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THE BIG STORY: It’s almost 2026. Music lawyers are grappling with streaming fraud, deepfakes and trillion-dollar battles over artificial intelligence. And the U.S. Supreme Court is talking about … file sharing?

Nearly 30 years after the industry-shaking debut of Napster, online piracy is no longer the existential threat it once was. (Don’t worry: We’ve got robot musicians to worry about now.) Are a commercially significant number of people really still illegally downloading music files when humanity’s full corpus of recorded music is available for $12?

But litigation moves at a glacial pace — and in the mid-2010s, piracy was still a big enough deal that the industry began cracking down on the internet service providers that enabled it. The biggest such case, filed in 2018 by Universal, Warner and Sony against Cox, eventually saw a jury award the labels a whopping $1 billion over piracy by Cox subscribers.

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Nearly seven years later, that case is now before the Supreme Court – something of a legal time capsule from an earlier technological era, but one that the justices are worried could lead to “extreme” outcomes for our current one.

For more, go read our full breakdown of the case and this week’s big oral arguments at the high court.

You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.

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TALK THE LINE? The estate of Johnny Cash is suing Coca-Cola over ads that allegedly mimic the country legend’s voice – the first ever case to be brought under Tennessee’s recently enacted ELVIS Act aimed at prohibiting voice cloning in the A.I. era.

MEGAN THEE PLAINTIFF – A jury issued a verdict siding with Megan Thee Stallion in her defamation lawsuit against celebrity gossip blogger Milagro Gramz, who the star claims acted as Tory Lanez’s “mouthpiece” to spread misinformation after he shot Megan in 2020.

DIDDY V. NETFLIX – Lawyers for Sean “Diddy” Combs sent Netflix a cease-and-desist letter warning of litigation if the streamer releases a 50 Cent-produced docuseries Sean Combs: The Reckoning.

CAN’T SHAKE IT OFF – A federal judge refused to dismiss a lawsuit filed by hundreds of Taylor Swift fans over Ticketmaster’s botched sale of Eras Tour tickets three years ago, allowing the case to move ahead.

TAKE IT EASY – A judge rejected a civil lawsuit against Don Henley and Irving Azoff over the criminal prosecution of three men who allegedly tried to sell stolen Eagles lyrics – a case that ended in a spectacular collapse in 2024.

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DOING TIME – Fugees rapper Pras Michel was sentenced to 14 years in prison following his conviction on illegal foreign lobbying and conspiracy charges linked to Jho Low, the Malaysian financier who masterminded the 1MDB corruption scandal.

RESTAURANT ROW – Usher is suing music producer Bryan-Michael Cox and other organizers of a failed Atlanta restaurant project, claiming they misused money he loaned and still owe him $700,000.

MJ BIOPIC – Michael Jackson’s daughter Paris fired a legal broadside at the executors of her father’s estate, claiming a looming Michael movie and other projects are designed to “enrich and aggrandize” them rather than build wealth for the family.

FEE FIGHT – Nelly is demanding that a lawyer for one of his former St. Lunatics bandmates repay more than $78,000 he spent in legal bills to defeat her “frivolous” lawsuit over the rights to his debut album Country Grammar.

“STRONG WORDS” – Live Nation and Ticketmaster filed a long-awaited motion for summary judgment seeking to end the Justice Department’s sweeping antitrust case – claiming the feds used “strong words” that do not have “a lick of truth to them.”

MORE ACCUSERS – Two more of Smokey Robinson’s former employees — a woman and a man — came forward with claims that the 85-year-old Motown singer sexually assaulted them, adding to four earlier accusers.

LYRIC LITIGATION – GloRilla won a ruling dismissing — for now, at least — a lawsuit that accused her of stealing a social media personality’s viral catchphrase “all natural, no BBL” with the lyrics to her 2024 song “Never Find.”

CASE DROPPED – An appeal filed by Making the Band contestant Sara Rivers aimed at reviving her $60 million sexual assault lawsuit against Sean “Diddy” Combs was abruptly dismissed — a move that came after her lawyers failed to file basic court forms.

