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From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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The 2025 Maestro Cares Gala
The Maestro Cares Foundation, co‑founded by Marc Anthony and Henry Cárdenas, celebrated its 12th Annual “Changing Lives, Building Dreams” Gala this week at the Cipriani Wall Street in New York City. Key leaders, philanthropists, and entertainment figures — including Eva Longoria and J Balvin — were present at the ceremony. Longoria was honored with the Maestro Cares Community Hero Award for educating and empowering Latin women through Eva Longoria Foundation (ELF), and Balvin received the Trailblazer of Cultural Empowerment Award for his commitment to raising awareness about mental health.
“For Henry and me, tonight is not just a gala; it’s a powerful reminder of what we can achieve when talent and generosity come together,” Anthony said in a press statement. “Thanks to their leadership, and to the commitment of every person in this room, we are fostering opportunities and support for girls and boys in need. What we are celebrating today is not an award; it’s a collective momentum that changes destinies.”
Funds raised during the gala will benefit Maestro Cares Foundation programs, focused on housing, education, and health for vulnerable communities in Latin America and the United States.
Marc Anthony, Eva Longoria, and J Balvin at the Maestro Cares Foundation Gala 2025 at Ciprini Wall Street in New York, NY, on November 5, 2025.
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Chiquis’ New Studio Album
Chiquis has released her new album, Flores En Mi Alma, the first under her own record label Sweet Sound Records. Steering away from the Banda music that has characterized her sound and biggest hits, the Mexican-American singer experiments with reggae, R&B, and folk cumbia on this eight-track set that also includes powerful audio affirmations by the singer. The album, which Chiquis describes as “healing music that comes from the soul,” has a very low frequency to hit the chakras of each person, according to a press statement.
“I took a little bit of soul space to reconnect with myself and what I wanted to write about,” Chiquis previously told Billboard of her new music. “I think it’s very important to get passionate and fall in love all over again with my art. […] I had my creativity blocked, and I didn’t know what was happening, but then I realized that I needed to look inward. I did a spiritual retreat for three weeks, and it helped me tremendously, to the point that I want to sing things I never sang about.” Stream and listen to Flores En Mi Alma below.
Juan Luis Guerra Will Conquer Aruba
This week, the “Live in Paradise” concert set to take place in Aruba announced Juan Luis Guerra as its iconic headliner. The news was shared during a press conference held from Pier 5 at Bayside Marketplace in Miami on Wednesday (Nov. 5) featuring renowned DJ Alex Sensation and representatives from the Aruba Tourism Authority (A.T.A.) and the Ministry of Tourism of Aruba. The “Live in Paradise” concert, which will bring together music, travel, and the Caribbean culture in a tropical island, will take place Saturday, Dec. 13 at the Harbour Arena in Aruba.
Juan Luis Guerra performs on stage during the 25th Annual Latin Grammy Awards at the Kaseya Center in Miami, Florida, on Nov. 14, 2024.
Giorgio Viera/AFP/Getty Images
Gloria Estefan’s Homecoming
Earlier this week, the Latin Grammy Cultural Foundation and Sony Music Group’s Beyond the Instrument initiative hosted an event with Gloria Estefan at James H. Bright / JW Johnson Elementary School in Miami. The school, which received a grant for new musical equipment, is where Estefan’s late mother, Gloria Fajardo, was a teacher for more than 20 years, marking a special full-circle moment for the artist.
“Returning to James H. Bright/JW Johnson Elementary School is deeply personal for me,” the artist expressed in a statement. “This is where my mother, Gloria Fajardo, dedicated more than two decades of her life as an educator — inspiring generations of students to dream, learn, and believe in themselves. Music was always a central part of our home and our family, and I know she would be so proud to see the next generation of young minds being nurtured through it. Supporting music education is not just about fostering future artists; it’s about giving children the tools to express themselves, to build confidence, and to connect with their culture and community. To be able to honor my mother’s legacy in this very special way means the world to me.” The celebration also included students from the school performing a special tribute of “Mi Tierra” and “Conga.”
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Jelly Roll has been forced to cancel the final date of his debut Australia and New Zealand tour, citing illness, just hours before the headline show was set to kick off.
