Just before P!nk hosts the Tony Awards on Sunday, June 7, Laura Benanti and Tituss Burgess will “Get the Party Started,” to quote one of P!nk’s greatest hits, as cohosts of “The Tony Awards: Act One.”

The pre-show will be available to viewers for free on Pluto TV from 6:35 to 8 p.m. ET/3:35-5 p.m. PT on Tony Sunday. Viewers can access “The Tony Awards: Act One” on their smart TV, streaming device, mobile app or online by going to Pluto TV and clicking on the “Live Music” channel, found within the Entertainment category on the service.

Benanti is a top star of Broadway musicals. She won a Tony in 2008 for her featured role in Gypsy and has also been nominated for her performances in Swing!, Into the Woods, Women on the Verge of a Nervous Breakdown and She Loves Me.

Burgess received five Primetime Emmy nods for Unbreakable Kimmy Schmidt and a sixth for Central Park.

Last year, the pre-show was cohosted by Darren Criss and Renée Elise Goldsberry. Criss went on to win a Tony on that night’s main show for his lead role in Maybe Happy Ending.

Immediately following the pre-show, the 79th Annual Tony Awards will broadcast live to both coasts from 8 to 11 p.m. ET/5 to 8 p.m. PT on CBS and streaming on Paramount+. This year’s show will be held at Radio City Music Hall in New York City for the second year in a row.

Raj Kapoor, Sarah Levine Hall, and Jack Sussman are executive producers of this year’s show. Kapoor and Levine Hall will also serve as co-showrunners. Patrick Menton and Rob Paine will co-executive produce, with Menton also serving as head of talent.

Kapoor was also an executive producer of this year’s Grammys, Oscars and Academy of Country Music Awards.

The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League. 

Cher has been keeping it groovy for eight decades now, with the multi-hyphenate superstar celebrating her 80th birthday on Wednesday (May 20). And to celebrate, Billboard wants to know which of her many songs to reach the top 10 of the Billboard Hot 100 thus far is the greatest.

In total, Cher has notched a dozen tracks in the top 10 over the course of her solo career — four of which went No. 1, mind you. That’s not including the smashes she secured in her legacy by way of Sonny & Cher, her former music duo with ex-husband Sonny Bono best known for “I Got You Babe,” which spent three weeks at the top of the chart in 1965. After going out on her own, the singer-actress first reached the summit in 1972 with “Gypsys, Tramps & Thieves.” She would continue to outdo herself with 1973’s “Half-Breed” and 1998’s “Believe,” which spent two and four weeks at No. 1, respectively. (1974’s “Dark Lady” also reached the summit for a week.) Some of her most beloved enduring hits never made it to the top spot, but certainly came close, with “If I Could Turn Back Time” peaking at No. 3 and “After All (Love Theme From Chances Are)” hitting No. 6 in 1989.

But which of those staples in Cher’s iconic discography is the best? Now’s the time to decide.

In honor of the legend’s big day, Billboard wants to know your favorite of her top 10 hits on the Hot 100. Tell us your pick by casting your vote in the poll below.

There are Survivor fans, and then there’s Sia — a Grammy-nominated pop star who has given away more than $1 million of her own money to numerous contestants across eight seasons. And, after a brief pause, she’s bringing back her tradition for the season 50 finale with a fan-centric twist.

The Sia Prize began in 2016 as an unofficial cash reward for players whose personal stories resonated with the “Chandelier” singer. After she surpassed the $1 million mark, host Jeff Probst put his foot down. “I’m stopping this because you’ll just keep giving money and you have a family,” he told Rolling Stone in an interview published Tuesday (May 19).

Now, 10 years after the inception of the Sia Prize, the reward will return, with the Australian singer-songwriter asking fans to vote for “the kind of player she always recognizes.” In keeping with this season’s “In the Hands of the Fans” theme, this year’s Sia Prize winner will be announced during the season finale on Wednesday, May 20, and walk away with $100,000.

At press time, representatives for Sia have not responded to Billboard’s request for comment.

“When we decided that Survivor 50 was going to be ‘In the Hands of the Fans,’ I reached out to Sia to let her know what we were doing and to see if she had any interest in being part of it again,” Probst explained to RS. “She loved the idea of fans having a real voice in shaping the game and was very enthusiastic about participating. And the twist on the Sia Prize was actually her idea. She said, ‘If this season is truly about the fans having a say, then the fans should choose the winner of the Sia Prize too.’”

Sia last handed out her prize in 2023 for the show’s 45th season, with Katurah Topps winning $100,000 and Jake O’Kane and Kaleb Gebrewold each earning $15,000. “‘I’ve been really fortunate [and] music has been good to me,’” Probst recalled Sia telling him. “‘I make a lot of money, and Survivor brings me a lot of joy, so I want to share my money with people who brought me a lot of joy.’”

Season 50 of Survivor has a strong musical bent — and it doesn’t stop with Sia. Green Day’s Billie Joe Armstrong and his son, Jakob, recorded a cover of David Bowie’s “Heroes” for this season’s promos, and Probst’s original song, “Survivor 50 Come and Get It,” was recorded in the same studio as Joni Mitchell’s Blue and Carole King’s Tapestry. Country star Zac Brown also launched his own “epic spearfishing” prize this season, while Jack Harlow, Billie Eilish and Doja Cat have all proved themselves to be major Survivor fans over the years.

