Awards
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On April 24, the third annual Billboard Latin Women in Music will honor Anitta, Belinda, Celia Cruz, Chiquis, Ha*Ash, Olga Tañón, Natti Natasha and Selena Gomez with special awards, celebrating these groundbreaking women who are shaping the future of Latin music.
The two-hour Latin Women in Music special, which will air live on Telemundo at 9 p.m. ET, will be hosted by 2024 Lifetime Achievement honoree Ana Bárbara, who will also be performing alongside Yahritza y Su Esencia on Thursday. As previously announced, Ivy Queen, La India and Tañón will perform a memorable tribute of Celia Cruz’s most iconic hits. The salsa star would’ve have celebrated her centennial this year.
Throughout the night, artists such as Adriel Favela, Amandititita, Eddy Herrera, Goyo, Lele Pons, Luis Fonsi and Aleyda Ortiz will present the night’s awards and recognitions to the celebrated women. This year’s honorees and honors are Anitta (Vanguard Award), Belinda (Evolution Award), Celia Cruz (Legend Award), Chiquis (Impact Award), Ha*Ash (Unbreakable Award), Natti Natasha (Unstoppable Artist), Olga Tañón (Lifetime Achievement Award) and Selena Gomez (Woman of the Year).
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How to Watch
The 2025 Billboard Latin Women in Music special will air live on Thursday, April 24, at 9 p.m. ET/8 p.m. Central, exclusively on Telemundo, Universo, Peacock and the Telemundo App, and throughout Latin America and the Caribbean on Telemundo Internacional.
Performers
Ana Bárbara
Yahritza y Su Esencia
La India
Ivy Queen
Olga Tañón
Presenters
Adriel Favela
Amandititita
Eddy Herrera
Goyo
Lele Pons
Luis Fonsi
Aleyda Ortiz
Read Billboard’s Latin Women In Music 2025 Executive List here.
Hoping to be nominated for an Oscar in one of the music categories next year? Listen up. The Academy of Motion Picture Arts & Sciences on Monday (April 21) announced key dates and various procedural changes for the 2026 Oscars, which included separate, significantly earlier submission deadlines in the two music categories.
Submissions for best original song must be made by Wednesday, Oct. 15, at 5 p.m. PT. Submissions for best original score are due no later than Monday, Nov. 3, at 5 p.m. PT. Last year, the submission deadline in both categories was the same as for general entry categories — Nov. 14, 2024.
This was one of many changes approved by the academy’s board of governors and announced on Monday.
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In the rules for film eligibility, the following language regarding generative artificial intelligence has been introduced, as recommended by the Academy’s Science and Technology Council: “With regard to generative artificial intelligence and other digital tools used in the making of the film, the tools neither help nor harm the chances of achieving a nomination. The academy and each branch will judge the achievement, taking into account the degree to which a human was at the heart of the creative authorship when choosing which movie to award.”
In a procedural change, academy members must now watch all nominated films in each category to be eligible to vote in the final round for the Oscars. All designated nominees will also be included on the final ballot.
Other substantive awards rules changes include:
For consideration in the best picture category, films released from Jan. 1 through June 30 must have shown proof of submission for Producers Guild of America mark certification or awards-only determination no later than Sept. 10. Films released from July 1 through Dec. 31 must have shown proof of submission to the PGA no later than Nov. 13.
In the international feature film category, the eligibility requirement regarding creative control has been updated to be inclusive of filmmakers with refugee or asylum status. The submitting country must confirm that creative control of the film was largely in the hands of citizens, residents or individuals with refugee or asylum status in the submitting country.
Category rules for eligibility and voting for the inaugural Academy Award for achievement in casting have been codified. There will be a preliminary round of voting to determine a shortlist of 10 films, and prior to nominations voting, casting directors branch members will be invited to view a “bake-off” presentation of the shortlisted achievements, including a Q&A with the designated nominees.
In the animated short film category, voting privileges in the nominations round will be extended to all academy members who opt in to participate. Members must view all 15 shortlisted films to be eligible to vote in the category.
