comment on Tuesday (June 23).
Jean claims in the divorce papers that White should pay her alimony and continue providing her with health insurance coverage, since “she is dependent on husband’s income for her support.” She says all the property they jointly bought as a couple, including real estate and furniture, should be split up between them.
“Wife hopes that the parties will be able to enter into a written marital dissolution agreement, which makes adequate and sufficient provision for an equitable division of the parties’ assets and liabilities,” reads the filing. The couple share no children.
White was married twice before: first to White Stripes member Meg White from 1996 to 2000, then to model and singer Karen Elson from 2005 to 2013.
White both proposed to and married Jean on opening night of his Supply Chain Issues Tour in April 2022, for which Jean was an opening act. He popped the question during the White Stripes song “Hotel Yorba,” which features the lyrics “Let’s get married/ In a big cathedral by a priest/ ’cause if I’m the man that you love the most/ You could say ‘I do’ at least.” The duo exchanged rings minutes later onstage, with Third Man co-founder Ben Swank officiating.
“I asked her, ‘Do you want to get married now, or do you want to wait?’” White explained of the impromptu marriage ceremony during a 2022 appearance on The Late Show With Stephen Colbert. “And she said. ‘No, right now, this is a great day!’”
Per Jean’s divorce papers, the marriage was made legally official the following December in Nashville.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-24 03:02:412026-06-24 03:02:41Jack White’s Wife Olivia Jean Files for Divorce After 4 Years of Marriage
Drake’s apparel company, October’s Very Own (OVO), is locked in a legal feud with an investor who recalled a $4 million loan and now says the rapper’s business owes double that amount.
OVO, the Toronto-based lifestyle brand founded by Drake, his manager Oliver El-Khatib and producer Noah “40” Shebib, made a deal last year with a Florida-based debt lending company called Applied Real Intelligence (A.R.I.). During a summer 2025 fundraise, A.R.I. lent OVO 5.2 million Canadian dollars ($3.7 million) via a series of convertible notes transactions.
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Things went sour in early 2026, when A.R.I. claimed that OVO had defaulted on the loan due to late interest payments and demanded reimbursement. OVO acquiesced, entering into a repayment agreement with A.R.I. and wiring back $3.7 million this past May. But A.R.I. said this wasn’t enough; according to the lender, Drake’s company was also required to pay an additional fee of 5.3 million Canadian dollars ($3.8 million) as a consequence for defaulting.
On June 2, OVO sued A.R.I. in Toronto court, asking a judge to declare that it did not have to pay this additional amount, known as a make-whole fee. According to OVO, the company’s investment contract with A.R.I. stated that such a fee would only be due under a “specific circumstance” that did not occur here.
“In particular, although A.R.I. alleged defaults and expressly reserved its right to accelerate, A.R.I. did not accelerate the notes prior to negotiating and entering into forbearance terms,” reads the OVO lawsuit, obtained by Billboard. “Repayment in the context of and pursuant to the forbearance agreement does not trigger an entitlement to a make-whole fee.”
A.R.I. then responded on June 11 with a lawsuit of its own against OVO, this time in Vancouver. The lender is seeking in its case to force OVO to pay the make-whole fee, arguing that this amount was “designed to provide A.RI. with a minimum negotiated return and to protect A.RI. against the loss of the benefit of its bargain if the notes were repaid or otherwise terminated before maturity.”
In a statement announcing its lawsuit, A.R.I. says it “approached this transaction in good faith and viewed OVO as a compelling company with substantial brand value and long-term growth potential.”
“When defaults occurred, A.R.I. did not immediately pursue litigation,” continues the statement. “Instead, we worked extensively with OVO through a formal workout process and provided the company substantial time and flexibility to resolve the situation outside of court. OVO subsequently acknowledged both the defaults and the debt in writing under a formal forbearance agreement, made only a partial payment, and has now taken the position that millions of dollars remain unpaid despite clear contractual obligations. A.R.I. intends to fully enforce its legal rights and protect its investors through the courts.”
