The NFL star spoke about his big day for the first time during the Kansas City Chiefs' training camp

Travis Kelce and Taylor Swift attend the 2026 iHeartRadio Music Awards on March 26, 2026

Travis Kelce has shared his first comments about his wedding to Taylor Swift.

“It was a fun off-season. The wedding was the best night of my life,” the NFL star said when asked about his off-season during a media event at the Kansas City Chiefs’ training camp. “I appreciate everyone who came out and celebrated and had fun with us .. It was a crazy night. It was full of a lot of celebration,” he added.

The wedding, held on July 3 at Madison Square Garden, was a star-studded event with nearly 1,000 guests of A-list celebrities and athletes. Music icons Paul McCartney and Stevie Nicks attended, and performed, at the wedding while Adam Sandler officiated the ceremony. The guest list was so stacked, it even included some confusingg attendees.

Kelce also spoke about the significance of holding the big blowout wedding at New York’s esteemed venue. “I always told myself I’d go for a playoff game when the Knicks were rocking. My wife went when I was stuck in mini-camp so I didn’t my opportunity to go then,” the tight end admitted, referring to Swift’s appearance at Game 4 of the NBA Finals.

“It’s kinda cool to be able to live out my childhood dream of being in that venue, the mecca of all sports venues, being able to get married there,” Kelce added. He made a point to thank “the owners of MSG” for letting the power couple hold their nuptials at the venue, “knowing we wanted a private event and everything,” he added, confirming the main motivation behind the much-discussed venue choice was privacy.

Voletta Wallace and Faith Evans at the screening of A&E's “Biggie: The Life of Notorious B.I.G.”

One of the Notorious B.I.G.’s former managers has won a legal battle against the late rapper’s widow, R&B singer Faith Evans, in the first of two lawsuits over proceeds from the sale of a stake in Biggie’s music catalog and management of his intellectual property assets.

A Delaware Chancery Court judge has sided with manager Wayne Barrow in a new ruling, finding that Evans had no right to withhold payments owed to a trust established by Voletta Wallace, the late mother of the music icon born Christopher Wallace. Barrow is the sole trustee of the trust and executor of Voletta’s estate.

After Voletta died in February 2025 at age 78, Evans rejected the trust’s request for payment, even though she and Voletta co-owned Notorious B.I.G. LLC, the company that controlled Biggie’s music catalog and likeness before it entered into a 50-50 partnership with Primary Wave in a landmark deal signed in March 2025.

Under the company’s operating agreement, Voletta and Evans each transferred half of their rights to company distributions to Biggie’s children, Ty’anna Wallace and Christopher Jordan “CJ” Wallace. That left Voletta, Evans, Ty’anna, and CJ each entitled to 25 percent of the company’s payouts.

The judge’s new ruling means Barrow, as trustee of Voletta’s trust, is entitled to receive her 25 percent share of distributions from the Primary Wave deal. According to court documents, the trust’s interest in the LLC will ultimately be distributed to the Christopher Wallace Memorial Foundation, the community nonprofit that Barrow helps lead as a board member.

In her new ruling obtained by Rolling Stone, the judge said Evans appeared to have been angered by Voletta’s decision, just weeks before her death, to amend her trust and remove CJ as a co-trustee. CJ is the son of Evans and Biggie.

“Presumably angered by the affront to her son, the defendant-widow took the position that the LLC agreement prohibited the transfer of membership units to the trust and refused to make distributions to the trust,” Chancellor Kathaleen St. J. McCormick wrote. She said that after reviewing the company’s operating agreement, she determined Voletta’s trustee was entitled to “any and all rights and obligations held by Ms. Wallace under the [company] agreement.”

A separate lawsuit filed by CJ in Pennsylvania challenges Barrow’s underlying authority as trustee and executor of Voletta’s estate. It alleges Barrow improperly influenced Voletta to place him in those roles shortly before her death. That case, filed on Feb. 20, 2026, remains pending.

“Wayne is feeling vindicated. We obtained a total victory in a dispute that never should have happened,” Barrow’s lawyer Jay W. Freiberg tells Rolling Stone, referring to Judge McCormick’s Aug. 7 opinion. “Wayne goes back with the family for decades, and Mama Wallace wanted Wayne to steward the legacy of the Notorious B.I.G. after she was gone, and he now will be able to do that. He knows it’s a very important task, and he’s looking forward to fulfilling Mama Wallace’s wishes in that regard.”

Freiberg and his co-counsel, Yelena Rapoport, declined to comment on the Pennsylvania-based lawsuit, saying it was still “in the early stages.” They did, however, accuse CJ of filing the Pennsylvania complaint to put the Delaware LLC dispute on hold. “That gambit failed,” Freiberg said.

Lawyers and representatives for Evans and CJ did not immediately respond to requests for comment on Monday.

In her 16-page ruling, Judge McCormick quoted from Biggie’s 1997 song, “Ten Crack Commandments,” which was included on his posthumously released album, Life After Death.

“Christopher Wallace presciently cautioned: ‘Keep your family and business completely separated,’” she wrote. “After Wallace’s tragic death, however, his mother and widow did exactly the opposite — forming Notorious B.I.G., LLC under Delaware law to manage the late rapper’s intellectual property. This litigation was perhaps the inevitable result.”

When Barrow initially sued Evans in July 2025, he said it was Voletta who negotiated and approved the “transformative deal” with Primary Wave that closed in March 2025, shortly after her death. According to The Wall Street Journal, the deal valued Biggie’s personal estate at $200 million.

Even before the Primary Wave deal was announced, interest in Biggie’s music remained steady for decades. Greatest Hits, a compilation released a decade after his murder in 1997, has now spent 401 weeks on the Billboard album chart.

