Although Lucky attempted to escape the scene, he had been fatally wounded from the hijacker's attempt to steal his motor vehicle, and he died almost instantly. Senseless and random, the death of Lucky Dube leaves a great void in the music industry, as 25 years of music suddenly ends in tragedy.

South African born but globally revered, Lucky Dube was one of the country’s most toured and beloved artists ever. His music touched millions around the world, primarily through his 22 recorded albums - in Zulu, English and even Afrikaans - many of which have been record breakers with phenomenal sales from around the globe.

"The whole continent has lost a performer, musician, a guy that fought for freedom in his own way, in his own right, was just shot by some guy who wanted to take his car, you know, which is Mickey Mouse really," he said.

Opposition parties and the youth wing of the ruling African National Congress party have called on the government to take drastic measures against crime.

Callers to radio stations have urged the country's rugby team to show some form of respect when they take to the field in Saturday's World Cup final against England in Paris.

President Thabo Mbeki is attending the final and took time to pay tribute to the dreadlocked reggae star before he jetted off to France.

"It's indeed very very sad that this happens to an outstanding South African, an outstanding musician - world renowned," he said.

Shocked callers jammed late night radio phone in shows to lambast the government for failing to tackle crime.

In a sign of what is certain to become a national issue, caller after caller accused government ministers and President Thabo Mbeki of abandoning the people.

Led Zeppelin, one of the few remaining holdouts in the digital music age, said Monday that it is finally releasing its catalog digitally. The only official announcement from the group's record label, Atlantic Records, which is owned by Warner Music Group (WMG), discussed how songs would be available through the V CAST music service of Verizon Wireless, the mobile phone service owned by Verizon (VZ) and Vodafone (VD).

But a spokesman for Warner Music Group confirmed to me Monday that other reports about Led Zeppelin's music becoming available on other major music stores on Nov. 13 were true. That means people will be able to download "Stairway to Heaven," "Kashmir" and other Zeppelin hits from Apple's (AAPL) iTunes, Napster (NAPS) and RealNetworks' (RNWK) Rhapsody for their MP3 players beginning next month.

This is big news for all the online music stores since Led Zeppelin, according to figures from the Recording Industry Association of America, is the fourth-biggest selling artist in U.S. history. Only The Beatles, Elvis Presley and Garth Brooks have sold more albums.

It's also good news for Warner Music Group since it opens up yet another way for the company to cash in on Zeppelin's back catalog. The big record labels may increasingly find that their livelihood will depend on nostalgia.

The sexy pop group has partnered with Victoria's Secret to sell the 15-track album exclusively through the lingerie giant's stores and Web site, PEOPLE has learned.

"They do great bras, and every girl wears a bra. And they should – at some point in their life. Unless they don’t need to wear one," Melanie "Scary Spice" Brown told PEOPLE Monday night. The CD, due Nov. 13, will not be available at traditional retail outlets but will be downloadable at various music sites including iTunes. (Fans can also pre-order hard copies of the CD at www.victoriassecret.com for 24 hours between midnight on Oct. 17 and 18.)

The album features 13 of the group's biggest hits, plus two new tracks: the album's first single "Headlines (Friendship Never Ends)" and "Voodoo."

Ben was handed her demo while visiting a recording studio in Las Vegas 3 years ago. After just one listen, Ben recalls it was "like the first time I heard Mariah." Calling her magical voice "one in a million," he knew Lisa had everything it takes to record a hit album. Fortunately for her growing fanbase, they will not have to wait much longer. Knowing the value of her fans, Lisa endeavored to respond to the more than 10,000 encouraging comments left on YouTube. The web page thought Lisa was a computer program and suspended her account. 48 hours later, she was back on YouTube after her fans started a petition to "Bring Lisa Back."

In Rainbows will be released as a digital download available only via the band's web site, Radiohead.com. There's no label or distribution partner to cut into the band's profits - but then there may not be any profits. Drop In Rainbows' 15 songs into the online checkout basket and a question mark pops up where the price would normally be. Click it, and the prompt "It's Up To You" appears. Click again and it refreshes with the words "It's Really Up To You" - and really, it is. It's the first major album whose price is determined by what individual consumers want to pay for it. And it's perfectly acceptable to pay nothing at all.