In the cinematography category, there will now be a preliminary round of voting for the cinematography award to determine a shortlist of between 10 and 20 films.
The academy also updated and clarified formatting and language in the campaign promotional regulations for the 98th Oscars. The campaign promotional regulations specify how motion picture companies and individuals directly associated with Oscars-eligible motion pictures may promote such motion pictures, achievements and performances to academy members and how academy members may promote Oscars-eligible motion pictures, achievements and performances.
Substantive changes to the campaign promotional regulations include:
Public communications (including any social media posts, reposts, shares and comments) may not disparage the techniques used in or subject matter of any motion picture. Any academy member, motion picture company or individual directly associated with an eligible motion picture found to be in violation will be subject to penalization.
As previously announced, the 98th Oscars will air live on ABC on Sunday, March 15, 2026 at 7 p.m. ET/4 p.m. PT. Conan O’Brien will host for the second year in a row. Raj Kapoor and Katy Mullan will return as the show’s executive producers for the third consecutive year. Jeff Ross and Mike Sweeney will return as producers for a second time. Sweeney will also serve as a writer.
It will also be the third year in a row that the telecast will start at 4 p.m. on the West Coast, in an effort to make it so that East Coast viewers can find out who wins the biggest awards before they go to bed. (This year’s show ended at 10:50 p.m. ET, making that goal a reality for all but the earliest risers.)
The academy stresses that all rules and dates for the 98th Academy Awards are subject to change. For the complete 98th Academy Awards rules and campaign promotional regulations, visit the academy’s website.
Key dates for the 2025 Oscars season are as follows:
First submission deadline for animated short film, documentary feature film, documentary short film and live action short film categories: Thursday, Aug. 14
First submission deadline for general entry categories, animated feature film, best picture and RAISE form: Wednesday, Sept. 10
Submission deadline for international feature film: Wednesday, Oct. 1
Student Academy Awards: Monday, Oct. 6
Final submission deadline for animated short film, documentary short film and live action short film categories: Thursday, Oct. 9
Submission deadline for music (original song): Wednesday, Oct. 15
Final submission deadline for documentary feature film: Thursday, Oct. 16
Submission deadline for music (original score): Monday, Nov. 3
Final submission deadline for general entry categories, animated feature film, best picture and RAISE form: Thursday, Nov. 13
Governors Awards: Sunday, Nov. 16
Preliminary voting begins 9 a.m. PT: Monday, Dec. 8
Preliminary voting ends 5 p.m. PT: Friday, Dec. 12
Oscars shortlists announcement: Tuesday, Dec. 16
Casting, makeup and hairstyling, sound and visual effects nominating screenings (bake-offs): Sat. Jan. 10/Sun. Jan. 11, 2026
Nominations voting begins: Monday, Jan. 12, 2026, at 9 a.m. PT
Nominations voting ends: Friday, Jan. 16, 2026, at 5 p.m. PT
Oscars nominations announcement: Thursday, Jan. 22, 2026
Oscars nominees event: Tuesday, Feb. 10, 2026
Finals voting begins: Thursday, Feb. 26, 2026, at 9 a.m. PT
Finals voting ends: Thursday, March 5, 2026, at 5 p.m. PT
98th Oscars: Sunday,March 15, 2026
Scientific and technical awards: Tuesday, April 28, 2026
Olga Tañón was just 19 when she was invited to audition as a vocalist for a band. A self-proclaimed “rockerita” from a young age, she assumed it was a rock band. But when she arrived, she found a tambora and a güira instead of an electric guitar, bass, and drums.
“I think I’m in the wrong place,” she recalls thinking. “When I approached the bandleader, Ringo Martínez, he said to me: ‘No, this isn’t a rock band. This is a merengue orchestra.’ I replied, ‘But I don’t know how to sing merengue.’ And he came back with a challenge and told me: ‘Well, a good singer can sing anything.’”
The next day, she was already recording her first merengue song, “Fuera de Mi Vida” by Valeria Lynch, as part of the group Las Nenas de Ringo y Jossie.