CASE TOSSED – A judge dismissed a civil lawsuit filed against Kevin Liles by an anonymous executive assistant who claimed she was sexually assaulted by the legendary record executive at Def Jam in the early 2000s.

GOING PUBLIC – StubHub is facing a class action claiming it hid key details from investors ahead of its $758 million initial public offering (IPO) in September.

TRIAL SET – Aaron Carter’s family will head to trial next year in a wrongful death lawsuit against doctors and pharmacies that allegedly gave the late singer access to Xanax pills before he drowned in a bathtub in 2022.

Source: PATRICK T. FALLON / Getty

It’s been over 25 years since the release of The Matrix, the science-fiction film that took hold of popular culture, and that has led to right-wing groups misinterpeting elements of the film. Co-creator Lilly Wachowski isn’t surprised by that, and explained why in a recent podcast appearance.“You have to let go of your work. People are gonna interpret it however they interpret it,” Wachowski said on the So True With Caleb Herron podcast. “I look at all of the crazy, mutant theories around The Matrix films and the crazy ideologies that those films helped create and I just go, ‘What are you doing? No! That’s wrong!’ But I have to let it go to some extent … You’re never gonna be able to make absolutely every person believe what you initially intended.”The main scene in question is the “red pill/blue pill” sequence, where Laurence Fishburne’s Morpheus offers the red pill to Keanu Reeves’ Neo in order to wake him up from the Matrix. The right-wing interpretation defines being “red-pilled” as someone who has awakened to the truth about society, more often than not aligning with far-right ideals. Elon Musk and Ivanka Trump have used the “red pill” reference, to which Lilly Wachowski replied, “F— both of you.”Wachowski had mentioned earlier in the interview that the movie she and her sister Lena created was a metaphor for the transgender experience, leading her to state: “Right-wing ideology appropriates absolutely everything. They appropriate left-wing points of view and they mutate them for their own propaganda, for their own to obfuscate what the real message is.”“That is what fascism does,” Wachowski added. “It takes these things, these ideas that are generally acknowledged as questions or investigations or truisms about humanity and life, and they turn them to something else so that they remove the weight of what those things represent.”

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Ellie Goulding revealed her baby bump on the red carpet of the 2025 Fashion Awards in London on Monday (Dec. 1). The 38-year-old “Love Me Like You Do” singer showed off her baby bump at the event while wearing a leather jacket over a black crop top, which revealed her bare belly bump.

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Goulding had not commented on the news at press time, but People noted that the child will be her second — she has a four-year-old son, Arthur, with her estranged husband art dealer Caspar Jopling — and her first with new boyfriend actor Beau Minniear (Night at the Eagle Inn, Bad Haircut), who also did not appear to have commented on the pregnancy at press time. According to the magazine, the couple began dating in July of this year when Minniear shared a photo roll that included a snap of Goulding, seemingly naked, in bed; after four years of marriage, Goulding and Jopling announced their separation in Feb. 2024.

Goulding released her fifth studio album, Higher Than Heaven, in April 2023, featuring the singles “Let It Die,” “Easy Lover,” “By the End of the Night” and “Like a Saviour,” scoring the singer her fourth No. 1 LP in the U.K., tying her with Adele as the two British female artists with the most chart-topping albums in U.K. chart history. She debuted her fourth collaborative track with Calvin Harris, “Free,” during one of his residency sets at Ushuaïa in Ibiza in July 2024.

She returned last month with the personal, emotional ballad “Destiny,” which she wrote in a lengthy Instagram post felt like her, “finally taking control of my sexuality and surrendering to Destiny, feeling free in knowing that the prize belonged to me in some way, even if that prize was just accepting my fate with a wine and a cigarette.”

At the time, she added, “The song focuses on a superficial but intense chemistry with someone that served a purpose, for total sensual and surrendering from a type of suffering, and how powerful it can feel in that moment even if it’s not love. This was the first time perhaps that I felt a loving affinity for a person I wasn’t in love with, instead a sort of gratitude for their raw acceptance of my need for exploration and catharsis with their sex ‘I hit the lotto when I found you’ I love the old school romance of that concept. For the first time ever I didn’t need a person for validation or protection, and the person didn’t need me. But we just wanted each other. That felt like a potent shift in the way I loved myself as a whole.”