Reps for OVO and Drake declined to comment beyond the legal papers.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-23 03:02:412026-06-23 03:02:41Drake’s Apparel Company OVO in Legal Battle With Investor Over $4 Million Loan
Following the death of Clive Davis on Monday (June 22) at the age of 94, professionals across the music industry are remembering the legendary executive, who launched the careers of such stars as Whitney Houston, Barry Manilow and Alicia Keys.
Davis’ music business career is the stuff of legend and undoubtedly inspired multiple generations of music industry executives. Known as “The Man With the Golden Ear,” he launched his career as assistant counsel at Columbia Records and was eventually named president of Columbia’s parent company, CBS Records. He later founded his own label, Arista, in 1974, where he went on to sign Manilow, Aretha Franklin, Patti Smith and more. That was followed by J Records in 2000, which launched future stars Alicia Keys and Maroon 5. He was later named chief creative officer at Sony Music Entertainment, a role he held until his death.
See below for all the reactions. We will update this story as more come through.
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Merck Mercuriadis:
“I am so sorry to hear of Clive’s passing. We have all lost an extraordinary man the likes of which you will never see again but you have lost a father — a father to us all. It’s impossible to measure his impact on music, culture and life across the globe. He accelerated the growth of the music business like few others and he supported his artists like a man possessed. His focus on songs was unique in a post Beatles world and as a result his emphasis and support of outside songwriters and producers was unparalleled.
“It must also be mentioned that no one could launch an artist the way Clive could and the Clive playbook became the envy for anyone marketing and promoting music. Spotting talent is not difficult, spotting it and knowing what to do is something very very few can do.
“His annual Grammy party was the only one that mattered and as anyone who ever had the privilege of attending can tell you he was also a special orator. Clive is the only person that I know that could introduce 50 superstars in a night with unbelievable dignity and elegance and never use the same adjective twice.”
“Clive of course played a seminal role in the story of Sony Music through two incredible chapters, and he is responsible for a huge part of the recorded legacy of the company permanently. Not only are many, many artists we represent continuously indebted to his service but so many staff members have been influenced and mentored by his deep love and respect for our company which he carried right up until today. Our working lives are better for having had his constant presence in the aura and perception of Sony Music.”
Monte Lipman, executive chairman, REPUBLIC
“Avery and I got our start in the music business working for Clive at Arista Records in the late 1980s. By virtue of being in his orbit, we had a front-row seat to his extraordinary success as he discovered and championed legendary artists who’ve gone on to make the world a better place. It was his passion for culture, community and music, along with his unwavering commitment to excellence in every aspect of his life, that resonated with us so profoundly; but the most valuable lesson he ever taught us was that family always comes first. Earlier this year, Avery and I had the privilege of being recognized by Clive at his legendary Grammy Gala. To stand alongside him nearly 40 years later was a deeply meaningful full circle moment that we will always cherish and hold dear in our hearts. We love you Clive.”
Avery Lipman, vice chairman, REPUBLIC
“My first job in the music business was working as Clive’s part-time secretary. On my very first day, I handed him a list of missed calls and mentioned that his son had called while he was in a meeting. Clive immediately told me, ‘If any of my children call, you need to grab me.’ From that day forward, I interrupted meetings and calls whenever one of his children reached out and every single time, he stopped what he was doing and took the call. Years later, when people asked me what it was like to work for such an iconic executive, my first thought was always the same: he was the most devoted father. The world will remember Clive for his unparalleled contributions to music and culture, but I’ll always remember the example he set as a parent, mentor and leader. I am deeply grateful to have known him.”
