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John Legend’s children Luna and Miles interview the singer to see if he knows their favorite things, from their favorite color to their favorite artists. Keep watching to see how well John Legend knows his kids!
Luna: Who’s our favorite singers right now?
John Legend:Your favorite is Sabrina Carpenter.
Luna:Wrong.
John Legend:How is that incorrect? Because I am in the car when you’re picking songs. Daddy?
Luna:After that, Sabrina Carpenter.
John Legend:OK. I’m ready. I know you well, and I know you well, too.
Luna:What’s our favorite color?
John Legend:So I think Luna’s favorite color is lavender.
Luna:Correct!
John Legend:And Miles’ is blue. What is it?
Miles:Neon and black.
John Legend:Neon what?
Miles:Green.
John Legend:Neon green and black are your favorite colors now? It used to be blue, though, right?
Luna:What’s our favorite hobbies?
John Legend:Favorite hobby — Luna’s favorite hobby is like drawing and crafting and doing artwork, building things, building things. And …
Luna:Wait — is gymnastics a hobby?
John Legend:Yeah, gymnastics is a hobby, and it’s a sport, too. And then Miles, your favorite is playing sports. So I would say football is your favorite.
Miles:Yeah, and there’s one more.
Guest:His iPad.
John Legend:Oho, your iPad. Playing games on your iPad. OK, fair enough.
Luna:What’s our favorite songs on My Favorite Dream?
John Legend:Luna’s favorite I already heard is “Always Come Back.” Miles’ favorite is “L-O-V-E.”
Miles:How did you know?
John Legend:I got it, yay.
Luna:What’s our favorite thing that we do with you?
John Legend:Our favorite thing is drawing together, and our favorite thing is playing football in the backyard.
Luna:Yep!
John Legend:Yep.
Keep watching for more!
Billie Eilish, Lady Gaga, Lil Baby and more are gearing up to perform at the FireAid Benefit Concert to assist victims of those affected by the L.A. wildfires. Keep watching to see who else performing and how the funds will be used. Tetris Kelly:Musicians like Billie Eilish, Lady Gaga, Jelly Roll and more are set […]
JP Saxe is using his platform for good. The singer-songwriter is gearing up to release his new song, “Safe,” on Jan. 24, and has transformed what was going to be a single release show into a benefit concert for the thousands of people affected by the devastating Los Angeles fires. The “NY for LA” show […]
When Celia Cruz died in July 2003 at the age of 77, nearly 100,000 mourners paid their respects before her open casket viewing in Miami. In New York, Patti LaBelle sang at her memorial mass in St. Patrick’s Cathedral, then-Governor George Pataki declared “Celia Cruz Day,” more than 20,000 crowded the funeral home in the Upper East Side and a 30-block stretch of Fifth Avenue was shut down to accommodate thousands more. The death of the beloved “Queen of Salsa” from complications due to a brain tumor became an event as celebrated as her stunning performances during life.
Cruz, who defied Cuba’s communist government when she left her home country at the dawn of the 1959 revolution, also defied the odds of Latin music careers at the time by becoming the only Afro Latina singer to achieve enduring, global fame. Often compared to Ella Fitzgerald, Cruz recorded over 70 albums in a career that spanned three record labels, notching 28 entries on Billboard‘s Tropical Albums chart. More than 20 years after her death, she generated 64 million on-demand official streams in the United States in 2024, according to Luminate.
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Omer Pardillo — who became Cruz’s manager when he was in his 20s and is the executor of her estate — is a key reason the legendary artist remains relevant. When he was 17, he interned at RMM, the powerful tropical indie record label to which Cruz was signed, and worked on every aspect of her career. When Cruz left RMM, she named Pardillo her manager and executor.
“Even now, sometimes people tell me, ‘You got there at the very end [of her career],’” Miami-based Pardillo says. “But my loyalty was unconditional with Celia and something she saw from the very beginning.” That loyalty remains today. Since partnering with Loud And Live CEO Nelson Albareda in 2005, Pardillo has kept Cruz alive in the public eye with a U.S. postage stamp and a commemorative quarter, a Barbie doll, multiple exhibits, merchandise lines, a Telemundo TV series and even a namesake wine.
“I have these film reels because I’m in the process of digitizing footage of Celia from the ’60s and ’70s,” Pardillo says.
Alfonso Duran
Billboard spoke with Pardillo as he prepares to celebrate the centennial of the singer’s birth in 2025.
