Billboard News

An Avicii wax figure was unveiled at the Las Vegas location of Madame Tussauds Wax Museum on Thursday (May 14).

The figure finds the producer in a way he’s best remembered by many: behind the decks wearing a flannel button-down shirt and backward baseball cap, right hand raised and a big smile on his face.

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An Avicii wax figure also debuted at the New York location of Madame Tussauds in 2019. In Las Vegas, the figure wears a different flannel button-down than in New York, swapping black-and-white for blue, red and black. (A representative for Madame Tussauds did not immediately respond to Billboard‘s request for comment on whether the New York figure is the same one that’s now in Las Vegas.)

See photos of the figure in its Las Vegas location below.

The Avicii figure is being unveiled in Las Vegas just ahead of EDC Las Vegas, which will draw upward of 200,000 dance music fans to the city for the three-day festival and the many adjacent parties happening on the Las Vegas Strip.

“Avicii truly embodies everything that the Las Vegas nightlife scene is known for,” Madame Tussauds Las Vegas GM Gabriel Hewitt says in a press release. “His new figure is a perfect fit for our location, and we can’t wait for guests to come see it.” This press release continues by saying that “The electric dance music icon’s figure will give guests the opportunity to relive Avicii’s stand out performances and pay tribute to his life.”

The New York figure was originally made in a collaboration between Madame Tussauds and the parents of the late artist. This past April 20 marked the eight-year anniversary of the producer’s death by suicide.

Clarence Carter, the blues and soul musician and singer/songwriter with the raspy, emotional vocals whose hits included the sentimental “Patches” and the salacious “Strokin,’” has died at age 90.

Carter’s death was confirmed by Bill Carpenter, a spokesman for his former wife and fellow singer, Candi Staton. Carter died Wednesday of natural causes, according to Carpenter.

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Carter, a self-taught guitarist who was born blind in Montgomery, Alabama, and majored in music at Alabama State College, had his biggest hit in 1970 with “Patches,” a plaintive tale about a poor country boy who must become a man and run his family’s farm after his father dies that peaked at No. 4 on the Billboard Hot 100. His 1970 Patches album was also his highest-charting on the Billboard 200, peaking at No. 44.

But he specialized in exuberantly raunchy songs like “Strokin’,” a funky, talking ode to sex (“Have you ever made love just before breakfast?” he asks) that was too explicit for commercial radio but became a standard on nightclub jukeboxes and was featured in Eddie Murphy’s 1996 remake of The Nutty Professor.

Another favorite was “Making Love on the Dark End of the Street,” in which Carter narrates a long, cheerful account of how humans and other creatures will go to extremes in the pursuit of passion. His other songs about illicit love included “Slip Away,” a No. 6 Hot 100 hit in 1968, and “Back Door Santa.”

On his bluesy “The Road of Love,” Carter was backed by Duane Allman, then a little-known rocker and session musician who went on to cofound The Allman Brothers Band and make memorable contributions to records by Eric Clapton and Wilson Pickett among others. His hard-hitting “Tell Daddy” was the basis for an Etta James standard, “Tell Mama.”

Carter recorded some of his biggest hits at Fame Studios in Muscle Shoals, Alabama, where Pickett, Aretha Franklin and other soul greats recorded. In later years, he recorded for the now-defunct Ichiban Records and his own Cee Gee Entertainment.

Carter and Staton were married briefly the 1970s before they divorced. They had a son, Clarence Carter Jr.

In a 2012 interview with The Montgomery Advertiser, the elder Carter said, “I don’t know how much longer I’m going to be going, but I’m going to keep going until something tells me it’s time to quit or Old Man Death comes to run me down.”

–Additional reporting by Katie Atkinson

Madonna’s guerrilla marketing campaign for Confessions II continues, as an album track list has now been announced via posters that were plastered across major cities on Thursday (May 14).

The posters — which echo the album’s cover art — are the latest in the ongoing street marketing blitz for the project that began in mid-April. Since then, posters have appeared in major cities globally, teasing the album’s release date (July 3), title, visuals and cover art.