When RS asked Probst why musical artists might be drawn to the long-running competition, he shared: “From the music perspective, because people like Sia are fans who happen to be musicians. But I think, to extrapolate, our son is a musician. When he plays us a song he just wrote, he’s nervous. It’s from his soul. And that’s Survivor: real people telling you their truth. Being vulnerable. Like the vulnerability of sharing your art. That’s what people connect with.”

Sia’s most recent solo studio album, Reasonable Woman, arrived in 2024 and reached No. 153 on the Billboard 200. At the top of this year (Jan. 29), she released a 10th anniversary edition of her 2016 This Is Acting LP, which spawned her Sean Paul-assisted, RIAA Diamond-certified Billboard Hot 100 No. 1 single “Cheap Thrills.”

Survivor airs Wednesdays on CBS at 8 p.m., and streams on Paramount+.

In 2011, Shakira spent 163 days in Spain between stops on her blockbuster Sale el Sol world tour. That tally ended up being crucial in the star’s long quest to void a $69 million tax penalty levied by the European nation — showing just how granular the work of international tour accounting can get.

Experts helped Billboard unpack Shakira’s Monday (May 18) legal victory following an eight-year battle with Spanish tax authorities. In this ruling, Spain’s National Court acquitted the Colombian star of tax fraud and ordered the return of 60 million euros ($69 million) that had been levied for the 2011 income tax year. She separately paid a $7.6 million fine in 2023 for Spanish taxes between the years of 2012 and 2014.

Spanish authorities alleged in the 2011 case that Shakira owed taxes to them because she was a resident of Spain while on tour that year and dating Spanish soccer player Gerard Piqué. Shakira maintained she merely visited the country frequently for a long-distance relationship, and her true country of residence was the Bahamas.

Music industry professionals say the question of where one lives can be complicated for someone whose job requires them to traverse the globe. “Touring artists live unusually mobile lives,” says Russell King, an entertainment lawyer who handles tax structuring for many touring musicians. King, who was not involved in the Shakira case, says this means musicians have some flexibility in deciding where to declare residence — but they must show they have real roots in a country to satisfy the tax authorities. 

“Countries such as Spain have really tightened their regimes and are looking to enforce this,” explains King. “That’s what happened here, but it turned out Shakira had done things properly and was able to emerge victoriously.”

In Spain, and in many other jurisdictions, a person is considered a resident for tax purposes if they spend at least 183 days of a year within the country’s borders. (The country has been particularly aggressive with celebrities in recent years, bringing tax cases against the likes of Lionel Messi and Cristiano Ronaldo over the past decade.) That means Shakira’s case came down to meticulously retracing the star’s 2011 calendar for the court to ultimately determine that she was 20 days short of that threshold.

This sort of to-the-day schedule tracking is a crucial tax consideration for international touring artists, since they don’t want to cross the 183-day limit for multiple countries and become at risk of double taxation. “I advise my clients to maintain a calendar where they document every single day where they are, just for this reason,” King says.

Timothy Jorstad, a business manager for rock acts who also had no involvement in Shakira’s case, similarly tells Billboard that keeping an eye on the calendar is a big part of his job when it comes to certain touring musicians. This is the case for his client Arnel Pineda, the lead singer of Journey, who is a resident of the Philippines but spends much of any given year in the U.S. on tour.

“We monitor that very closely,” says Jorstad of Pineda’s calendar. “We make him go to Canada for part of the tour, or Mexico or South America or Europe. We try to keep him out of here if he’s coming close to that 180-day period.”

An artist’s country of residence is just one piece of the complex accounting system that managers and attorneys must handle for international tours. There is also the issue of taxes in each country they visit on tour, where artists must pay a portion of concert revenues to the local authorities. If handled correctly, these foreign taxes can be applied as credits to get money deducted from home-country income taxes.

This work can be complicated by the fact that each country has a separate taxation system with its own quirks. In the U.S., for example, the IRS will levy a 30% tax on international acts’ concert gross revenues unless they enter into what’s known as a central withholding agreement. King says he often helps his clients sign these advance agreements to reduce withholding, since the 30% rate “is often such a harsh cash-flow hit that it can grind tours to a halt.”

As Jorstad puts it, “some countries are more difficult than others” when it comes to tax regimes. He cites as an example his client the Doobie Brothers, who were recently denied touring-specific tax deductions for some U.K. shows after the British government claimed these were actually “album promotion costs.”

“England is getting to be a pain in the ass,” says Jorstad.

The trick to navigating this mathematical puzzle, says Jorstad, is to contract with local accountants and specialty law firms at each tour stop. By working with people who are experts in a country’s specific tax requirements, artists can be sure they are in full compliance with the laws of every place they pass through while on the road.

King also says artists should rely on professionals, not “shortcuts,” to make sure their cross-border touring finances are structured correctly. Significant work should be put into mapping out all this at the outset of a tour; otherwise, an artist could come to regret it later on.

King works with many Latin musicians and says he often invokes the Spanish saying “lo barato sale caro” to get this point across. Rough translation: “What is cheap eventually becomes expensive.”