Lauren Bennett has died at age 37, but her musical legacy will forever be cemented on the Billboard charts.
The singer scored hits across numerous chapters in her career, starting with her time in the Paradiso Girls. The group assembled by Pussycat Dolls founder Robin Antin debuted in 2009 with thesingle “Patron Tequila” featuring Eve and Lil’ Jon, which peaked at No. 3 on the Dance Club Songs chart and No. 27 on Rhythmic Airplay. The following year, “Who’s My Bitch?” would reach No. 28 on Dance Club Songs.
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After Interscope dropped the Paradiso Girls in 2010, Bennett continued finding success as a soloist. Most notably, she guested on LMFAO’s inescapable earworm “Party Rock Anthem,” which spent six weeks at No. 1 on the Billboard Hot 100 in 2011 — at that point becoming the third-longest-running hit on the chart’s summit ever — and closed out the year as No. 2 overall on the Hot 100. The track also topped Pop Airplay and reached No. 6 on Latin Airplay.
To date, “Party Rock Anthem” has 1 billion official on-demand streams and has sold 8.3 million copies in the U.S., according to Luminate. As of 2021, it was No. 7 on the Greatest of All Time Hot 100 Songs ranking.
Also as a soloist, Bennett scored a No. 21 entry on the now-defunct Dance Club chart in 2016 with her guest feature on Nick Martin’s “Reality.” But before that, she’d joined the group G.R.L. and appeared with her bandmates on Pitbull’s “Wild Wild Love,” which peaked at No. 15 on Pop Airplay and No. 30 on the Hot 100 in 2014. The quintet also reached No. 32 on Adult Pop Songs with “Ugly Heart.”
The musician’s death was announced by the surviving members of G.R.L. on Monday (July 6). In a post on Instagram, they wrote, “It is with great sadness that we share the passing of our beloved Lauren.”
“Our hearts are broken, and we cannot begin to express how much she meant to us,” they continued, refraining from sharing Bennett’s cause of death. “We will forever cherish the love, laughter, and countless memories she gave us. Her beautiful spirit touched so many lives, and she will be deeply missed and forever loved.”
G.R.L. previously lost a member when Simone Battle died by suicide in 2014, shortly after which the group disbanded. Bennett is survived by her 6-year-old daughter, whom she shared with Kenny Wormald.
Madonna wants everyone to get up and dance, and that includes some of Hollywood’s biggest celebs.
In a new clip posted Monday (July 6), the pop icon took fans behind the scenes of her Confessions II short film, showing off how she got stars like Gwendoline Christie, Odessa A’zion and more to bust a groove on set to her new song “Danceteria.”
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“This is a trip down memory lane,” Madge says at the beginning of the video before it cuts to a series of historic photos of Danceteria, the long-closed New York City nightclub after which she named one of the songs on her new album, Confessions II. The venue hosted countless wild nights in the early and mid-80s, which the hitmaker paid homage to in the “Danceteria” sequence of her film that dropped in June.
In the new clip, Madonna and her crew re-create the club’s vibes with a busy bathroom scene, in which she bumps into the Marty Supreme actress, who spills her drink, and gets caught hooking up with a guy in a stall by the Game of Thrones alum. “I’ve waited my whole life to do this,” Christie tells the BTS camera excitedly.
“I enjoyed your dancing, you were fabulous,” Christie tells Benedict Cumberbatch, who also appears in the Confessions II extended visual.
Before filming his flirtatious dance-floor rendezvous with the Queen of Pop, she hypes him up. “Are you ready to dance?” she asks, to which the British actor says, “Oh, yeah.”
Other big names in the sequence include Kate Moss, Honey Dijon and Shygirl, while Sabrina Carpenter, Julia Garner and more appear in other scenes of the Confessions II film. The long-awaited follow-up to 2005’s Confessions on a Dance Floor dropped Friday, marking Madonna’s first LP since 2019’s Billboard 200 topper Madame X.
Watch Madonna shoot the “Danceteria” portion as well as the full album film below.
You can’t talk about West Coast dance music history without talking about Doc Martin.
