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Since the late 1990s, Mexico City’s Plaza de la Constitución, better known as the Zócalo, has been the spot for musical events that have turned the country’s main public square into the biggest stage for massive and unforgettable shows.
The last major crowd event hosted at the so-called First Square of the nation’s capital was the screening of the iconic Mexican singer-songwriter Juan Gabriel’s first concert at the Palacio de Bellas Artes in 1990. This event, held last Saturday (Nov. 8), brought together 170,000 people, according to data from the city government. The screening was organized by Netflix to promote the docuseries Juan Gabriel: I Must, I Can, I Will (or in Spanish, Juan Gabriel: Debo, puedo y quiero), which had premiered just days earlier.
This was the second time a concert by the late “Divo de Juárez” at Bellas Artes was screened in the plaza. A similar event took place in September 2024, when the screening of his 2013 performance at Mexico’s most prestigious cultural venue drew 70,000 people.
Mexico City’s Zócalo is considered an iconic and highly significant location, as it is a square full of symbolism where politics, social movements, culture, and religion converge. It is the second-largest public square in the world, only behind Tiananmen Square in Beijing.
One of the earliest recorded concerts held at the Zócalo was by Los Tigres del Norte in 1999, which lasted nearly three hours. Since then, Paul McCartney, Roger Waters, Justin Bieber, Shakira, Los Fabulosos Cadillacs and Grupo Firme have been among the artists who have performed there in front of thousands of people — in some cases even declaring that this was the “biggest” show of their careers, as happened with Spanish star Rosalía and New York band Interpol.
Here are the 12 most massive concerts held in recent years at Mexico City’s Zócalo, according to official figures from the city government. Check out which one takes the No. 1 spot!
Editor’s Note: The list is ranked from lowest to highest attendance and only includes live performances. In the case of a tie, entries are listed in alphabetical order.
Los Tigres del Norte
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On Oct. 29, Universal Music Group (UMG) announced a landmark deal with AI music startup Udio. As part of the agreement, Udio, which UMG was suing for widespread copyright infringement along with the two other major music companies, offered a compensatory settlement with UMG, effectively ending UMG’s part of the lawsuit and paving the way for a new version of Udio, set to release in 2026, which would be a “new commercial music creation, consumption and streaming experience” that would remunerate participating UMG artists.
To survey the industry’s reaction to the deal, Billboard spoke with professionals who have been following the development of AI music closely from various vantage points, including labels, investment firms, AI music start-ups, the songwriting community and consultancies.
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“This deal is beneficial for the music industry,” one label professional tells Billboard. “My question is, though, is it beneficial for Udio? In the short term, they’re going to go through some tension as they do a reset, but this could be great. It’s early.”
To most who spoke to Billboard for this story, the timing of the deal wasn’t entirely surprising. One label executive points out that news of the agreement was cleverly released just hours before UMG’s Q3 earnings call. Still, Sean Power, CEO of Musical AI, says he “expected a deal in Q1 of 2026, not now.”
Since this summer, reports have circulated that the majors have been discussing settlements with Suno and Udio, leading many to believe the talks were getting close. But as the year wore on, some grew skeptical that settlements would be reached by the end of the year. Though the UMG-Udio deal represents the start of reconciliation, these lawsuits are far from over — Warner Music Group and Sony Music are still pursuing their claims against Udio, and all three majors are still pursuing their lawsuit against Suno.
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Vickie Nauman, founder of music-tech consultancy CrossBorder Works, says she’s been watching out for this deal since Lucian Grainge, UMG’s chairman/CEO, released a letter on Oct. 13 expressing the company’s plans to pursue AI deals. “I saw that as Lucian putting a stake in the ground about AI,” Nauman says. “When I read that, I thought, ‘He wouldn’t say this unless he’s pretty sure he will reach a deal soon.’ That letter exuded confidence.”
As part of the deal with UMG, Udio is pivoting its offerings, launching a new version of the service in 2026 that will be focused on building fandom and encouraging engagement with existing music, rather than just offering brand-new songs at the click of a button, as it does now. The new version of Udio will feature a number of tools that will allow users to remix, mash up and riff on the songs of participating UMG artists. Users will also be able to create songs in the style of participating artists and use some artists’ voices on songs.
One investor, who has not invested in Suno or Udio and spoke to Billboard on the condition of anonymity, said that he fears Udio will run into the same problems as AI film company Runway, which signed a deal with Lionsgate to adapt their intellectual property — a partnership that, one year later, has yet to produce results. “The Lionsgate catalog is too small to create a model,” a person familiar with the situation told The Wrap. “In fact, the Disney catalog is too small to create a model.”
