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A new musical inspired in a Latin American true story is heading to Broadway, with music and lyrics by no other than Cuban-American superstar Gloria Estefan and her daughter, songwriter Emily Estefan. BASURA (Spanish for “garbage”) will narrate the journey of Paraguay’s Recycled Orchestra, a group of young artists who turn scrap material into instruments and music into possibilities.
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The Thursday (April 24) announcement coincides with the third edition of Billboard Latin Women in Music, just one year after Gloria Estefan received the Legend award.
Based on the award-winning documentary Landfill Harmonic, BASURA brings the sound of Paraguay’s Recycled Orchestra to the theater as a “heart-swelling reminder that even in the most unlikely places, you can build something beautiful,” according to a press release.
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The show will first run at the Coca-Cola Stage at Alliance Theater in Atlanta from May 30 to July 12, 2026, before heading to Broadway.
“This is a story that has been close to my heart for several years since I first encountered the determination and ingenuity of the young people of Paraguay’s Recycled Orchestra,” Gloria Estefan said in a statement. “Emily and I are thrilled for our music to be a part of telling their story in this original musical. We could not be more excited for BASURA to begin its theatrical life in a city as influential and diverse as Atlanta with a theater as consequential as the Alliance.”
BASURA is directed by Michael Greif (Rent, Dear Evan Hansen), with a book by Karen Zacarías (Native Gardens, Destiny of Desire). Alex Lacamoire (Hamilton, In the Heights) is the musical supervisor, orchestrator, and arranger; Patricia Delgado (Buena Vista Social Club) the choreographer, and Ken Cerniglia (Hadestown, Newsies) the dramaturg.
The show was produced in partnership with Michael Shulman (Sand and Snow Entertainment) and Colin Callender and Daniel Unitas (Playground). Wendy Orshan and Jeffrey Wilson of 101 Productions, Ltd will serve as general managers.
BASURA was developed, in part, with support from The Orchard Project and Ari Edelson, artistic director.
Warner Music Group has filed a lawsuit against Crumbl, the Utah-based cookie company, for copyright infringement. The lawsuit, filed on April 22 in the U.S. District Court for the District of Utah, accuses Crumbl of using WMG’s copyrighted sound recordings and musical compositions in its social media marketing campaigns without proper licenses.
Crumbl has built its brand primarily through social media platforms like TikTok and Instagram, often featuring popular music tracks in its promotional content. WMG claims that Crumbl has misappropriated at least 159 sound recordings and musical compositions in its videos. These tracks, which include works by artists such as Lizzo, Mariah Carey, Ariana Grande and Beyoncé, are said to be key to Crumbl’s marketing strategy. Many of these videos rely heavily on music, with little to no dialogue, highlighting the central role of the unlicensed tracks in Crumbl’s advertising efforts.
WMG’s complaint provides several examples of this alleged misappropriation. For instance, Crumbl’s TikTok video promoting its blueberry cheesecake features the unauthorized use of “Blueberry Faygo” by Lil Mosey, the label said. Another video promoting Crumbl’s yellow sugar cookie, while also advertising the film Minions: The Rise of Gru, uses Coldplay’s “Yellow” without permission. A video promoting a butter cake cookie features — you guessed it — BTS’ “Butter.” Additionally, there’s a video featuring Crumbl employees dancing to K CAMP’s “Lottery (Renegade),” and Crumbl even referenced music used in some videos, such as a TikTok post featuring Lizzo’s “Juice,” with the caption repeating the song’s lyrics.
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Other songs that WMG contends were infringed upon by Crumbl include Beyoncé’s “Single Ladies (Put a Ring on It),” Bruno Mars’ “Locked Out of Heaven,” Dua Lipa’s “Levitating,” George Michael’s “Careless Whisper,” Gwen Stefani’s “Holdback Girl,” Gotye’s “Somebody That I Used to Know,” Taylor Swift’s “All Too Well,” Miley Cyrus’ “Party in the U.S.A.,” Missy Elliott’s “Get Ur Freak On,” Mariah Carey’s “Fantasy” and dozens more.
WMG asserts that Crumbl’s actions constitute direct, contributory and vicarious copyright infringement. The plaintiffs argue that Crumbl, which has over a thousand stores nationwide and is reportedly exploring a sale, according to Reuters, should have been aware of the need to secure licenses for the music used in its promotional materials. Despite this, Crumbl allegedly persisted in using WMG’s music without authorization, even after similar cases, including separate lawsuits against Bang Energy by Universal Music Group and Sony Music Entertainment, brought attention to the overarching issue.