You are the executor of the Celia Cruz estate. What exactly does that entail?
I manage all assets that come into the estate — royalties, approvals from the labels, creative, productions, everything. As executor, I receive a percentage, and obviously, all the business deals I had or I bring, I charge 20%. The Loud And Live team, especially Nelson [Albareda], help me a lot. We did a deal with Mattel two years ago for a Celia Barbie; we put out a [Napa Valley-produced] wine to celebrate women; Celia was the face of Wells Fargo Bank for Hispanic audiences. One of the biggest achievements was our deal with the U.S. Mint. She’s the first Afro Latina on a coin and the first Latina artist on a coin. I always say Nelson invests 25 cents and gets a dollar in return. Sometimes I get carried away with nostalgia or feeling, and I’ll say, “We have to do something with this brand because they supported Celia once.” He makes me stop and analyze.
Was the U.S. Mint deal lucrative?
We don’t make money with the Mint. But the awareness of Celia Cruz through the coin has been incredible. The dollar is the most important currency in the world. And the fact that this woman — who was poor and Black and had to flee Cuba and was able to conquer the world with just her voice — is now on a U.S. coin is very relevant. Same thing with the Celia U.S. Postal Service stamp. They both have a huge sentimental value, but also economic, because thanks to the coin, for example, many other things have followed.
“This briefcase belonged to my grandfather, who carried it to work in New York,” Pardillo says. “Today, it serves as my lucky charm in the office.”
Alfonso Duran
Did Cruz own any of her catalog?
Not at all. That was her only mistake. Celia never owned anything. She recorded with Fania, which now is Craft; RMM, which is Universal today; and Sony. The best deal was Sony, where she was treated as an icon. It was different. The other deals were the kinds of deals from back then where they say, “Here’s X amount for a record deal, and we own everything forever.”
But Sony had great royalties, a great team behind Celia. We get royalties from Sony, Universal and Craft. I renegotiated royalties with Universal, Sony was always perfect, and Craft is something we’re working on. She’s collecting the same royalty they offered when she initially signed with them [decades ago]. Still, our revenue comes mostly from recording royalties and brand partnerships. We do three to four major partnerships a year. And on Spotify alone, we had 82.3 million [global] streams for the first six months of 2024. That’s not bad for an artist who’s been dead 21 years.
Have you tried to purchase her catalog?
No. It’s worth too much money.
It was recently announced that Hyphenate Media — Eva Longoria and Cris Abrego’s production company — was part of a group that acquired the rights to work on a movie about Cruz. What can you tell us about that?
I have three projects with Celia pending: a Broadway musical, a documentary and the film. I think in the next five years, we’ll accomplish all three. Hyphenate Media bought the rights for film and TV, and the estate was represented by Raymond García of Uncontained Media. Producer Gloria Calderón Kellett, who is Cuban American, is working on the film project. The film is very important because it will tell things she never told and were not in the [Telemundo] series. Issues with racism, for example, that she never shared with anyone. She always said the negative had to be locked away so they couldn’t cause more pain.
“This chair was used by Celia in her office for over 30 years.”
Alfonso Duran
What are the advantages and challenges of managing the estate of an artist like Cruz?
The big challenge is we don’t own the music rights. So anything related to music, we have to go to the labels. For example, if Mattel wants Barbie to sing “Quimbara,” they have to negotiate those rights with Craft. If I had the ownership of the masters, I could do so much. With the Fania catalog, for example, I can suggest, but I don’t own. It’s frustrating. The advantage is we’re dealing with an artist that was always very respected, and that respect is still the same. There’s a love and a connection with fans, which is very, very important.
What do you have in the works for Cruz’s centennial?
We’re in the process of closing several brand deals, including a major clothing retailer who will put out Celia apparel. We’re also in negotiations with a major restaurant brand. Mostly, we’re focused on concerts. We’re talking with different venues to produce Celia Sinfónica, a series of concerts with different symphony orchestras in different countries, for example. And there’s an upcoming Smithsonian Latino exhibit that opens in May. We’ve had 20 exhibits since Celia’s death, and the Smithsonian has 33% of her outfits, shoes, documents and wigs in their collection.
I have to imagine that with artificial intelligence and new technology, you’re getting requests to produce new songs with Celia’s voice. Recently, Cuban artist Yotuel used AI to add her voice to a new version of “Patria y Vida,” for example.