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A label executive, who spoke under the condition of anonymity, adds: “I’d like to see Udio succeed, because I think they’re trying to get on the right side of history. Do I think this deal puts them in a little bit of a box, though? Yes.”
Songwriter/producer Oak Felder raised another point in my TikTok comment section: “The question is: how does [this deal] affect catalogs that are split between Universal and Sony or any other publisher without a deal[?] Udio can’t utilize a song in Universal’s catalog that’s split between writers on non-Universal publishers, right?” (A UMG rep declined to provide specific details on that point.)
Udio and UMG’s deal allows artists to opt in with “granular” controls, as Udio CEO Andrew Sanchez told Billboard shortly after the deal was announced, over which parts of the new Udio service they want to participate in — seen as a win for artists’ autonomy. But the investor asks: “How many of these artists are actually going to opt in?”
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Another possible challenge for Udio: there are already multiple companies offering, or planning to offer, remixing and fan-focused AI features. This includes MashApp, Hook and Spotify, which recently announced that it’s working on AI music products, including remixing features, with the consent of the majors and some large independent music companies.
“It’s a calculated risk,” says Nauman about Udio’s decision to pivot, but she notes that trying to build a business that allows everyone to create quick songs was a risk, too. “I think that just the idea of being able to prompt a few songs easily is kind of a fad, so this [new Udio service] could be interesting. But users will be the ultimate arbiter here.”
Executives interviewed for this story were mixed on how they think Udio’s deal with UMG will impact Suno. “If I were Suno, I would be feeling a lot of pressure after this deal,” says Power. “But also, I don’t imagine that its investors are scared of litigating this to the end.”
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Barclays Research recently pointed out that Suno’s fundraising better insulates it from the impact of these lawsuits with the majors than Udio: “Even a [tough] settlement…would likely only mean the disappearance of Udio, while…Suno may have the necessary financial firepower.”
The anonymous investor adds, “One thing that helps Suno here is they will capture all the Udio users that are going to unsubscribe,” given that Udio is pivoting to become a different service. As part of the UMG deal, Udio prevented its users from exporting their work from Udio, effective immediately. This led to backlash among users, who felt they should’ve been warned about the change. Soon after, Udio allowed users to export their work during a 48-hour window.
Nauman says the UMG-Udio deal “puts every single AI music company, including Suno, on notice. I’ve already seen a number of comments from people in music who are saying Udio is very impressive and friendly. That’s an important piece to this. When engaging with rights holders and licensing, it’s both incredibly transactional but also very relationship and trust-driven. Udio is in a strong position by earning that trust.”
Most interviewed for this story saw the deal as an important step forward for the music business. But does it make Warner and Sony more likely to come to the table? “What Sony and Warner do here, I’m not exactly sure,” says Power. “I’m going to be very interested to see where things land, and I’m really thinking about Universal here. They’re now the ones who can say they made the big move.”
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Who will win the top prize at the Latin Grammys 2025? Every year, Billboard Latin and Billboard Español editors dissect the top categories — song of the year, record of the year, album of the year, and best new artist — to forecast the winners and spotlight the most deserving artists.
As we approach the Latin Grammys on Thursday (Nov. 13), our Latin/Español editorial team has engaged in spirited analysis, weighing market trends and historical voting behaviors to make educated predictions. This discussion includes insights from Billboard’s Leila Cobo, Chief Content Officer, Latin/Español; assistant editor, Latin, Jessica Roiz; senior editor, Latin, Griselda Flores; and Billboard Español associate editor Isabela Raygoza.
On its 26th anniversary, the Latin Grammy Awards ceremony will broadcast live from the MGM Grand Garden Arena in Las Vegas. The three-hour telecast will be produced by TelevisaUnivision and air across the network’s U.S. platforms, beginning at 8 p.m. ET. The Latin Grammy Premiere, where the majority of the categories are awarded, will precede the telecast.
To refresh your memory, here’s the complete list of this year’s nominees. Below, our predictions:
Album of the Year
Rauw Alejandro, Cosa Nuestra
Bad Bunny, DeBÍ TiRAR MáS FOToS
CA7RIEL & Paco Amoroso, Papota
Gloria Estefan, Raíces
Vicente García, Puñito De Yocahú
Joaquina, al romper la burbuja
Natalia Lafourcade, Cancionera
Carín León, Palabra De To’s (Seca)
Liniker, Caju
Elena Rose, En Las Nubes – Con Mis Panas
Alejandro Sanz, ¿Y Ahora Qué?