Harvey Mason jr., CEO, Recording Academy
Music lost one of its most important and impactful figures today, and I lost a dear friend and mentor. With his ears of gold and natural gift of hitmaking, Clive Davis developed music’s brightest legends and stars, earning him four Grammy wins and the Recording Academy Trustees Award in 2000. Clive was a generous supporter of MusiCares, and the Recording Academy has been proud to co-host the annual Pre-Grammy Gala with him for over 15 years, a tradition Clive started over 50 years ago, gathering music’s most innovative and accomplished people every year on the Saturday night before the Grammy Awards. Clive being a part of our industry has made a massive impact on music people everywhere, including myself. Thank you, Clive, for all you’ve done for all of us in music. You will be missed!
Barry Weiss, founder, Records
“My memories and relationship with Clive Davis are hard to put into a brief sentence or two. Having grown up in the music business, I’ve heard his name for years and first met him at a CBS Records convention at the Century Plaza Hotel in 1972. I was also well aware of him through my father and his affiliation with Stax Records and my childhood neighbor Ron Alexenburg another protege of Clive’s like so many of us. We worked closely with him at Arista Records who was Jive Record’s US licensor in our infancy. Simply put he was a “record man’s record man”. Brilliant and expansive intellect, incredible taste and musical instincts and phenomenal problem solving abilities. All rolled into one very sophisticated, gentleman. As Clive Calder and I used to say ‘we’re in the record business while Clive is in Show Business!’. He will be missed.”
Joe Galante, former chairman, RCA Label Group, Nashville
“He loved spending that time with artists and producers and songwriters. I give him a lot of credit for creating the [pre-Grammy gala] That’s where the boat show [before Country Radio Seminar] came from: ‘Oh, you can steal people away before an important event?’ But we’ll put them on the water. I just stole the idea from Clive in terms of that night. But he was very open to always watching what was coming up; he didn’t get mired down and just say, ‘I’ve got what I need.’ His head was always on a swivel, looking out, trying to meet new people and bring them into the fold.”
Julie Swidler, vice chair, board of trustees, T.J. Martell Foundation
“Clive Davis was one of the most important figures in the music industry, a true original. To all of us at the T.J. Martell Foundation, he was also a steadfast supporter of our mission. From the earliest days of the Foundation, Clive stood alongside Tony Martell, helping champion the fight against cancer and other life-threatening diseases. He understood the difference this work could make and remained committed to it for decades.
“We are grateful for his friendship, his guidance, and the many ways he supported the Foundation over the years. The T.J. Martell Foundation would not be what it is today without Clive’s enduring support. His absence will be felt deeply, but his legacy lives on in the work he helped make possible. We extend our heartfelt condolences to his family, loved ones, and all those whose lives he touched.”
Jon Platt, chairman and CEO, Sony Music Publishing
“Clive Davis was a music publisher’s best friend – someone who always understood the value of a song and the songwriter. What mattered most to Clive was a great song, and that passion was evident. We were fortunate to experience the one and only Clive Davis.”
Sir Lucian Grainge, chairman and CEO, Universal Music Group
“When I think back over more than four decades of friendship with Clive Davis, two moments always come to mind.
“In 1981, I was in a basement club on Baker Street in London to see a band I desperately wanted to sign: Haircut 100. The moment I saw Clive there, I knew they’d sign to Arista. I was introduced to him that night. As a young talent scout, I was completely intimidated.
“A couple of years ago, I was in France and Allen Grubman invited me to lunch with Clive and his partner. It was an unforgettable afternoon, with Clive serving as an encyclopedic guide through the history of the music business, his years at CBS Records, the artists, the bets he made and why he made them. We never worked together, but I loved how he fused creative and commercial nous, setting the way for the modern music business.
“My deepest, heartfelt condolences to his family, his four children, and countless friends.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-23 03:02:412026-06-23 03:02:41Clive Davis Dead at 94: Music Executives Remember the Influential Label Mogul (UPDATING)
Clive Davis was a chart enthusiast even before he became a music industry legend. In his 1974 biography Clive: Inside the Record Business (which he co-wrote with James Willwerth), he explained his fascination with charts, which, he said, grew out of an earlier fascination with baseball statistics and Variety’s lists of top box-office hits.