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After starring in The Housemaid and wrapping the third season of Euphoria this year, Sydney Sweeney probably wouldn’t mind if her next role involved Greek islands, a confusing paternity situation and a whole lot of ABBA music.

While guesting on The Tonight Show on Monday night (Dec. 1), the actress raved about her love for Mamma Mia — a passion that naturally came up a lot while she was filming The Housemaid with Amanda Seyfried, who starred in both of the musical franchise’s films. “I am like the biggest Mamma Mia fan,” Sweeney gushed.

Sharing that she frequently listens to the ABBA-filled Mamma Mia soundtrack, Sweeney revealed that she once sent a video of her friends belting along to the songs on the beach to Seyfried. “I was like, ‘You’re forever my icon.’ I love her.”

Of course, Sweeney had to pounce on the opportunity to sing one of the movie musical’s tracks with Seyfried when they were on set of The Housemaid, which hits theaters Dec. 19. Showing the audience a TikTok of herself singing along to “Angeleyes” with Seyfried, Sweeney said, “All my dreams came true, it was amazing.”

The first Mamma Mia film — which also starred Meryl Streep, Pierce Brosnan and a long list of other A-listers — premiered in 2008. It was adapted from the jukebox stage musical of the same name featuring a soundtrack entirely comprised of ABBA hits.

Ten years later, the cast reunited for Mamma Mia! Here We Go Again. If the pattern continues, a third Mamma Mia would theoretically arrive in 2028 — and Seyfried has already said that she’d be game. She also said that she’d love to have Sweeney join the franchise, along with Sabrina Carpenter.

“I love portraying a mom, so I would love to see [my character] Sophie with her kids,” Seyfried told Entertainment Tonight in November. “Maybe she has a cousin she hasn’t seen in a while, and that could be Sabrina Carpenter. And then Sydney Sweeney could show up. There’s a bunch of girls I really want to be a part of it, and I’m all for it.”

In the meantime, Sweeney is looking forward to the third season of Euphoria finally coming to HBO Max in 2026. While speaking to host Jimmy Fallon, the Hollywood starlet teased that the Sam Levinson series might continue after season three — “You never know,” she said with a shrug — and added that wrapping the third installment in November was “bittersweet.”

Sweeney also described the upcoming season of Euphoria in one word, following Jacob Elordi’s lead. (When the Australian actor appeared on Fallon in October, he summed up the next batch of episodes with: “white fritillaries.”)

The Anyone But You leading lady’s word choice? “Self-discovery,” she hinted.

Watch Sweeney on The Tonight Show above.

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As the rest of the world gets into the holiday spirit, drag fans are gearing up for a different kind of season entirely after MTV unveiled the new cast of RuPaul’s Drag Race season 18 on Tuesday (Dec. 2).

Set to premiere on Jan. 2, the latest season of Drag Race will see 14 new contestants enter the work room and compete in acting, design, comedy and musical challenges for the chance to win a $200,000 cash prize, an official makeup collab with with Anastasia Beverly Hills Cosmetics and the coveted title of America’s Next Drag Superstar.

The 14 new queens joining the Drag Race franchise include Athena Dion, Briar Blush, Ciara Myst, Darlene Mitchell, DD Fuego, Discord Addams, Jane Don’t, Juicy Love Dion, Kenya Pleaser, Mandy Mango, Mia Starr, Myki Meeks, Nini Coco and Vita VonTesse Starr.

In the official teaser trailer for the season, Emmy-winning host RuPaul introduces fans to the bevy of new members of the franchise, while also giving us a glimpse at the overarching theme of the season. “In shady times, let there be light. And let there be drag,” she proclaims in the new trailer. “This season, 14 new queens will be the light the world needs right now, more than ever … Ready, set, glow.”

Along with revealing the cast and premiere date, MTV and World of Wonder also gave fans a glimpse into the premiere episode’s main challenge. In a press release, the network revealed that the new contestants will not be taking on the talent show challenge in the first episode, but instead a design challenge, as the they sift through the “leftover treasures” from past contestants to create “their own signature drag look” for the runway.