Leila Cobo: I cannot imagine anything other than Bad Bunny’s Debí Tirar Más Fotos winning here. I think it would be a travesty if he didn’t win. I’m not saying the other albums aren’t great, there are a lot of really good albums in that category — but this album is that perfect balance of commercial success and critical acclaim, from the biggest artist in the world right now after Taylor Swift, I’d say. I can’t imagine anyone else could win.
Griselda Flores: If Bad Bunny wasn’t nominated, I could see Rauw Alejandro as a frontrunner. His album really set the stage for Bad Bunny’s and Karol’s tropical-leaning albums. But there’s so much momentum around Bad Bunny — the residency, the Super Bowl halftime show — and Debí Tirar Más Fotos is worthy of a win. Lyrically and sonically it’s strong. It has substance. Plus, it beams with pride and it’s such a big statement in this political climate. This will be the year he wins this category.
Isabela Raygoza: I agree. The back-to-roots approach and how he positioned Puerto Rico in the larger conversation. I thought it was amazing and beautiful, and he brings these icons of plena to perform on the album and also gives it this modern urbano sound. It does embody a love of his cultural and musical roots, but also with a contemporary and commercial appeal. If it’s not Bad Bunny, potentially Gloria Estefan could take this one if the Latin Academy wants to honor a legend.
Jessica Roiz: If Bad Bunny doesn’t win, it will be a big snub, and it will be controversial. I agree with what everyone has already said. But other favorites that I would like to see win are Elena Rose’s debut album; I’m happy it got recognition. And Papota is a really cool and edgy alternative album that I feel is doing something different.
Raygoza: CA7RIEL & Paco Amoroso’s Papota would be the wildcard winner for sure.
Song of the Year
“Baile Inolvidable,” Marco Daniel Borrero, Antonio Caraballo, Kaled Elikai Rivera Cordova, Julio Gaston, Armando Josue Lopez, Jay Anthony Nuñez, Benito Antonio Martínez Ocasio & Roberto Jose Rosado Torres, songwriters (Bad Bunny)
“Bogotá,” Andres Cepeda, Mauricio Rengifo & Andres Torres, songwriters (Andrés Cepeda)
“Cancionera,” Natalia Lafourcade, songwriter (Natalia Lafourcade)
“DtMF,” Bad Bunny, Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Roberto José Rosado Torres, Hugo René Sención Sanabria & Tyler Spry, songwriters (Bad Bunny)
“El Día Del Amigo,” Rafa Arcaute, Gino Borri, Catriel Guerreiro, Ulises Guerriero, Amanda Ibanez, Vicente Jiménez & Federico Vindver, songwriters (Ca7riel & Paco Amoroso)
“Otra Noche De Llorar,” Mon Laferte, songwriter (Mon Laferte)
“Palmeras En El Jardín,” Manuel Lorente Freire, Luis Miguel Gómez Castaño, Elena Rose & Alejandro Sanz, songwriters (Alejandro Sanz)
“Si Antes Te Hubiera Conocido,” Edgar Barrera, Andres Jael Correa Rios & Karol G, songwriters (Karol G)
“#Tetas,” Rafa Arcaute, Gino Borri, CA7RIEL, Gale, Ulises Guerriero, Vicente Jiménez & Federico Vindver, songwriters (CA7RIEL & Paco Amoroso)
“Veludo Marrom,” Liniker, songwriter (Liniker)
Roiz: I hope it’s “Baile Inolvidable.” That’s my favorite song this year. It’s Bad Bunny’s first salsa song, and it turned out to be phenomenal. That was the first song that really resonated with me when I first listened to the album in January. I know Rauw Alejandro did the salsa thing before with “Tú Con Él,” but Bad Bunny took it to the next level. I think all the salsa legends showed up to his residency because of this one song.
Cobo: I am going with Karol G. I think “Si Antes Te Hubiera Conocido” was the song of the year. It’s one of those smash hits that in 20 years, we’ll still be dancing to it. It’s that kind of song, it has permanence, such a strong melody. I love “Baile Inolvidable,” but overall, “Si Antes Te Hubiera Conocido,” for me — it’s a better crafted song. It’s the kind of song that has lasting appeal.
Raygoza: I love “Si Antes Te Hubiera Conocido.” And it’s with Edgar Barrera, who is a prolific songwriter/producer. It maintained that mainstream appeal, but also that balladic emotional depth. She sings it really beautifully.