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“It was an extension of the star syndrome,” he wrote, “measuring how singers did against each other, watching their songs climb the Hit Parade. I was a reader of charts and statistics, and I found an excitement in them which is hard to explain, as if they represented a form of energy.” (Emphasis in the original.)
Since Davis was a chart fan to begin with, imagine what a kick it must have been for him to see his companies’ records ascend to the top spot on Billboard Hot 100, especially in the nearly four decades that he directly oversaw day-to-day operations at a succession of labels: CBS (Columbia and Epic), Arista and J Records.
According to Davis’ official bio, the exec was appointed vp and general manager of Columbia Records in 1966. In 1967, he was named president of the company. He oversaw Columbia and Epic and, in the early 1970s, signed a deal with Kenny Gamble & Leon Huff’s famed Philadelphia International Records, which had two No. 1 hits on the Hot 100 in 1972-73.
Davis was fired from CBS in May 1973 for reasons that have never been entirely clear, but which most certainly had nothing to do with his ability to do the job. Afterwards, he wasted no time in re-establishing his career: In January 1975, his Arista Records (named after his high school honors society) landed its first No. 1 Hot 100 hit with Barry Manilow’s “Mandy.” Again, Davis signed agreements that brought in more talent, especially in the burgeoning Black music area. He made an agreement with L.A. Reid and Babyface to form LaFace Records in October 1989. And in 1994, Davis and producer/entrepreneur Sean “Puffy” Combs (later known as Diddy) entered into a 50/50 joint venture that resulted in the creation of Bad Boy Records.
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In 2000, Davis was forced out of Arista for age reasons (he was 68 at the time). But again, he wasted no time in re-establishing himself. That same year, he formed J Records (Jay was his middle name), which in August 2001 landed its first No. 1 Hot 100 hit with Alicia Keys’ “Fallin’.” (Both Manilow’s “Mandy” and “Fallin’” received Grammy nods for record of the year. In addition, “Fallin’” won song of the year.)
In November 2002, Davis became president/CEO of the RCA Music Group, assuming responsibility for RCA, Jive, Arista, LaFace and J. In April 2008, he was appointed chief creative officer of all of Sony Music Entertainment, which, as his official bio notes, represented “a change in operational responsibility but an expansion of the artists he would now creatively be responsible for.”
Our focus here is on the 36 years he was the top man at an individual label, not the later years when he oversaw entire label groups. He had 11 No. 1 hits by Whitney Houston in those years, more than any other artist. Elsewhere, he had four with TLC (on LaFace/Arista), and three each with Simon & Garfunkel, Sly & the Family Stone, Manilow, Billy Ocean (on Jive/Arista), Milli Vanilli and Puff Daddy (on Bad Boy/Arista).
Here’s a list of all the Hot 100 No. 1 hits at Davis-headed labels in those 36 years. The dates represent the date each single first reached No. 1, followed by the artist’s name and title of the record, the number of weeks the song held the top spot and the label.
Jan. 1, 1966: Simon & Garfunkel, “The Sounds of Silence,” (two weeks, Columbia)
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Cuban artist and songwriter Nesty is making his next move in the music industry.
The artist signed a worldwide publishing deal with independent music publishing company Peermusic, Billboard learned on Monday (June 22). The deal encompasses select catalog and future works in which Nesty will participate as an artist, songwriter and producer.
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Elizabeth Rodda, Peermusic’s president of U.S. Latin, Latin America and global society relations, said in a statement on the signing: “Nesty has an extraordinary ability to create music that connects instantly and authentically with audiences. We are very excited to partner with Nesty as he continues to shape culture and reach new audiences around the world.”
Nesty, whose name is Ernesto Alejandro Galguera, also expressed his excitement about the signing
“I’m very happy to have found a home as a songwriter,” he said in a statement. “Ever since I started in music, I’ve been writing songs, and expressing myself through lyrics and music is a true passion of mine. Finding a place like Peermusic is more than just finding a publisher — it’s finding a family. I’m confident that great things are ahead for us together!”
