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Val Kilmer, a prolific actor who got his start in the 1980s, starred in a series of films, both dramatic and comedic, throughout his long career. On April 1, Val Kilmer passed away from an illness, and fans on X are honoring the star.
Val Kilmer was born on December 31, 1959, in Los Angeles, California, according to a Wikipedia entry. Kilmer was accepted into the Juilliard School in its Drama Division and was reportedly the youngest person at the time to do so.
Kilmer began his stage career in 1981, and in 1983, he appeared in The Slab Boys with Kevin Bacon, Sean Penn, and Jackie Earle Haley. The following year, Kilmer appeared in Top Secret!, an action comedy directed by the filmmaking trio, Zucker, Abrahams, and Zucker. Perhaps Kilmer’s biggest roles were star turns in Top Gun, Tombstone, The Doors, Heat, and voicing Moses/God in the animated film, The Prince of Egypt, among other roles.
In 2015, Kilmer suffered a health complication that sparked rumors in Hollywood that the actor was suffering from cancer, a fact he confirmed two years later in 2017 by revealing he was suffering from throat cancer. Initially, Kilmer didn’t seek medical treatment as it went against his Christian Science faith, but eventually did so.
Kilmer would continue to act after getting treatment, which rendered his voice a whisper, last appearing in 2022’s Top Gun: Maverick opposite Tom Cruise in the role of Tom ‘Iceman’ Kazansky.
On X and across social media, many are honoring the life of Kilmer, including many of his peers in Hollywood. We’ve got those reactions in the gallery below.
Kilmer is survived by his daughter, Mercedes, and Jack, also an actor like his father. Val Kilmer was 65.
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Photo: Getty
Billboard Women in Music 2025
Drea, a Latin Grammy-winning singer-songwriter, has been in many rooms throughout her twenty year career, but a recent three-day songwriting camp in Miami was a “game changer” for her.
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Drea (real name: Andrea Lopez) — who in 2021, won her first Latin Grammy with Gloria Estefan’s album #Brazil305, as a co-writer on the song “Cuando Hay Amor,” and in 2024 inked a deal with Universal Music Publishing Group (UMPG) — was one of 10 music visionaries who formed part of UMPG and She is the Music’s songwriting camp held at the Mindful Music Lab that incorporated creativity and wellness.
“It’s been quite the experience to bring mindfulness and meditation into this space,” she tells Billboard. “I already do this on the regular, but never before a session, especially with other women who have the same intention.”
Led by the studio’s owner, wellness and music expert Brittany Berger, the songwriting camp was designed as a safe and supportive space for female artists, songwriters and producers while also fostering collaboration and community. The day kicked off with a sound healing meditation, followed by songwriting sessions with Isadora Figueroa, Shirel, RPLK, Aris, Nicole Horbath, MJ Nebreda, Nancy Sánchez, Renee, Ella Bric, Maia and Drea.
Below, Drea, as well as Alexandra Lioutikoff, President of US Latin and LATAM operations at UMPG and Vicky Rivas, A&R at UMPG Latin, speak to Billboard about the empowering initiative.
Aris and Renee create music together at UMPG / She is the Music song camp in Miami, Fla.
Javi Perez Fernandez
How did you recruit the nine female creatives for this specific three-day camp?
Rivas: Whenever I’m doing a camp, I try to put all three in a room, a producer, a songwriter and an artist. The golden number is four: one producer, two writers and the artist, but it depends on the room and we’re honestly flexible. It depends on how we’re feeling. Typically I have a plan, but the girls also come in with their own suggestions, so we shift things around to give them the session they are looking for. We’re paying for the studio time and putting all these resources in so that the songs can come together.
We started with our core roster from UMPG — such as Drea, MJ, Nancy — and then I talked to Chile and Mexico, to [ask them to] send us some of their amazing women. It’s also about finding people who are open to collaborating. We build a list and go from there to see who would be a great fit.
Lioutikoff: And also, this area is so much smaller than male. There are very few women. It’s not like we have a lot to choose from, but I think that it works out really well, because we can develop them, we can mentor them, and provide them with the right steps.
Why is it essential for these talented and creative women to incorporate the wellness portion to their day-to-day worklife?