RuPaul’s Drag Race season 18 premieres on MTV Jan. 2 at 8 p.m. ET. Meet the entire cast of new queens in the video below:

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Nelson burst onto the music scene in May 1990 when debut single “(Can’t Live Without Your) Love & Affection” charged onto the Billboard Hot 100, reaching the summit weeks later on the July 7-dated chart. The band — led by twins Matthew and Gunnar Nelson — saw its star continue to climb when its first studio album, After the Rain, arrived a month later, peaking at No. 17 on the Billboard 200 and reaching double-Platinum status by July 1998.

It was a quick transition from unknowns to widespread fame for the duo known for their long, platinum locks and notable family history in entertainment. (Their grandparents are performers Ozzie and Harriet Nelson; dad is late singer Ricky Nelson, known for Hot 100 hits such as “Travelin’ Man” and “Poor Little Fool”; sister Tracy Nelson is an actress; and their uncle is actor Mark Harmon.) But the duo’s popularity proved to be fleeting — sophomore album Because They Can arrived in 1995, but did not chart.

Now, 35 years after the immense success of their debut album, the Nelson twins are ready to tell their story in their new memoir, What Happened to Your Hair?, which arrives Dec. 16 via Permuted Press and Simon & Schuster.

In an exclusive excerpt shared with Billboard, Matthew details from his point of view a planned in-store appearance at Los Angeles’ Sherman Oaks Galleria, where the band expected few people. Instead, thousands showed up, resulting in a riot that led police to shut down the event. (Excerpted from What Happened to Your Hair? by Matthew and Gunnar Nelson © 2025 and reprinted by permission of Permuted Press.)

“The story about the pandemonium at the Sherman Oaks Galleria is important to us because it was our very first indication that our world had shifted overnight in an epic way, and that Nelson wasn’t just going to be successful — it was going to be a phenomenon,” Gunnar tells Billboard of including that moment and its aftermath in the new memoir. “Every aspiring musician dreams of that kind of fandom that they saw in movies like Hard Day’s Night while they’re paying their dues on their way up.

“It’s that sort of fabled payoff that keeps them going through all of the doubt, poverty and setbacks they’ll have to overcome as they put in their 10,000 hours. They keep visions of such things in their bag of power while working their way up in an endless parade of dive clubs, playing to scores of empty rooms,” he continues. :We were no different. Throughout all of those years of making our bones in the L.A. nightclubs from the time we were 12, we dreamed that one day, thousands and thousands of girls would be screaming our names in unison like a jet engine. Only in our case, it actually happened.”

“What blew our minds though was the fact that we were the exact same people we were just a week earlier … when we went to that very same mall to buy underwear for our trip to New York City to guest VJ on MTV. Just a few days earlier, we might as well have been invisible,” Gunnar marvels. “And now the LAPD was having to shut the mall down because the girls were starting to stampede. It was surreal. And it was FANTASTIC. Isn’t it amazing what a little TV exposure can do?”

Read Billboard‘s excerpt from What Happened to Your Hair? below.

The cover of Matthew and Gunnar Nelson’s memoir, ‘What Happened to Your Hair?’

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Gun grabbed the store’s crappy announcement microphone, and we both tried to calm down the audience. It worked for a second. We thanked them for being there, and between the screams we played them a little bit of our first single on the acoustic guitar held up to one microphone over the PA in the record store. Big mistake. When we were done, the entire place exploded. Every girl there started pushing forward toward the store’s entrance at that moment.

The guys in the band started to look scared. Gunnar was smiling, although looking in his eyes I saw a new look that I would see a lot for another year and a half and through a breakdown or three, and I had a small but foreboding feeling that deep down he was terrified too. I was amazed that there were so many people there to see us because of what they saw on television just that week. I’d remembered being at that very same mall two weeks earlier and being completely overlooked by everybody, including salespeople, when I went to buy socks and underwear. That’s when I was an unknown soldier of rock: unhailed and disposable. A few days later—and I’m a bona fide rock god and one-half of the most famous twin brothers in the world.