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The Grammy-nominated, multi-platinum artist announced via Instagram on Friday (Nov. 8) that he would not be performing at The Outer Fields at Western Springs in Auckland, New Zealand, as originally scheduled for tonight.
“Dear Auckland, I’ve done everything I can,” he wrote on Instagram. “I just can’t shake it. It breaks my heart, I’ve probably missed three shows in the last decade. I pride myself on showing up no matter what. Just couldn’t do it this time. Please forgive me.”
Fans reported that they didn’t discover news of the cancellation until arriving at the venue. The late notice left many frustrated and disappointed, particularly as some had travelled long distances to attend Jelly Roll’s first-ever New Zealand performance.
The cancelled concert was set to wrap Jelly Roll’s tour across Australia and New Zealand, which marked the country-rock star’s first-ever visit to the region. The run included back-to-back shows at Melbourne’s Rod Laver Arena (Oct. 28–29), a sold-out night at Sydney’s Qudos Bank Arena (Nov. 4), and an Adelaide show at AEC Theatre (Oct. 26). He also headlined the inaugural Strummingbird Festival on the Sunshine Coast (Oct. 25), followed by dates in Newcastle (Nov. 1) and Perth (Nov. 2).
In 2023, his album Whitsitt Chapel peaked at No. 3 on the Billboard 200, and in 2024, his follow-up Beautifully Broken debuted at No. 1 — marking his first chart-topping release on the all-genre tally. He has also earned eight consecutive No. 1 singles on the Billboard Country Airplay chart, including fan favourites like “Heart of Stone,” “I Am Not Okay,” and “Liar,” the latter of which held the top spot for six weeks.
No official update has been issued yet regarding potential rescheduling or refunds for the cancelled Auckland date.
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Mod Sun is looking back on his high-profile engagement to Avril Lavigne — and how the fallout helped him grow.
Appearing on the Nov. 6 episode of Bunnie Xo’s Dumb Blonde podcast, the multi-genre artist opened up about the relationship’s end with surprising clarity, saying: “We’re two different people, but I think I had a great influence on her.” He added that the “Sk8er Boi” singer helped him “grow up,” and that he’s now more secure in his identity than ever before.
The former couple met in early 2021 while collaborating on music, and their joint single “Flames” dropped just weeks later. A whirlwind romance followed, with Mod proposing in Paris in April 2022. Less than a year later, the pair called off the engagement in February 2023.
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Though Lavigne has remained publicly silent on the split, Mod has continued to speak openly. In July 2023, he released the breakup track “Strangers,” with lyrics detailing the rise and fall of their relationship. The Paris-shot music video — filmed in the same city where he proposed — added further emotional weight.
On the podcast, Mod said that his perspective on the breakup has shifted over time: “We’re two different people, but I think I had a great influence on her.”
He continued, “Like now, I’m very secure of who I am, because I’ve been lost in the last three years of wondering, ‘Where do I fit in?’”
He added later, “If we had done this talk three months ago, I might’ve been like, ‘F— that person,’ but now… If I run into you? It’s all love.”
He also spoke about developing greater empathy in the aftermath, saying, “When someone does you wrong, stop thinking, ‘You did me dirty, and I’m out for revenge.’ Step in their position.”
Lavigne was briefly linked to rapper Tyga following the split, but the pair separated in mid-2023. Mod, meanwhile, focused on his tour and healing. “Being surrounded by love every night on tour has been an absolute blessing,” he wrote on Instagram days after the breakup. “I just know there’s a plan for it all.”
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Music stocks had their worst week in three months, as most companies that reported earnings this week were penalized for not offering more to investors. Spotify, Live Nation, SM Entertainment and Reservoir Media all finished the week ended Nov. 7 in the red — though live entertainment companies Sphere Entertainment and MSG Entertainment bucked the trend by posting sizable gains after putting out their quarterly earnings reports.
The 19-company Billboard Global Music Index (BGMI) fell 5.0% to 2,703.11 as losers outnumbered winners 15 to 4. After soaring earlier in the year, the BGMI is now 13.3% below its all-time high of 3,117.20 (in the week ended June 30) and is now equal to its value in early May.