Lioutikoff: It’s actually interesting. Mental wellness is such an important part in the industry. This is a perfect match. I’ve had many female songwriters complain throughout the years that when they are the only women in a session, their ideas are not taken seriously. Remember, women write from a different perspective. If you think about it, a lot of women sing songs written by men. It’s so important to have women in this particular area of songwriting, and even more in the Latin world. It’s very important for us to support these initiatives to the max. We see things with a different sensibility, especially in this part of the business.
Rivas: It’s also that they feel supported. I feel that when we started the first day with our mindful hour, at first it was new to them, but on the third day when Britney asked them how they felt, everyone was positive and even wanted to include it before their own sessions. They felt it was a moment about them, and it actually helps their creativity. The songs keep getting better. In the creative world, you’re giving so much. Creativity keeps going and going, but to have the opportunity to be vulnerable before their session, it’s truly wonderful.
Drea: A lot of us think it should be like this. It should have the mindfulness component when you’re creating because you need that calmness, that mindset of bringing a vision to life and you can’t do that if you’re chaotic. It’s been quite the experience to bring mindfulness and meditation into this space. I already do this on the regular, but never before a session, especially with other women who have the same intention. It really helped us a lot when we went into the room to create — it’s a game changer.
Now that you experienced this one-of-a-kind song camp; what do you expect moving forward?
Drea: We’re going to stay connected. The beauty about this is that everyone has different styles, different languages, different tastes, and it’s fun to be in these rooms with women who have different visions. I try not to expect anything from writing camps because you have to be really open — the more open, the better the experience. With this one, precisely, I didn’t have an expectation but I’m leaving with a lot of positivity and a lot of energy. The beginning of making music is always trying to express yourself and have fun with it, but then you realize you want it to become your career and it can get a bit clouded. With this, we went back to those beginnings, those initial feelings of excitement, of wanting to create. We are able to learn from other women, and it’s the best feeling. I feel like I’ve grown in the past three days.
Rivas: We want them to get a song out, and hopefully we offer the tools they need for their own project or someone else’s that they’re working on. On the other hand, it’s also a networking opportunity, where I want them to know that they are available to each other, and for them to also feel that they can recharge with the wellness aspect of it. We’ve given them new tools for their creativity.
Top (L-R): RENEE, Nancy Sanchez, Sofia Lafuente, Maia Vercelleto, Drea Lopez, Shirel
Bottom (L-R) Isadora Figueroa, Brittany Berger, Aris, Vicky Rivas, RPLK, Mj Nebreda
Javi Perez Fernandez
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Young Thug is making headlines after challenging the official report of Atlanta rapper Young Scooter, claiming that the report is inaccurate.
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Thug took to social media to voice his frustration, stating, “Autopsy came back street (Young Scooter) got shot,” suggesting that there’s more to the story than what the official findings suggest. His comments stirred up debate, especially given the tragic circumstances surrounding Young Scooter’s death.
According to a report from Complex, the Fulton County Medical Examiner ruled Young Scooter’s death an accident, stating that he sustained a fatal injury to his right thigh, resulting in significant blood loss. However, the report made it clear that the injury was not from a gunshot wound, as initially speculated. This ruling has sparked confusion and controversy, with many questioning the details of the incident.
Adding fuel to the fire, Future, another prominent Atlanta rapper, voiced his support for his fallen friend. In a heartfelt message, Future wrote, “I can hear you loud and clear my brother (street)…we got u kid.” The comment suggests that Future believes something more sinister may have been at play, reflecting the sentiments of fans and associates who feel there’s more to the story than meets the eye.
In response to the growing public outcry, the Atlanta Police Department issued a tweet clarifying the findings, “While we understand that many people are saddened by his passing, it is important to recognize that Atlanta police officers neither discharged their firearms nor used any force against Mr. Bailey,”
HipHopWired Featured Video
Source: Prince Williams / Getty
Young Thug is making headlines after challenging the official report of Atlanta rapper Young Scooter, claiming that the report is inaccurate.
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Thug took to social media to voice his frustration, stating, “Autopsy came back street (Young Scooter) got shot,” suggesting that there’s more to the story than what the official findings suggest. His comments stirred up debate, especially given the tragic circumstances surrounding Young Scooter’s death.