Born Martin Mendoza in San Francisco, the artist started his career spinning on vinyl, helping define the early ’90s rave scene in Los Angeles when he relocated to the city. Here, he was not only a scene stalwart alongside SoCal comrades like DJ Dan and Marques Wyatt, but a sort of archivist, putting the house, acid house, techno and other underground sounds he was hearing and playing onto wax, cassette and later CD and digital with the launch of his label, Sublevel.
30 years later, the imprint is still running strong, as is Martin himself. Talking to Billboard over Zoom from his place in Oceanside, Calif., Martin is on the verge of a summer run that included the Om Records Retreat, a campout celebrating three decades of the San Francisco label, this past weekend. He’ll play an all-vinyl set at Flash in Washington D.C. on July 11, dip back to SoCal for the Love Long Beach Festival 2026 the following weekend, then head north for British Columbia’s beloved Shambhala before crossing the Atlantic for the U.K.’s Houghton Festival.
He says promised himself long ago that if he ever lost his enthusiasm for this peripatetic lifestyle and the music he shares with it, he’d quit. Speaking to him now, there’s certainly no indication his enthusiasm is waning. Here, he talks about raving in the ’90s, opening for Deee-lite and his recently deceased friend, DJ Dan.
1. Where are you in the world right now, and what is the setting like?
I’m in Oceanside, California, and it’s 70 degrees year round, and by the beach — less than two miles away from the water.
2. What is the first album or piece of music you bought for yourself, and what was the medium?
Oh boy, that’s a tough one. It’d probably be a 7″ record. It would have been in the ’70s, so I would say maybe “Boogie Oogie Oogie” by A Taste Of Honey.
3. Where did your parents do for a living when you were a kid, and what do, or did, they think of what you do for a living now?
Good one. My mom was a hairdresser for Vidal Sassoon and Paul Mitchell, she taught at his school and also sang backups for a couple of local bands like Paul Revere & The Raiders in San Francisco. My dad was an upholsterer, unfortunately he’s passed, but my mom, up until five years ago, was still in that mode of “When are you going to get a real job?” Now she kind of sees the light, finally, after 35 years.
4. What is the first non-gear thing you bought for yourself when you started making money as an artist?
Probably a car. It was when the Lexus first came out, and I got a GS 300. Then after that I just went to Toyotas. I realized it wasn’t worth spending a lot of money on.
5. If you had to recommend one album for someone looking to get into electronic music, what album would you give them?
I would say the first Future Sound Of London record, [1992’s Accelerator.]
6. What’s the last song you listened to?
I think the last album was The English Beat’s Live at US Festival ’82 & ’83. I listen to tons of promos every day, but my friend Harry Romero did a remix of “House of God” by DHS, and that was probably the last thing I really got into. People like Harry Romero and Maceo Plex, they make these bootlegs, and they’re just for us to play. There’s like three or four people that have them, which kind of sucks for everybody else, but great for us.
7. What gigs on your summer schedule are you most looking forward to?
I’m going to England for all of August, and the Houghton Festival is one for sure that I’m looking forward to. It’s my fourth time, and always extremely great, and going to Berlin again for Heideglühen, which is a great club, and also doing Notting Hill Carnival in London and doing Shambhala in Canada. There’s been a lot of good things this year. I can’t really complain. San Francisco is always a treat as well.
8. There’s so much lore about the Los Angeles dance scene in the ’90s. What was it really like?
The underground was really renegade in a lot of ways. There were a lot of warehouse parties because of the vast warehouse district at that time, and I think a lot of warehouse owners really need to make some extra money, so there was a huge underground as far as locally grown spaces. A lot of acts from England would come. In early ’86 I was still in San Francisco and booking people like Inner City, Liz Torres, D Mob, and it was just a crazy time.
The clubs in L.A. were great as well, because you had what was known as the Brat Pack, and all these celebrities mixing with people. The first gig I ever did in Los Angeles, I turned around [and] Nicholas Cage, Charlie Sheen and James Spader were in the booth with me. And there were a vast majority of different people and styles, and that’s kind of what made L.A. really pop in the ’90s. You would have gothic people, people dressed like rockabilly next to punks, normal college kids. That made things really interesting.