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iHeartMedia was a notable exception to the carnage. The radio company’s shares jumped 55.9% to $4.63 after a report at Bloomberg said the company is in talks to license its podcasts to Netflix. Netflix is known to be seeking video podcast content and has also reportedly approached SiriusXM about distributing its podcasts. The week’s high mark of $4.77, reached on Thursday (Nov. 6), was iHeartMedia’s highest mark since March 17, 2023.
Sphere Entertainment Co. rose 12.6% to $77.08 after the company’s earnings report on Tuesday (Nov. 4) showed an improvement in the Sphere segment’s operating loss. Led by the popularity of The Wizard of Oz, the number of film viewings, called The Sphere Experience, rose to 220 from 207 in the prior-year period. Sphere’s shares are now up 81.5% year to date.
MSG Entertainment (MSGE) shares gained 5.3% to $46.51 following the company’s earnings report on Thursday. MSGE’s revenue jumped 14% to $158.3 million while its operating loss deepened to $29.7 million from $18.5 million a year earlier. J.P. Morgan raised its price target to $47 from $41, citing management’s comments on pricing and higher expectations for the Christmas Spectacular at Radio City Music Hall.
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Companies such as Live Nation and Spotify reported solid results but suffered a large share price decline — part of a trend that extends well beyond music companies, Bernstein analysts wrote in an investor note on Thursday: “We’ve seen a brutal theme emerge across the consumer [technology, media and telecommunications] sector: stocks that deliver perfectly in-line or modestly better than expected results are still getting sold.” Growth is not good enough, they explained, and investors are “shooting first and asking questions later” when a company doesn’t have a “bulletproof guide” for the next year or two.
Live Nation shares ended the week down 6.0% to $140.51 after the company reported third-quarter earnings on Tuesday (Nov. 4). Despite showing continued revenue and adjusted operating income growth, Live Nation’s share price fell 10% the following day, though the price recovered some losses in each of the next two trading days. Bernstein maintained its $185 price target and called the sell-off a buying opportunity, but numerous other analysts lowered their Live Nation price targets, including Oppenheimer (from $180 to $175), Evercore (from $180 to $168), Morgan Stanley (from $180 to $170), J.P. Morgan (from $180 to $172) and Roth Capital (from $180 to $176).
Also releasing third-quarter earnings on Tuesday was Spotify, whose stock fell 5.9% to $616.91 in the aftermath. The company reported 12% revenue growth, but the title of Bernstein’s investor note on Tuesday perfectly captured Spotify’s need to constantly impress investors: “When you trade at 50x EPS, you’d better make sure everybody’s happy.” Meanwhile, J.P. Morgan called the company’s fourth-quarter outlook “slightly mixed”: The company’s guidance on monthly average users and gross margin were “above expectations,” it said, but guidance on subscribers, revenue and operating income were lighter than expected. Guggenheim lowered its price target to $800 from $850, noting that results met expectations but that “questions remain” on Spotify’s ability to improve margins through price increases.
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Elsewhere, Reservoir Media fell 3.0% to $7.37 following the release of its quarterly earnings on Tuesday, while Warner Music Group, which reports earnings on Nov. 20, fell 5.4% to $30.23. Universal Music Group, which reported earnings on Oct. 30, dropped 3.4% to 22.48 euros ($26.01).
K-pop company SM Entertainment fell 14.1% to 102,600 KRW ($70.47), having dropped 9.6% in the two days following the release of third-quarter results on Thursday. Other K-pop companies also experienced large declines as HYBE dropped 10.4%, JYP Entertainment dipped 11.0% and YG Entertainment sank 21.3%, likely because of a report that BLACKPINK’s next album has been delayed until January 2026.
Most indexes had an off week. In the U.S., the Nasdaq composite fell 3.0% to 23,004.54, marking its worst week since April. The S&P 500 dropped 1.6% to 6,728.80. The U.K.’s FTSE 100 sank 0.4% to 9,682.57. South Korea’s KOSPI composite index plummeted 3.7% to 3,953.76. China’s Shanghai Composite Index rose 1.1% to 3,997.56.
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Trending on Billboard The nominations for the 68th annual Grammy Awards were announced Friday morning (Nov. 7), with the Recording Academy once again recognizing the dance/electronic genre across four categories: best dance electronic recording, best dance/electronic album, best dance pop recording and best remixed recording. These categories welcome back a list of familiar faces, specifically […]
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When Young Miko set out to create her second studio album, Do Not Disturb, she was going through a difficult time personally and professionally. She had just come off a tour that, for the first time, kept her away from her home in Puerto Rico for months, experiencing the loneliness of hotel rooms, the exhaustion of travel, the stress of figuring out what she would do next.