I approve any use of name, music or image. We have an attorney who sends out letters declining proposals all year long. We really look after that [intellectual property]. Otherwise, the brand will either disappear or will become too accessible. Yotuel’s song was the first time anything was done with AI and Celia’s voice, and I think it came out very well. But from there to a full album, I’m not there yet. I could rerecord the entire catalog, but I feel we’ll lose the essence. I’m told there are producers who can make it sound exactly the same, but it’s not exactly the same because she’s not here.
Cruz’s dedication, which is framed with her 1998 album, Mida Vida Es Cantar, reads: “To Omer Pardillo, the person I most admire for his talent, professionalism, and I love him because I’m his second mom.”
Alfonso Duran
It’s surprising to me that no other woman has emerged in the tropical music scene since Cruz’s death. Why do you think this is?
It has to do with how professional Celia was. She was fully focused on her career. She was very forward-thinking; she was so flamboyant, long before Lady Gaga. She was so humble, and yet she had a divine grace and a power onstage that I have yet to see again.
She was such a fashion icon, with her wigs and her fantastic, glitzy dresses. Did she ever consider doing a fashion line?
No. Celia modeled for Dolce & Gabbana, Thierry Mugler, Valentino. But she was very focused on her career and her voice, and she never thought of a business beyond her music. She always said, “My voice is my business, and I live for my voice.”
This story appears in the Jan. 11, 2025, issue of Billboard.
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Ricardo Arjona, Seco (Metamorfosis Enterprises Limited/Interscope Records)
Guatemalan icon Ricardo Arjona returns with SECO, his eighteenth studio album. The 12-song set is a true reflection of his artistic essence: deeply introspective, poetic lyrics that address social criticism, intertwined with stories of love and humanity. In addition, it is accompanied by careful musical production in which live guitars, violins, piano and percussion stand out. The title of the album, SECO, alludes to the nickname he received as a child for his physical build.
In a statement accompanying the release, Arjona expresses that it could be the most important album of his career. “This album isn’t just music; it’s a piece of my life,” the singer-songwriter says. “SECO represents that boy who dreamed of writing songs while running by the stream. Today, I invite everyone to join me on this journey and find a part of themselves in each song.” The pop ballad “Mujer” is a particular standout track, an ode to feminine strength that takes on an even deeper meaning thanks to the participation of daughter Adria Arjona as the protagonist of the music video. — LUISA CALLE
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Belinda & Tito Double P, “La Cuadrada” (Warner Music México)
In “La Cuadrada,” Belinda further explores the world of corridos bélicos, joining rapidly rising star Tito Double P. Transforming from pop sensation to a powerhouse in regional Mexican music, Belinda slips into the role of “Beli bélica,” an undercover agent on a quest. Their tale unfolds in a cinematic seven-minute video set across lavish locales in Puebla, Mexico and Italy, enhancing the storyline’s intrigue and opulence. The track resonates with Belinda’s crystalline vocals, dynamic guitar riffs, and spirited trumpet interplays, while Tito’s distinctively gruff delivery adds grit to their musical escapade. This collaboration breathes fresh energy into the genre, creating a vivid tableau of love, deception, and undercover pursuits. — ISABELA RAYGOZA
Luis R Conriquez & Peso Pluma, “Bandida” (Kartel Music)
Powerhouses Luis R Conriquez and Peso Pluma double down on their commitment to globalize música mexicana via collaborations. Their latest, “Bandida,” is a testament to a friendship and bond that has not only fueled their respective careers but the genre overall. A corrido bélico through-and-through, the brass horns and guitar-heavy track finds Peso and Conriquez exchanging verses about themes of loyalty and rebellion that come with the territory. At times they bark lyrics like, “la cuenta de banco la tengo de lado, ya son varios ceros (the bank account, I see it, it has many zeros now.),” while at other points they sing in a more reflective tone, “vivo lo que desde morro ambicionaba, disfruto la vida porque un día se acaba (I’m living what I dreamed of as a kid, I enjoy life because one day it ends).” — GRISELDA FLORES
Gusi & Elder Dayán, “Acabaste Conmigo” (Vallenato Social Club)
Gusi kicks off the new year with an exciting and dynamic collaboration alongside the talented Elder Dayán, “Acabaste Conmigo” — the first captivating single from his next studio album, Vallenato Social Club. This track masterfully preserves the rich and vibrant essence of traditional vallenato music while introducing an invigorating tropical pop flair that breathes fresh life into the genre. “Acabaste Conmigo” resonates thanks to an authenticity that speaks to the depth of the pain. By blending traditional vallenato elements with contemporary sounds, Gusi and Dayán create an enthralling experience that bridges the gap between musical heritage and modern influences. — INGRID FAJARDO
Los Ángeles Azules & Thalia, “Yo Me Lo Busqué” (Promotodo México/OCESASeitrack)
Mexican cumbia legends Los Ángeles Azules and pop titan Thalia fuse their unmistakable talents in “Yo Me Lo Busqué,” delivering a riveting cumbia jam that captivates with its infectious rhythm and exuberant spirit. Continuing their tradition of collaborating with Latin pop icons, the Iztapalapa troupe weaves their signature vibrant sound together with Thalia’s spectacular vocals. The lyric’s emotional intensity promises an irresistible invitation to the dance floor, offering a passionate soundtrack for lovers caught in a clandestine affair. “Say that you’re not dying to have another night with me,” the singer belts, anchoring this joyful anthem destined to ignite movement wherever played. — I.R.