9. Was it as fun and epic as everyone paints it out to be?
It was in a lot of ways, because it was done by people like us, using our own money. It wasn’t done by any corporate entities at all. When people would do theme parties, they would actually make the props themselves. There was a lot of love and effort put into it, and that made things really special. You would go out and it would be opening and closing night at the time time, so you didn’t want to miss anything.
10. When did you feel things start to change?
I would say in the mid-to-late ’90s. 1990 to ’94 was a really good run. I think people saw there was money to be made off this, and investors started coming in. We were doing shows at places like The Palladium, which is a big club [in Los Angeles] that holds like 2,500 people — which wasn’t a bad thing, but there were corporate entities getting involved. We did a party for 10,000 people in downtown L.A. for a movie called Strange Days, and Deee-Lite performed live, Aphex Twin DJ’d, I DJ’d, which was great, because I became Deee-Lite’s tour DJ after that show.
11. What was it like being Deee-Lite’s tour DJ?
It was amazing for me, because we got along extremely well and were on the same wavelength. I also got to see the whole United States from a tour bus, which was never going to happen any other way. It was just a really good growing experience for me as a DJ, coming out of the L.A. scene and being able to see the entire country and also Canada… That gig was kind of like a baptism by fire, because I was with a lot of heavyweights of that time and just got thrown into the middle of it, and in the middle of the lineup as well. I didn’t open, so it was just kind of like, “Okay, here we are.”
12. What did you learn from the experience?
What a great sound system can do for a crowd. I think that was the first time I played on a sound system with that level of prestige, and I was just a little kid in a candy store. I was so excited and happy. I wouldn’t have cared if there was two people dancing or the 1,500 that were there. It was incredible for me.
13. You’ve been doing this for a long time. To what do you attribute your longevity?
I told myself that if I ever lost the vigor or got complacent, I would just give up, because it really isn’t fair to the crowd that pays to see you. I’m still a music fanatic. I listen to music three hours every day. I’m surrounded by it, immersed in it. People are like, “What are your hobbies?” I’m like, “Well, this is it.”
14. What does music do for you, that you’ve devoted your life to it?
I just love the way it makes other people feel when you’re playing certain songs you believe in and are championing, and there’s that connection between you and the crowd. It’s like the most addictive drug.
15. What do you think the biggest problem currently facing dance music is?
There’s a lot of saturation right now, and a lot of people going the social media route, as opposed to maybe spending more time in the studio. Maybe not every record you make needs to come out in the current state it’s in. I will put stuff away for six months and come back to it and finish it. I just did a remix that took me almost a year and a half.
We’re on a very quick timeline. Things are in for one minute, out for the next. People are constantly looking for the next big thing. There’s very little cultivation of music or artist development at the labels. It’s really hard. A label will sign someone with a million followers instead of the person who’s super talented with a thousands followers. With our label, I tend to go the other way — because in the end it’s going to be about music that sticks, and the person with a million followers, in most cases their records probably won’t stick.
16. If you weren’t a DJ and producer, what would you do for work?
Before music I was training to be a chef and working in some very high-volume restaurants. I found it very stressful, to be honest. Especially the higher-end restaurants, four and five stars. Everything has to be perfect, and everyone has a complaint about every dish, and it was a lot of being yelled at by the head chef constantly and doing 200 dishes a shift. It was insane to me. When this [music career] happened, having always been obsessed with music — not so much DJing, but having record collections and buying everything from reggae to underground new wave to early hip-hop — it was just a natural fit. Thank God it worked out.
17. What’s the best business decision you’ve made in your career?
I have a label, Sublevel, and I have a night, and we have a clothing line as well. The best decision was probably to start doing my monthly parties in L.A., and at different venues every month, bringing in unsung heroes. We’ve had Craig Richards, we’ve had Josh Wink, we brought the Secretsundaze guys from England… I kind of took myself out of the international DJ circuit [for awhile] by doing that, but I helped cultivate a different kind of scene here in Los Angeles, which was great. I’d just moved back from England where I’d been a resident at Fabric, and the music I heard there wasn’t getting played over here, and I really thought that was a shame. There was so much great music coming out of Berlin, London, Japan, and it just wasn’t getting played.