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Nearly four decades later, the so-called “Mujer de Fuego” (Woman of Fire) from Santurce, Puerto Rico, is being honored with Billboard‘s 2025 Latin Women in Music Lifetime Achievement Award for her unparalleled influence as a singer in this Dominican genre.
Over her career, which began in the mid-’80s, Tañón has not only won hearts but has also shaped the tropical music style, earning a special place in Latin music history with her exceptional performance quality, unmistakable mezzo-soprano voice, and high-energy stage presence.
Since launching her solo career in 1992, 20 of her albums have entered Billboard’s Top Latin Albums chart, including two that reached No. 1: Llévame Contigo (1997) and Te Acordarás de Mí (1998). On the Tropical Airplay chart, she holds the record as the female artist with the most top 10 entries (29 in total), with hits like “Es Mentiroso,” “Cómo Olvidar,” and “El Frío de Tu Adiós,” to name a few.
“I’m beyond grateful for this beautiful Lifetime Achievement Award,” Tañón says. “It represents all the sacrifices made, all those nights that weren’t wasted but learned from, as I prefer to say. And for people to value you in such a way is a reminder that we’ve truly done the right thing: choosing what we wanted to do with our lives, and achieving it.”
“I hope many young women are inspired to pursue this beautiful [career], which isn’t easy but is wonderful,” she adds.
A Grammy and Latin Grammy winner, and also recognized this year by Billboard among the top 10 Best 50 Female Latin Pop Artists of All Time, Tañón looks back on her beginnings, reflects on her biggest achievements, and shares the secret to a long-lasting career.
Natalia Aguilera
When did you know you wanted to be a music artist?
I really started noticing the early inklings, as I call them, at 4 years old, when I moved to Levittown in Puerto Rico and was already singing a solo at the Coliseo de Toa Baja. I was in pre-kindergarten, and they held an event in that coliseum, and I was part of the choir. Did the teacher see something in me? I don’t know. But from there, I took opera lessons. I took advantage of all the services the public school offered because that’s where I studied.
What’s the first merengue song you remember as being special to you?
At home, we used to listen to “Sancocho Prieto” [by La Sonora Ponceña]. Honestly, I never thought I’d have a career in tropical music. I’ve loved the Dominican Republic since I was very young because the first, second, third, and fourth country my dad took us to visit was the Dominican Republic. But I only listened to merengue to dance to it. If I wanted to sing, I always imagined myself singing songs by Rocío Dúrcal or Isabel Pantoja, things like that. I never imagined I’d build an entire life honoring, as I say, a country that has given me so much. And I wasn’t even born there; that’s why I treat it with such respect.
So how did you end up making merengue music?
I was looking for opportunities in music. I was a “rockerita” in Spanish because I didn’t know a lick of English. After my dance teacher, [the famous Puerto Rican choreographer] Junito Betancourt, passed away, I was invited to an audition, and they told me it was for a band. So, I assumed it was a Spanish rock band. When I walked into the audition at Salón Villarreal, I saw a guy with a tambora and a güira, and I thought, “I think I’m in the wrong place.” But when I approached the bandleader, he said, “No, this isn’t a rock band. This is a merengue orchestra.” And I said, “What do I do? I don’t know how to sing merengue.” And he came back with a challenge and told me: “Well, a good singer can sing anything.” From then on, I haven’t stopped singing merengue.
What a happy mistake, right?
That’s what I call it, “a happy mistake.” Because the truth is, I don’t come from a famous family. I didn’t get a lucky break, you know, like a stroke of fortune. On the contrary, it was a lot of knocking on doors until something worked, and from there, I made the most of it. And the first thing I said was, “If I’m going to do a musical genre that isn’t from my country, I at least need to learn how to play a tambora.” And that’s how I started to learn more about the genre which has given me the life I have today — merengue.
Natalia Aguilera
Who did you look up to as role models? There weren’t many women in merengue at that time…
The image I always remember, and it was a dream that I was fortunate enough to fulfill by meeting her in person, was Rocío Dúrcal, with all those songs that stick with you even to this day — “Pues mira tú, como te ríes, como juegas tú” [she sings part of “Como Tu Mujer,” imitating the Spanish singer’s classic inflections] — with those always extraordinary vocal modulations. When I got into merengue, I didn’t really have an image of a woman in merengue because, at that time, there were duos and groups like Milly Quezada and her sister Jocelyn.