Tiago PZK (Gotti), “Señorita” (Grand Move Records/Warner Music Latina)
Tiago PZK is trading spots with his alter ego, Gotti, to deliver the dark and edgy pop banger “Señorita.” The track — powered by gritty synthesizers and catchy hooks — serves as a preview of Tiago’s upcoming EP. “’Señorita’ is a before and after in my career,” Tiago explains in a statement. “As the artist and composer of this song and project, it’s as if a war is about to break out between Tiago and Gotti to see who gets to take the reigns as the artist.” With “Señorita,” the Argentine rapper kicks off a new era in his career, where he’s willing to defy any sort of expectations imposed on him. — G.F.
Check out more Latin recommendations this week below:
On a recent episode of The Kelly Clarkson Show, Kelly Clarkson‘s star power exploded as she covered Chappell Roan‘s “Red Wine Supernova.” In lieu of a miniskirt and go-go boots, the vocalist looked chic in a black blazer while standing on stage with her band Thursday (Jan. 16), immediately bringing energy to the Rise and […]
Across his 571 touchdown passes, Drew Brees never connected with tight end Rob Gronkowski. While the pair of former NFL superstars weren’t teammates on the field, they’ve teamed up as wingmen at Super Bowl LIX.
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Even though the duo isn’t suiting up on the gridiron anymore these days, Brees and Gronk will still be involved with Super Bowl LIX through their Wingman campaign partnership with Bounty.
With the big game headed to New Orleans, it’s only right Gronk tapped the people’s mayor and Saints legend Drew Brees to call the plays in the Big Easy. (Although, it is ironic to see Brees aligned with Bounty after being part of theSaints teams tied to the scandal that came to be known as “Bountygate.”)
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“I needed a guy that could show me around. Who’s better than Drew Brees? He’s the mayor of New Orleans,” Gronk tells Billboard. “Everyone knows who he is. He’s gonna bring me around town.”
Brees adds: “This is the 11th Super Bowl in New Orleans — the most of any city. There’s a reason they keep going back. It’s because it’s the greatest place to host the biggest event in all of sports. There’s no place that loves being able to host events [as much] and really takes pride in it.”
With the divisional round of the NFL Playoffs slated for this weekend, both of the future Hall-of-Famers’ Super Bowl predictions are still in tact, as Brees and Gronkowski expect the Detroit Lions and Buffalo Bills to face-off in New Orleans next month. (Gronk has the Lions lifting the Lombardi Trophy, while Brees believes it’s Buffalo’s year.)
As far as their pre-game playlists, Gronk was bumping plenty of Flo Rida — “My House” to be specific — while Brees opted for Dr. Dre and Eminem’s “Forgot About Dre.” Years later, Brees says he’s never heard Eminem sniping at him on 2020’s “The Adventures of Moon Man & Slim Shady.”
Check out the rest of our interview with Gronk and Brees touching on their favorite Super Bowl Halftime shows, Kendrick Lamar, getting shouted out in songs and more.
How’s it feel to still be involved with the Super Bowl post-career through a partnership like this?
Gronkowski: It’s really cool, man. When you have a successful career, all that hard work and dedication that you put in throughout the time you’re out on the field — it does pay off as well after, to be able to do endorsements and sponsorships still, because we had success. It means you had a legacy out on the field and people still love to hear about you, even if it’s through media, broadcasting or a commercial representing a brand.