I was like, “Let me do an experiment and try to put a night on that focuses on all this stuff, along with American music that wasn’t getting played in America.” It really caught on. I think when you go somewhere and you’re welcomed and they have food, candy, free water and coffee and people are like “Don’t drive home like that” — putting that kind of caring into events makes a difference in people feeling like they’re a part of something.
18. The West Coast scene lost a legend this year when DJ Dan died this past March. Did you know him?
I did, actually. The last year and a half we were really close in a lot of ways. We’d talk for hours on the phone, and as I was getting my stuff more in order with my label — my press and things like that — I was trying to help him as well, because I felt like he was in a spot where he didn’t want to be anymore. He wanted to elevate. I was like, “You have the reputation, and you have the following, you just need a few tweaks here and there.” We would talk for hours about this and exchange ideas. I’d go to his house and hang out. We were confidantes.
19. I’m very sorry that your friend died. Do you want to tell a great Dan story?
The last festival we did together was in Alaska, in the middle of nowhere, and we shared a house. It was probably one of the more fun weekends we’d both had in a very long time. We just sat on the couch most days and talked for hours and exchanged stories and memories of each other… It was a very special time for us, and that bonding needed to happen, because for years we didn’t see each other. We were on different tour schedules while I was really focused on Europe and New York and other places.
It was good to get back into each other’s, I would say, good graces, because we hadn’t seen each other. We hadn’t talked, we hadn’t been there. It was a good time to come together again, especially at that point in our careers.
20. What’s one piece of advice you’d give to your younger self?
Try to block out the noise a lot more, and just stay focused. Advice I give to other DJs is to always have your personality shine through your music. Don’t hide who you are for anybody.
President Donald Trump’s fandom of Nicki Minaj has seemingly grown by the day. Trump shouted out Minaj while speaking at the Rose Garden Club Lunch, which was attended by the Queens native on Monday afternoon (July 6).
“We also have a woman that is so respected and so hot and so great and a great friend of — I don’t say conservative — I say common sense,” he said.
Trump continued to rave about the rapper: “She’s a fantastic person and she’s a woman that’s respected by everybody. And she’s got real talent, Nicki Minaj. Nicki, stand up, please. Such a great person and respected by everybody.”
Minaj drew a round of applause from those attending the luncheon, as she basked in the president’s praise while wearing a pink dress.
Nicki Minaj posted a photo with Donald Trump from the Oval Office. “Whoa!!!! #WhiteHouseBarbie with her favorite President of all time,” she wrote.
The public love affair between Minaj and Trump has blossomed over the course of the last year since the Young Money rhymer made the MAGA pivot. She’s repeatedly gushed about Trump and the president’s administration on social media.
Minaj and Trump met in January, when she spoke at a Trump Accounts Summit and labeled herself as the “president’s No. 1 fan.”
“I am probably the president’s No. 1 fan,” Minaj said. “And that’s not going to change. What people have to say, it does not affect me at all. It actually motivates me to support him more. And it’s going to motivate all of us to support him more.”
She continued: “We’re not going to let them get away with bullying him. And you know, the smear campaigns. It’s not going to work. He has a lot of force behind him and God is protecting him.”
More recently, Minaj wished the president a happy birthday on X after Donald Trump turned 80 years old in June. “Happy 80th birthday Mr. President,” Minaj wrote alongside a series of AI-generated images.
Minaj has remained quiet on the music side in 2026. Throughout her decorated career, the rapper’s scored 149 entries on the Billboard Hot 100 and boasts three No. 1 albums atop the Billboard 200.
Watch the full speech below. Talk about Nicki Minaj takes place just shy of 27 minutes.
Liam Gallagher has responded to Harry Kane losing his voice singing Oasis’ “Wonderwall” following England’s epic FIFA World Cup win against Mexico on Sunday night (July 6).
