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Marvel Studios Plans On Limiting Number Of Yearly Projects

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Source: Marvel Studios / The Falcon and the Winter Soldier / Captain America

For the past few years films and shows released under the Marvel Studios banner have been receiving lackluster reviews and even less support from fans for various reasons such as weak stories, characters people aren’t really excited about and over-saturation of superhero content, which has led to superhero fatigue.

Knowing that changes have to be made in order to get back to the mountain top that the MCU stood upon back in their billion dollar box office days, Marvel Studios President Kevin Feige and Co-President Louis D’Esposito know changes have to be made, and they’re ready to pull the trigger (and the plug) on some of their business practices going forward. According to Empire, Feige and D’Esposito have finally seen the writing on the wall and will begin to scale back on the number of projects that Marvel Studios releases on a yearly basis in hopes of countering the superhero fatigue they feel is to blame for disinterest in their MCU.

The move might actually be a step in the right direction as Deadpool & Wolverine will be the only Marvel film releasing in 2024. The hype behind it is ridiculous as fans of the MCU have been counting down the days to its release since the beginning of the year. How well future projects will fare will obviously depend on the popularity of the characters involved, but as they’ve learned, sometimes too much of a good thing can sometimes be a bad thing.

Empire reports:

“If we just stayed on top, that would have been the worst thing that could have happened to us. We took a little hit, we’re coming back strong.” That less-is-more ethos looks set to continue in years to come. “Maybe when you do too much, you dilute yourself a little bit,” says D’Esposito. “We’re not going to do that anymore. We learned our lesson. Maybe two to three films a year and one or two shows, as opposed to doing four films and four shows.”

For Marvel boss Kevin Feige, he’s seeing the positive side of the MCU being on the back-foot again – after all, back in Phase 1, that’s exactly where they began. “It’s nice to be able to rally behind one feature project this year,” he tells Empire. “I’m much more comfortable being the underdog. I prefer being able to surprise, and exceed expectations. So it does seem like the last year, which has not been ideal, has set us up well for that.”

With word that the X-Men and mutants are to be the main focus of the MCU for the next few phases while The Avengers take a backseat, Marvel Studios might be on the road to righting the ship that’s been seemingly sinking for quite some time. Though we doubt that Hugh Jackman will be the MCU’s Wolverine for the next decade or so (the man is 55 years old) there have been rumors that Henry Cavill has been cast to take on the role of Logan going forward at the tender age of 41.

Whether or not that’s true remains to be seen, but it will be interesting to see how Marvel Studios plans on resurrecting their dying brand now that they seem to have a game plan for the future and beyond.

What do y’all think of Marvel’s plan on scaling back on the number of projects they’ll be releasing on a yearly basis? Let us know in the comments section below.

NY Governor Kathy Hochul Apologizes For Remarks on Black Bronx Kids

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New York Governor Kathy Hochul publicly apologized for her comments regarding Black kids in the Bronx earlier in the week.

On Monday (May 6), New York Governor Kathy Hochul addressed the backlash she received for comments that she made about Black children in the Bronx during a panel discussion. Hochul was being interviewed by Washington Post columnist and MSNBC host Jonathan Capehart on stage during a discussion hosted by the Milken Institute in Los Angeles. In discussing the state’s “Empire AI” initiative that will provide supercomputer access in the Buffalo area, Hochul said “Right now, we have young Black kids growing up in the Bronx who don’t even know what the word ‘computer’ is,” adding, “They don’t know, they don’t know these things. I want the world opened up to all of them.”

The comment drew immediate backlash from local politicians. Assemblywoman Karines Reyes, who represents several neighborhoods in the Bronx, issued a statement in a post on X, formerly Twitter: “Deeply disturbed by @GovKathyHochul’s recent remarks and the underlying perception that she has of Black & brown children from the BX. Our children are bright, brilliant, extremely capable, and more than deserving of any opportunities that are extended to other kids. Do better.” She was joined by fellow Assemblywoman Amanda Septimo who issued a statement calling the governor’s remarks “deeply misinformed, and genuinely appalling.”