The lawsuit seeks a jury trial and a permanent injunction to prevent Crumbl from any further infringement. The company is also pursuing statutory damages of up to $150,000 for each infringed work, potentially totaling nearly $24 million if the court awards the maximum penalty for all 159 cited works.
This legal action underscores the music industry’s ongoing efforts to protect intellectual property rights in the digital age, particularly as brands increasingly leverage popular music in social media marketing. The outcome of this case could have broader implications for how companies approach the use of copyrighted music in online promotions.
WMG is being represented by Sidley Austin LLP and Workman Nydegger.
Crumbl has not responded to Billboard‘s request for comment on WMG’s lawsuit.
We’ve been talking about it on the Greatest Pop Stars podcast for nearly half a year already, but it didn’t actually get here until last weekend: The Grand National stadium tour, co-headlined by Billboard‘s No. 1 Greatest Pop Star of 2024 (Kendrick Lamar) and our No. 2 Greatest Pop Star of 2023 (SZA) finally began […]
Grupo Frontera made its way to the NPR headquarters in Washington, D.C., for the band’s Tiny Desk debut, which premiered on Thursday (April 24).
Dressed in light blue denim and white shirts, the borderland band opened the set with its Billboard Hot 100 No. 5 hit “Un x100to.” Backed by a gospel-inspired choir, the group infused the upbeat norteño song with a touch of R&B, incorporating sparkling keys and slowing the tempo. Midway through the performance, the band transitioned back to the its signature cumbia norteña rhythm.
Accompanied by two female backup singers wearing cowboy hats, a trumpet player and Grupo Frontera’s signature ensemble of accordion, keyboards and guitars, the band delivered a dynamic and cohesive performance.
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“It’s a very special song for us, because we didn’t even know he was going to be on the song until we shot the video,” frontman Payo said about Bad Bunny’s feature in “Un x100to.” “The video came to us as a surprise, and [Benito] said, ‘Have you heard the song, the full version, with me in it?’ And we said, ‘What version?!’,” The band’s collaborator, Bad Bunny, had also stopped by the NPR offices earlier in the month to perform a few songs himself.
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Grupo Frontera continued the set with “Hecha Pa’ Mi,” during which the richness of the accordion shone. The band followed up with the bachata-infused “Ángel,” originally recorded with Romeo Santos, and the laid-back reggae-bop “Por Qué Será,” which features Maluma in the original version, showcasing their skill in blending norteño music with diverse genres. Grupo Frontera rounded out the set with “El Amor de Su Vida,” originally starring Grupo Firme.
On Wednesday (April 23), the Texas-based group received a nomination for best group or band at the 2025 Heat Latin Music Awards.
Watch Grupo Frontera’s full NPR Tiny Desk concert below.
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Word on the streets is that Marvel Studios is back (even though they never left), according to reactions from those who saw the latest entry in the MCU, Thunderbolts*.
Fans and critics, including our very own Bernard “Beanz” Smalls, got to see Thunderbolts* ahead of its May 2 release, and the consensus is that the movie is a return to the top-tier comic book movie form we have come to expect from Kevin Feige and Marvel Studios.
Most reactions praise the film for its surprisingly emotional tone, a quality often lacking in Marvel flicks. Others are praising Florence Pugh’s performance as Yelena, who is now headlining her first film since her debut in the underrated Black Widow film and a guest appearance in the Disney+ series Hawkeye.
Pugh’s performance is being hailed as “superb,” with Beanz adding in his first reaction that she was the film’s “MVP.”
“#Thunderbolts was awesome. Tons of implications on how the MCU is moving forward. The team works well together, plenty of emotion. Yelena is my MVP. Definitely a super fun movie,” Beanz’s full reaction read.
Another reaction read, “#Thunderbolts is A24 meets Superhero character study. Raw. Fresh. Hilarious at times. Sad at others. It has you rooting for this scrappy ensemble on the edge of your seat. Big implications, but still it’s own thing. If this is how the MCU is doing films now, BRAVA.”
We couldn’t have said it any better ourselves.
Film writer Emily Murray described Thunderbolts* as “easily one of the best MCU movies in a long time,” adding it “Has so much spark, charisma, and tells a genuinely emotional story you connect with. A tear was shed. Florence Pugh in particular superb, just walks away with it.”
“Biggest compliment I can pay #Thunderbolts is that it felt like Infinity era MCU. A focus on the characters and story, rather than fan service or future set-up (until lengthy post-credit scene). Terrific cast, led by the always-excellent Florence Pugh,” said another user on X.
Hit the #Thunderbolts hashtag on X, and you will be hard-pressed to find a negative reaction. We shall see if the critics all agree when reviews drop next week.