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On the new posters (of which Madonna’s official fan account MadonnaHQ reshared fan-snapped photos), 12 song titles are listed, divided into “Side 1” and “Side 2” with a notation of “33 1/3 RPM” — seemingly a nod to a vinyl album. Currently, there are two options of Confessions II available for preorder in a variety of configurations and variants – one with 12 tracks and one with 16 tracks.

Among the tracks revealed are the set’s lead single “Bring Your Love,” with Sabrina Carpenter, as well as “I Feel So Free,” which was the first song released from the project. Both tracks populate Billboard’s May 16-dated charts, including a Billboard Hot 100 debut for “Bring Your Love.”

Also among the announced tracks is “Danceteria,” which is titled after the famed former New York nightclub from the early 1980s that Madonna frequented pre-stardom and was pivotal in the launch of her career with Sire Records in 1982.

Confessions II is the sequel to Madonna’s 2005 Confessions on a Dance Floor album, which topped the Billboard 200 chart and went on to win the Grammy for best electronic/dance album. For Confessions II, Madonna reunited with her Confessions on a Dance Floor collaborator, writer/producer/DJ Stuart Price.

Also Thursday, Madonna was announced as a headliner for the 2026 World Cup final halftime show alongside Shakira and BTS, with the game taking place July 19, two weeks after her album’s July 3 release.

Here’s the track list that appears on the new poster:

Side 1
I Feel So Free
Good for the Soul
One Step Away
Bring Your Love
Danceteria
Read My Lips

Side 2
Everything
Love Without Words
Bizarre
School
Fragile
My Sins Are My Savior

Britney Spears is speaking out against reports that the pop star behaved in a concerning manner at a restaurant recently, calling them “ridiculous” and part of a larger “attack” on her character.

In a statement shared with Billboard on Thursday (May 14), her spokesperson denied that Spears had done anything but enjoy “a quiet dinner with her assistant and bodyguard” on the night of the alleged incident. “She was simply telling the story about how her dog was barking at the neighbors,” they said. “At no point did she put anyone in danger with a knife.”

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“She was cutting her hamburger in half,” the rep continued. “This constant attack on everything that she does and this is exactly what happened 20 years ago when the media tried to depict Britney as a bad person. This is ridiculous and it needs to stop now.”

The response comes after a person on X claimed Wednesday (May 13) that they’d been seated that evening next to the hitmaker at a restaurant, writing that “one diner feared for her life” because of Spears’ alleged behavior. “An INSANE dining experience,” the person added in the post, which made the rounds on social media. “This is not a joke…”

The following day, TMZ reported that Spears had allegedly started “screaming” and “barking” while out to eat at Blue Dog Tavern in Sherman Oaks, Calif., adding that one witness had claimed the singer walked past their table with a knife in hand.

Spears is currently in the process of moving forward after her arrest for suspicion of a DUI in Ventura County, Calif., in March, shortly after which she checked herself into a treatment facility. A few weeks prior to the restaurant reports, she took a plea deal and was sentenced to a year of probation, having accepted guilt for a misdemeanor charge known as a “wet reckless” — something less severe than the more serious charge of driving under the influence of drugs and alcohol.

At the time, her attorney, Michael Goldstein, said that Spears’ guilty plea shows she “has accepted responsibility for her conduct.”

“She has taken significant steps to implement positive change which is clearly reflected in the Ventura County District Attorney’s decision to reduce the charge in this case and dismiss the DUI,” he continued. “Britney appreciates this discretion and is also grateful for the outpouring of support she has received.”

DJ charity soccer tournament Copa Del Rave has been a fixture in Los Angeles since it launched in 2019. Now, the tournament is activating in a big way for the 2026 FIFA World Cup that starts in June.

In conjunction with the tournament — being played in 16 cities throughout the United States, Mexico and Canada — Copa Del Rave will set up in Los Angeles nightclubs Academy and Exchange L.A. for a residency of match viewing parties.