“I was missing my family a lot, and I don’t know, I was also coming from a moment of a lot of movement and speed,” recalls the Puerto Rican star in an interview with Billboard Español. “I didn’t allow myself to be present and enjoy all the fruits of the work I had been doing for so long. And all this chaos affected everything in my life: it affected my personal relationships, my work, my family relationships. I felt a bit dull and disconnected from myself, and I felt like I was losing my color, my aura, and my essence.”
But Miko found solace — and herself — in the blank page, opening up to tell personal stories like never before, prioritizing peace, intimacy, and self-expression, and offering fans a window into her artistic evolution.
“It was a process where I felt closer to myself than ever before. It was a space I wanted to give to myself to embrace myself, to listen, and heal. To perhaps understand why I was feeling the way I was feeling, and within all that uncertainty, within all this emotional chaos and uncharted territory I hadn’t encountered before, this whole album was born.”
Released on Friday (Nov. 7) under The Wave Music Group, Do Not Disturb is a 16-track introspective journey that invites listeners to disconnect from the noise and reconnect with their inner peace — but also to dance. Throughout the record, Young Miko showcases her versatility, exploring genres like drum and bass, R&B, and afrobeats, while continuing to shine with the trap and reggaeton beats that made her popular.
With more intimate lyrics, loaded with honesty and sensuality, the album — which follows her 2022 EP Trap Kitty and her Grammy-nominated debut album att. (2024) — includes the previously released singles “WASSUP,” “Meiomi,” and “Likey Likey,” as well as titles like “What’s Your Vibe,” “En el Ritz,” “Sexo de Moteles,” “Esa Nena,” and “Algo Casual.” It features only one collaboration, “Traviesa” with Eladio Carrión, with whom she had previously recorded “AMG.”
Below, Young Miko breaks down five essential tracks from her new album, Do Not Disturb. To listen to the full set, click herea.
Young Miko, “Do Not Disturb”
The Wave Music Group
“Ojalá”
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Thirty-five years after being half of the first (and, to date, only) act to have a Grammy Award revoked, Fab Morvan of Milli Vanilli landed a second Grammy nod on Friday (Nov. 7) – best audio book, narration, and storytelling recording for You Know It’s True: The Real Story of Milli Vanilli.
Milli Vanilli, the red-hot pop duo of Fab Morvan and Rob Pilatus, was crowned best new artist on Feb. 21, 1990, beating out Neneh Cherry, Indigo Girls, Soul II Soul and Tone Loc. The award was presented by legendary songwriter Kris Kristofferson and rapper Young M.C., who also won a Grammy that night for best rap performance for his hit “Bust a Move.”
Their win was expected: By that point, their debut album Girl You Know It’s True had topped the Billboard 200 for eight weeks and had spawned five top five singles on the Billboard Hot 100 – the title track, “Baby Don’t Forget My Number,” “Girl I’m Gonna Miss You,” “Blame It on the Rain” and “All or Nothing.” They performed “Girl You Know It’s True” on the live telecast, making them the only best new artist nominees who performed on the show that year.
There had already been rumblings that Morvan and Pilatus had not actually sung on the album; that they were merely hired because they had the right look to push the act’s upbeat pop/dance/R&B confections to the top of the charts. But it was hard to know if the rumors were true or merely the product of jealousy because of the duo’s outsized success.
On Nov. 14, 1990, their producer, Frank Farian, confessed that Morvan and Pilatus had not sung on the records and announced that he was firing them. Five days later, the Recording Academy announced that it had revoked the duo’s Grammy. Ever since, the academy has acted like Milli Vanilli never existed. If you call up Milli Vanilli in the academy’s awards look-up tool, you will get no results. Their list of best new artist winners skips from Tracy Chapman, who won in 1989, to Mariah Carey, who won in 1991. If you call up Pilatus on the look-up tool today, it shows that this new nomination is his first.
The academy may wish Milli Vanilli never existed, or that its voting members had chosen another best new artist winner that year, but they did, in fact, win. To pretend otherwise is revisionist history.