Hochul would apologize later that evening. “I misspoke and I regret it,” she said. In a statement released later, she elaborated further: “Of course Black children in the Bronx know what computers are – the problem is that they too often lack access to the technology needed to get on track to high-paying jobs in emerging industries like AI.” It’s not the first time that Hochul has made a verbal misstep. In February, Hochul hypothesized what would happen if Canada attacked the United States similar to how the Hamas militant organization attacked Israel on October 7, 2023. “If Canada someday ever attacked Buffalo, I’m sorry, my friends, there would be no Canada the next day,” she said at the time. Hochul would also quickly apologize for her “poor choice of words” the next day.

50 Cent & Fat Joe Continue Their Bromance During Knicks Game

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Looks like Fat Joe and 50 Cent have a bromance going on that wasn’t even fathomable in 2005 as the two former foes-turned-homies continue to enjoy each other’s company at some high-profile sporting events.

Their latest boys night out came at the “Mecca” of basketball, Madison Square Garden. This past Monday (May 6), Joe and 50 took in Game 1 of the Knicks playoff game against the Indiana Pacers alongside some other high-profile celebrities such as Tracy Morgan, Mekai Curtis and others. Gleefully celebrating another Knicks comeback victory, Fat Joe and 50 Cent were seen celebrating on the sidelines as their hometown team continued to defy expectations and collect W’s in the NBA’s elimination tournament.

We have to say we love how far these two have come since their bitter feud back in the mid-2000s. From dropping diss records to publicly taking shots at each other during awards shows, it seemed like these two men were bound to put hands on each other at some point.

Heck, even Tony Yayo said that G-Unit’s realest beef in the street was with Fat Joe’s Terror Squad as Yayo was kicking it with Fat Joe’s righthand man, Pistol Pete. That’s saying something.

Fast forward a few years and Fat Joe and 50 Cent were able to bury the hatchet at a tribute performance for Chris Lighty (RIP) at the BET Hip Hop Awards in 2012. Though they didn’t immediately begin hanging out following the end of the feud, as of late the two men have been spotted rolling together at a few events and even performing at concerts together to show how much they’ve grown in recent years as men and businessmen.

You gotta love it.

If the New York Knicks somehow pull off a miracle and bring a championship to the Big Apple for the first time in decades, these two might have to do a joint concert together to celebrate the achievement and invite the likes of Nas, Wu-Tang Clan, The Lox and other living rappers from Hip-Hop’s golden era.

Don’t expect to see Ja Rule though. Just sayin’.

What do y’all think of 50 Cent and Fat Joe’s seemingly tight relationship these days? Let us know in the comments section below.

Concord Ends Bidding War for Hipgnosis Songs Fund, Blackstone Poised to Take Over

Blackstone looked poised to take over Hipgnosis Songs Fund (HSF) on Thursday after Concord Music said it would not outbid the global investment firm.

Concord surprised Blackstone and the broader market on April 18 when it announced it had the unanimous support of HSF’s directors to take over the troubled music royalty fund for £0.93 ($1.14), a bid that valued the company at $1.402 billion.

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Concord once raised its offer to $1.25 per share, but Blackstone stole the board’s endorsement when it made it a superior offer that valued the company at $1.6 billion on April 29. Concord said Thursday that its last offer was final and will not be increased, effectively bowing out of the bidding war.

While Blackstone’s bid still needs approval from 75% of Hipgnosis Songs Fund shares, it has been the most likely buyer for shareholders looking for an offramp from the 5-year-old fund’s tumultuous last six months.

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Hipgnosis Songs Fund’s assets, which include stakes in the catalogs of Red Hot Chili Peppers, Neil Young, Journey, Lindsey Buckingham, Blondie and others, are prized by its investors and rival music companies, but the fund has been plagued by management and accounting missteps that overstated both revenue and its portfolio’s valuation, according to a due diligence report by investment bank Shot Tower Capital released March 28. HSF’s share price plummeted after its board cancelled the dividend and slashed the value of its portfolio.

Blackstone already owns two other entities under the Hipgnosis name — the private music assets investment fund Hipgnosis Songs Capital (HSC) and the the Merck Mercuriadis-led investment advisor Hipgnosis Song Management (HSM) .

An option in HSM’s contract effectively makes Hipgnosis Songs Fund Blackstone’s to lose. The option, which dates back to the fund’s initial public offering in July 2018, stipulates that the entity that Blackstone owns could match any take-over offer for the fund’s assets, a clause intended to give artists confidence their song rights and royalties would not frequently change hands.