Each event will feature DJs, labels and party brands representing the countries playing in that day’s match, with Claude VonStroke repping Team USA, Reggaeton Rave, Gasolina and Bolo’s Vibraza Records locking in for Mexico and Blaq Pages and Afrobeats To The World repping the African diaspora. The dancefloors will be going off both before and after each game. See the full lineup below.

These events are free with RSVP, with VIP tables also available for a fee. Secure your spot and see the complete event schedule here.

Copa del Rave has raised more than $75,000 for various charities since 2019. Proceeds from this year’s event will go to Common Goal, an organization that creates greater access for kids to play soccer.

“Copa del Rave has always been a huge labor of love, and we’re grateful for everyone’s support over the years,” Copa del Rave co-founders Alastair Duncan and Jonathan McDonald tell Billboard in a joint statement. “For the stars to align, and us to be able to platform global dance music and DJ culture, and support a good cause alongside the world’s biggest sporting event here in LA, was a dream opportunity. Massive thanks to all the DJs and partners, and to the venue team at Academy, for helping bring the Residency to life. It’s going to be a really fun few weeks.”

Meanwhile, stars from all genres are getting in the game for World Cup festivities, with Madonna, Shakira and BTS announced as headliners for the FIFA World Cup Hafltime show happening at MetLife Stadium on July 19. This will mark the first time the World Cup has ever featured a halftime show.

Geoff Emerick was just a teenager in June 1962, employed as an apprentice sound engineer at EMI Studios (later renamed Abbey Road), when a then-little-known English rock band recorded a demo in the studio.

John Lennon, Paul McCartney, George Harrison and drummer Pete Best laid down four tracks that day — “Bésame Mucho,” “Love Me Do,” “PS, I Love You,” and “Ask Me Why” — on a magnetic recording tape, which was then shuttled over to record producer George Martin at EMI’s headquarters on Manchester Square.

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You know the rest: After ditching Best for Ringo Starr, The Beatles broke out with “Love Me Do,” launched Beatlemania, and became the most famous band of all time. Emerick rose with them, serving as chief engineer on iconic records like Abbey Road and becoming what Variety once called the “behind-the-scenes brains that helped shape the Beatles sound.”

But here’s what you probably don’t know: Emerick held onto that demo tape, which had been sent to a nearby squash court where “tapes went to die.” He kept it in his possession for decades, all the way until his 2018 death, when it was discovered among his things. And now, six decades after it was first recorded, Universal Music Group (UMG) wants it back.

In a legal battle quietly raging in Los Angeles court, both the music giant and Emerick’s estate are asking a judge to rule them the rightful owner of the tape, which UMG has called the “first known Beatles recording.” The estate’s lawyers say it was essentially thrown away, and that only Emerick saved it from destruction. UMG’s attorneys say it was always company property — and that it wasn’t his to save.

“At issue in this action,” the company’s lawyers wrote in recent court filings, “is a highly valuable artifact of rock and roll history that was stolen.”

——————–

Emerick was only 16 when he applied for a job at Abbey Road, apparently at the suggestion of a school guidance counselor. When he got the position, it came with a robust salary of about $8 a week: “Any disappointment I had in the low wages was more than offset by my elation at landing the position,” he recalled in his 2006 memoir. “At long last, I was in.”

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For Beatles obsessives and audio junkies, the rest of Emerick’s career is well-known. He worked for several years under Norman Smith, the lead engineer on the Beatles’ early albums up until Rubber Soul. He then took over the top job in 1966 at Martin’s request, starting with the technologically innovative Revolver: “It was implanted when we started Revolver that every instrument should sound unlike itself,” Emerick once reportedly said.

For most of the band’s remaining years, Emerick was at the helm with Martin in the booth, perhaps most notably on the psychedelic, sound-effect-laden Sgt. Pepper’s Lonely Hearts Club Band, for which he later won a Grammy. The notable exceptions were the White Album, which he quit mid-recording session over the tortuous process of creating “Ob-La-Di, Ob-La-Da,” and the subsequent Let It Be. But he later returned for the band’s final session that yielded Abbey Road, then spent decades working with McCartney and other stars, including Elvis Costello and Supertramp.