Flores: While I love both of those songs, I believe “DtMF” will and should win. Personally, this is my favorite on the album because of the message of living in the moment that resonates so well today, at a time when everything seems to moving at warp speed. “I should have taken more photos, I should have given you the kisses and hugs that I didn’t,” I mean, how can you not get behind that? And sonically — marrying the rhythms of modern plena with the pulsating beats of reggaetón — it’s just really gorgeous. And, out of all the songs in the album, this one is up for record and song of the year at the Grammys.
Record of the Year
Bad Bunny, “Baile Inolvidable”
Bad Bunny, “DTMF”
CA7RIEL & Paco Amoroso, “El Día Del Amigo”
CA7RIEL & Paco Amoroso, “#Tetas”
Jorge Drexler & Conociendo Rusia, “Desastres Fabulosos”
Zoe Gotusso, “Lara”
Karol G, “Si Antes Te Hubiera Conocido”
Natalia Lafourcade, “Cancionera”
Liniker, “Ao Teu Lado”
Alejandro Sanz, “Palmeras En El Jardín”
Cobo: For record, here I would say “Baile Inolvidable.” It’s a song that pulls in so many directions. It’s already a great song but the production is really clever. He’s able to do something very contemporary and turn it into something classic and vice versa in ways that are not obvious. I very much like what he did there.
Flores: Same here. I like “Baile Inolvidable” as the winner of this particular category. But can also see Natalia Lafourcade winning because of her work with “Cancionera.” She won this same category two years ago for “De Todas Las Flores,” and I think the Academy really appreciates her craft and the way she approaches the production aspect of her music, which is very raw and folky.
Raygoza: I think Jorge Drexler and Conociendo Rusia have a shot here. Conociendo Rusia is like a hidden gem, and I am such a huge fan of his music. The way they created “Desastres Fabulosos” is very poetic, very elegant — the production is incredible. It was produced by Nico Cotton, who is exceptional, so he has that alternative, trap edge. But this song has technical brilliance. And Jorge Drexler is a Latin Grammy darling, so this is very possible here.
Roiz: Bad Bunny went above and beyond for “Baile Inolvidable,” stepping outside of his comfort zone. He deserves this win.
Best New Artist
Alleh
Annasofia
Yerai Cortés
Juliane Gamboa
Camila Guevara
Isadora
Alex Luna
Paloma Morphy
Sued Nunes
Ruzzi
Flores: If Annasofia wins, that would be three consecutive wins for Julio Reyes Copello’s Miami Art House, which would be interesting… It would be nice to see Ruzzi, who is a multi-instrumentalist from Mexico, win. She’s collaborated with Natalia Lafourcade and Ximena Sariñana. Alex Luna is also pretty cool. His lyrics feel young and relatable and he has that Gen Z/Millennial appeal. I sort of love that new Mexican pop scene with artists like Alex and Latin Mafia, who aren’t your typical pop artists who sing ballads, they have a more worldly approach to their sound.
Raygoza: Looking at the history of recent winners, like Ela Taubert, Joaquina and Silvana Estrada, there’s like a clear pattern. My favorite here is Yerai Cortés, from Spain, and he’s helping resurrect the new flamenco and he’s already performed alongside C. Tangana. He’s a young guitarist, he’s honoring this historic genre and modernizing. This would be a refreshing win considering the previous winners.
Cobo: Isa, I am with you. I think Yerai Cortés would be a break from the tradition of the past few years. He’s pretty well known in Spain. The association with C. Tangana is because he did the documentary “La Guitarra Flamenca de Yerai Cortés.” Yerai has that name recognition in Spain, he’s the subject of a documentary, comes from a family of musicians, he’s on tour, it makes sense.
Roiz: I was pleasantly surprised to see Camila Guevera from Cuba nominated. I discovered her when I was listening reparto music, although she doesn’t do reparto music. She does soulful boleros, trova and she’s really good, and she is the granddaughter of late Cuban trovador Pablo Milanés. She’s super talented.
For R&B superstar Mary J. Blige, the losses of her friends and fellow stars D’Angelo and Angie Stone have been weighing heavily on her. She recently admitted to how their deaths have been affecting her in a recent interview, nearly a month after D’Angelo’s death, after a private battle with pancreatic cancer on Oct. 14.“I worked with him and Angie. I knew Angie very well and I knew D’Angelo very well, and I’m just still shocked and surprised,” Blige said, speaking with People magazine. Stone, D’Angelo’s former partner, lost her life in a car crash in Montgomery, Alabama, while en route to a show in Atlanta earlier this year in March. “I just can’t believe that both of them are gone,” she added.
The Grammy Award-winning vocalist spoke about how both artists were extremely gifted and, in turn, very guarded about their personal and professional circles.