Overnight, the world wanted its piece of us and wanted it now. Somehow, I didn’t forget I was the exact same guy as I was two weeks ago. After what I’d been through in my life—what we’d been through, and the ups and downs I’d seen my pop go through—I refused to abandon my “remember thou art mortal” emotional compass…even with every chick in the Valley in front of me wanting to devour me. I thank God for that inner compass as it kept me balanced and (mostly) sane in the years to come, through our success and especially through its demise. The music business, as we lived it, was absolutely not for the faint of heart. It’ll kill you. Ask our dad, the late great Ricky Nelson. The greatest lesson from him I ever learned was instilled by personally witnessing his ups and downs in “the biz.” The hard truth that fame is not love. Pop’s life taught me that fame is a whore—she loves you and makes you feel like a stud until the moment you stop paying her price. Then she’s gone, as if she’d never met you. I watched my dad’s fame rise and fall many times before the business killed him in a plane crash 2,000 miles away from his family one horrible New Year’s Eve. Still, Gunnar and I chose to do the same thing our dad did. Are we insane? Yeah—probably. But the difference (we told ourselves) was we had each other to keep us alive and keep us real through it all. We had, in fact, sworn an oath after Pop’s accident we would never let happen to us what happened to him. The biz wouldn’t get us. Then we soldiered on.

In hindsight, I think in some ways I was more prepared emotionally to deal with instant fame than Gunnar was, at least initially. My emotional breakdown happened years later long after the dust had settled and hope had finally abandoned me. How we each handled superstardom as Nelson, from zeroes to heroes and back again, revealed and solidified our personalities and our symbiotic roles in each other’s journey. To outside spectators I was promoted as the “sensitive twin,” Gunnar the self-proclaimed “shameless one.” True duality. To the fans I was apparently candy-coated; Gunnar was bulletproof. In reality (and I think only really known between the two of us), the opposite was true when we initially became really famous and the lights went down and the cameras shut off. Unseen cracks in the emotional armor eventually became a real problem when the inevitable backlash from haters happened shortly thereafter. Gunnar could let things really get to him—much more than me—and I was truly concerned about him.

At first, life was a blur of activity, and we were unflappable. We were so amazingly busy when “Love and Affection” hit number one. For three months we couldn’t breathe, let alone worry about a backlash. I was always quicker to say “f–k ’em” and move on than Gun when we first caught the fame wave. Gunnar was more sensitive than anyone knew, save me. He wore the hero suit very well. He was unquestionably a champion. Gunnar goes all in, but an idiot A&R executive or a jealous hater could really mess him up. Riding that aforementioned wave with my brother, I saw that a rock star’s ego can be shaken from a mighty height by a single middle finger hovering above a sea of 10,000 raving fans. True story. You do get what you focus on. Don’t get me wrong. Gunnar has strength and courage and all that comes with it, but underneath it all I believe there is a little kid who needs an embrace and an “I love you” just a little more than my little kid does. Fame was a trigger. I’ve always felt he was broken inside by our mom when he was a baby. That woman really did a number on both of us (I’m sure you know that by now), but Gun was always more sensitive and things cut deeper. I fought for him when he hurt, and he fought for me in return.

That’s why God brought us in together. When it really comes down to it, we are there to back each other up. We need each other. We can count on each other. The man upstairs made sure we each had a spare.

That day, with thousands of girls screaming for us, I knew we were in for it. We were gonna need to protect each other more than ever, or we would be in deep trouble. Remember, there is a huge difference between fame and love.

I could see in Gunnar’s eyes in that moment at the Galleria that to him this was a huge wall of love. Yeah, wow, awesome. Bravo! Almost 75 percent of me felt the overwhelming rush too. But somehow inside I also knew it was just fame disguised as love. It was a beautiful lie. As happy as I was at that moment, I was a little bit irritated knowing our “instant” success was Pavlovian. An illusion. The remaining 25 percent of me thought that we were just the special-of-the-day meat in a corporate greed sandwich. That jaded inner postpunk/preteen cynical part of me that will never die thought that it was all completely media-driven horseshit. An illusion. But on the other side—the side that won the battle that day—was a chorus of inner voices screaming, “WHAT A RIDE! ENJOY IT! Why NOT? You’re only twenty-one so why not tear it up already! Fantasy NOW…reality LATER! Isn’t this everything you’ve struggled for, and then some? Re-fucking-lax, Nelson! This is your moment!”