Obviously, there was Fefita La Grande from the Dominican Republic, who was always there with “Vamos a Hablar Inglés.” And I was also greatly inspired by many men who were active at that time.
As a woman in the industry, and in a genre like merengue, what has been the biggest challenge for you?
When you perform a musical genre that isn’t necessarily salsa, bomba or plena — the styles we’re known for in Puerto Rico — when you take on the responsibility of performing a genre that represents a country, you have to make an effort to learn a bit about it and approach it with great respect. I always tried to bring something important to merengue, with a lot of detail, care and love for everything I did.
How did you find your own voice?
Well, honestly, I don’t even know. They just told me, “Open your mouth and sing,” so I opened my mouth and sang. I didn’t have many references in that sense, so I wanted to add my own style. Obviously, when you’re trying to build a career, I always say that everything’s already been invented. But as long as you try to be as original and authentic as possible, I think you’ll do well.
What would you say are your greatest accomplishments in music?
The years I’ve spent making merengue. And also ballads, because Marco Antonio Solís gave me the chance to break into that world [in 1996 with the album Nuevos Senderos]. But specifically in merengue, the years and the applause — it’s a privilege I humbly say I still receive. I still feel like crying every time I come offstage after a sold-out show, even after so many years of my career. And we’re still doing it with a new tour. I think, wow, the people.
And how have you managed to stay relevant over four decades?
By not closing myself off to musical innovation. I think you have to be open to saying, “I can do this with a bit of influence from that.” I meet with producers. I meet with people I love and respect to write. I also open the door to new talent. I think staying relevant means not shutting yourself off.
Natalia Aguilera
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.
Check out Billboard’s Latin Women In Music 2025 executive list here.
MUSIC AWARDS JAPAN has unveiled the nominees for all 50 categories to be honored at the inaugural event set for May 21 and 22 in Kyoto.
The finalists were selected from the approximately 3,000 entries revealed in March, through a preliminary vote by artists, creatives, media-related and other music industry professionals, with some awards open to general listeners. After a final vote including overseas voting members, the winners will be announced at the award ceremony next month.
In the six main categories — Song of the Year, Album of the Year, Artist of the Year, New Artist of the Year, Top Global Hit from Japan, Best Song Asia — artists and acts that have graced the charts and excited music listeners are up for awards: Creepy Nuts (“Bling-Bang-Bang-Born”), YOASOBI (“Idol”), Mrs. GREEN APPLE (“Lilac,” ANTENNA), Fujii Kaze (“Michi Teyu Ku (Overflowing),” LOVE ALL SERVE ALL), Rosé & Bruno Mars (“APT.”), Kenshi Yonezu (LOST CORNER), FRUITS ZIPPER, Kocchi no Kento, Number_i, and aespa (“Supernova”), to name just a few.
Kazutoyo Koyabu, Asuka Kijima, Ko Matsushima, the Founder of arne inc. and music critic Tomonori Shiba took to the stage at the event announcing the nominees. Koyabu, a popular comedian and musician, noted, “These are artists that even an old guy like me has heard of,” while Kijima, a model and actress, said, “Everyone will be satisfied no matter who wins, because they’re all outstanding artists.” The nominees in the Top Global Hit from Japan category selected by overseas listeners include a diverse range of tracks, such as songs featured in games, anime show openers, songs familiar from TikTok, and tracks by artists with a notable global presence. Check out all the nominees at the official MUSIC AWARDS JAPAN website.
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Find the nominees of the six main categories below:
Song of the Year
(Recognition for the song with the most outstanding musical creativity and artistry.)
Rosé & Bruno Mars “APT.”
Creepy Nuts “Bling-Bang-Bang-Born”
YOASOBI “Idol”
Fujii Kaze “Michi Teyu Ku (Overflowing)”
Mrs. GREEN APPLE “Lilac”
Album of the Year
(Recognition for the album with the most outstanding musical creativity and artistry.)