“If they let you in, that means you were special because they didn’t mess with a lot of people,” Blige said. “They were very quiet, both of them, and very selective on who they let into their world as far as working with them. I was grateful to have that opportunity to be around them like that.”
Blige and D’Angelo performed on the same concert lineups in the past few years, particularly the Liberation Tour in 2012 and 2013, along with singer Melanie Fiona in support of their respective albums – My Life II…The Journey Continues and Black Messiah. Angie Stone and Mary J. Blige were frequent songwriting collaborators.Angie Stone and D’Angelo leave behind a son, Michael Archer II, who is now 27. In a statement madelast month, he thanked fans and supporters, saying, “I am grateful for your thoughts and prayers during these very difficult times, as it has been a very rough and sad year for me. I ask that you please continue to keep me in your thoughts, as it will not be easy, but one thing that both my parents taught me was to be strong, and I intend to do just that.”
Blige was recently promoting the For My Fans concert film, which was shown at Madison Square Garden in New York City on Nov. 5 and Nov. 8. The film showed highlights from her global tour, which featured Ne-Yo and Mario, celebrating both the artists and her devoted fanbase.
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Photo: Getty
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The holiday season is fast approaching, which means it’s time to start thinking about decking your halls.
While you could go the classic garland and holly route, we’d suggest going the music fanatic route this season with Grateful Dead holiday decor available on Amazon now. The best part? The holiday offerings are on sale. The band’s official Amazon storefront includes two holiday pieces, although there are a bunch to choose from. Our picks? A nutcracker in the shape of a dancing bear, the band’s unofficial mascot, for $50.71 and a decorative glass ornament for $30.20.
The bear nutcracker stands at 10 inches and depicts the band’s dancing bear in blue wearing a festive holiday costume. An ornament is clutched in the bear’s hand. If you didn’t know, the dancing bear is meant to represent the band’s sound engineer and counterculture figure, Owsley “Bear” Stanley, who was nicknamed “bear” for his hairy chest.
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Kurt Adler Wooden 10″ Grateful Dead™ Bear Nutcracker
$50.71
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A Grateful Dead-themed nutcracker.
The cheerful and psychedelic dancing bear motif was first featured on the back cover of the band’s 1973 live album titled History of the Grateful Dead, Volume One (Bear’s Choice) and was created by artist Bob Thomas, paying homage to Stanley’s nickname. The bear motif has become synonymous with Grateful Dead, following the band even after the group disbanded in 1995. In short, not only is this nutcracker aesthetically pleasing, it also helps you snack on nuts with ease.
If you’re looking to decorate your tree with a little music flair, the aforementioned Grateful Dead glass ornament is for you. The item is made of glass and features the iconic skull and rose imagery accompanied by glittering accents and vibrant hues of blue, red and silver. This ornament was released for the band’s 60th anniversary in August, and makes a great keepsake for the Grateful Dead fan in your life. It’s also just a beautiful ornament, what with all the sparkling aspects that catch the light with every move.
Kurt Adler Grateful Dead™ Glass 60th Anniversary Ornament
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A Grateful Dead-themed glass ornament
Both the nutcracker and ornament were created in collaboration with Kurt S. Adler, a company that specializes in creating holiday goods. The brand’s official Amazon storefront also includes a whole host of Grateful Dead merch for fans and followers of the brand to choose from, including string lights, ornaments and even stockings cast in rainbow hues and full of holiday flare. While we are all for traditional Christmas decor, these pieces are a great way to change it up if you’re tired of the same old tinsel and red and green color scheme.
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Earlier this year, Pusha T raised many eyebrows when he decided to throw darts at Travis Scott seemingly out of nowhere. While he explained why he decided to take such action, he’s also taken issue with Scott’s decision to release his album around the same time as Clipse’s reunion album, Let God Sort Em Out.
After Pusha T’s diss bars about Travis Scott on “So Be It” began circulating on social media, Travis Scott decided to play spoiler for the highly anticipated Clipse return album and release his Jackboys 2 project just days after Clipse dropped LGSTO. While it’s debatable as to whether Travis’ album messed with Clipse’s album streams (they have two completely different fan bases), many felt that the move did impact the numbers that Clipse could’ve had if not for Travis’ sudden album release.
In a recent interview with GQ, Pusha T and Malice were asked about Travis’ attempt to jerry-rig their first week numbers, and true to form, the two seemed to be okay with it, as that’s just the name of the game these days.
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We talked about the divine timing of the release. When people tried to crash that date, did it spoil the moment?
Malice: Listen, everybody has a right to do what they do. Whatever you have the power to do, whatever tools you have to utilize. That goes for everybody, even us. Let’s just play and see what it is. We embrace it all and love it all. Ain’t no sitting around moping and wishing—nah, let’s rock.