Until then, hit the gallery for more reactions.
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Travis Hunter’s story is already legendary, and it’s about to hit another level.
The Colorado State phenom, fresh off a Heisman-winning season, is headed to the NFL Draft with the spotlight all on him. But what’s making headlines just as much as his game? His dad, Travis Hunter Sr., just got court permission to stand beside his son on draft night, despite being on a three-year probation. After being on house arrest for a year following charges in 2023, the court gave him the green light to be there for the biggest moment of his son’s life. That’s real.
Hunter’s draft stock? Sky high. Projected top five, with serious buzz about the Titans possibly making a power move and snatching him or Cam Ward at No. 1. And let’s be real, Hunter’s the type of generational talent teams build dynasties around. Whether it’s locking down receivers, or torching DBs on offense, this man does it all.
His last season at Colorado State? Straight heat. 57 catches, 721 yards, 5 touchdowns on offense. On defense, 31 tackles, 3 picks, and 5 breakups. The man was everywhere. And the Heisman voters took notice, making him the second defensive player ever to win it.So come draft night, when Travis walks across that stage, he won’t just be stepping into the league, he’ll be bringing his whole story with him. From setbacks, to stardom, and now with his dad right there with him, it’s a moment built different.
Universal Music Group Nashville is undergoing a rebranding under CEO Mike Harris and chief creative officer Dave Cobb. The company will now be known as Music Corporation of America (MCA).
Harris and Cobb came aboard in early February following the departure of UMGN CEO/chairman Cindy Mabe in January. For Harris, it marked a return as he had served as COO/executive VP at UMGN until his departure last September.
“With the popularity of country music and the tremendous impact that it continues to make in popular culture, we recognize the importance of Nashville and the impact it has always made in America,” Harris said in a statement.
Cobb adds “I want to let the art lead, embrace community, and approach the business with intention. We show up, work hard, and put artists, songwriters, community, and fans first. We want to get this right for them. That’s what this is all about.”
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A number of staffing changes have also been made that reflect the changes. Katie McCartney, former GM of the recently shuttered Sony joint venture Monument Records, has been named EVP/General Manager and Tom LaScola is head of artist and audience strategy, through an expanded alliance with his company, The Trenches. The digital promotion and marketing firm formed a partnership with Republic Collective last October.
Under Cobb, the company has also formed a creative strategic alliance with award-winning songwriter Jessie Jo Dillon as the newly minted Song Buddy, a position that highlights the company’s commitment to the vital role songwriters play in the Nashville’s creative ecosystem.
MCA will continue to operate is frontline labels, Mercury Nashville, EMI Nashville, Capitol Nashville and MCA Nashville along with the newly launched Lucille Records, founded by Cobb.
Lucille Records will be lead by Cobb and Austin Jenkins, senior vp of A&R for MCA and Head of Lucille. Its diverse inaugural roster includes Lamont Landers, Landon Smith, Isabel Dumas, and Sons of Habit.
“The incredible staff of these labels will operate with a sense of independence and autonomy, but with a pursuit of excellence and healthy competition as a shared agenda,” Harris said.
In addition to the full resources provided by the Nashville headquarters, MCA artists also leverage the support of the REPUBLIC Collective in the U.S. and UMG globally.
The newly rebranded MCA’s roster includes Alan Jackson, Brothers Osborne, Carrie Underwood, Chris Stapleton, Darius Rucker, Dierks Bentley, Eric Church, George Strait, Jon Pardi, Jordan Davis, Keith Urban, Little Big Town, Luke Bryan, Maddie & Tae, Parker McCollum, Priscilla Block, Reba McEntire, Sam Hunt, Tyler Hubbard and Vince Gill.
Selena Gomez sings and dances to the beat of her own drum in the award-winning musical thriller Emilia Pérez, starring as Jessi Del Monte, a rebellious woman on a journey of radical transformation. Her compelling performance, both raw and refreshing, unlocked a new side of the 32-year-old star on the big screen. And that’s just one of her latest career milestones. In an industry that often aims to box you into categories, Gomez is a shapeshifter, constantly redefining what it means to be a global powerhouse today. In the last 12 months, Gomez, who has meticulously crafted a blueprint for her multi-hyphenate standing, garnered a Golden Globe best supporting actress nomination for Emilia Pérez; won a Screen Actors Guild Award for her role in Only Murders in the Building; the LP I Said I Love You First, which she released in March with fiancé Benny Blanco, debuted at No. 1 on Billboard’s Top Album Sales chart, becoming Gomez’s fourth leader on the chart; and through her Rare Impact Fund, Gomez continues to work to increase access to mental health for young people.