It was admittedly addictive to feel that kind of energy being thrown my way because of the years of sacrifice and hard work we’d put in. So, I talked my inner punk off his high horse and let the moment sink in and basked in the sunshine of it all. And it was glorious. Matt and Gunnar were the conquering twin heroes of Dial MTV and the San Fernando Valley.

First, the Galleria. Next—THE WORLD!

It was euphoric. It was a dream. And like all dreams, you wake up. “The cops are here, and they’re shutting it down,” Geffen rep informed us. “They say if we don’t leave immediately, we will get arrested. They want to keep people from getting killed. They estimate there are now at least seven thousand people trying to see you guys right now. The crowd is getting unruly and refuses to leave.”

Time to go. Well, that was fun while lasted…every bit of one-half hour. And I was right—we were back at the house by noon ordering pizza.

Nelsonmania and its ensuing female tidal wave was launched that day at that mall. And the Sherman Oaks Galleria’s notorious Valley Girls were there first. That was the flashpoint and the true beginning of Nelson’s official establishment as a “chick band.” To put it bluntly—it’s a massive understatement to say we appreciate women. They were the mission, and mission accomplished! All those girls were nuts for us. The same kind of crazy we had seen with our father years earlier. I saw firsthand that women, especially beautiful women used to getting their way, will go to great lengths to get what they want. Without shame. I discovered that day that it was amazing how attractive having a number-one record and being on TV and in magazines make you to the opposite sex. Irresistible, in fact. Gunnar and I were now human catnip for a million kitty cats.

To prove my point: To cap off the day of the first mall riot at the Galleria, that very night we drove the band to the Sunset Strip for a celebration dinner at the Rainbow, a well-known hangout next to the Roxy. We had eaten and were waiting for our cars to be pulled up when I was approached by the reigning Penthouse Pet of the Year. She was spectacular in every way. And she wanted me. How do I know? She walked straight up to me in front of the entire band and made a proclamation.

“I’m taking you home right now, and I’m going to f–k you like you’ve never been f–ked before,” she said.

The band froze wide-eyed and slack-jawed. Now, there are a million reasons why I should have grabbed her by the hand and gotten into her Mercedes and experienced a night of erotic bliss. But before I could stop it, that cynical awkward inner punk that brought a guitar to high school to keep him company had an answer for her.

“You know, I went to school with girls like you who thought they could have anything they wanted that ignored me, and two weeks ago you would never have given me a second look,” I said. “So, I’ll have to say ‘no thank you.’” She froze in astonishment, blinked a few times, then briskly walked away hoping nobody saw the exchange. I admit blowing her off actually felt pretty damn good. The band ripped me up for that, but I couldn’t help it. I had to do it for all the other social rejects out there and to heal old Pali High wounds. That’s not to say there are some nights when I admittedly wonder, What if? Let’s just say I made up for shunning the Penthouse Pet of the Year in the years to come. And how. But I’ll save that for another chapter.

For the next two years, I was rarely in public alone with my twin brother. Our image was iconic and unmistakable. We looked like a pair of hot Swedish chicks. We caused riots almost everywhere we went. If we went out on days off on tour, we went solo. People would see us and say, literally, “Look at that loser trying to look like a Nelson twin!” and move on. But it was a harsh reality that I couldn’t really truly enjoy the ride with my brother or a riot ensued.