Pusha T: You cheat. We cheat. Everybody cheats. Fuck it.
Yeah, they don’t seem to be too bothered about Travis Scott crashing their reunion party.
Since the release of Let God Sort Em Out, Clipse have seen their latest project receive five Grammy nominations, including Album of the Year, and even performed their soul-moving cut “Birds Don’t Sing” at the Vatican in September. So yeah, they’re okay with how things panned out.
What did you make of Clipse and Travis Scott’s short-lived beef this past summer? Let us know in the comments section below.
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When Bruce Finkelman opened the Empty Bottle in 1993, he smoked cigarettes, like many of his customers. It was part of his vision for the Chicago rock club: “The small, dark, smoky jazz room or rock ‘n’ roll club. Dingy. That really romantic view of the door opening up and smoke billowing out.” But like every other venue in Chicago and just about everywhere else, Empty Bottle has been smoke-free for decades — and Finkelman, now a non-smoking marathon runner, can’t imagine it any other way. “Even if I smell smoke,” the club’s owner says today, “I’m like, ‘Ugh.’”
The first U.S. indoor smoking ban went into effect almost exactly 35 years ago, in San Luis Obispo, Calif. Since then, just about every municipality followed, from New York City in 2003 to Chicago in 2006 to the entire state of North Dakota in 2012. During that same 35-year period, the concert business has boomed: The top 100 tours grossed $674.5 million in 1990, according to Billboard Boxscore, compared to $10 billion last year, an increase of 1,383%. Promoters, club owners and public-health experts say fans not having to breathe deadly secondhand smoke is almost certainly a reason for that growth.
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“It’s part of the equation,” says Dr. Stephen Hansen, who, as the former director of the Sierra Vista Regional Medical Center’s cardiopulmonary department in San Luis Obispo, crusaded for the citywide indoor-smoking ban. “Most places in California, it’s hard to find a smoker these days, and they sure as hell don’t want to be packed in with a crowd where people are smoking.”
Adds Joe Shanahan, owner and founder of Metro, the 43-year-old Chicago rock club: “It really did help business. I believe there is a direct correlation.” He adds that parents were more willing to buy tickets for their 12-to-14-year-old kids to all-ages shows without worrying about the risk of secondhand-smoke exposure.
Given how ecologically serene concerts have been for years — with the exceptions of occasional joints and vapes — the early fights to achieve smoking bans seem like a black and white movie. When Hansen took on Big Tobacco and the entire nightlife scene in San Luis Obispo, a downtown bar owner complained to the Los Angeles Times that he feared his smoking customers would “just find a bar in another city”; a retired truck driver interviewed from a local barstool likened the ban proponents to “Communists,” and added, “That’s the kind of thing they have in Russia.” Just before the city council voted to approve the ban, R.J. Reynolds Tobacco Co. distributed fliers imploring residents to phone council members and oppose an “outrageous attack on your rights!”
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The U.S. surgeon general famously laid the groundwork for smoking bans in 1964, when an advisory committee reported a connection between smoking and lung cancer, declaring the habit a “health hazard” in the days of widespread, fashionable, Mad Men-style lighting up. Nine years later, Arizona banned smoking in some areas, and several states followed by enacting limited bans in the ’80s. But Hansen and his San Luis Obispo public-health allies were the first to defeat the formidable opposition to indoor smoking bans. “I did get some calls,” the retired physician recalls. “I got some death threats.”
The country of Ireland studied the example of San Luis Obispo, population 42,000, before enacting its own countrywide ban in 2004 — although Irish public health officials found New York City to be a better case study. “The attitude was, ‘It may be OK to be in California to go outside, but try to tell that to an old man in the west of Ireland with the pouring rain,” says Luke Clancy, a former professor who is director general of the Tobacco Free Research Institute of Ireland.
Back then, after speaking to Irish pub workers — including The Dubliners, a well-known folk band — Clancy and his team realized the smoking ban concept was more popular than it seemed. “I got a lot of feedback from them saying, ‘Thank God for this, my voice is ruined,’” he recalls. “It was not only the audience but the actual artists as well.”
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Several studies report that smoking bans have reduced poisonous secondhand smoke, and therefore lung cancer, over the last two or three decades. Jessica Cance, a public-health researcher for independent scientific-research institute RTI International, concluded in a 2015 study that bans have been effective in “decreasing the rates of smoking on college campuses” — and researchers found that alcohol consumption stayed the same at the venues they studied, suggesting young bar patrons didn’t respond to smoking bans by simply leaving to smoke at home. “The data are very clear that smoking bans have been effective for public health,” Cance says. “We can clearly see there is public benefit.”