“Geoff Emerick allowed the Beatles to break rules at Abbey Road, and to develop their penchant for new ways to record,” Bob Spitz, the author of The Beatles: The Biography, tells Billboard. “He also was the Beatles’ age. He was one of them as opposed to one of the suits, and that made him an important figure. He related to the band, and they trusted him.”

When Emerick passed away suddenly of a heart attack in 2018 at the age of 72, Martin’s son called him one of the “finest and most innovative engineers to have graced a recording studio.” McCartney himself eulogized him as someone who had been “always open to the many new ideas that we threw at him” during the later Beatles albums: “I’ll always remember him with great fondness, and I know his work will be long remembered by connoisseurs of sound.”

Because he died without a will, spouse or children, Emerick’s case was sent to probate court — a legal process designed to sort out the affairs of people without clear estate planning (the same thing that befell Prince‘s estate after his 2016 death). A Los Angeles judge eventually named a group of Emerick’s cousins as his heirs and appointed an administrator, Maya Rubin, to figure out what they’d inherit.

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While searching through his Laurel Canyon house, Rubin and others came upon that 1962 demo. “The master tape is significant as an artifact of early Beatles recordings,” she wrote in a 2019 court filing. “[It] was recorded in June 1962 and features the Beatles’ original drummer, Peter Best, rather than Ringo Starr.”

UUMG, which had acquired EMI in 2012, quickly found out about it. In their own court filings, the label’s lawyers said the company had been alerted to the tape’s existence when it was listed online for sale to “the highest bidder” just weeks after Emerick’s death. The company said it had reached out and “demanded its return,” apparently unsuccessfully.

The tape was no small find. While it’s hard to exactly confirm the claim that it’s the first known Beatles recording — earlier recordings exist of McCartney-Lennon-Harrison as The Quarrymen, as do copies of the famed Decca audition — it’s certainly a cultural talisman of the highest order. The June 6 session was their first at Abbey Road and plays a key part in the historiography of the period just before the Beatles became world-famous.

“When you have a band that’s as big as The Beatles, every little snippet that they made is historic and something to be treasured,” says Spitz.

With ownership of that object disputed, both sides filed formal petitions in probate court, asking the judge to confirm them as the owner. And so the battle was on.

——————-

It seems Emerick wasn’t actually present at the now-fateful June 1962 session. In his memoir, he recounts his first run-in with the Beatles as taking place at a later 1962 recording session that featured Starr, not Best, on the drums. The estate says in court filings that Emerick was “not at the test recording session”; UMG says he was “employed at EMI during the recording.”

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But both sides agree that he was there two years later, in 1964, when fellow EMI engineer Ken Scott alerted him about the existence of the Beatles demo tape. Scott noticed that the tape had been left in a nearby squash court — a spot located across the street from Abbey Road that EMI had started using in the mid-1950s to store old tapes. So Emerick went to the squash court, found the tape, and took it.

That’s where the agreement stops. In its legal filings, Emerick’s estate argues the court was essentially a garbage dump — a place where “tapes went to die” — and that by sending it there, EMI had legally abandoned ownership of it. The estate says Scott had been specifically sent there to “dispose of such discarded tapes in the rubbish,” but that he instead “put them aside and told Emerick.”

The estate says Emerick aimed only to “rescue” the tape from destruction, and that it “would not exist today” if not for him: “[UMG] intentionally abandoned ownership of the master tape and box by sending them across the street to the squash court to be discarded with similarly abandoned property.”

UMG sees things differently. It says the squash court was still company-controlled property, and that a tape sent there was not abandoned but merely “no longer a work in progress.” Ken Townsend, another legendary Abbey Road engineer, gave a sworn statement that it had been strictly against the rules to remove tapes from the court: “If you were employed by a company, you didn’t steal their goods,” he said.