The Three Lions saw off Mexico at the legendary Estadio Azteca in Mexico City in a 3-2 thriller in one of the most thrilling games of the tournament. Jude Bellingham scored twice in quick succession in the first half to put the visitors in front, with the team’s captain Kane extending the scoreline with a second-half penalty. England’s Jarell Quansah was later sent off with a red card for a rash challenge, leaving England a man down for the rest of the game as Mexico scored two goals to ensure a nail-biting finale.
Following the final whistle, the England squad sang Oasis’ “Wonderwall” in front of the supporters who had made the trip to the iconic Mexico City stadium. At the 2026 tournament, it has become a tradition for the England fans and players to share a singalong of the 1995 Britpop classic, having done so following matches against Croatia, Ghana, Panama and DR Congo.
However Kane was left with little to no voice following the rendition, with the captain struggling through an interview with BBC Sport saying that “I’ve just been singing there. I can’t really talk.”
Following the interview broadcast, Oasis frontman Liam Gallagher wrote on X, “It’s hard work that singing Harry Kane cmon ENGLAND cmon WONDERWALL.”
Another England player came away from the singalong wounded, with Brentford midfielder Jordan Henderson seriously injuring his wrist after falling over advertising boards on his way back from the Oasis-coded celebration with fans. He had to be stretchered off by medical staff.
England will play Norway in the quarter final round of the tournament on Saturday (July 11) in Miami.
Kylie Minogue is popular enough in her home country to spark a genuine political controversy — just ask Australian Prime Minister Anthony Albanese, who issued a public apology Monday (July 6) after nominating Minogue for all three categories in a “shag, marry, date” game on a comedy podcast.
Albanese appeared on the Bush Deep podcast with comedian Nikki Osborne in an interview released last week that also covered his dog and gifts from world leaders.
When Osborne pushed Albanese — married to Jodie Haydon for six months — into placing Minogue, Nicole Kidman and Rhonda Burchmore into the categories, he initially resisted before landing on Minogue for the sweep.
“Kylie, clearly,” he said, before confirming: “all of the above… She’s terrific.” Osborne also asked whether Albanese and his wife were “bonking like rabbits,” to which he replied: “Well, when we have time. After the footy. It’s always a good aphrodisiac, a Souths win.”
The comments drew criticism over the weekend from politicians across the aisle, including independent MP Zali Steggall, who told The Australian it was “entirely inappropriate for the prime minister to participate in such a game” and that he should have “push[ed] back, le[d] by example and call[ed] it out as sexist.” Liberal shadow minister Sarah Henderson called the remarks “disrespectful to women, embarrassing to Australians, and demean the office of Prime Minister,” while Liberal frontbencher Andrew Bragg said they were “beneath his office.”
Albanese’s office responded Monday morning with a one-line statement: “I apologise unequivocally for the comments.” Labor minister Tanya Plibersek defended him without having heard the interview, telling Channel Seven that being “a fan of Kylie Minogue… puts him in a group with millions of other Australians, including me.”
Acting PM Richard Marles noted the podcast format was simply “different” from Albanese’s usual media appearances, pointing to the government’s gender-equality record in cabinet and caucus representation.
Minogue remains one of the most enduring artists in Billboard chart history. She first hit the Hot 100 in 1988 with “The Loco-Motion” (No. 3, 27 weeks on the chart) and returned to the top 10 in 2002 with “Can’t Get You Out of My Head” (No. 7, 20 weeks), the lead single from Fever, which peaked at No. 3 on the Billboard 200 — her career-best chart placement.
She has logged 11 total titles on the Billboard 200, including 2010’s Aphrodite (No. 19), and 18 entries on Billboard’s Hot Dance/Electronic Songs chart, among them “Dance Alone” with Sia (No. 8). Her 2023 comeback single “Padam Padam” peaked at No. 7 on Hot Dance/Electronic Songs and became the first track to win the Grammy for Best Pop Dance Recording; it also reached No. 32 on Pop Airplay, her first appearance on that chart in nearly two decades. She is also set to headline the AFL Grand Final in September.
Dizzee Rascal is returning to Australia and New Zealand this November and December for the We Want Bass tour, joined by U.K. dance act Example, rapper Arrdee and Perth DJ Swaglord Savannah across seven shows.