According to a report from Complex, the Fulton County Medical Examiner ruled Young Scooter’s death an accident, stating that he sustained a fatal injury to his right thigh, resulting in significant blood loss. However, the report made it clear that the injury was not from a gunshot wound, as initially speculated. This ruling has sparked confusion and controversy, with many questioning the details of the incident.
Adding fuel to the fire, Future, another prominent Atlanta rapper, voiced his support for his fallen friend. In a heartfelt message, Future wrote, “I can hear you loud and clear my brother (street)…we got u kid.” The comment suggests that Future believes something more sinister may have been at play, reflecting the sentiments of fans and associates who feel there’s more to the story than meets the eye.
In response to the growing public outcry, the Atlanta Police Department issued a tweet clarifying the findings, “While we understand that many people are saddened by his passing, it is important to recognize that Atlanta police officers neither discharged their firearms nor used any force against Mr. Bailey,”
Country music label Monument Records, home to artists including Walker Hayes and Tigirlily Gold, is folding, with some aspects of the label to be overseen by Sony Music Nashville, Billboard can confirm. No reason was given for the label’s shuttering. Country Aircheck first reported the news. Sony Music songwriter/producer Shane McAnally and manager Jason Owen […]
Billboard Women in Music 2025
The she-wolf has a name: It’s Isabel. And no, it’s not just a stage prop or an imposing figure decorating the set as one of the most powerful elements of the tour to convey a message that has crossed borders: “Las mujeres ya no lloran, las mujeres facturan” (“Women don’t cry anymore, women cash in”). It carries an entire connotation.
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The she-wolf is Shakira’s alter ego, almost an extension of her own being — not only as an artist but also as a person — a symbolic manifestation of her rebirth and the woman who has built a new empire through her art, her music, and her resilience. For this reason, it’s no coincidence that this stage companion, which has become a symbol of strength and empowerment for her pack, was named after the Colombian artist’s middle name (Shakira Isabel Mebarak Ripoll).
Isabel embodies the very essence of the artist and the woman who now reveals a new facet after having been a wounded she-wolf. A transformation of tears into diamonds that has been reflected not only in her music but also in the most ambitious tour of her more than 30-year career — her first stadium trek: the Las Mujeres Ya No Lloran World Tour.
It’s a tour of colossal proportions, featuring a monumental stage weighing over 62 tons and a giant 50 x 12-meter screen that brings to life an AI-created avatar showcasing the show’s visuals, alongside musicians and dancers. But above all, it’s the existence of an all-terrain team of more than 150 people who serve as the backbone of everything, making the tour possible while becoming a pack that helps the she-wolf shine.
The Las Mujeres Ya No Lloran World Tour is almost like a mini-Tower of Babel, where languages and people of different nationalities come together to accompany the Barranquilla-born artist and bring to life the spectacle seen on stage each night. The team includes individuals from the United States, England, Ireland, Belgium, South Africa, Scotland, Cuba, Colombia, Mexico, Australia, and the Dominican Republic.
“A tour of this size is only possible thanks to all the people who travel with it. For example, the technology, the lights… It’s not just about the technical team; if you don’t take into account the people who do all the work, you really have nothing,” explains Marty Hom, the director of the LMYNL World Tour, who has been working with Shakira for 16 years. He has also been the longtime tour director/tour manager for Fleetwood Mac, Barbra Streisand and Stevie Nicks; more recently, he worked with the Rolling Stones, Beyonce and Olivia Rodrigo.
Upon entering the backstage area, the first thing you notice is the meticulous precision with which a team of this magnitude operates. Inside El Campín in Bogotá, or any other venue on the tour, many individuals have their own workspaces with computers and offices, and each zone has a designated person in charge to ensure that not even the smallest detail is overlooked. From these offices, everything is managed — from the arrival of refreshments to preparations for upcoming tour dates. And such logistics are necessary: when Shakira travels across the continent, she moves a total of 249,000 kilograms of equipment alone.