Part of the reason Gunnar unraveled emotionally during our eternal tour was the fact we couldn’t hang together. It was the first experience of not being able to have each other’s backs. The final mall riot was a solo act in late 1991. I was in Toms River, New Jersey, visiting my old friend and producer Jack Ponti while we were on a break from the tour. He had a twisted sense of humor that was a lot of fun. He even managed to talk me into a social experiment—walk inside the Ocean County Mall to see how long it took people to recognize me. We placed our bets. Jack brought his dad’s old-school stopwatch. We drove to the mall, and I bought a Mrs. Fields cookie while he timed me from a distance. Five minutes. It started with a single “Oh my GOD!” and built from there. Jack laughed hysterically from his corner. Ten minutes later, the cops arrived and politely asked us to leave as the growing crowd of over 500 was too much for them to handle. That’s when the fun of causing mall riots ended for me. I was really scared. For the first time I truly asked myself, What if this is the way it will always be for me? For us? If this kind of fame is just the beginning, what kind of a life is that for a person? What if it never ends?

Well, it does. I’m living proof that even if you are on the cover of People magazine (and I was) that the world does eventually move on. It doesn’t take long. As a mall riot veteran in 2025, I can honestly tell you that fame, as a whole, is fantastic. I highly recommend the experience. But my advice to those seeking fame or new to stardom: Never forget that fame is not love. That knowledge could save your life. And don’t forget anonymity has its benefits too. Like being able to catch a movie at the local mall on a day off with your twin brother without causing a riot. Or going to the Galleria to buy socks and underwear blissfully unnoticed.

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British star Dua Lipa kicked off the countdown to the end of her year-long Radical Optimism Tour on Monday (Dec. 1) with the first of three concerts scheduled this week in Mexico City. She did so by adding the “cherry on top” with a cover of the iconic song “Bésame Mucho” by Mexican pianist and composer Consuelito Velázquez.

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With the version recorded by Mexican superstar Luis Miguel in 1997, Lipa fulfilled her promise to pay tribute to each country she visits with a cover of a song by a local artist. The choice surprised many of the 65,000 people (according to figures from OCESA) who packed the GNP Seguros Stadium in the Mexican capital, after days spent speculating about which Mexican song the artist would perform.

“Today I want to pay tribute to a great Mexican composer, Consuelo Velázquez, whose song is linked to the hearts of so many people around the world,” the singer said in perfect Spanish as an introduction. “I love this song because the story goes that she had never been kissed when she wrote it. And I believe that songwriters write their dreams to make them come true.”

“Bésame Mucho” is one of the most covered songs in history. It has been performed by everyone from Luis Miguel and Andrea Bocelli to Frank Sinatra, Nat King Cole, Dalida and The Beatles.

The iconic bolero joins a list of covers that Dua Lipa has performed by Ibero-American solo artists and groups since May. In Madrid, she surprised the audience with “Héroe” by Enrique Iglesias, and in Argentina, she sang “De Música Ligera” by Soda Stereo. In Chile, she performed “Tu Falta de Querer” by Mon Laferte and “El Duelo” by La Ley. In Brazil, she thrilled the audience with “Magalenha” by Sergio Mendes, which she sang alongside Brazilian singer Carlinhos Brown. In Peru, she danced to “Cariñito” in a duet with Mauricio Mesones, and in Colombia, she captivated the audience with Shakira’s “Antología.”

Lipa surprised everyone with several words in Spanish during Monday’s show. With her strong, sensual accent, she thanked the Mexican audience for “taking care of her” and making her feel “at home.”

“I’ve been dreaming about this night since I started the tour, and about how it would feel to be back here,” she said. “These concerts are so exciting for me because they’re the last three of my Radical Optimism tour. I feel so grateful; I can’t stop thinking about all the incredible memories I’ve made this year. Being with you tonight is the icing on the cake, the only way I wanted to close this tour.”

The tour’s final two shows are slated for tonight (Dec. 2) and Friday night (Dec. 5).

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Throughout Dua Lipa‘s Radical Optimism World Tour, the multilingual superstar has taken on an ambitious challenge: covering iconic songs from the countries and cities she visits, in their native language. The Latin American leg of her tour began in Buenos Aires, Argentina, on Nov. 7, and Spain’s portion kicked off in Madrid last May.

In an interview with Variety in October, the London-born superstar reflected on the ambitious concept, revealing she had already performed 57 unique covers at that point. “How fun would it be if every night we do a different song?” she recalled wondering. “And everyone was like, ‘Well, that’s quite ambitious.’”