HSF’s board will meet in June and is expected to hold a shareholder vote to approve Blackstone’s bid, with a deal ultimately coming to a close possibly in mid-July.

‘This Is Us’ Actor Unmasked on ‘The Masked Singer’: Watch

It was the end of the line for Poodle Moth on Wednesday night’s (May 8) episode of The Masked Singer, as the furry bug had its wings clipped – all 10 feet of them.

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Season 11 of Fox’s kooky singing competition is reaching its climax. Tonight was the quarter-finals, and, as usual, the two celebrities with the least amount of votes went toe-to-toe in a smackdown.

From the top, Clock performed “Get On Your Feet” by Gloria Estefan, Goldfish covered “Unforgettable” by Nat King Cole, Poodle Moth checked in with “Price Tag” by Jessie J. ft. B.O.B., and Gumball rolled with a cover of Jason Mraz’s “I’m Yours”.

Poodle Moth and Gumball slipped into the bottom ranks, and each was tapped for a rendition of “If I Could Turn Back Time” by Cher.

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There could be only one winner: Gumball, who joins Goldfish and Clock in next week’s semi-finals.

Underneath the Poodle Moth mask was Chrissy Metz, the singer and actor from TV series This Is Us, which earned her nominations for a Primetime Emmy Award and two Golden Globe Awards.

Jenny McCarthy-Wahlberg guessed right. Rita Ora picked Faith Hill, Robin Thicke figured it was Shania Twain, and Ken Jeong suggested Melissa McCarthy.

Why would Metz want to do The Masked Singer? “I still think I’m educating people on me being a singer,” she told host Nick Cannon after the helmet came off, “so that’s part of the reason why I wanted to do the show.” There are moments on stage, in the suit, where it’s “really going full throttle.”

And to be certain, she remarked, “you don’t even know how much sweat is in this suit.” Ok. “I thought, let me challenge myself and I’m glad I did because I learned a lot about myself.”

Metz as Poodle Moth follows the exit of Ruben Studdard and Clay Aiken (as The Beets), Jenifer Lewis (Miss Cleocatra), Kevin Hart (Book); restauranteur Joe Bastianich (Spaghetti & Meatballs); TV personalities Savannah Chrisley (Afghan Hound), Billy Bush (Sir Lion) and Colton Underwood (Lovebird); NFL hall of famer DeMarcus Ware (Koala); and singer Sisqó (Lizard).

Watch Poodle Moth’s performance and unmasking below.


https://youtube.com/watch?v=rsIzZOrlcPM&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent



The Killers’ ‘Mr Brightside’ Snags U.K. Chart Milestone

Though it never produced a chart crown, The Killers’ “Mr Brightside” is a record-breaker in the U.K.

Two decades after release, the U.S. alternative rock act’s signature song is anointed as the biggest-ever single which didn’t snag a U.K. No. 1.

The Killers were originally discovered by and signed to U.K. independent Lizard King, and were embraced by Brits as one of their own. “Mr Brightside” was initially released in 2003 with a limited-edition 500 CD run, and was reissued in May 2004, peaking at No. 10.

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The track failed to set the charts on fire but has proven a slow burner, notching 408 weeks on the Official U.K. Singles Chart – almost eight full years.



Since its release, “Mr Brightside” has accumulated 5.57 million combined units, including 1.066m sales and 530,340,000 streams, the Official Charts Company reports, good enough for third place on the all-time list of biggest songs, behind Elton John’s “Something About the Way You Look Tonight”/”Candle in the Wind 1997.” That streaming tally sends it to No. 5 in the list of most-streamed songs of all time in the U.K.

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The biggest week (across all formats) for “Mr Brightside” in the U.K. was July 2019, when it amassed 17,700 chart units following the Las Vegas act’s headline set at Glastonbury Festival, while its biggest week of sales was registered in 2012, when the single was bought and downloaded 125,200 times.

On its 20th anniversary, “Mr Brightside” eclipses Oasis’ 1995 ballad “Wonderwall” for the unusual honor. “Wonderwall,” lifted from the Manchester rock band’s sophomore album (What’s the Story) Morning Glory), peaked at No. 2.

The OCC crunched the numbers and declared “Mr Brightside” is actually gathering pace. Last year saw the track generate its biggest volume of streams, with 79.97 million plays, the OCC reports, and in 2024, combined weekly sales and streams are up 23% year-on-year.

