Vicki Wickham, the pioneering British television producer, music executive and artist manager who worked on the television series Ready, Steady, Go!, died Aug. 1 in New York City following an extended illness. She was 87.
Wickham played a defining role in promoting the acts behind the British beat explosion. As talent booker and later producer of ITV’s Ready, Steady, Go!, a live pop performance show, from 1963 to 1966, she helped introduce a generation of artists – including The Beatles, The Rolling Stones, The Who, The Kinks, The Yardbirds and Cilla Black – to millions of viewers at home.
The Beatles appeared on Ready, Steady, Go! three times in 1963 and 1964 as Beatlemania spread around the globe, while Wickham was pivotal in showcasing Motown to British audiences. Wickham booked The Supremes, Stevie Wonder, Marvin Gaye, Smokey Robinson & the Miracles and The Temptations, among others, for the programme.
Wickham also produced an hour-long live television special devoted to James Brown. She later brought in performers such as Ike & Tina Turner, Otis Redding, Sam & Dave, Patti LaBelle and Berry Gordy for subsequent specials.
Quoted in Andy Neill’s 2020 book, Ready, Steady, Go!: The Weekend Starts Here, Gordy recalled: “The wonderful Vicki Wickham had convinced her boss to do a one-hour TV special. The Sound of Motown was a big moment for us because it brought our music and our artists to the U.K.’s national television audience for the first time. We will always remember and appreciate the love and the loyalty of the British people and the part Ready, Steady, Go! played in our success around the world.”
Born in Newbury, Berkshire, England, Wickham began her career at London publisher Cassell & Co. before joining BBC Radio’s Light Entertainment Department, where she worked on audio documentaries. A chance introduction to producer Elkan Allan led to her involvement with Ready, Steady, Go! just as the first wave of British pop music was starting to take off.
She went on to manage Labelle and Dusty Springfield, guiding the latter’s career through the late 1980s and bringing Springfield together with Pet Shop Boys for the 1987 hit “What Have I Done to Deserve This?”. Wickham later co-authored Springfield’s biography, Dancing With Demons, with Penny Valentine.
Wickham received the Music Industry Woman of the Year Lifetime Achievement Award in 1999, and in 2013 was appointed an Officer of the Order of the British Empire (OBE) for services to music, receiving the honour from then-Prince Charles.
Wickham is survived by her wife, singer-songwriter Nona Hendryx. The couple first met in the 1960s when Hendryx performed with Labelle and married in 2011. Private family gatherings will be held in New York City and London, with a larger public celebration of Wickham’s life to be announced at a later date.
Ariana Grande kicked off her Eternal Sunshine Tour nearly two months ago — and boy, a lot has changed since.
She’s famously tweaked a key lyric in “Thank U, Next” (changing: “wrote some songs about Ricky/ now I listen and laugh” to: “wrote some songs about Ricky/ we always find our way back”) to reflect their alleged rekindled relationship; she released her eighth studio album, petal, adding songs from the project into her setlist; and, most recently, a rep announced Grande’s upcoming break from the public, including recasting her role in the West End revival of Sunday in the Park with George.
As a result of so much change, The Eternal Sunshine Tour has become this ever-evolving, real-time commentary on Grande’s life straight from the source. And at a time when so many have so much to say about her — with social media aflame over everything from her actions to her appearance — Grande did something refreshing. She commented on that, too.
On Sunday (Aug. 3), a representative for Grande shared with People: “Ariana will be taking a step back from visibility after she completes the Eternal Sunshine Tour. She looks forward to finishing the tour and ending it on a high note, both healthily and happily, and then taking a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny. This tour has been a beautiful experience for her. She loves her fans and has loved every minute of this tour so much.”
Grande confirmed the last bit herself, beginning Act II of her set with a near five-minute speech. “Is it okay if I talk to you guys for a little bit?” she asked instead of diving right into “eternal sunshine” as per usual. “First of all, I just want to say I love you so much and I’m so happy to be here with you. There’s nowhere else I’d rather be.”
Then, in a rare move for anyone let alone a pop star at her level, she shared thoughts she had typed down in direct response to the comments and headlines about her that had reached a boiling point over the last 24 hours. And yes, of course, some will surely find fault with what she shared — or didn’t. But the placement of this speech within the set was entirely intentional. Once she was down with what she had to say, she immediately created an echo chamber via pedal loop of her own voice repeating in harmony: “I don’t care what people say is true.”
And during her first Chicago show, that sentiment stayed top of mind; Grande very well may care what people say, but when it comes to the truth, she is the only one who can discern that for herself.
From her speech to the live debut of petal songs added to the setlist, read below for all that changed in Grande’s first show since the album — and the headlines — dropped last weekend.
Live Nation Entertainment is building its first venue in São Paulo, partnering with Brazilian urban development group Cidade Center Norte on a 21,000-capacity arena slated to open in 2028.
The project will be developed through a Live Nation-led joint venture with Cidade Center Norte, and will sit within the company’s planned urban living district in the city’s North Zone.