UMG’s lawyers argue the old tapes were not free for the taking, regardless of whether they were marked for destruction. “It is obvious that when a recording artist or studio discards an unwanted recording, he or she does not actually mean to ‘abandon’ it to the public domain,” they write. “A novelist who throws away pages from a handwritten first draft of a story cannot possibly intend that a trash-picker can acquire ownership of the draft and publish it himself.”

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The case gets more complicated from there. The estate also argues UMG’s claim to the tape is barred by the statute of limitations, which it says lapsed six years after the tape left the studio. UMG says that’s not true — that Emerick fraudulently took the demo and then lied about it, including when directly asked about it as EMI was assembling materials for the 1990s Beatles Anthology albums.

The final disputed issue involves paperwork. The estate argues UMG cannot show a “chain of title” that proves it is even the rightful legal successor to Abbey Road, and thus lacks standing to demand the return of the tape in the first place. UMG, meanwhile, says that issue was settled long ago and is obviously incorrect.

After a key court hearing earlier this month, the two sides are now finally headed for a showdown. First, they’ll submit briefs to the judge on key issues in the case, then head to trial early next year if the dispute is still not resolved.

In a statement to Billboard, the estate’s lead attorney, Kenneth D. Freundlich, says Emerick preserved an artifact that had been “destined for destruction” and had never hidden it from anyone over the subsequent decades. He says UMG is now, years later, unfairly asking a court to “brand one of the most respected recording engineers in music history a thief.”

“The corporation that was throwing this tape in the garbage in 1964 does not get to rewrite history 60 years later,” Freundlich says. “Geoff Emerick saved this piece of music history, and Ms. Rubin’s obligation is to gather and protect the property of Mr. Emerick’s estate, and she will vigorously resist any effort to besmirch his reputation or diminish his legacy.”

A spokesman for UMG declined to comment on the dispute.

——————–

The unspoken question hanging over the case is what each side intends to do with the tape. Does the estate plan to sell it off and split the money among Emerick’s heirs? Does UMG plan to release these decades-old recordings to a fandom eager for any unheard Beatles material?

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On that one, the answer doesn’t actually seem to depend on the outcome of the case. In court filings, the estate explicitly acknowledges that it has no rights to the music itself and that UMG owns the copyrights to the songs. Freundlich says the estate has already handed over digital copies to UMG, meaning the label could theoretically release the songs without recovering the physical tape.

Neither side would comment on their plans if they win the case. But one thing is clear: That tape is worth a lot of money.

Back in 2015, The Beatles’ first-ever contract with manager Brian Epstein was sold at auction for more than $550,000. A few years prior, a handwritten sheet of lyrics to “A Day in the Life” sold for $1.2 million at Sotheby’s. The band’s instruments have repeatedly sold for far more than that.

The most direct comps are perhaps a bit lower. In 2016, a 10-inch acetate record from 1962, the first known Beatles disc to be cut, sold at auction for $110,000. But Elvis Presley’s first recording, a 1953 acetate, went for $300,000 in 2015.

For Beatles experts like Spitz, regardless of the actual price, such a find is “invaluable” from a historical perspective. “It’s like finding another original copy of the Constitution,” he says with a laugh. “It’s like the Shroud of Turin.”

“It’s a part of Beatles history,” Spitz continues. “And that Beatles history is one of the most valuable parts of rock and roll history.”

As part of our continuing efforts to serve the music industry and its creators, Billboard Pro now features a music industry events calendar for readers.

The calendar will act as music’s most complete summary major national and international industry events, from conferences to festivals to networking mixers and more. Just as Billboard is music’s must-read source for news, charts and analysis, now it also is the go-to for business happenings.

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May 2026

June 2026

July 2026

August 2026

September 2026

October 2026

November 2026

December 2026

January 2027

February 2027

March 2027

April 2027

March 2028

Want your event listed? For more information contact [email protected].

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Bluey, everyone’s favorite Blue Heeler, and her fellow canine companions just received the Funko Pop treatment.