The Killers will dish out the hits for the Rebel Diamonds Tour of the U.K. and Ireland this summer, which includes 16 arena shows.

Met Gala Photographers’ Stray Kids Ridicule Exposes Need for Greater Cultural Inclusivity in Western Entertainment

The 2024 Met Gala should have been a strictly star-powered triumph for Stray Kids, when the current faces of Tommy Hilfiger set a historic first at fashion‘s biggest night out. Yet amid the glamour, Stray Kids fans — and, possibly, some of the members themselves — were left with the experience marred by their disrespectful treatment by red-carpet photographers, highlighting the systemic barriers still faced by non-Western artists in Hollywood.

The eight-member Billboard 200 chart-toppers attending the Met Gala marked the first time an entire group has hit the glitzy gala together. Making their Met Gala debut in custom-designed suits alongside Tommy Hilfiger himself, members Bang Chan, Changbin, Lee Know, Hyunjin, Felix, Han, Seungmin and I.N arrived at the Metropolitan Museum of Art collectively in navy jackets that would soon reveal the custom ‘fits in various shades of the clothing brand’s signature red, white and blues underneath.

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But a few feet away, amid the flurry of camera flashes that surrounded all sides of the Gala entrance, derogatory comments from on-site photographers groaning about the group’s “robot” demeanor, annoyed that the reveal took place with their backs to one group of photogs, and thinking the band would only understand Korean reveal the thinly veiled prejudices that still plague the industry.

(Note: The video below includes subtitles that don’t always match what can be heard.)



As The Daily Mail noted, some paps said people would get “confused” because the group took photos with their coats on and off — a racist stereotype that people of Asian descent are challenging to differentiate visually. One photographer can be heard making his peers laugh after joking that viewers would think “two K-pop bands” attended the 2024 Met Gala. (From this reporter’s findings from the last 48 hours, no one has made that mistake.)

The incident shed light on the unfair challenges international celebrities like Stray Kids face navigating less familiar territory in pursuit of global success.

Despite instances where SKZ easily and comfortably adapted to the American media landscape via live interviews like BUILD Series or People TVlast year’s MTV VMAs, or various Fashion Weeks, the singers still face barriers and a dismissive attitude toward their presence. It reflects a lack of understanding while underscoring the need for greater cultural sensitivity and inclusivity in entertainment.

Most of the Kids’ media experience is with Korean and Japanese events, which have systems and red carpets structured differently than in the States. At a typical K-pop event, press conference or awards show, there is a platform for artists to pose for photographers who are all collectively shooting together during a dedicated photo time. Guided by an MC, host or team leader like Bang Chan, the artists almost always coordinate their pose to their left, center and right for everyone to get a range of angles and shots. After that dedicated time, photogs are left to their own devices to get the best pics.



With this context, Stray Kids did attempt to show love to all sides of the photographers on the Met Gala carpet by staggering themselves so four members were more forward toward one side of the cameras and then turning around so the other four were more forward for the second group of photogs. Also of note: While the photographers knew Stray Kids were a K-pop act, members Bang Chan and Felix grew up in Australia and Seungmin spent some time living in Los Angeles; assuming that an English comment would slide past them (including “What’s Korean for ‘right’?,” which elicited laughs from the paps) is incredibly close-minded.

While it is important to understand that photographers need usable and workable photos to fulfill their livelihoods, the diversity that Stray Kids bring to a function like the Met Gala should be celebrated rather than marginalized. Perhaps the prospect of shooting an eight-member boy band could be a new professional challenge instead of something to bemoan.

Korean artists have been attending the Met Gala for over a decade, with guests like PSY and Siwon of Super Junior attending more than 10 years ago and, more recently, seeing the likes of BLACKPINK‘s Jennie coming for her second Met Gala this year. Considering fashion’s consistent and growing affinity for K-pop partnerships, even more K-pop groups are likely to attend in the future.

Whether the comments were heard or not, Stray Kids moved with grace and poise on the carpet, and their presence alone reminds us of the importance of inviting and embracing different cultures, people and perspectives.