As AI-generated music becomes harder to separate from the human-made variety, Spotify is taking aim at the trend.

The streaming giant announced Tuesday that it will begin rolling out an AI persona badge in mid-September, identifying artist profiles who appear to be generated by AI. The label will show up on artist pages, in search results and alongside tracks in playlists, giving listeners a clearer indication of who, or what, is supposedly behind the music.

This first step is mostly to give listeners control over what they listen to. An AI-generated song is one thing, but discovering that the artist attached to it does not actually exist as presented can make the entire listening experience feel deceptive.

Artists will be able to voluntarily identify themselves as AI Personas through the Spotify for Artists portal. Spotify will also conduct its own reviews, first focusing on profiles that have reached certain audience thresholds. If the platform determines that an artists' profiles appear to be 'photorealistic AI-generated identities', it can apply the badge itself. Artists will then have the opportunity to disclose their status or appeal the decision.

The notable thing, though, is that the badge does not indicate that a song was made with AI. It specifically concerns the identity being presented as the artist. Spotify already has AI Credits for creators who want to disclose how artificial intelligence was used during the making of their music.

The good news, however, is that by default, Spotify says AI Personas will be excluded from its editorial and algorithmic recommendations. They can still be found and streamed, particularly by listeners who actively follow them, but they will not receive the same automatic push toward new audiences.

Travis Barker

Travis Barker‘s near-death experience in a plane crash in 2008 is at the center of the trailer for upcoming documentary, Travis Barker: Louder Than Fear. Co-directed by Justin Krook and Michael Dwyer, the film reflects on the Blink-182 drummer’s life and career, including how he battled “pain, grief and the thin line between survival and surrender.”

Louder Than Fear debuted at the Tribeca Festival in New York earlier this year and will arrive on Hulu and Disney+ on Aug. 13. It features appearances from late Foo Fighters drummer Taylor Hawkins, Barker’s bandmates Mark Hoppus and Tom DeLonge, and Barker’s wife, Kourtney Kardashian.

In the clip, Barker recalls becoming hooked on painkillers due to the non-stop touring schedule. “I was taking so many pills that I had a security guard whose only job was to watch me sleep and make sure I was breathing,” he says.

Barker’s assistant Chris ‘Lil Chris’ Baker and bodyguard Charles “Che” Still were killed in the plane crash, along with the pilot and co-pilot. Barker and Adam “DJ AM” Goldstein survived, however Goldstein died a year later from an accidental drug overdose.

“Che and Chris were like brothers to me,” Barker says in the trailer. “And then AM passing away a year later… why am I here, when everyone else isn’t? I had to ask myself who I was gonna be after this accident.”

On Monday, Barker appeared on the podcast On Purpose With Jay Shetty to discuss the documentary. He told host Jay Shetty that he knew something wasn’t right on the day of the crash. “All the signs were there,” he said. “Where now, older me would just say, ‘I’m not going to get on the plane.'”

He said that his daughter, Alabama Barker, also seemed to have a premonition. “When I leave and I say bye to Bama, she also calls it,” he recalled. “She’s young at the time, she’s three or four years old, she’s bawling. She doesn’t usually do that. She’s like, ‘The roof is gonna come off! The roof’s gonna come off!’ I’m like, ‘What’s she talking about?’”

Twenty years ago, Crisis helped cement Canada as one of the world's greatest producers of heavy music and Alexisonfire quickly became darlings of the screamo scene. To celebrate, the group is bringing the album back to Toronto for a special anniversary weekend, beginning with an exclusive pop-up at the Dine Alone Store.

The official Crisis pop-up will take place Friday, August 14, from 11 a.m. to 3 p.m., or until the merchandise sells out, at Dine Alone Store at 864 Eastern Avenue. The event will feature exclusive anniversary, just hours before Alexisonfire take the stage at RBC Amphitheatre for the first of two sold-out celebrations.

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Released in the summer of 2006, Crisis became a defining record for Alexisonfire and one of the band's biggest commercial successes. It debuted at No. 1 in Canada and eventually went platinum, while songs including "This Could Be Anywhere in the World" and "Boiled Frogs" helped expand the band's audience well beyond the post-hardcore scene.

The anniversary shows will see Alexisonfire perform the album from front to back before moving into a career-spanning set, with Underoath and Vancouver's Concrete Vehicles supporting both nights. The group has also recently confirmed that a new album has been completed, though a release date has not been set.

The Weeknd spent a lot of time last year saying that Hurry Up Tomorrow, his latest album, would be his last under that moniker.

The Toronto singer developed a brand of pop that turned him into one of the biggest artists on the planet, but felt that The Weeknd's persona had run its course. The idea wasn't to stop making music altogether, but to eventually leave The Weeknd behind and move forward under his legal name, Abel Tesfaye, particularly as his ambitions expanded into acting, film and other creative projects.

It now look like he's reconsidered. During a recent concert in Sweden, Tesfaye admitted that he had actually tested what retirement might feel like, and he didn't enjoy it. "I'll never disappear. I love this too much to ever disappear. I tested retirement a little bit, and I don't like the way it feels. Imma be here forever with you," he told the crowd.

That's a significant shift from the thinking surrounding Hurry Up Tomorrow, which he had previously described as potentially marking the end of The Weeknd's story arc. Tesfaye had reached a point where he felt there was little left to prove with the character. After years of albums exploring its excesses, addictions, loneliness and emotional damage, he wondered whether continuing to play the role would simply mean repeating himself.

That uncertainty was amplified after he lost his voice during a performance at SoFi Stadium a few years back. At the time, Tesfaye interpreted the experience almost as a warning that it might be time to walk away while he was still at the top. Thankfully, he's changed his mind.

The artist is currently in the midst of his world tour, which wraps up in Kuala Lumpur next november.