Who might have won best new artist if Milli Vanilli hadn’t taken the prize? Soul II Soul won in two categories that night – best R&B performance by a duo or group with vocal for “Back to Life” and best R&B instrumental performance for “African Dance.” Indigo Girls won in one category – best contemporary folk recording for Indigo Girls. Tone Loc was nominated for best rap performance for “Funky Cold Medina.”
Will Morvan win on Feb. 1? The competition is tough, and almost comically eclectic. The other nominees are The Dalai Lama for Meditations: The Reflections of His Holiness The Dalai Lama; U.S. Supreme Court Justice Ketanji Brown Jackson for Lovely One: A Memoir; comedian and five-time Grammy host Trevor Noah for Into the Uncut Grass; and Kathy Garver, an actress who played the oldest child on the 1960s sitcom Family Affair, for Elvis, Rocky & Me: The Carol Connors Story.
Morvan was part of the Grammy process last year when the documentary Milli Vanilli was entered for best music film, but it wasn’t nominated. The doc was directed by Luke Korem and produced by Korem and Bradley Jackson.
While the story of Milli Vanilli’s rise and fall is amusing in some respects — there was endless mockery of them on the popular sketch variety show In Living Color and by such talk show hosts as Arsenio Hall and David Letterman — one must not forget that one of the members of the duo, Rob Pilatus, died young (in his early 30s) and tragically. Pilatus was found dead in April 1998 from an alcohol and prescription drug overdose. The death was ruled accidental.
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Today is officially Music Creator Day.
Spearheaded by SOCAN, the date was acknowledged by Senator René Cormier on Nov. 4 in the Canadian Senate and by Member of Parliament David Myles in the House of Commons two days later.
As of 2025, Nov. 7 will now be annually observed as Music Creator Day across the country.
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It coincides with beloved Canadian singer-songwriter Joni Mitchell’s birthday, paying tribute to her contributions and representing a lasting legacy for the next generation of musicians.
“Thank you for honouring my work in this manner,” Mitchell says in a statement. “Although I have lived mostly in the States since I was 21, I live part-time in B.C. I have always been proud to be a Canadian and lately more than ever.”
Earlier this year, Mitchell was honoured with SOCAN’s 2025 Cultural Impact Award, recognizing her impact as a Canadian songwriter. Canadian singer-songwriter Allison Russell performed a showstopping rendition of “Both Sides Now” at the SOCAN Awards and spoke to Billboard Canada about her work with the legendary artist. “Getting to be in creative communion and community with her has been one of the most surreal gifts of my life,” she said.
“I invite you all to sit down and enjoy your favourite Joni song, or a song by any other amazing Canadian, and honour the great musical creators of this country on Music Creator Day,” says MP Myles.
The declaration is accompanied by a recent survey conducted by Pollara for SOCAN on the connection between Canadian music and culture. They report that 81% of Canadians believe supporting local music creators is vital to ensuring our culture thrives for future generations, with 77% claiming local music helps define Canadian culture.
It’s reflected on the charts, too. As of November, five Canadian artists have hit No.1 on the Billboard Canadian Albums chart, including two albums from The Weeknd, PARTYNEXTDOOR & Drake’s collaborative $ome $exy $ongs 4 U and Tate McRae’s So Close to What, marking the pop singer’s first No. 1 on the chart. The most recent was Justin Bieber’s Swag, which sat at No. 1 for one week.
Read more here.
Canadian Government Renews Canada Music Fund in 2025 Budget
The Canada Music Fund has been renewed.
After a few weeks of uncertainty from independent Canadian music industry groups, yesterday (Nov. 4), the government officially renewed and allocated $48 million to the fund, in the first federal budget tabled by Finance Minister François-Philippe Champagne — it will be distributed over the next three years, beginning in 2026.
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The decision serves as a moment of celebration for Canadian music organizations. Québec music organization ADISQ shares that it’s a relief for the industry.
“This renewal was essential for our companies to continue investing fully in the career development of local artists, and thus maintain the sector’s competitiveness,” says Eve Paré, executive director of ADISQ, in French. “Public funding provides leverage for our industry. It plays a vital role in reaching the full potential of our cultural vitality.”