The artist’s security is also coordinated from this location, covering both the infrastructure and setup of the show as well as the personnel essential to ensuring Shakira enters and exits the venue safely. Hours later, as showtime approaches, the she-wolf’s pack witnesses the security operation unfold. At El Campín, between 50 and 70 officers are strategically positioned, giving the appearance of being bolted to one side of the stadium to ensure order for an unforgettable night.
Shakira’s health is also a priority, which is why the artist travels with two therapists, several masseuses and her own chef. Her diet, with the occasional indulgence, has to be quite strict, as does her training routine. The two-and-a-half-hour performance on stage demands constant discipline to maintain the physique, vitality, and stamina of a world-class pop star who, at 48 years old, continues to prove that her hips don’t lie.
For nearly a year and a half, her team worked tirelessly, with shifts lasting up to 16 hours a day, to bring to life the idea of a tour of this magnitude — an idea that initially came about during a casual conversation while creating a song in the studio. However, it has been Shakira herself who has led the charge, serving as the creative mind behind the tour, the hardest worker, and the driving force pushing the limits of what’s possible to ensure every detail bears the mark of the she-wolf.
The Challenge of Bringing Shakira’s Dream to Life
The staging is not just a technical matter but also an economic one. Marty Hom reveals that one of his greatest challenges as the head of the show has been balancing Shakira’s artistic vision with the financial realities of executing a tour of this magnitude. “The hard part for me is seeing the financial and economic impact of doing a tour of this scale,” he says. “The challenge is to let her have her artistic vision, maintain the integrity of the show, but also stay within budget. It’s about having a financial framework that ensures she can still turn a profit.”
That balance has been achieved with precision, resulting in a show that not meets the artist’s expectations and those of her fans — a multigenerational audience that has grown alongside the different phases Shakira has offered over the years. From the rockstar and the golden-hipped dancer to her romantic pop era and her latest empowered single-woman persona, embracing more contemporary and urban rhythms like reggaeton and other electronic sounds.
“The thing with Shakira is that she’s a perfectionist, and she wants everything to be perfect for her fans because they are the most important thing to her. She’s constantly thinking about how they will react and whether they’ll like what’s being done. That’s always her top priority,” concludes Hom.
Additionally, the staging includes a groundbreaking approach with the use of nine visual interludes that build the show’s narrative through artificial intelligence. A realistic avatar of her image and evolution over the years was developed over the course of more than five months at the Los Angeles-based creative studio Actual Objects — a rigorous creative process involving over 40 specialists in digital animation and 3D sculpting.
“Until now, no artist of Shakira’s caliber had used artificial intelligence in this way in the service of pop culture,” says Maite Marcos, her choreographer and right-hand collaborator for more than 20 years, who has been with her since day one of creating the tour. “An immense team was involved, with Shakira making constant changes to achieve the perfection of what she wanted to project. Creating this avatar of herself wasn’t easy, but we managed to use the technology to its fullest potential. Even the 13 costume changes she makes on stage were made possible thanks to the magic of the show.”
Now that the show is a reality, her team, who worked tirelessly for months to make it happen, is beginning to grasp the impact of what they’ve built and the message they want to convey. “Now is when I’m really starting to realize how big this is, seeing the audience’s reaction — not just live, but also on social media. And seeing what the message of ‘Women don’t cry anymore, women cash in’ means to them, and how it has connected with so many people, is indescribable,” says Alex Castillo, better known as AC, Shakira’s music producer and the mind behind hits like “Soltera.”
The show is a display of innovation and technology, but also a doctrine of female empowerment, carrying a clear message that has been conveyed through Isabel, the she-wolf, in whom many people have found inspiration for strength and freedom.
Isabel, the She-Wolf Shakira Brings to Live Each Night as a Symbol of Greatness
The symbolism of the she-wolf is no coincidence. Since her 2009 Spanish-language hit *”Loba”* (or “She Wolf” in English), the character of this animal has accompanied Shakira in her artistic evolution, with its meaning evolving alongside her — from representing a simple woman with carnal desire to becoming a symbol of empowerment that reflects her strength and resilience in the face of the challenging personal experiences she has endured in recent years.
“The she-wolf is our mascot. It’s a symbol of strength for her, one she has embraced as an emblem of female empowerment. The she-wolf is not only a symbol of empowerment for Shakira but is also meant to be a symbol of empowerment for women around the world,” says Hom.