Collectible manufacturer Funko is launching a collection of Bluey toys for fans both old and young. The line of figurines includes all the usual suspects from Bluey to her little sister Bingo, down to some of the more niche characters.

The vinyl toys are available for preorder on Funko’s website, as well as on Amazon. The estimated shipping time frame, according to both sites, is mid-July to early August. Pricing ranges from $6.99 to $39.99, with most pieces retailing for $14.99.

ShopBillboard has picked out a few favorites from the new family-friendly Funko drop that you can shop below.

POP Jumbo: Bluey

$39.99

Preorder on funko

$14.99

Preorder on Amazon

Bluey is a lovable Blue Heeler, otherwise known as an Australian Cattle Dog. The cartoon character made her debut on television in 2018 via ABC Kids in Australia.

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Priced at $39.99, this sweet Aussie doggy has been crafted out of durable vinyl and stands at 10 inches. The jumbo toy is a collector’s piece meant to sit proudly on a shelf in its colorful box; however, it’s also ready for play whenever the mood strikes.

Mystery Mini Bluey Pack

$6.99

preorder on funko

Similar to a blind box, you can purchase a mystery packet featuring one mini Bluey character out of 12. Test your luck to snag your favorite.

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If you’re a lover of blind boxes, we’re willing to bet that you or your kids might like these Bluey-themed mystery boxes. These little packets come equipped with one random tiny toy out of 12 that you could receive.

These 12 statuettes depict key players in the show, Bluey and Bingo models, alongside more obscure, but still just as adorable, characters. Some of our favorites include Coco the poodle, Chloe the Dalmatian and Honey the beagle with blue spectacles. All of these collectibles can be seen striking fun poses, giving them a dynamic and whimsical feel. Hopefully, with each pack, you’ll score a new friend to play around with or put on your shelf.

POP Animation: Bluey – Bingo (Granny)

$14.99

preorder on funko

$14.99

preorder on amazon

When creativity takes over, Bluey and her younger sister Bingo love to play dress up. This Funko Pop reflects Bingo’s alter ego of sorts, Granny Rita.

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POP Animation: Bluey – Granny Janet

$14.99

Preorder on Funko

$14.99

Preorder on amazon

Just as creative as her younger sister, Bluey often dresses up as Granny Janet. Her granny persona comes with funky purple glasses and a bright red blanket wrapped around her body.

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“The Grannies,” Janet and Rita, are make-believe characters Bluey and Bingo conjured up while playing dress-up, one of their favorite pastimes. The two sisters’ playful game of pretend is translated into two figures with blankets draped over their heads and a few accessories donned to aid in the transformation.

Both figures retail for $14.99 and stand at roughly 3.1 inches tall. Bluey’s Granny Janet wears a red blanket tucked tightly around her doggy ears and purple glasses. Bingo’s Granny Rita look features a purple blanket and a polka-dot coin purse. If you do want both “Grannies,” Funko also offers a two-pack for $29.99.

“Wackadoo! Things are looking bright and Bluey over here at Funko! Together with our friends at BBC Studios, we could not be more excited to celebrate fans and families with this exciting new line,” said vp of licensing and business development Jason Bischoff in a statement from Funko. “Collectors of all ages will lose themselves in our robust, new line, featuring a wealth of Pops! inspired by the show’s most unforgettable moments.”

The TV series Bluey came to fruition in 2018 in Australia and has since become a major obsession for adults and little ones. This is likely due to the stories told on the show that are framed like life lessons. Yes, the show features comedy, but it is also a great teaching tool for kids. The cartoon emphasizes things like the values of parenting and being true to your emotions.

The music from the show is also a major draw. Bluey: Up Here (The Orchestral Album) recently debuted at No. 3 on Billboard’s Kid Albums chart dated May 2. This is the fourth time that the animated series and pop culture phenomenon’s music has charted. The monumental moment is all thanks to the show’s composer Joff Bush and The Bluey Music Team. Bush is behind a majority of the music seen on Bluey and has been on the team for the last nine years.