Numerous club owners and promoters say the bans had an immediate positive impact on their customers and employees, and that fears they had about decreasing attendance never materialized. “If you had 30 or 40 or 50 smokers, the whole room would be an ashtray. My staff were getting sick for no apparent reason,” Metro’s Shanahan says. “When they instituted the smoking ban, and no cigarettes were allowed on a permanent basis, the health of the company turned around in a year. I began to realize business was better.”
The Gothic Theatre near Denver was, in the early ’90s, so smoky that it was difficult to clearly see the stage from the balcony. “It gives me the willies, man,” says Doug Kauffman, who promoted Gothic shows back then. “A lot of business owners complained when it happened: It would hurt their business if you could smoke inside. But it didn’t. What business owner in his right mind wants to kill his customers?”
In the ’90s, smoking at rock clubs gave off an odor so grungy it seemed cool — notably at Washington, D.C.’s 9:30 Club, where one regular described the smell as “Aerosmith and my a——.” But Donna Westmoreland, chief operating officer of I.M.P., the club’s promoter for decades, is a former smoker whose life improved after D.C. officials banned cigarettes at indoor venues in 2006. “I don’t think anybody said, ‘Should we go to a show or not? Well, you can’t smoke now, so we should go’ — but [it’s] probably a contributing factor,” she says. “People aren’t putting out cigarettes on the floor. It might have just felt a little nicer as a result.”
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Do you want to learn to speak like Rosalía? Well, listen closely, students, because Professor Rosalía is ready to show us her 10 favorite words in Catalan and Spanish. Did you learn something new watching this video? Let us know your opinion in the comments.
Rosalía: Hi, I’m Rosalía, and here’s my dictionary featuring some words in Spanish and Catalan.
Attention, students, class has already started! Let’s begin.The first word is “tremenda.” You might say, “She’s very tremenda. She’s tremendísima.” The word “tremenda” sounds like what it means, representing someone very strong. When you say it, you need to emphasize and drag the “n”: tremennnnda. It’s used in various contexts, like describing someone as very impactful. For example: “That girl, she is tremenda.”
The second word is “floripondio.” “Floripondio” refers to something exaggerated, over-the-top, or a bit “cuadro,” which is an informal term for something gaudy or out of place. For instance, it could describe a flashy accessory, like a glaring brooch that doesn’t quite fit, though sometimes it can still look good. A “floripondio” might also be a bold or risky print — something floral or extreme that stands out. You might say, “You’re wearing a floripondio there.”
The third word is in Catalan: “xiuxiuejar.” I absolutely love how this word sounds. It refers to something said very softly and subtly, like a gentle whisper. The word itself sounds like what it expresses: “xiuxiuejar.” It’s delicate and soothing — remember to say it very softly. “Xiuxiuejar.”
I hope you’re taking notes, staying focused and making sure to use these words in their appropriate contexts!
Now, on to the fourth word, also in Catalan: “melic.” “Melic” refers to the belly button. It’s such an adorable word, simple and charming, like how you might lovingly refer to the navel. I just love it.
Next is the Spanish word “ojalá,” which is very beautiful. If I’m not mistaken, “ojalá” is rooted in the Arabic word “Allah,” and it means “God willing” or “hopefully.” It’s a commonly used expression in Spanish, one that carries a lot of hope. We often say it when we wish for something, like “ojalá.”
Keep watching for more!
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Charli xcx contributed a handful of songs to the soundtrack for Emerald Fennell’s Wuthering Heights film, and the first of the batch arrived on Monday (Nov. 10) with “House.”
An accompanying ominous “House” visual directed by Mitch Ryan (he also helmed Charli’s “Party 4 U” video) was released alongside the spooky single and features a guest appearance from Velvet Underground’s John Cale.
The eerie clip features narration from Cale as Charli awakens in a gloomy house and pours hot candle wax on her body. The scene pivots to a raven flying into one of the home’s bedrooms while the British pop star and Cale duet in a demonic tone: “I think I’m gonna die in this house.”
Dramatic strings reach a crescendo and Charli xcx unleashes a frightening scream while repeating, “I think I’m gonna die in this house.” “In every room, I hear silence,” Cale says to close out the visual. Charli moves from the home to lying on her back in a white dress on a pile of leaves in the barren woods.
It’s a stark pivot from the amusing chaos of the Brat world, showcasing Charli’s range as she continues to make her presence felt in Hollywood.