Live Nation says São Paulo Arena will be Brazil’s first purpose-built, world-class arena and the largest indoor live entertainment venue in South America. Construction is expected to begin in the second half of 2026.
The economics are substantial. According to projections from Oxford Economics cited by Live Nation, the arena is expected to generate roughly US$159.9 million in direct attendee spending and more than US$311.2 million in total annual economic impact across Brazil by its fifth year of operation, while supporting approximately 1,800 jobs annually. Once operational, the venue is projected to host more than 200 concerts and sporting events a year and draw over 2 million attendees annually.
“São Paulo deserves an arena that reflects the energy, passion and cultural influence of one of the world’s great cities,” Live Nation president/CEO Michael Rapino said in a statement. “São Paulo Arena will be the new home for Brazilian and international artists and the fans who make this city one of the most exciting live entertainment markets.”
Cidade Center Norte CEO Flavio Fernandes called the venue “a dream project coming to life,” framing it as an extension of the company’s commitment to the city’s North Zone alongside its existing malls, exhibition space, hospitality, residential and commercial holdings.
The arena is being designed by Blueprint Studio, Live Nation’s in-house design and development arm, whose credits include Austin’s Moody Center and New York’s Barclays Center. Plans call for three seating levels, a dedicated VIP suite tier, climate control and acoustics engineered to limit noise impact on surrounding neighborhoods, plus a 2,000-space parking garage, rideshare and taxi zones and direct links to major roadways and public transit.
The investment deepens Live Nation’s already significant Brazilian footprint. The company promotes tours in the market for artists including Madonna, Coldplay, Bruno Mars, Shakira and The Weeknd, alongside Brazilian acts such as Caetano Veloso, Maria Bethânia and Djavan. It also holds a majority stake in Rock World, the Brazilian company behind Rock in Rio and The Town and the producer of Lollapalooza Brasil.
Ariana Grande addressed her decision to step back from public life directly to fans during her Eternal Sunshine Tour stop in Chicago on Monday night (Aug. 3), pushing back on the idea that outside criticism had driven the choice.
The speech followed a statement issued by a representative for Grande on Sunday (Aug. 2), first reported by People, confirming she will take a break from public-facing work once the tour wraps Sept. 1 — and that she has withdrawn from a planned West End revival of Stephen Sondheim’s Sunday in the Park With George, in which she was set to star opposite her Wicked co-star Jonathan Bailey.
Onstage, Grande told the crowd she wanted to speak for herself. “Sometimes when a story comes out that’s not directly from me, things can get a little blown out of proportion,” she said. “So I just wanted to speak to my fans directly tonight because I love you so much.”
She was explicit that the decision predated the recent commentary. “The announcement that was made yesterday was not a reactive or impulsive thing,” she said. “It is something that I had decided. It’s a plan that I had quietly made a long time ago, and it’s a decision that was made from a thoughtful and empowered place.”
Grande also directly countered the suggestion that negativity had soured her experience. “I heard that my fans were worried that negativity was ruining things for me, but I just have to say that could not be more the f–k opposite,” she said. “Nothing has been ruined. Multiple things can be true at the same time. Boundaries can need to be set. Human beings can need a break sometimes. And also, this can be and will continue to be the greatest experience of my professional and creative life.”
She closed by framing the tour and her new album as the parts she intends to keep. “The rest of that s–t is not mine to carry, so I don’t carry it,” she said, calling the run “the most healing, beautiful, corrective, magnificent, special experience of my life, and so has putting out Petal.”
The remarks land days after Petal arrived July 31. The album’s lead single, “Hate That I Made You Love Me,” debuted at No. 1 on the Billboard Hot 100 — her 10th career leader, tying her for the 10th-most No. 1s in the chart’s history. Its title track followed as the second single, arriving with a short-film music video in which Grande takes a chainsaw to critics echoing real-world commentary about her appearance.
Grande has three more Chicago dates before a 10-show London run closes the tour between Aug. 15 and Sept. 1. She next appears on screen in Focker-in-Law, opening Nov. 25.
Without even mentioning it by name, BTS sparked a major debate about the new best Asian pop music performance category at the 2027 Grammys with their bombshell decision last week not to submit music from their latest album, ARIRANG, for next year’s awards show.
On the new Billboard Pop Shop Podcast, Katie & Keith take a closer look at that decision and at the category, and what it will look like without BTS in it.
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We also discuss Madonna’s new “Love Sensation” remix with Kylie Minogue, which the pair previewed with a WorldPride Amsterdam 2026 performance over the weekend before the song’s arrival later this week. Plus: Ariana Grande’s rep announced over the weekend that the pop star/actress plans to step back following the end of her Eternal Sunshine Tour, after Friday’s release of her latest album, Petal. Listen to our full conversation below:
Also on the show, we’ve got chart news on how Morgan Wallen’s I’m the Problem is back at No. 1 on the Billboard 200 albums chart for the first time in nearly seventh months. Plus, Charli xcx’s new Music, Fashion, Film debuts in the top three, and on the Billboard Hot 100, the entire top five are country songs for the first time ever, as Wallen’s new single “Been by Now” debuts in the top five, joining four other country carryovers.