In this case, I’m the Bounty Man, and I’ve been with Bounty for three years now — and every year I have a wingman. Last year it was Julian Edelman, who was my teammate with the Patriots for nine years, so he was my ultimate wingman in many scenarios. I had to kick Julian to the curb, because he doesn’t run New Orleans.
Brees: For a week, you have people walking, high-fiving and having a good time and restaurants and bars are open and live music venues. There’s this spirit and feeling when you walk down the streets, it’s unlike any other place. That’s why people talk about New Orleans like it’s own little country. It has its own heartbeat. We know how to have a good time. We know how to throw a great party. We look forward to having NFL fans everywhere embark on New Orleans for the week and make it the center of the universe.
Do you have a favorite Super Bowl Halftime Show performance?
Gronkowski: I’ll go with Bruno Mars. I love the way Bruno performs. How he can sing and dance at the same time is incredible. I love his music. I’m a big Bruno Mars guy. It would be cool to see him perform at halftime again in the future.
Brees: I thought Usher did a great job, man. I know it wasn’t a Super Bowl Halftime performance, but Beyoncé the other night on Netflix. Whoa. That was pretty good too. I was actually at the Super Bowl, Gronk, when you guys beat the Seahawks [in 2015] in Arizona. That was Katy Perry. She came out on the lion, it literally looked like it almost touched the ceiling.
That was the first Super Bowl I went to — because before that I was like, “I’m only going unless we’re playing in it.” That one I wanted to go to — because it was the Patriots, who I had so much respect for, and I loved watching Tom [Brady], Gronk and that offense. They were playing against arguably one of the greatest defenses of all-time, being the Seahawks. Being on the NFC side, if we want to get back to this game, we’re gonna have to get past these guys. It was like, “I want to see this game in-person, so I can see every aspect of what’s happening on the field.” Then there’s the Katy Perry halftime show, which was next-level. Gronk’s fighting Michael Bennett at the end of the game.
Gronkowski: How about that? Throwing some haymakers out there.
What did you guys think about Kendrick Lamar getting the nod in New Orleans?
Gronkowski: I think it’s dope, man. Kendrick’s hot right now. He’s got some great songs out there. He gets the crowd going and brings the energy. That’s what it’s all about. I think he’s gonna do a great job. Whatever show he has that’s gonna go down, I think it’s gonna get the fans out of their seats. I feel like it’s gonna be pretty legendary. There’s gonna be some beats dropping out there that are gonna get people going.
Brees: I love that Kendrick’s gonna be performing. I really hope that Lil [Wayne] makes his way out at some point and he brings him into the mix. Lil Wayne is obviously a New Orleans guy. I think the fans in the city of New Orleans would love to see him be a part of it in some way. There’s always a surprise guest or two that spring up, and you never know who it’s gonna be, and I’m hoping he’s gonna make his way in there.
Was there a song that was your go-to for pregame or something you had to listen to before you ran out or to warm up?
Gronkowski: I’m a Flo Rida guy. He’s had so many No. 1 hits throughout his career. He’s so under-the-radar, but he’s been producing like no other throughout his time in the music industry. My favorite song that I’ve always listened to before games and everything was “My House” by Flo Rida, because you don’t want anyone to come into your house. You want to be the one that controls it and what goes down in your house. I’m a big Flo Rida guy. I listen to all his songs. I love the beats and he brings the energy to the table. All his songs are uplifting as well. “My House” was definitely my favorite.
Brees: I’m kind of an old-school guy, so I like early ’90s hip-hop. Dr. Dre’s “Forgot About Dre,” that was like [that] kind of chip-on-the-shoulder they-forgot-about-us kind of mindset. Let’s show them what it’s all about.
What did you think about Eminem name-dropping you in a song around 2020?
Brees: I probably don’t know what you’re talking about.
Rob Gronkowski: Really? You got Eminem to drop your name in a song and you don’t even know about it?
Yeah, this was like 2020 — a song with Kid Cudi.
Brees: Oh yeah? He did? I gotta look into it. I’m gonna have to look it up.
Gronkowski: I would be honored. I hope that happens to me one day.
Do you guys have a favorite name-drop in a record?