Mrs. GREEN APPLE, ANTENNA
Kenshi Yonezu, LOST CORNER
Fujii Kaze, LOVE ALL SERVE ALL
Vaundy, replica
Hikaru Utada, SCIENCE FICTION
Artist of the Year
(Recognition for the artist with the most outstanding musical creativity and artistry.)
Creepy Nuts
Mrs. GREEN APPLE
Vaundy
YOASOBI
Fujii Kaze
New Artist of the Year
Recognition for the new artist who demonstrated outstanding musical creativity and artistry.
FRUITS ZIPPER
Number_i
Omoinotake
tuki.
Kocchi no Kento
Top Global Hit From Japan
(Recognition for the Japanese song that became a global hit.)
Lotus Juice/Azumi Takahashi “It’s Going Down Now”
XG “WOKE UP”
YOASOBI “Idol”
Fujii Kaze “Shinunoga E-wa”
Miki Matsubara “Mayonaka no Door – stay with me”
Best Song Asia
(Recognition for the Asian hit song that was popular across Asian countries.)
Bernadya “Satu Bulan” (Indonesia)
REGINA SONG “the cutest pair” (Singapore)
aespa “Supernova” (South Korea)
PLAVE “WAY 4 LUV” (South Korea)
JEFF SATUR “GHOST” (Thailand)
MUSIC AWARDS JAPAN 2025 KYOTO
Date of the ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Domestic live broadcast of May 22 event on NHK; global stream of events on both days on YouTube scheduled (some regions excluded).
Stax: Soulsville U.S.A., Will and Harper, Super Man: The Christopher Reeve Story, Shōgun, Hacks and comedy specials starring Alex Edelman and Ramy Youssef are among music, comedy and entertainment-related programs that have been nominated for 2025 Peabody Awards.
Stax: Soulsville U.S.A. tells the story of the fabled label that rose out of Memphis, Tennessee, to become one of the most successful R&B labels in music history. The label was founded by two siblings, business partners Jim Stewart and Estelle Axton (whose last names formed the basis of the label’s name). Booker T. & the M.G.’s served as the label’s house band. Other artists signed to the label in its glory years include Rufus Thomas, Carla Thomas, Otis Redding, Sam & Dave, Eddie Floyd and Isaac Hayes.
Other nominated programs or films with a strong music tie-in are Any Other Way: The Jackie Shane Story, about a Black trans soul singer, and We Are Lady Parts, a comedy about an all-female Muslim punk band.
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Alex Edelman won a Primetime Emmy in September for outstanding writing for a variety special for his HBO special Alex Edelman: Just for Us. The comedian won a special Tony three months before that for the Broadway show which was the basis for the special.
Nominees in the Arts, Children’s/Youth, Entertainment, and Interactive & Immersive categories were announced on Thursday (April 17). Nominees in Documentary, News, Public Service, and Radio/Podcast categories were announced on April 15.
Winners of the 85th Annual Peabody Awards will be announced on May 1, and celebrated on Sunday, June 1, at the Beverly Wilshire Hotel in Beverly Hills, Calif. The ceremony will be hosted by Roy Wood Jr. Longtime NBC News correspondent Andrea Mitchell will receive the Career Achievement Award and landmark NBC sketch-comedy series Saturday Night Live will be honored with the Institutional Award.
Here are 2025 Peabody Award nominees that have a connection to music, comedy or entertainment. The capsule descriptions of each show are provided by the Peabody organization.
DOCUMENTARY
Any Other Way: The Jackie Shane Story (Crave; Bangers Films and the National Film Board of Canada)
“This film brings to life the powerful voice and legacy of Jackie Shane, a Black trans soul singer who vanished at the height of fame and now tells her story in her own works. Blending rare audio recordings, animated visuals, and family revelations, the film honors Shane’s trailblazing journey, celebrating her impact as an icon who lived authentically long before the world was ready.”