From the reality show that created their group in 2017, Stray Kids have had an unwavering determination to defy expectations and rise above adversity. Despite obstacles, the band’s overarching talent, humility, and tireless spirit to continue forward are not only recognized by one of the world’s most prestigious events but increasingly felt across the different Billboard charts. As they continue to break boundaries and challenge norms, Stray Kids can show how they won’t just make waves in the music industry, but help reshape long-held perceptions and inspire greater change. 

Olivia Rodrigo & Daniel Nigro Named ASCAP Pop Music Songwriters of the Year for 2024

Olivia Rodrigo and co-writer Daniel Nigro are the 2024 ASCAP Pop Music Songwriters of the Year. It is the second award in the top category for Rodrigo, who first received the honor in 2022.

Chappell Roan, who has a fast-climbing hit with “Good Luck, Babe!,” which she co-wrote with Nigro and Justin Tranter, was scheduled to present Nigro with his award on Wednesday (May 8) at an invitation-only event in Los Angeles celebrating this year’s ASCAP Pop Music Award winners.

Rodrigo and Nigro have shared two Grammy nods for song of the year (for “Driver’s License” and “Vampire”) and one for best rock song (for “Ballad of a Homeschooled Girl”). In less than three and a half years, Rodrigo has amassed 17 top 20 hits on the Billboard Hot 100, including three songs – “Driver’s License,” “Good 4 U” and “Vampire” – that entered the chart at No. 1.

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“Calm Down,” performed by Rema and featuring Selena Gomez, wins ASCAP Pop Song of the Year. Co-written by Rema, Gomez, Michael “LONDON” Hunter, Amanda “Kiddo AI” Ibanez and Andre Vibez, the song reached No. 3 on the Hot 100 and rode the chart for 57 weeks. “Calm Down” is published by Hook Like Behavior, Kobalt Music Publishing, Livelihood Music Company, SMG Tunes, Sony Music Publishing, Universal Music Publishing Group and Warner Chappell Music.

Publisher of the Year goes to Universal Music Publishing Group for songs including “Calm Down,” “Cuff It” (Beyoncé), “Dance the Night” (Dua Lipa), “Barbie World” (Nicki Minaj & Ice Spice with Aqua), “Lavender Haze” (Taylor Swift), “Paint the Town Red” (Doja Cat), “Star Walkin’ (League of Legends Worlds Anthem)” (Lil Nas X) and “Sure Thing” (Miguel).

Other 2024 ASCAP Pop Music Award-winning songwriters include Mariah Carey and Walter Afanasieff (their holiday evergreen “All I Want for Christmas Is You”), Noah Kahan (“Dial Drunk”), St. Vincent (“Cruel Summer”), Meghan Trainor (“Made You Look”) and Leon Thomas (“Snooze”).

As previously announced, Charli XCX received the ASCAP Global Impact Award. Charli is gearing up for the release of her sixth solo album, BRAT on June 7 and a North American tour with Troye Sivan, who was set to present her with the award.

The ASCAP Pop Music Awards honor the songwriters and publishers of ASCAP’s most-performed pop songs of 2023. The winners are determined by data on terrestrial and satellite radio and for programmed and on-demand audio streams, all provided by Luminate Data LLC.

More information on the 2024 ASCAP Pop Music Award winners is available here.

‘Let It Be’ Is Now Streaming on Disney+: How to Watch The Beatles Documentary for Free

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For the first time in 50 years, Beatles fans will get to go inside the making of band’s final album. Let It Be, the 1970 documentary helmed by Michael Lindsay- Hogg, arrives on Disney+ on Wednesday (May 8).

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The documentary, restored by The Beatles: Get Back director Peter Jackson’s production company, shares rare footage of Paul McCartney, John Lennon, George Harrison and Ringo Starr from the recording studio to the Apple Corps’ rooftop in London where the Fab Five wrote and recorded Let It Be and performed live for the last time as group.

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Let It Be was ready to go in October/November 1969, but it didn’t come out until April 1970,” Lindsay-Hogg recalled, according to Disney. “One month before its release, The Beatles officially broke up. And so the people went to see Let It Be with sadness in their hearts, thinking, ‘I’ll never see The Beatles together again. I will never have that joy again,’ and it very much darkened the perception of the film.”

“But, in fact, how often do you get to see artists of this stature working together to make what they hear in their heads into songs? And then you get to the roof, and you see their excitement, camaraderie, and sheer joy in playing together again as a group and know, as we do now, that it was the final time, and we view it with the full understanding of who they were and still are and a little poignancy. I was knocked out by what Peter [Jackson] was able to do with Get Back, using all the footage I’d shot 50 years previously.”