Gronkowski: I would say Rick Ross [on “Pop That”]. It’s not a name-drop, [but] It’s an organization drop. “I’m ballin, ballin’ like I play for New England.” That was hot. We were winning Super Bowls at the time. When that was on at the club when I was in my mid-20s, it couldn’t have been any better for me. I’d get up on the stage and the DJ booth and “ballin’, ballin’ like I play for New England” and the whole club would be going crazy. I would think I’m the absolute s–t, and just the adrenaline rush and I’m hammered as s–t. It couldn’t have been any better of a moment when that song dropped. It was legendary.
Brees: I want to see DJ Gronk.
Gronkowski: DJ Gronk don’t know nothing. You want to see dancing Gronk on the DJ booth. That’s what you want to see.
Before we go, what are your Super Bowl predictions?
Gronkowski: I got the Detroit Lions versus the Buffalo Bills. My hometown. I got the Detroit Lions winning. They just overcame so much adversity this year. I feel like they’re gonna continue that into the playoffs.
Brees: That’s my pick as well. I’d love to see the Lions win it all, but I think it’s Buffalo’s year to get over the hump. They’re gonna have to go through Arrowhead [Stadium] to get the job done.
Carmelo Anthony has finally explained the context behind the photo of him and Rihanna that went on to become a viral meme in the mid-2010s. He cleared the air during the Thursday (Jan. 16) episode of 7PM in Brooklyn podcast, where he detailed the situation that originated from a 2014 Met Gala afterparty. Explore Explore […]
Canada is the third biggest exporter of music to the world.
That’s according to the inaugural “export power” ranking in Luminate’s 2024 year-end report. The music data tracking company, which also tabulates Billboard’s charts, defines export power as “a country’s ability to export recorded music globally.”
Canada is behind only the U.S. and the U.K., which hold the top two spots on the export power ranking. Canada’s top importers of music are the U.S., the U.K. and Australia, while Canada is also the number one importer of music from the U.S., emphasizing the entwined nature of Canadian and American markets.
The rest of the top ten is rounded out by South Korea, Germany, France, Puerto Rico, Australia, Sweden and Brazil.
While that might seem like good news for Canadian music, the report also includes some indicators that Canada is not in a growth period for exporting music.
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When it comes to the share of global premium (audio and video) streams, Canada saw the third largest decline last year, with its share down from 3.73% to 3.34%, also behind the U.S. and U.K. Mexico, Brazil and India had the biggest stream share growth.
That points to a trend where music from the global south — and in languages other than English — is seeing a major explosion in popularity.
The report also highlights that English and non-English-language countries are showing different trends when it comes to local vs. foreign content.
“English-speaking markets are losing local share to non-English language imports,” the report states, “while many non-English speaking markets show local content gaining share.”
That provides further evidence that non-English language music is on the rise across the board. In the U.S., Mexico and Chile (and, surprisingly, Ireland) had the biggest stream share gains, while Canada, the U.S. and Nigeria saw the biggest stream share declines. Canada also saw some of the highest stream share declines in the U.K., Australia, Japan and Brazil.
Canadian songwriters, however, are going strong, thanks in part to a few of pop’s biggest stars.
Canada ranks third for songwriter representation among 2024’s top 1000 most-streamed songs, again behind the U.S. and the U.K.
The Weeknd is a big reason for that position, ranking third amongst the most prolific and the most-streamed songwriters in the top 1000 streamed songs.
Pop comes out as the fastest-growing genre in the U.S., followed by rock, Latin music and country. That growth is led by a big year for women pop singers like Billie Eilish, Sabrina Carpenter — and Canada’s Tate McRae, who places at No. 9 on Luminate’s Pop Artist Rank for the U.S.
Find more on Canadian data and trends in Luminate’s Year-End Report here.
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Unison Fund Launches Relief Program For Canadian Music Workers Affected By Los Angeles Fires
Canadian music industry charity Unison Fund has launched a new support program for music workers affected by the Los Angeles fires.
The Natural Disaster Relief Program provides one-time payments of $2,500 to Canadian music workers facing losses from natural disasters, including the wildfires.
The program is the latest initiative offering support to music industry members who have suffered devastating losses in the fires, which have resulted in at least 27 deaths destroyed more than 12,000 structures. The Palisades Fire is 22% contained as of Thursday, January 16, and the Eaton Fire is 45% contained.
“With so many Canadian music professionals living and working in L.A., it was important to create a program that offers meaningful support during difficult times like these,” executive director Amanda Power tells Billboard Canada.
“The Unison Fund Natural Disaster Relief Program is our way of helping our music community, providing immediate support to help rebuild lives and livelihoods after a crisis.”