And Shakira is not just a she-wolf. She is an untamed, passionate, and unrestrained she-wolf.
“She has that she-wolf spirit. She’s sexy, she’s free, she’s wild, as if she has no limits,” says Danira Littleton, the captain of the dance team for the LMYNL World Tour, who has closely experienced the entire creative process of the tour. “Many women can be shy, holding back out of fear of taking risks. But Shakira breaks through that. She dances on the ground, her hair and everything about her is like an untamed creature. She brings all that energy that makes women feel like we can be ourselves.”
“There are people who have such a powerful energy that everyone wants to be near them, and that’s precisely Shakira. Even if you don’t like her music, you can’t ignore her; everyone knows who she is because what she does and the energy she exudes are special,” adds Albert Menendez, her keyboardist since the recording of her MTV Unplugged, who has witnessed the she-wolf through all her stages.
During the tour, the figure of the she-wolf expands to a total communion with her pack, in a sort of pact portrayed in the “ten commandments of the she-wolf” projected during the show, because what would a she-wolf be without her pack?
It’s something that can be seen from the very first moment of the show, starting with the support she receives during her grand entrance, accompanied by fans dressed in silver as she makes her way to the stage.
A Vibrant Show With a Message that Resonates Powerfully
From the backstage of the Las Mujeres Ya No Lloran tour, there is one thing Shakira’s entire team agrees on: “The show is alive.”
Although the creative work behind the monumental final result took many months — with training sessions between Miami and Mexico to adapt to the altitude and workdays lasting up to 16 hours — every day and every performance is unique. There’s always a new surprise, continuous improvement, or a new resource or element that makes it special and different from all the others. All of this is done with the most important element in mind: the fans.
“The audience’s reaction is the final ingredient, the touch that ties everything together. It’s like the last instrument that completes the harmony of the show,” says AC. “Without that energy, it was hard to truly know how the show felt. But from the very first concert in Rio, it was clear: everything was in its place, the show was complete.”
And so, the howl of Isabel, the she-wolf, is finally heard louder than ever, transformed into a symbol of strength, freedom, and rebirth. It’s a journey of learning that Shakira herself expresses on stage during every concert — a story of a she-wolf wounded by life’s blows, who emerged stronger and filled with answers. A she-wolf who transformed her pain and found meaning in every fall. Because, as Shakira herself explains, it’s not just about recovering but about understanding the message that pain brings and using it as a driving force for growth, realizing that the only love that truly saves and shows the light at the end of the tunnel is self-love, though having the support of the pack during the process is also essential.
The Las Mujeres Ya No Lloran World Tour is more than just a tour. It is a testament to resilience, reinvention, female empowerment, and self-love. Now, after conquering Latin America with impressive numbers in the region — including 11 sold-out shows in Mexico and new dates scheduled for the summer — it will continue its journey through the United States starting May 13, marking Shakira’s return to North American stages, where her last stadium performance was at the iconic 2020 Super Bowl.
Shakira will return for a second leg in Latin America before taking her show to Europe, with plans to continue her journey in the near future through Asia and the Middle East. Over the next two years, her music, her story, and her legacy will resonate in every corner of the globe through her she-wolf Isabel, delivering a message that began as an artistic expression and has now evolved into an entire movement, driven by a massive pack that loudly proclaims, “Women don’t cry anymore, women cash in.” And why not men, too?
This article was originally published by Billboard Colombia.