“I’m absolutely thrilled that Michael’s movie, Let It Be, has been restored and is finally being re-released after being unavailable for decades,” said Jackson. “I was so lucky to have access to Michael’s outtakes for Get Back, and I’ve always thought that ‘Let It Be’ is needed to complete the Get Back story.”

Read on for ways to join Disney+ and stream Let It Be.

How to Stream Let It Be on Disney+

Let It Be is a Disney+ Original streaming exclusively for subscribers. If you’re not a Disney+ subscriber, here’s a short rundown of how much it costs, and how to land a free subscription.

Disney+ plans start at $7.99/month for the Basic subscription and $11.99/month for Disney+ Premium (ad-free streaming).

Looking for a Disney+ deal? You have a few options, the easiest being a bundle plan, which saves you up to 37% off. Subscribe to the Disney+ Basic Duo plan with Hulu for $9.99/month, or the Trio plan with Hulu and ESPN+ for $14.99/month.

Disney+ no longer offers free trials, but you can go through a third party such as Verizon to get a free subscription. Currently, Verizon customers can score a free six-month subscription to Disney+ with select Unlimited phone plans.

Disney+ offers a huge collection of exclusive TV series, movies, documentaries, concert specials and sports. Let It Be leads a trio of music documentaries arriving on Disney+ this month including Queen Rock Montreal premiering on May 15, and The Beach Boys documentary on May 24.

Watch the trailer for Let It Be below.



Marc Anthony Makes Top 5 Debut on Tropical Albums Chart With ‘Muevense’

Marc Anthony adds a 15th top 10 to his Billboard Tropical Albums chart career as Muevense, his 11th studio album, starts at No. 4 on the ranking dated May 11. The 10-track set, released April 24 via Sony Music Latin, enters with 3,000 equivalent album units earned in the U.S. in the week ending May 2, according to Luminate.

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Sales and streaming activity contribute to Muevense’s first week sum: albums sales comprise 1,500 units, while 1,500 units derive from streams, equaling 2.2 million official on-demand streams of the album’s songs. Track-equivalent album units comprise a negligible sum of the album’s first week.

On the Tropical Latin Albums chart units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.

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May is a month for celebration for Marc Anthony, who in addition to banking his 15th top 10 on Tropical Albums, launched his new Sirius XM channel, Muevense Radio, on May 1. Running for a limited time, through May 31, the channel features a best-of-playlist, plus music from his influences and favorite artists, and stories surrounding the breadth of his over three-decade tenure.



Muevense arrives on Tropical Albums two years and two months after Marc’s previous album Pa’lla Voy reached No. 3 in March 2022. Plus, the new album extends his span of 15 top 10s to 31 years, dating to his first week in the top 10 on Feb. 17, 1993, when Otra Nota debuted and peaked at No. 2.

Further, Muevense joins two other Marc Anthony albums on Tropical Albums: 3.0 and Sigo Siendo Yo. While the latter claims its 280th week on the tally, 3.0 banks its 509th week and extends its record for the set with the most weeks overall since Tropical Albums began in 1985.

Beyond its Tropical Albums arrival, Muevense, encompassing eight salsa tracks, one bachata, and one regional Mexican ballad with Pepe Aguilar, also opens at No. 50 on Top Latin Albums.

The set was preceded by three songs. “Ale Ale” flies 16-3 on Tropical Airplay with a robust 227% gain in audience impressions, to 4 million, earned in the U.S. during the same tracking week. The song likewise opens at No. 22 on Latin Airplay as the Hot Shot debut of the week. The song was premiered live at the Latin American Music Awards on April 25.

Back on Tropical Airplay, with the new visit to the upper tier, Marc collects his 57th top 10 entry, and extends second-most record among all acts behind Victor Manuelle who continues to lead with 65 top 10 career hits. The bachata “Punta Cana,” meanwhile, dips 4-6 due to a 34% dip in audience, to 2 million.

Lastly, over on Regional Mexican Airplay, thanks to his co-billed “Ojala Te Duela,” with Pepe Aguilar, the Puerto Rican scored his first entry ever on a regional Mexican chart in Nov. 2023.