The 33-year-old released a statement explaining her involvement in the soundtrack and the origin of “House,” which she describes as “elegant and brutal.”
“I got a call from Emerald Fennell last Christmas asking whether I would consider working on a song for her adaptation of Wuthering Heights,” she said. “I read the script and immediately felt inspired so Finn Keane and I began working on not just one but many songs that we felt connected to the world she was creating. After being so in the depths of my previous album I was excited to escape into something entirely new, entirely opposite. When I think of Wuthering Heights I think of many things. I think of passion and pain. I think of England. I think of the Moors, I think of the mud and the cold. I think of determination and grit.”
Charli continued: “A few years ago I watched Todd Haynes’ documentary about The Velvet Underground. As many of you know I’m a huge fan of the band and was really taken by the documentary. One thing that stuck with me was how John Cale described a key sonic requirement of The Velvet Underground. That any song had to be both ‘elegant and brutal.’ I got really stuck on that phrase. I wrote it down in my notes app and would pull it up from time to time and think about what he meant.”
“When working on music for this film, ‘elegant and brutal’ was a phrase I kept coming back to. One day whilst on tour in Austin, Finn and I went to the studio and wrote the bones for a song that would eventually become “House.” When the summer ended I was still ruminating on John’s words. So I decided to reach out to him to get his opinion on the songs that his phrase had so deeply inspired, but also to see whether he might want to collaborate on any.”
“We got connected, we spoke on the phone and wow … that voice, so elegant, so brutal. I sent him some songs and we started talking specifically about ‘House.’ We spoke about the idea of a poem. He recorded something and sent it to me. Something that only John could do. And it was … well, it made me cry.”
“I feel so lucky to have been able to work with John on this song. I’ve been so excited to share it with you all, sitting quietly in anticipation. And on Monday, it’s yours.”
Wuthering Heights is set to hit theaters on Feb. 13. Fennell’s adaptation of Emily Brontë’s gothic novel stars Jacob Elordi and Margot Robbie. Charli xcx will also star in A24’s The Moment in early 2026, which is the first project coproduced by her Studio365 venture.
The Essex native is booked and busy on the film side, as she’s notched roles in Daniel Goldhaber’s remake of Faces of Death as well as I Want Your Sex, The Gallerist, 100 Nights of Hero and Sacrifice.
Winter is coming. Watch “House” below.
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HUNTR/X’s “Golden,” from Netflix’s record-breaking animated movie KPop Demon Hunters, tops the Billboard Global 200 and Billboard Global Excl. U.S. charts for a 15th week each. In July, the song became the first No. 1 on each survey for the act, whose music is voiced by EJAE, Audrey Nuna and REI AMI.
The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Golden” glows atop the Global 200 with 117.4 million streams (down 3% week-over-week) and 14,000 sold (up 7%) worldwide in the week ending Nov. 6.
The song ties for the third-longest command since the Global 200 began in September 2020. Mariah Carey’s “All I Want for Christmas Is You” has ruled for 19 weeks since that December and Lady Gaga and Bruno Mars’ “Die With a Smile” dominated for 18 weeks starting in September 2024. “Golden” matches Harry Styles’ “As It Was,” which led for 15 weeks in 2022.
(It’s ti-ime: “All I Want for Christmas Is You” reenters the latest Global 200 at No. 43, with 22.7 million streams, up 172%, and 2,000 sold, up 217%, worldwide.)
Taylor Swift’s “The Fate of Ophelia” holds at No. 2 on the Global 200, after two weeks at No. 1 in October; Alex Warren’s “Ordinary” rises 4-3, following 10 weeks on top beginning in May; Swift’s “Opalite” slips 3-4, after hitting No. 2; and Olivia Dean’s “Man I Need” keeps at No. 5, after reaching No. 4.
“Golden” leads Global Excl. U.S. with 89.4 million streams (down 4%) and 7,000 sold (up 1%) beyond the U.S.
As on the Global 200, “Golden” claims the third-longest No. 1 run on Global Excl. U.S., trailing only ROSÉ and Bruno Mars’ “APT.” and “Die With a Smile,” which reigned for 19 and 17 weeks respectively in 2024 into this year.
“The Fate of Ophelia” repeats at No. 2 on Global Excl. U.S. after two weeks at the summit in October; Kenshi Yonezu’s “Iris Out” climbs 6-3, after reaching No. 2; LE SSERAFIM and j-hope’s “Spaghetti” drops 3-4 in its second week; and “Ordinary” falls 4-5 after eight weeks at No. 1 starting in May.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 15, 2025) will update on Billboard.com tomorrow, Nov. 11. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