Save this storySaveSave this storySaveWednesday and MJ Lenderman have announced the reissue of a 2021 collaborative EP. The six-track, jointly-billed Guttering will be available on vinyl for the first time via Julia’s War Recordings, the same label that originally put it out on cassette as their first-ever release. It features the songs “Big Money” and “Phish Pepsi,” as well as a cover of Greg Sage’s “Sacrifice (For Love)” that later appeared on Karly Hartzman & co.’s 2022 covers record Mowing the Leaves Instead of Piling ’Em Up.“Sometimes, I’ll look back at a chance encounter or passing interaction years later and realize, ‘Wow, that event was the catalyst for all this change,’” Julia’s War label head Douglas Dulagrian said in a press statement. “I’m proud that this record was the first Julia’s War release four or five years ago. Crazy to think about that. And these days, all these years later, records like Guttering and many more have allowed the thing to grow into what it is today: a label of all my favorite bands, and it’s still just all my f*cking friends. Each release is this little chapter in the book of it all. And that little guy on the cover is the first page.”Guttering’s reissue is set to hit record store shelves on June 20. MJ Lenderman recently shared that he will no longer tour with Wednesday. He also put out a cover of “Dancing in the Club,” by This Is Lorelei, which will appear on a deluxe version of Nate Amos’ 2024 album Box for Buddy, Box for Star, and contributed a new song, “Bury the Dog,” to a benefit compilation for Asheville-based artists in the who were affected by Hurricane Helene. Wednesday’s last album, Rat Saw God, came out in 2023.Check out our Best New Track review of “Dancing in the Club (MJ Lenderman Version),” and read about Rat Saw God at No. 32 on “The 100 Best Albums of the 2020s So Far.”
While some recent industry statistics show a slowdown in the U.S. streaming market, spending remains quite healthy, according to new figures from market research firm MusicWatch.
Most notably, 50 million more Americans bought recorded music in 2024 than a decade earlier. Products included in that count are on-demand music subscriptions, paid internet radio subscriptions, physical formats such as CDs and LPs, and digital downloads. Some of that increase can be attributed to population growth over the last 10 years. The total U.S. population — including people under 13 and non-internet users who are typically not counted in market research surveys — grew by roughly 19 million over that period. But since the number of music buyers far outstripped population growth, most of the growth came from an increased interest in music products.
By MusicWatch’s estimate, about half of all Americans aged 13 to 70 — 132 million people — paid for a music subscription in 2024, including on-demand music streaming and satellite radio. Recently released RIAA figures put the subscription count at 100 million, which is an average for 2024 (meaning the subscriber count at the end of the year was higher than 100 million). Satellite radio company SiriusXM finished 2024 with 31.6 million self-pay subscribers, according to its latest financial results.
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Not only are more Americans spending money on music, they’re spending more — even after adjusting for inflation. Americans spent $112 per capita on recorded music in 2024, up nearly 10% from $102 in 2023, according to MusicWatch. Back in 2014, per-capita spending was approximately $80, which is about $91 when adjusted for inflation. Taking inflation into account, per-capita spending increased approximately 32% over the past decade.
Live music spending fared even better than recorded music, jumping 17% to $281. Ticket inflation explains some of that increase, but not all — the percentage of people who bought a ticket rose to 56% from 51% in 2023. What’s more, spending on music merchandise such as T-shirts rose 45%.
Over the last decade, streaming turned U.S. recorded music revenue growth positive after an approximately 15-year downslide caused by digital piracy and a shift to selling single-track downloads rather than albums. Digital download sales have declined sharply over the past decade — from $2.3 billion in 2015 to $329 million in 2024, according to the RIAA — and piracy still exists despite the sharp rise in music buyers. MusicWatch found that 14 million Americans admitted to stream ripping music files in 2024. “Music piracy isn’t the scourge it was 20 years ago,” MusicWatch wrote, “but it’s still happening.”
Music piracy isn’t the only old habit that dies hard. While CD sales have fallen 61% over the last decade, 56 million Americans still listen to CDs in the car, and 48 million listen to digital downloads while driving. Both numbers are in decline, MusicWatch notes, “but nevertheless they represent a massive pool of listeners.”
¡Bienvenidos a Mic’d Up! This exciting first episode is an exclusive and immersive behind-the-scenes experience of Billboard chief content officer for Latin and Español Leila Cobo’s life during Billboard Latin Music Week, a notable event in the Latin music calendar. Explore See latest videos, charts and news See latest videos, charts and news Viewers will […]
Billboard Women in Music 2025 BTS has added yet another hit music video into YouTube‘s Billion Views club, as their 2016 clip for “Blood Sweat & Tears” has surpassed the milestone. “Blood Sweat & Tears” is the group’s eighth music video to reach one billion views, and the list also includes “Butter,” “Dynamite,” “Boy With Luv” featuring Halsey […]