Founded in 2010, Unison provides counselling and emergency relief services to Canadian musicians and the music community. The charity previously provided emergency support during 2020 and 2021 amidst the COVID-19 pandemic, disbursing over $3.5 million in pandemic assistance.
Among the Canadians affected by the fires include Grammy-winning producer Greg Wells, who lost his home, and musicians Chantal Kreviazuk and Raine Maida who were forced to evacuate. Tim Darcy of Canadian band Cola lost his house in the fire, with friends and community members fundraising to help Darcy and his partner Amy Fort, of FSR Radio.
To qualify for the Disaster Relief Program, applicants must have worked in the music industry for five consecutive years, with a majority of their income coming from music.
Anxious by nature, Matthew Willems has always been a planner. Founder of the electronic music label Perfect Driver and an engineer, DJ and producer who makes music as Matthew Anthony, Willems spent much of Monday, Jan. 6 at his apartment window. There he observed the strong, strange wind howling through Altadena, the eastern Los Angeles neighborhood where he and his girlfriend, Nicole Perkins, had lived for years.
Between the wind and lack of rain, Willems was uneasy. By 4 p.m. on Tuesday, he and Perkins packed go-bags with items including birth certificates, laptops and USB drives containing the source files for every track he’s ever produced and positioned them at the door of their one-bedroom apartment. At 6:50 p.m., they got the update Willems had been fearing.
“My friend who lives a mile down the hill said, ‘Dude, get out of your house immediately. The sky above it is red. I can see flames,’” he recalls.
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A minute later, the couple and their dog, a pittie mix named Honey, were driving away. On the road they passed six fire trucks heading into the neighborhood, the sirens and wind creating an urgent duet. An hour later, they’d made it to a friend’s house across town in Venice, at which point their phones blasted the emergency alert to evacuate Altadena. By the next morning, their entire neighborhood — the hardware store, the dive bar, the restaurants and houses, including their own — was destroyed.
“It was like a plane crashed, or a bomb went off, or like we were attacked in an active war zone,” Willems says of the scene he witnessed after he crossed police barricades and went to assess the damage on the evening of Jan. 8. As he left that night, he saw the president’s motorcade entering his neighborhood to tour the devastation.
Willems, like so many others in Los Angeles this month, lost everything: clothing, keepsakes and all his studio equipment. At the same time, thousands of residents of Pacific Palisades and Malibu were fleeing their own homes as another monster inferno devoured city blocks. And his story is an all-too-familiar one across the city, as the fires continue raging into their second week with definite end, much less a timeline to repair the damage or rebuild.
On Jan. 11, California Governor Gavin Newsom told Meet the Press that these fires will likely be considered one of the worst natural disasters in United States history. At least 27 people and countless animals died and approximately 12,300 structures were damaged or destroyed, to the cost of an estimated $250 billion so far. These numbers are stunning. They also do little to fully relay the feelings of panic, shock and devastation permeating Los Angeles during a week when ash rained even on parts of the city that weren’t actively aflame.
Like many other groups in Los Angeles, the city’s music community has been hit hard, and is suffering. A widely circulated spreadsheet of music industry professionals who have lost their homes contains more than 360 names — of musicians, publicists, engineers, studio techs, podcast hosts, photographers, record executives and more, along with numbers tallying respective spouses, children and pets. The list includes legendary producer Bob Clearmountain, Griffin Goldsmith of the band Dawes, the musician Poolside and many others, both well-known and rank-and-file industry members; many entries include GoFundMe links, as people search for ways to try to rebuild at least some semblance of the lives they led before the flames.
“Every piece of gear. Every guitar. Every flier I saved. Every record I dug for years and years. It’s all gone in an instant,” Poolside, whose real name is Jeffrey Paradise, wrote on Instagram while sharing videos of his smoldering home.
Some are finding solace in a determination to be helpful to those in need, and both the music community and the general population have taken quick action to support survivors. Within hours of the first fires, a dizzying number of volunteer opportunities were created to provide shelter, food, clothing and other support. The operators of Zebulon, an independent venue in the city’s Frogtown neighborhood, have transformed the space into a donation hub where volunteers have spent days accepting and sorting clothing, diapers, sleeping bags and other necessities. Guitar Center’s non-profit Music Foundation is helping musicians replace lost instruments, while We Are Moving the Needle is offering micro-grants to early and mid-career creators.