“It started as we were going to do a few over the course of the tour, right?” added her bassist and bandleader, Matty Carroll. “But then we had that initial rehearsal and put three together really quickly, and then we said, ‘We could do a different one every night.’”

When it comes to singing in non-English languages, Dua Lipa admitted: “It’s very nerve-wracking! Especially when we we’re doing them in different languages, that’s definitely — my God, my playlist was on loop, all I was doing was looking at the lyrics and listening over and over for intonations and accents and how to try and perfect things in Spanish, French, German, Dutch, Czech!”

The “Don’t Start Now” hitmaker began the European leg of the tour with a rendition of Enrique Iglesias’ “Hero.”

The “Don’t Start Now” hitmaker began the European leg of the tour with a rendition of Enrique Iglesias’ “Héroe.” Last night (Dec. 1), during her first show in Mexico City, she delighted fans by performing “Bésame Mucho” by Consuelito Velázquez, inspired by Luis Miguel’s rendition. Rumor has it she might tackle another classic Juan Gabriel song during her remaining concerts at Estadio GNP Seguros (formerly Foro Sol) on Dec. 2 and 5.

Here’s a breakdown of every Spanish- and Portuguese-language cover Dua Lipa has performed during her trek across Spain and Latin America, in chronological order.

Enrique Iglesias, “Héroe”

Image Credit: Madison Phipps

Trending on Billboard YouTube has released its 2025 Year-End Trending Lists, recognizing creators, songs, podcasts and cultural moments that defined 2025. The Bruno Mars/Lady Gaga hit “Die With a Smile” leads YouTube’s 2025 year-end top songs list, which also includes the ROSÉ/Bruno Mars hit “APT.,” and four songs from the Kpop Demon Hunters soundtrack, “Golden,” […]

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Skrillex will help kick off next year’s Bonnaroo Music & Arts Festival on June 11 on a roster that will also include Four Tet, Vince Staples and Spiritual Cramp, launching the four-day (June 11-14) gathering of the vibes in Manchester, Tenn. on the 700-acre ‘Roo Farm.

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Friday night’s roster will be topped by The Strokes, Griz and Turnstile and also include sets from Mt. Joy, Major Lazer, Jessie Murph, Yungblud, Geese, Cloonee, Lil Jon, Blood Orange, Wet Leg, Hot Mulligan, The Dare, Wolfmother and others.

Saturday night will be toplined by Rüfüs Du Sol, who will be joined by Teddy Swims, The Neighbourhood, Alabama Shakes, Chase & Status, Sara Landry, Rainbow Kitten Surprise, Freddie Gibbs & Alchemist, Amyl and the Sniffers, Sub Focus, Gorgon City, Flipturn, Passion Pit and more.

Sunday’s packed lineup will spotlight Noah Kahan, Role Model and Kesha, with support from Tedeschi Trucks Band, Lszee, Clipse, Mariah the Scientist, Daily Bread, Modest Mouse, Big Gigantic, Japanese Breakfast, Turnover, San Holo, Del Water Gap and more. Kesha will also curate a SuperJam, “Kesha Presents: Superjam Esoterica: The Alchemy of Pop” while beloved parody song master “Weird Al” Yankovic will perform a special late-night Saturday set, “Bigger & Weirder Saturday Late Night Roovue.”

The acts will perform around the clock on 10 stages, with tickets going on sale on Friday (Dec. 5) at 10 a.m. CT here. According to a release announcing the lineup next year’s ‘Roo will feature significant upgrades to the facilities, including improved drainage, miles of new roadways and 135 acres of new turf.

The upgrades come after last year’s event was canceled on Friday due to severe weather that wound up flooding campgrounds after kicking off the night before with sets from  Luke Combs, Dom Dolla, Insane Clown Posse and Rebecca Black. Friday night’s headliners were scheduled to include Tyler, The Creator, John Summit and Glass Animals; Saturday’s lineup was topped by Olivia Rodrigo, Avril Lavigne and Justice; and Sunday would have wrapped up with Hozier, Vampire Weekend and Queens of the Stone Age.

Check out the full 2026 Bonnaroo lineup below.