The tour opens at Perth HPC on Nov. 26 and moves through Brisbane, Adelaide, Melbourne, Sydney and Byron Bay before closing at Auckland’s Shed 10 on Dec. 8. Support lineups vary by city: Perth, Brisbane, Melbourne and Sydney get the full four-artist bill, while Adelaide and Auckland feature only Arrdee, and Byron Bay features only Swaglord Savannah. Mastercard and Live Nation presales run July 8-9, with general tickets on sale July 9 at 1 p.m. local time via livenation.com.au and livenation.co.nz.
Born Dylan Mills, Dizzee Rascal remains one of the most influential artists to emerge from London’s grime scene. His 2003 debut Boy in da Corner won the Mercury Prize, making him the youngest winner in the award’s history at 19 and the second rapper to take the prize after Ms. Dynamite the year before. The album is widely regarded as one of grime’s foundational texts.
His commercial peak came with 2009’s Tongue n’ Cheek, which produced four consecutive U.K. No. 1 singles — “Dance Wiv Me” with Calvin Harris, “Bonkers” with Armand Van Helden, “Holiday” and “Dirtee Disco” — and was certified double platinum. His 2010 collaboration with Shakira, “Loca,” topped charts across Europe and peaked at No. 32 on the Billboard Hot 100. He was appointed MBE in 2020 for services to music.
Example has built a near two-decade career as one of the U.K.’s most consistent rap-dance crossover acts. Arrdee broke through via his verse on Russ Millions and Tion Wayne’s U.K. No. 1 “Body Remix,” before his debut mixtape Pier Pressure reached No. 2 on the Official Albums Chart and No. 1 on the U.K. Streaming Chart.
Dizzee Rascal — We Want Bass Tour: Australia & New Zealand 2026
Nov. 26 — Perth — HPC (with Example, Arrdee, Swaglord Savannah)
Nov. 28 — Brisbane — Eatons Hill Outdoors (with Example, Arrdee, Swaglord Savannah)
Dec. 1 — Adelaide — Hindley Street Music Hall (with Arrdee)
Dec. 4 — Melbourne — Royal Botanic Gardens (with Example, Arrdee, Swaglord Savannah)
Dec. 5 — Sydney — On The Steps at Sydney Opera House Forecourt (with Example, Arrdee, Swaglord Savannah)
Dec. 6 — Byron Bay — Beach Hotel (with Swaglord Savannah)
Dec. 8 — Auckland — Shed 10 (with Arrdee)
JENNIE headlined the final night of Open’er Festival in Gdynia, Poland on Friday (July 4), delivering a 17-track set that included three unreleased songs and a clear signal that new music is imminent.
The BLACKPINK member performed “Lock It Down” — a dance-pop track about a “secret love affair” first previewed at Governors Ball last month — “Heaven,” an emotionally-charged song about heartbreak, and “Less Than A Lover,” a dreamy ballad she described as inspired by summer.
“It’s a song I wrote thinking about summer,” she told the crowd. “It feels really special to share new music with so many people. I really can’t wait to share this new music with you soon.”
The set drew heavily from her 2025 debut solo album Ruby, alongside her collaboration with Tame Impala, “Dracula,” and her collaboration with The Weeknd, “One of the Girls.” There were no BLACKPINK songs during the hour-long performance.
JENNIE has been on one of the most sustained chart runs of any K-pop solo artist in Billboard history. Her Tame Impala collaboration “Dracula” — originally released as a Tame Impala solo track last October before a duet version arrived in early February — has become one of 2026’s most dominant radio hits, reaching No. 1 on Billboard’s Pop Airplay chart dated July 11, a first for both artists.
The song has also peaked at No. 10 on the Billboard Hot 100, where it has held for 37 consecutive weeks as of mid-June. Ruby debuted at No. 7 on the Billboard 200 and produced five Hot 100 entries, making her the first female K-pop solo artist to place three songs on the chart simultaneously. She has logged six total Hot 100 entries as a soloist, the most of any female K-pop solo act. Ruby has surpassed 3 billion Spotify streams.