For over four decades, the Canada Music Fund has been a cornerstone of Canada’s music economy, supporting FACTOR and Musicaction, two of the country’s biggest and most important music grants.
The Canada Music Fund’s $48 million renewal extends the $16 million annual boost that was announced as a temporary two-year top-up in 2024, with another $16 million for the next three years.
Securing stable funding will enable music orgs to meet the challenges they face, such as declining contributions to private radio broadcasting, and will serve as a boost after the paused 5% revenue funds for major foreign-owned digital streaming platforms under Bill C-11.
The Canadian Independent Music Association (CIMA) notes that the renewal is a sign of recognition and validation for homegrown artists and organizations.
“Canadian music companies and the artists they work with represent a dynamic economic engine powering the growth of Canada’s cultural economy. This budget announcement is an encouraging step forward,” says Andrew Cash, president and CEO of CIMA.
The renewal will benefit live music organizations, too. The Canadian Live Music Association (CLMA) enthusiastically welcomed the federal government’s continued investment in Canada’s cultural sector, “including the commercial live music infrastructure of venues, festivals and promoters that connect artists to audiences across the country.”
In addition to the renewal, the government has announced a $150 million funding increase for CBC/Radio-Canada, with hopes of the country securing a spot on Eurovision’s international song contest.
“Public funding preserves a dynamic local ecosystem that values what makes us unique. We must now work to guarantee the sustainability of this funding and thus ensure the future of our music,” says Paré.
Read more here.
Music Streaming Services Call On National Assembly of Québec to Forego French-Language Quotas
Music streamers are speaking out against new French language music streaming legislation.
The Digital Media Association (DiMA), the trade association and lobby group that represents platforms including Spotify, Apple Music and Amazon Music, has raised concerns about Bill 109, a proposed new law that would ensure French-language content is prioritized by digital platforms operating in the province.
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Bill 109, titled An Act to affirm the cultural sovereignty of Quebec and to enact the Act respecting the discoverability of French-language cultural content in the digital environment, was introduced in May by Québec’s Culture Minister Mathieu Lacombe.
If passed, the act would “enshrine the right to discoverability of and access to original French language cultural content” into Québec’s Charter of Human Rights and Freedoms, and allow the province’s government to mandate “the quantity or proportion of original French-language cultural content that must be offered by digital platforms.”
The bill states that the Quebec government has to establish content quotas on how much music needs to be produced or featured on these platforms, although no numbers were specified. All platforms would be required to register with Lacombe.
According to DiMA, the major streaming services don’t want any new discoverability requirements and French language quotas.
In a submission to the Committee on Culture and Education in the Québec National Assembly, the music association writes that “mandating quotas and the discoverability of certain tracks or types of tracks risks altering the business model that has made streaming so attractive and has delivered vital revenues to artists and the music industry.”
The organization fears that if there is government intervention, it will affect how the streaming services operate, and “degrade the user experience,” which may limit the flow of revenue to Francophone artists and rightsholders.
Additionally, DiMA raises logistical issues with the government’s implementation of content quotas.
DiMA highlights that the key to ensuring both parties are satisfied is prioritizing the ultimate objective — to promote the language and culture of Québec.
“We believe the most effective path forward is one focused on listener choice, not constraint. Québec artists and Francophone music are thriving on streaming services today because audiences are empowered to find and listen to music organically,” says Graham Davies, DIMA’s president and CEO.
“By working together — combining the government’s cultural vision with the streaming services’ reach, expertise and innovation — we believe Francophone and music of Québec can continue to thrive both at home and on the global stage.”
While Quebec is pushing discoverability of French-language music, the online platforms are pushing back against the cross-country “streaming tax battle,” pushing against the Canadian Radio-television and Telecommunications Commission (CRTC)’s now-paused plan to require major foreign streaming companies to invest 5% of their income to support Canadian content.
DiMA has led a campaign called “Stop The Streaming Tax,” which some in the music industry have called “disingenuous.” Services like Spotify, meanwhile, have been touting the success of francophone music on its platform.
Read more here.
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For years, the Cascio family was one of Michael Jackson’s fiercest defenders against ugly pedophilia claims. The five siblings from New Jersey, whom Jackson considered a “second family” and who spent much of their childhoods with the King of Pop, publicly denied that he was ever inappropriate with them.