Now, on April 24, she will be honored at Billboard and Telemundo’s annual Latin Women in Music gala with the Woman of the Year award.
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“I think anytime as women we show up and support each other, it truly is so beautiful and important,” Gomez tells Billboard. “I will say being honored at Latin Women in Music is incredibly special to me though. My Mexican heritage is something that has influenced me my entire life and it’s not lost on me how representation matters. Throughout the years I’ve been doing this, some of the most supportive women in the entertainment business I have met have been other Latin women. I love the bond we all have.”
Named after fellow Texan, the legendary Selena Quintanilla, Gomez — whose paternal grandparents are Mexican — catapulted to fame as a child actor in Barney & Friends at 10 years old and subsequently starred on the Disney Channel show Wizards of Waverly Place as the ultra-cool and spunky teenage wizard Alex Russo. But it’s perhaps her career as a recording artist that solidified her pop icon status boasting of 42 entries on the all-genre Billboard Hot 100, and seven top 10 LPs on the Billboard 200, including three leaders on that tally. While she has mainly recorded in English, Gomez has always stayed close to her roots, and recording in Spanish felt almost inevitable.
Her first big splash in Latin music came in 2019, thanks to a feature on DJ Snake’s “Taki Taki,” alongside hitmakers Ozuna and Cardi B. The track debuted at No. 1 on the Hot Latin Songs chart in 2018, ruling for 13 weeks. Since then, Gomez has achieved three additional top 10 hits on the ranking, among them “Baila Conmigo,” her collaboration with Rauw Alejandro, which peaked at No. 4 on Hot Latin Songs in 2021 and topped the Latin Airplay chart for a week. That collab is part of her first-ever Spanish-language project: Revelación. It debuted at No. 1 on the Top Latin Albums chart, making history as the first album by a female artist to achieve the feat since Shakira’s El Dorado.
“I never really focus on stats and charts, but when I hear something like that, all I can feel is pride. Shakira is an icon and someone I’ve always looked up to and I love her so much,” says Gomez. “Making a Spanish album was something I had wanted to do for a long time. Over the years, I’d release a Spanish version of one of the songs off an album but having an all-Spanish project was something that meant a lot to me. I worked hard on making sure I paid homage to my Latin roots, through the music as well as the aesthetics of all the visuals.”
Navigating a bicultural identity, especially one that has a double standard (you should assimilate and learn English but also be fluent in Spanish), is one that even Selena Quintanilla faced in her early days. Then, Quintanilla had to learn to speak and sing in Spanish to be accepted in Mexico.
Gomez recently faced similar scrutiny when critics questioned her Spanish-speaking skills on Emilia Pérez, even though she plays the role of an American who lives in Mexico and who is not meant to be fluent in the role. Gomez — who alongside her co-stars Zoe Saldaña, Karla Sofía Gascón and Adriana Paz won best actress award for the ensemble cast at the 2024 Cannes Film Festival — says Emilia Pérez is a film she’ll “hold dear forever.”
“I pushed myself into uncomfortable spaces which as an actress are the most rewarding. It was a magical time and working with [director] Jacques [Audiard] was one of my best experiences,” she says. “I am taking my time to find the right role and director to work with next because I want it to be a challenge and unexpected.”
Gomez’s Latin heritage is constantly present in her work. She plays Mabel Mora in Hulu’s Only Murders in the Building. And in I Said I Love You First, she includes “Ojos Tristes” with The Marías, a reimagination of Jeanette’s 1981 classic ballad “El Muchacho De Los Ojos Tristes.” The track entered the top five of the Hot Latin Songs chart (dated April 5).
“Benny and I went and saw The Marías in concert last summer. I was mesmerized by them and knew I wanted to have them on our album,” Gomez shares. “ ’El Muchacho De Los Ojos Tristes’ to me is one of those cross generational songs that brings people together no matter how old you are. You either knew as an adult or something your mother or abuela listened to so it conjures up nostalgic memories. I loved seeing all the posts about the song and the feeling it reminds people of. I might have teared up a few times. I am very proud of this song.”
Gomez is equally proud of her work in activism as a leading voice in advocating for mental health and social justice for underrepresented communities. In 2019, she executive produced Living Undocumented, a Netflix docuseries that poignantly tackled the immigration crisis in the U.S. She has also transformed the youth mental health landscape by mobilizing over $20 million in funds with philanthropic partners across five continents.