The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)
Billboard gives an inside look at Lollapalooza 2026 in Chicago with highlight performances from Zara Larsson, Tate McRae, JENNIE, Aespa and CORTIS.
Aespa
Hi, we’re Aespa
Stella Lefty
I’m Stella Lefty.
CORTIS
What’s good, everybody? This is CORTIS and
Juicy J
Juicy J.
Tetris Kelly
We hung out with some of the hottest stars at Lollapalooza, and from burning hot sets and views right beside stage to the hottest after parties. Day one at Lala, we kick things off being “Lawless” with SB19.
SB19
It’s the first time that we ever performed that song, and we just released that like a few hours ago. So when I was performing earlier, like my mind went blank. Just had to move, you know. It’s it’s Lollapalooza, and there are lots of people watching, so had to move lawlessly.
Tetris Kelly
Then the always iconic Patron Hacienda had a surprise performance by Lil Sims. Night one was definitely all about the parties. We got Flavor Flav with Public Enemy at Soho House. An electric set with YUNGBLUD at Riviera Theater. Slayyyter made Chicago “Dance at Salt Shift. And AirBnb gave us the best summer night by blessing us with Zara Larsson at the big theater. Day two, we spent the morning swinging by CORTIS at House of Blues. Before chatting with artist Whitney Whitney about losing her voice and her journey to Lolla.
Whitney Whitney
The process was the worst thing I’ve ever been through. Like losing the thing that meant the most to me, heartbreaking. Like it really was terrible. But the fact that the timing and like the universe let me sing last week, and now my set is today, I don’t know. Someone’s working in my favor, and I am very excited.
Watch the full video above!
Joe Jackson‘s life is set to be spotlit in a new documentary series from BLK Prime, with son Marlon Jackson helping narrate and develop the program.
Per a post made by The Jacksons on Instagram, the series will be titled The Manager, The Mythology, The Legend, and it’s anticipated to be an inside look into the man who guided the Jackson family’s rise from Gary, Indiana, to global superstardom. The season is set to be eight episodes.
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In a statement shared with Page Six, Marlon said the series aims to present a more personal portrait of his father.
“Our father’s life is replete with triumphs and challenges, and we firmly believe that this series will offer a distinctive and accurate portrayal of the man behind our family,” he said. “We are thrilled to share my father’s indelible legacy with fans worldwide, granting them an intimate glimpse into the remarkable individual we knew and loved.”
The docuseries is expected to explore Joe Jackson’s early life, his ambition, personal struggles and the role he played in building one of music’s most successful family dynasties. Promotional information also indicates that the series will revisit the Jackson 5’s relationship with Motown, the pressures surrounding the family’s atomic rise and the bonds that molded their journey.
Joe Jackson managed the careers of Jackie, Tito, Jermaine, Marlon and Michael Jackson as the Jackson 5 emerged as one of Motown’s biggest acts, later helping launch daughter Janet Jackson‘s early entertainment career as well.
The announcement comes as revived attention has been placed on Joe Jackson’s complicated legacy following the release of the Michael Jackson biopic Michael. While widely recognized for helping shape the careers of his children, Joe also faced longstanding allegations of physical and emotional abuse from several members of the family. He acknowledged using strict discipline while denying many of the accusations made against him.
BLK Prime says the new series will offer viewers a closer look at Joe Jackson’s life from the perspective of those who knew him personally. No premiere date has been announced, though the streaming platform says more details about production and casting will be revealed in the coming months.
Hopefully ARMY likes surprises, because BTS is bringing new ones to its fan base every night.
It’s been four years since BTS’ last performances as a group, and fans have been left hungry. Now that the band has hit the road with their ARIRANG World Tour, supporting their Billboard 200 No. 1 album ARIRANG, they’re making sure that fans are fed.
Since kicking off the tour April 9 at Goyang Stadium in Goyang-si, South Korea, BTS has performed surprise songs during every show’s encore. The band’s already-packed setlist features 16 songs during the main performance and seven encore tracks, two of which change nightly. The surprise songs run the gamut of BTS’ career, ranging from Billboard Hot 100 hits like “Take Two” to 10-year-old singles like “I NEED U.” The band has even performed a few tracks it has not played in almost a decade, including “Crystal Snow,” on the ARIRANG World Tour.
Fans are of course ecstatic about the possibility of hearing a BTS track performed live for the first time. Some online have even begun keeping track of every surprise song the band has played and which they have yet to.
Below, Billboard, with the help of setlist.fm, has compiled a list of all the surprise songs BTS has brought to the ARIRANG World Tour thus far. As BTS continue on their 85-date, 34-city world tour, Billboard will continue to update this list with each new surprise track the band plays.
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