Known for his song “Tata (La Conga),” among others, and recognized for his genre-blending style, Nesty earned his first Latin Grammy nomination in 2016. In 2017, he joined Rottweilas Inc., founded by Puerto Rican singer Cosculluela, where he returned to his salsa roots with “Salsa Fresh,” which fuses traditional salsa with urban beats.
Nesty has forged a successful collaboration with artist Dale Pututi, resulting in viral hits such as the recent single “El Problema Soy Yo” (featuring Dale Pututi & Nesty x Charly & Johayron) and “Los Despechaos” (with contributions from Dale Pututi, Nesty, and Tito El Bambino). That creative partnership has propelled them to a sold-out debut in Miami and set the stage for a 2026 tour, with additional music on the horizon.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-23 03:02:402026-06-23 03:02:40Nesty Signs Worldwide Publishing Deal With Peermusic: ‘Happy to Have Found A Home’
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If you’re looking to upgrade your TV for something more advanced, modern and sleek, you’ll want to consider some of the latest premium TV models from Sony. Available at Best Buy now, the new Sony TVs are made for gaming, watching movies and TV shows, though they’re also fine-tuned to let you stream your favorite music playlist and experience live sports at home, with pristine audio and picture quality. For a limited time, you can save up to $300 on select models at BestBuy.com.
Our pick: The Sony 65-inch BRAVIA 7 II True RGB 4K TV is the company’s latest TV that offers more vivid and brighter colors in picture quality. While sharpness and detail are important in a 4K Ultra HD TV, Sony’s new model shines with brilliant and precise color volume, thanks to its True RGB (Red, Green, and Blue) LED display.
The Sony big screen TV is on sale right now for $2,299.99 (regularly $2,599.99) at Best Buy. But act fast and shop now, as these Sony TV deals end on Sunday (July 5).
With True RGB, picture quality is brighter and vibrant with deeper, richer and more accurate color contrast that pops. This is ideal for gaming, especially with a PlayStation 5 since Sony makes both the 4K TV and console. Watching live sports, meantime, gets more immersive, with active color and action shifts for high-paced motion.
The Sony BRAVIA 7 II True RGB 4K TV is also great for rooms that get direct sunlight that would otherwise cut through picture quality and dull images. The contrasts on screen remain crisp and clear, even in daylight.
As far as audio, Sony’s newest 4K TV sounds as good as it looks with cinema-like audio, thanks to the company’s “Acoustic Multi-Audio+” feature that matches and balances picture with sound for a layered viewing experience.
It also has Sony’s “3D Surround Upscaling” settings for a wider range of audio that’s crisp, clear and detailed with advanced 3D audio. The TV also enhances dialogue and voices with its “Voice Zoom 3” feature, so you don’t have to turn up the volume to hear characters talking to each other in a movie or TV show. The Sony BRAVIA 7 II True RGB 4K TV makes your experience more memorable.
Other features to note: the 4K TV runs built-in Google TV with Gemini AI for voice navigation, controls and recommendations. It features popular video and music streaming apps, including Netflix, HBO Max, Prime Video, Hulu, Disney+, YouTube, Spotify and others.
Beginning on Monday, June 22, the Sony BRAVIA 7 II True RGB 4K TV is available with prices starting at $1,599.99 at Best Buy. It ranges from 50 inches to 98 inches in size (though we’re partial to the now-industry standard 65-inch model above). Learn more about Sony’s new 4K TV deals at BestBuy.com.
The Sony TV deals come on the heels of Best Buy’s “Tech Fest” savings event, which offer up to 50% off home theater products, gaming consoles and accessories, audio gear and more.
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Rod Stewart was forced to pause his concert in Utah after nearly fainting onstage and requiring an oxygen tank.
During his show at Utah First Credit Union Amphitheatre in West Valley City on Friday (June 19), the 81-year-old rock legend appeared visibly unwell and was seen doubling over in discomfort before using an oxygen tank to assist with his breathing, according to TMZ.