Radiohead's contract with EMI/Capitol expired after its last record, Hail to the Thief, was released in 2003; shortly before the band started writing new songs, singer Thom Yorke told TIME, "I like the people at our record company, but the time is at hand when you have to ask why anyone needs one. And, yes, it probably would give us some perverse pleasure to say 'F___ you' to this decaying business model." On Sunday night, guitarist Jonny Greenwood took to Radiohead's Dead Air Space blog and nonchalantly announced, "Hello everyone. Well, the new album is finished, and it's coming out in 10 days. We've called it In Rainbows. Love from us all."

Mr Chalmers also said that to date, most fans were pre-ordering the "discbox" and that very few fans were trying to download the album for next to nothing.

He said: "Although the idea is that you can decide what you want to pay, most people are deciding on a normal retail price with very few trying to buy it for a penny."

In Rainbows will be available to download from 10 October with the "discbox" version following on 3 December.

How smelly of a stink bomb is Radiohead's move, record industry-wise? The band is a powerhouse; though they're the most adventurous rock group working today, Radiohead manages to keep a supremely loyal fanbase, and their albums consistently sell well. Any label would have swooned for it -- though, as ever, only on terms unfair to the artists.

For every $1 song sold on iTunes, according to reports, Apple keeps about 30 cents, giving about 70 to the record label. But activists say artists typically get just 8 to 14 cents per song from the deal -- or about $0.80 to $1.40 per album sold digitally.

So that's the main test here; in order for the band to come out ahead, Radiohead needs to clear only more than a buck-50 per sale. Easy.

Jurors ordered Jammie Thomas, 30, to pay the six record companies that sued her $9,250 for each of 24 songs they focused on in the case. They had alleged she shared 1,702 songs online in violation of their copyrights.

Thomas and her attorney, Brian Toder, declined comment as they left the courthouse. Jurors also left without commenting.

"This does send a message, I hope, that downloading and distributing our recordings is not OK," said Richard Gabriel, the lead attorney for the music companies.

In the first such lawsuit to go to trial, six record companies accused Thomas of downloading the songs without permission and offering them online through a Kazaa file-sharing account. Thomas denied wrongdoing and testified that she didn't have a Kazaa account.

This is likely not the end of the case, according to Fred von Lohmann, a staff attorney with the Electronic Frontier Foundation, a group that advocates for Internet users. Late Thursday evening, von Lohmann said that he had heard from several copyright attorneys who had expressed interest in representing Thomas should she want to appeal the decision.

"There are a lot of copyright lawyers who would be interested in helping her if she wants to continue this," von Lohmann said. "I'd imagine that she doesn't want to pay $200,000. We'll see what she wants to do."

Long before his hit "Crank That (Soulja Boy)" topped Billboard charts and became a top-selling ringtone, the song reportedly helped him receive 10 million MySpace visits. And on YouTube, a myriad of fans have uploaded homemade video clips featuring their own versions of the song's accompanying dance steps. The track, now unavoidable on urban radio, centres on electro-pan drum plunks, a nearly indecipherable chanted chorus and lyrics mostly about how Soulja Boy enlivens the party.

Now his major-label debut "SouljaBoytellem.com" - an aptly titled nod to his Internet fame - is a largely self-produced collection of similarly rudimentary rhymes, infectious hooks and space-age, synth-heavy beats. Yet the disc is about as formulaic and ultimately disposable as hip-hop can get. He's got the requisite rump odes ("Booty Meat" and "Donk"), product placement jams ("Bapes" and "Sidekick") and dance-move ditties ("Snap and Roll" and "Let Me Get Em"). Undeterred by his own lack of depth, on the album closer "Don't Get Mad," he says: "Don't get mad cause the kids like me." Soulja Boy may have a point: he has a populist's ear for what the most young rap listeners crave: frothy, party-rocking anthems.