“At the end of the day I believe it matters to be vocal about issues that matter to you, whether you are famous or not. It’s not for the faint of heart, because you are putting yourself out there and trust me there will be a lot of opinions that come at you for even having the nerve to say anything at all,” Gomez says. “I remember when I decided to be open about my own personal mental health, it was scary to be that vulnerable and I didn’t ever want anyone to think I am a victim. I thought [that] by sharing my own story I could help others, and I will take any negative opinions that come with that because I see the bigger picture of how the conversations have changed around mental health.”
Eight years after being named Billboard’s Woman of the Year, Gomez’s influence in music and beyond is even more tangible today, a testament to her impact and legacy. Her advice for the new generation of artists?
“Blocking out the noise and being true to yourself,” she says. “The noise can be overwhelming, and I am not saying it’s easy but by doing that and not compromising who you are, it goes a long way.”
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
Haim have given their two-month notice. The sister trio revealed the title of their upcoming fourth album during an underplay gig at L.A.’s The Bellwether theater on Wednesday night (April 23), flashing the phrase I Quit on the screen behind them at their first full show in nearly two years. They posted a photo of the moment on Instagram, as well as a video in which the phrase appeared amid a jumble of flashing boxes, followed by a robotic female voice reading the phrase “I quite what does not serve me.”
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A cascade of other quits followed, including “I quit overthinking, I quit shame, I quit nicotine, I quit fear, I quit d–k, I quit judgement, I quit avoiding emotional intimacy, I quit my job, I quit caring about what you think, I quit waiting for an apology, I quit f–king around, I quit f–king everything, I quit f–king you, I quit wondering if someone will save me.”
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The barrage of loud quitting ended with the phrase “I quit new haim album coming June 20th.” The follow-up to 2020’s Women in Music Pt. III has been previewed so far with the first single, “Relationships,” as well as “Everybody’s Trying to Figure Me Out.”
According to Setlist.fm, the show opened with the second new single, followed by a run of classics including “The Wire,” “Want You Back” and “Forever,” and the live debut of new tracks “Down To Be Wrong” and “Blood in the Streets,” with the latter featuring a surprise appearance by Addison Rae, who rolled around provocatively on stage in a long white tank top and sunglasses during the performance. The show ended with an encore run through “Relationships.”
The 1970s pop anthem “Down To Be Wrong” is due out on Thursday (April 24), with a video slated to drop on Friday (April 25). Haim will be back at Bellwether on Thursday night for a second show.
Watch Haim’s album title announce and “Down To Be Wrong” preview below.
Sammy Hagar‘s guitar playing on his upcoming single “Encore. Thank You. Goodnight.” was divinely inspired. That is, if you are one of the many who believe that his late Van Halen bandmate Eddie Van Halen was our greatest six-string god.
“About two months ago, I had this dream and Eddie came. We were in a room like this, [with] a bunch of people around. It was just like he’d been gone. It was not like he was passed, but he had just been out of my life and we hadn’t seen each other for a while,” Hagar told Ultimate Classic Rock about the inspiration for the song back in 2022. “He’s going, ‘Man, let’s write some music!’ I said, ‘Yeah, f–k it, man. Here, let’s go!’”
Hagar described huddling in a corner of a room with Van Halen — who died in Oct. 2020 due to complications from throat cancer at age 65 — and watching the guitar guru play him a lick that sounded just like “the last lick that Eddie Van Halen showed me, when I went back for the [2004] reunion tour and when he was a mess. I said, ‘Eddie, show me your newest s–t,’ because every time I’d be around him I’d say, ‘Show me your newest s–t.’ He’d say, ‘Oh, check this out!’”
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In the dream, Hagar said Van Halen showed him “this harmonic thing… he slid up to a chord, like a slide guitar. We wrote a song with that lick.” The next morning, the veteran rock singer and guitarist said he got up and wrote the new song, which he titled, in part, “Thank You” because he’d used “the f–kin’ lick that he showed me in the song.”
And while the track came together too late to be included on Hagar’s 2022 Crazy Times album with his band the Circle, on Instagram earlier this week Hagar said he “can’t wait” for the world to finally hear his tribute to his late bandmate. Hagar took over as VH’s lead vocalist from 1985-1996 and again from 2003-2005, and like his predecessor, original VH singer David Lee Roth, had a sometimes contentious relationship with EVH. “I can’t wait for the world to hear this very special song Joe [Satriani] and I wrote as a long overdue thank you to Eddie Van Halen for the music, the good times, and the dream that inspired this track, ‘Encore, Thank You, Goodnight.’”
The post describes the song that also features Satriani, drummer Kenny Aronoff and former VH bassist Michael Anthony as “inspired by a dream and brought to reality through introspective lyrics, powerful chords and rhythmic guitar and drums.”
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