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After struggling to finish his hit “Young Turks” — which reached No. 5 on the Billboard Hot 100 in 1981 — Stewart appeared less mobile than usual and leaned against stage equipment before members of his team brought out an oxygen tank, as seen in video footage published by the outlet.
The “Maggie May” singer later told the crowd that he had nearly fainted but insisted that the “show must go on.” He then jokingly asked, “Would you mind if I sat down for this one?” before continuing the performance.
Stewart ultimately finished Friday’s concert while seated in a chair. West Valley City sits at approximately 4,300 feet above sea level, which may have contributed to the incident, TMZ reported.
In late May, Stewart suggested that his current One Last Time farewell tour could mark the end of his large-scale touring career.
“I’ve got 40-odd shows this year and that’s not really a lot,” Stewart said on the TalkSport soccer chat show in the U.K. “And I’m touring the U.K. next year and doing the O2 and that will probably be it, I think. I’ll have to do something new … come on your show more often.”
The iconic singer-songwriter added that after his remaining dates this year and a planned U.K. run in 2027, he may step away from major touring commitments.
Stewart recently faced criticism after canceling a June 12 concert at San Diego’s North Island Credit Union Amphitheatre less than an hour before showtime due to health issues. Hours later, however, he made an appearance at the Scotland World Cup match in Boston.
“He traveled to the venue and made every effort to perform, but on the advice of his doctors, and following a diagnosis of an acute upper respiratory infection that has resulted in laryngitis, he is unable to take the stage this evening,” a statement posted to the venue’s Instagram read at the time.
Stewart currently has numerous U.S. dates scheduled throughout July and August as part of his One Last Time tour. The trek is set to conclude with a show in St. Louis on Aug. 15. He’ll then head to Las Vegas for a handful of residency dates.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-22 03:03:112026-06-22 03:03:11Rod Stewart Uses Oxygen Tank During Concert After Nearly Fainting Onstage
The Michael Jackson biopic Michael has pulled further ahead of the Freddie Mercury biopic Bohemian Rhapsody as the top-grossing musician biopic of all time. As of Sunday (June 21), Michael has grossed $959.6 million. Bohemian Rhapsody has grossed $911 million.
Michael is probably just a week away from becoming the top-grossing biopic (not just the top-grossing musician biopic) of all time: Oppenheimer, Christopher Nolan’s 2023 biopic of theoretical physicist J. Robert Oppenheimer, who helped develop the first nuclear weapons during World War II, has grossed $975.8 million worldwide.
According to Box Office Mojo figures, international ticket sales account for 61.7% of Michael’s worldwide boxoffice total to date. (The remainder is from the U.S. and Canada.) By way of comparison, international ticket sales accounted for 76.2% of Bohemian Rhapsody’s worldwide boxoffice total.
Jackson has a long history of ranking No. 1 on lists, dating back to The Jackson 5 landing their first No. 1 hit on the Billboard Hot 100 with “I Want You Back” in January 1970.
Jackson and Mercury have much in common. Both rose to fame in groups, The Jackson 5 and Queen, respectively. Both are widely seen as two of the greatest showmen of all time. And both died years before their time. Mercury died in 1991 at age 45 of complications from AIDS. Jackson died in 2009 at age 50 of cardiac arrest caused by acute propofol intoxication.
The two superstars crossed paths in the early 1980s, when Jackson attended Queen concerts in Los Angeles. They occasionally met for dinner and even recorded three demo tracks together that went unfinished.
Another common bond: There were successful theatrical productions based on both artists’ music. The Queen musical, We Will Rock You, opened on London’s West End in 2002. MJ: The Musical has been a fixture on Broadway since Dec. 6, 2021.
Also: Graham King, who co-produced Michael with longtime Jackson associates John Branca and John McClain (who died on May 26 at age 71), also co-produced Bohemian Rhapsody and a third music biopic on Billboard’s list of music biopics, Jersey Boys, the story of the Four Seasons.