Outside of official organizations, a quick scroll through Instagram after the fires first broke out found individuals offering services ranging from free acupuncture to sketches of the homes people lost.
“The response has been immediate,” says Alejandro Cohen, director of music content at the city’s globally influential NPR affiliate, KCRW. “It’s been heartwarming to see the outpouring of support in the form of something as simple as saying, ‘I’m here thinking of you,’ to financial donations, to material donations in the form of instruments or in the form of saying, ‘I have a recording studio. Do you want to come and finish the job you were working on?’ Any form of support you can imagine, everyone is offering it up.”
The station itself is serving the community by quickly building a robust online resource hub for how to get and give support, along with, Cohen says, just “sharing the music that provides comfort, companionship and sometimes even just a way to escape for a moment.”
The fires have upended the city’s event schedule and rippled through the music industry at large. The Weeknd cancelled his Jan. 25 show at the Rose Bowl and postponed the release of a new album, while Beyoncé postponed an announcement scheduled for Jan. 14. Many shows have been cancelled or postponed, with others shifting gears to become fundraisers. Meanwhile many large and small-scale benefits by a genre-spanning collection of artists and promoters will happen throughout the city in the coming weeks.
A Jan. 8 photo of a mobile home park that destroyed during the Palisades Fire.
Jeff Gritchen/MediaNews Group/Orange County Register/Getty Images
On Jan. 13, while firefighters were still working to contain the Palisades and Eaton Canyon fires, the Recording Academy announced the Grammy Awards ceremony will still happen on Feb. 2 at Los Angeles’ Crypto.com Arena, along with myriad related events such as the annual MusiCares fundraiser, which will raise funds for relief efforts. (Amid some backlash, the statement by the Academy stressed that all of the events “will have a fundraising element.”) MusiCares tells Billboard that it has already received more than 2,000 requests for assistance from music professionals affected by the fires, with the volume of need exceeding $4 million.
Universal, BMG, Sony and Warner, among other music companies including Billboard, subsequently cancelled their parties and events around the ceremony, with some of the money used to host these parties being diverted to fire aid support. Meanwhile, artists including Metallica, the Eagles, Doja Cat and Beyoncé have pledged millions to help support victims, as have corporations like Amazon, YouTube, Netflix and more.
But so far, Willems says the only immediate assistance he’s received has been from his GoFundMe. The day after his home was destroyed, he spent three hours on the phone with FEMA trying to access a $770 grant the organization is offering to fire victims; FEMA’s support team ultimately wasn’t able to provide the money. Willems says his email to MusiCares has not yet been answered, given the sheer volume of requests for assistance.
“Our team is working tirelessly to process these requests with the utmost care and urgency,” says Laura Segura, executive director of MusiCares. “Each individual’s request is carefully reviewed to ensure effective and equitable support is provided. For those with more significant needs — such as individuals experiencing medical challenges, the loss of essential music equipment, or longer-term displacement — we are conducting additional follow-ups to offer tailored assistance.”
“The minute I heard the apartment was gone I wrote copy [for my GoFundMe], found a compelling image then emailed the fundraiser to my music friends,” says Willems. “That’s the real community backing me up.” Willems has thus far been offered help by headliner level DJs he’s never spoken to before, along with many fellow artists and industry professionals who are sending money, helping him and his girlfriend find a new place to live and just checking in daily to make sure they’re okay.
Among the many things Willems lost in the fire was a jacket he got while working at electronic digital download platform Beatport. “I was really proud of that coat,” he says. “The someone else who works there was like, ‘Hey man, you can have mine.’ So now I own one coat.”
He calls such acts of kindness stabilizing in a deeply stressful and uncertain moment, when he and others have lost their homes, all their belongings and the sense of safety created by these things. Many of these people have reported bumping into price gouging as they re-enter the city’s already expensive rental market. Willems, like many others, observed looters rooting through burned down homes in Altadena before the fire was even out. He says he and Perkins will not be returning to the neighborhood, largely due to concerns about air quality during the coming cleanup.
“It’s not a day, and it’s not a week,” says Willems. “This is a recovery that’s going to take us years. We haven’t stood in front of our apartment to have a good cry. We haven’t had a chance yet. We’re too busy trying to not get f–ked.”
For more information or to apply for support, contact MusiCares at MusiCaresRelief@musicares.org or call 1-800-687-4227. To donate, visit musicares.org/firerelief.