Open’er Festival’s fourth and final day also featured performances from Addison Rae, PinkPantheress and Jade, with headline sets across the weekend from Calvin Harris, Florence and the Machine, The Cure and Nick Cave and the Bad Seeds.
Sharon Osbourne has marked what would have been her 46th wedding anniversary with Ozzy Osbourne, sharing a tribute to the late rock legend on Instagram on Friday (July 4).
Alongside a close-up photo of the couple holding hands, Sharon wrote: “Today would have been our 46th wedding anniversary. Instead, it is a celebration of a love that even death could not diminish. I miss your hand in mine, but I carry your love with me every step of the way. Forever my husband. Forever my heart.”
Ozzy died on July 22, 2025, at the age of 76, following a public battle with Parkinson’s disease. His passing came just 17 days after he headlined a massive farewell concert, “Back to the Beginning,” at Villa Park in his hometown of Birmingham alongside Black Sabbath. The couple married in Hawaii on July 4, 1982, and remained together — through well-documented highs and lows, including a brief separation in 2016 — for 43 years until his death. They renewed their vows in 2017, and together they raised three children: Aimee, Kelly and Jack.
Ozzy’s passing triggered a significant posthumous surge on the Billboard charts. “Crazy Train” — his signature 1980 solo track from Blizzard of Ozz — hit the Billboard Hot 100 for the first time in its history, debuting at No. 46 with 9.2 million streams in the tracking week ending July 24, 2025.
“Mama, I’m Coming Home” re-entered the Hot 100 at No. 49, its first appearance on the chart in 33 years. His compilation The Essential Ozzy Osbourne surged to No. 7 on the Billboard 200 — a new peak from its original No. 81 — and hit No. 1 on the Top Rock & Alternative Albums, Top Rock Albums and Top Hard Rock Albums charts simultaneously. The top seven positions on the Hot Hard Rock Songs chart were held entirely by Osbourne and Black Sabbath tracks.
Across a career spanning more than five decades as both frontman of Black Sabbath and as a solo artist, Osbourne sold more than 100 million albums worldwide, claimed nine solo top 10 entries on the Billboard 200 — including at least one in every decade from the 1980s through the 2020s — and scored two top 10 Hot 100 hits: “Close My Eyes Forever” with Lita Ford (No. 8, 1989) and “Take What You Want” with Post Malone and Travis Scott (No. 8, 2019). Black Sabbath’s reunion album 13 gave the band their first-ever Billboard 200 No. 1 in 2013.
Dolly Parton has a very specific thank-you request for newlyweds Taylor Swift and Travis Kelce.
After the couple donated $2 million to Parton’s Imagination Library ahead of their wedding, the country icon shared a video message thanking Swift and Kelce for the gift — before jokingly asking whether she could have their first child.
“Taylor and Travis, it’s Dolly,” Parton said in the video. “I was just told that you two are making a donation of $2 million to my Imagination Library. Thank you, thank you, thank you. I’m blown away and overjoyed with that gratitude.”
“Now it’s evident that you two have made giving back a key part of your lives,” Parton continued. “So hey, when you have your firstborn, can I have it? Because that is gonna be one special baby.”
Parton also highlighted the mission of the Dollywood Foundation, saying it is “to dream more, care more, learn more, and be more,” and added that the organization would continue that mission “in even bigger ways now” with the couple’s donation.
“So thank you and know that I will always love you,” she said, briefly singing a line from her 1974 classic “I Will Always Love You.”
The donation was part of a broader philanthropic effort from Swift and Kelce surrounding their wedding. The couple donated $26 million to charities across the country, including organizations in New York City, Rhode Island and Kansas City, as well as national groups including Parton’s Imagination Library, Feeding America and the ASPCA.
Swift and Kelce tied the knot Friday (July 3) at Madison Square Garden in New York City. The couple announced their engagement in August 2025 after two years of dating.
Swift’s rep confirmed the happy news in a press release, revealing that the pop superstar and football player wore outfits designed by Christian Dior Haute Couture. The couple did not have traditional bridesmaids or groomsmen, but Swift’s brother Austin was her man of honor, while Jason Kelce was Travis’ best man, the release revealed. Actor-comedian Adam Sandler officiated the nuptials.