Here is that list – the highest-grossing biopics of musicians in terms of worldwide box office. We didn’t include a few high-grossing films about real-life music personalities because the subjects are not well-known music stars in their own right. These include The Sound of Music (which tells the story of Maria von Trapp and the Trapp Family Singers); Green Book (which deals with a road trip taken by pianist and composer Don Shirley); Florence Foster Jenkins (about an heiress and hopelessly untalented soprano by that name); and Music of the Heart (about violinist and music educator Roberta Guaspari). Meryl Streep starred in the latter two films.
Here are the 25 biopics of music stars with the highest worldwide grosses.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-22 03:03:112026-06-22 03:03:11‘Michael’ Pulls Further Ahead of ‘Bohemian Rhapsody’ as Top-Grossing Music Biopic Worldwide: See the Top 25
Gina Ortiz Jones, the mayor of San Antonio, Texas, is pushing for the cancellation of Kanye West’s Fourth of July concert at the Alamodome. Ye announced the show last week, and tickets are currently available via Ticketmaster at prices ranging from $127.50 for a standard admission, upper-level seat to $1,461.25 for the “YE – Front Row Experience,” a row-one seat in the lower level of the stadium closest to the floor.
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On Saturday night (June 20), the San Antonio Democrat, a U.S. Air Force veteran, shared her stance on Ye’s scheduled event in the south-central Texan city, citing the musician’s history of hate speech and antisemitic remarks as reason for the Alamodome — which can accommodate a crowd of more than 70,000 with an in-the-round concert layout like that of Ye’s globe-shaped stage — to pull the plug on the Independence Day booking.
“I support canceling the @kanyewest concert,” she wrote in a post on X.
“Military City USA should not host someone with a record of hate speech and antisemitic comments in a city-funded facility like our Alamodome—not ever, and certainly not on July 4th, our Nation’s 250th birthday,” Ortiz Jones said.
The San Antonio mayor added, “Standing up to antisemitism is exactly what it takes to achieve a more perfect Union.”
Military City USA should not host someone with a record of hate speech and antisemitic comments in a city-funded facility like our Alamodome—not ever, and certainly not on July 4th, our Nation’s 250th birthday.
Ye’s July 4 San Antonio date lands in the middle of concerts in Tampa, Florida (June 26, 28), and Tirana, Albania (July 11). The rapper’s summer mini tour — as it stands right now — then brings him to Madrid, Spain (July 30), and Algarve, Portugal (Aug. 7), before routing back to the U.S. for a pair of homecoming shows in Chicago, Illinois (Sept. 3-4). He hasn’t had an official full-scale tour in this decade.
Though West has successfully put on his show this year in Mexico City and Los Angeles, and in cities in Turkey, the Netherlands and Georgia, he’s also had shows pulled in England, Poland and France.
Republican U.S. Sen. Rick Scott of Florida recently called for Ye’s performances to be called off in Tampa.
Scott wrote in a statement on June 4, “Kanye West’s consistent antisemitic attacks are an affront to the values of the people of the Hillsborough community. He has openly praised Nazis, called himself one, and slandered Jews across the world. Kanye West also funded a Superbowl ad in 2025 that directed viewers to purchase merchandise featuring swastikas.”
“West’s remarks are vile and a slap in the face to our state’s Jewish community,” said the senator. “It is troubling that a stadium supported by taxpayer dollars would openly subsidize an event led by an artist known for pushing this dangerous, hateful rhetoric, especially with Florida having one of the largest Jewish populations in our country.”
On Friday, Ye released a deluxe edition of his latest album, Bully, featuring updated mixes of its original tracks and new songs “OK” (featuring Don Toliver) and “Mission Control.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-06-22 03:03:112026-06-22 03:03:11Ye’s July 4 Concert Should Be Canceled, San Antonio Mayor Says