That all changed in 2019, when the HBO documentary Leaving Neverland amplified child sex abuse claims against Jackson from two men in disturbing detail. As the Cascio siblings tell it, the film led them to reflect and reveal to each other for the first time that they had all been abused by Jackson as children across “hundreds of instances.” The estate of Jackson, who died in 2009, says the Cascios fabricated these claims and were seeking to cash in on the cultural moment.
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Whether the Cascios’ allegations were true or not, one thing is for sure: The siblings signed a multimillion-dollar settlement, including a strict nondisclosure agreement, with the Jackson estate in late 2019. Now, the validity of this settlement is the subject of a bitter legal battle in court.
The Jackson estate alleged in a court petition this summer that the Cascios violated the settlement with an “extortionate” threat that they would go public with the claims unless they were paid an additional $213 million. Last month, the Cascio siblings responded by asking a judge to declare the settlement void.
The Cascios — Frank, Aldo, Marie-Nicole, Edward and Dominic — said the estate “exploited their confusion and vulnerability” upon coming to terms with the alleged abuse by pressuring them to quickly sign a deal they didn’t understand.
According to the Cascios’ Oct. 6 court filing, the siblings didn’t have their own lawyer and were told by the Jackson estate that the deal “would not get done” if they hired counsel and took time to review the papers. They also said the estate misrepresented the nature of the settlement, telling them it was a “life rights” agreement.
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“Exploiting the same patterns of trust, fear and conditioned loyalty that Michael Jackson had cultivated for decades, the estate manipulated respondents’ emotional state to extract their silence through coercive and deceptive means,” wrote the Cascios’ attorney Mark Geragos. “The rushed process was intended to, and did, in fact, take advantage of the Cascio siblings’ shock and trauma upon realizing this had happened to all of them.”
The estate, meanwhile, says the Cascios were not pressured to sign anything. To the contrary, the estate claims in court filings that the Cascio siblings were the ones who demanded a settlement for their “specious allegations” — and that the estate reluctantly paid to avoid public pain and harm to Jackson’s children.
“Frank inaccurately depicts the negotiations leading up to the execution of the Agreement as one-sided strong-arming,” wrote the estate’s attorney, Jonathan Steinsapir, on Oct. 30, referring to Frank Cascio.
The truth, argues the estate, is that the settlement was “extensively negotiated” and “voluntarily executed” by the Cascio siblings. It is now urging a judge to enforce all provisions of the agreement, including a mandatory arbitration clause.
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A court hearing on the dispute is scheduled for Dec. 3 in Los Angeles County. Geragos and a rep for the Jackson estate both declined to comment on the matter on Friday (Nov. 7).
Jackson was never convicted or held legally liable for any accusation of child sex abuse during his lifetime; he settled a civil claim in 1994 without admitting any wrongdoing, and he was acquitted at a criminal trial in 2005. But such allegations have continued to dog his legacy, most notably when Leaving Neverland hit screens in 2019.
The Jackson estate called Leaving Neverland a “one-sided hit job” and sued HBO, leading the documentary to be removed from the streaming platform. Yet the subjects of Leaving Neverland, Wade Robson and James Safechuck, are continuing to pursue civil sexual assault claims against the estate.
Meanwhile, the Jackson estate has been extraordinarily successful at monetizing the singer’s legacy. Jackson died with $500 million in debt, but the estate has since generated more than $3 billion with catalog deals and new live shows exploiting the King of Pop’s intellectual property.
The estate’s latest endeavor is Michael, a long-developed biopic tracing Jackson’s rise to stardom. After years of setbacks and delays, Michael finally has a release date of April 24, 2026.
The movie’s first teaser trailer dropped on Thursday (Nov. 6) with scenes of Jackson’s real-life nephew, Jaafar Jackson, recording and performing Michael’s record-smashing 1982 album Thriller. The teaser does not allude to any of the abuse claims against Jackson.
Trending on Billboard Ella Langley’s “Choosin’ Texas” is making waves on the Country Airplay chart, Sombr’s “Back to Friends” hit No. 12 on the Hot 100 — but can the two songs break into the top 10 of the Hot 100? Can Olivia Dean’s “Man I Need” head into the top three of the chart? […]