Queendom (A Galdanova Film Production in association with Sundance Institute Documentary Film Program, International Documentary Association, InMaat Productions, Doc Society and Sopka Films)
“Jenna, a 21-year-old queer artist from a remote Russian town, uses haunting, otherworldly performances in the streets of Moscow to protest LGBTQ+ oppression and challenge societal norms around beauty and identity. Documenting Jenna’s bold art and activism, this film offers a powerful, intimate look at resilience under repression.”
Stax: Soulsville U.S.A. (HBO | Max; HBO Documentary Films presents in association with Concord Originals, Polygram Entertainment, Warner Music Entertainment; A Laylow Pictures production; A White Horse Pictures production)
“This four-part documentary series traces the rise and fall of Stax Records, the groundbreaking Memphis-based, interracial, soul label that launched the careers of icons such as Otis Redding and Isaac Hayes. Through rare archival footage, intimate interviews, and an immersive sonic experience, the series offers an unflinching, deeply human portrait of artistic innovation, community resilience, and the enduring struggle for Black empowerment in America.”
Super/Man: The Christopher Reeve Story (HBO | Max; DC Studios / HBO Documentary Films / CNN Films)
“After a devastating accident left him paralyzed, Christopher Reeve became a powerful symbol of resilience, using his platform to inspire hope and advocate for disability rights. Throughout it all, he remained a passionate actor, filmmaker, and devoted family man, with his wife Dana as his unwavering support.”
Will & Harper (Netflix; A Netflix Documentary / A Wayfarer Studios Film / A Delirio Films Production / A Gloria Sanchez Production)
“Actor Will Ferrell and his longtime collaborator and friend Harper Steele take a road trip across America together, getting reacquainted after Harper’s midlife gender transition. They experience mixed reactions at different stops along the way as Will asks occasionally awkward questions and realizes the limits of his fame to combat prejudice, painting a realistically complex portrait of allyship.”
RADIO/PODCAST
The Good Whale (Serial Productions and The New York Times)
“Serial Productions and The New York Times tell the story of efforts to free the orca who played the title role in the film Free Willy from an amusement park in Mexico City. The epic experiment takes a number of unexpected turns, calling into question the practice of keeping animals in captivity—even, and maybe especially, celebrity animals.”
Pulse: The Untold Story (Trevor Aaronson, Western Sound, and Audible)
“In this Audible production, host Trevor Aaronson challenges the established narrative surrounding the Pulse nightclub shooting, revealing that it was not a premeditated anti-LGBTQIA+ hate crime, but rather an opportunistic act by shooter Omar Mateen—a shocking revelation that has received little coverage.”
CHILDREN/YOUTH
Out of My Mind (Disney+)
“This coming-of-age film, based on a 2010 novel by Sharon M. Draper, stars Phoebe-Ray Taylor as a sixth-grader with cerebral palsy facing the challenges of being in a mainstream class for the first time. Her thoughts are voiced by Jennifer Aniston, the non-verbal character’s favorite actress from Friends, and her family is played by Rosemarie DeWitt, Luke Kirby, and Judith Light.” (Big Beach, Participant, EveryWhere Studios LLC, and Disney Branded Television)
ENTERTAINMENT
Alex Edelman: Just For Us (HBO | Max)
“Comedian Alex Edelman presents his deeply personal solo show about identity, assimilation, and empathy, centered around his real-life experience attending a meeting of White Nationalists as a Jewish man. Over seven years, the show evolved through conversation, revision, and audience engagement, ultimately becoming a celebrated HBO special that resonated profoundly in a time of rising antisemitism and ideological division.” (HBO in association with Enfield Tennis Academy, Above Average, and Seaview Productions)
Baby Reindeer (Netflix)
“Baby Reindeer follows Donny, a troubled comedian entangled in a toxic relationship with a stalker, as he gradually unravels how his past has shaped his self-destructive behavior and relationships. At its core, the series explores how unaddressed trauma perpetuates cycles of harm, ultimately becoming a powerful and resonant meditation on healing, empathy, and the enduring impact of abuse.” (A Netflix Series / A Clerkenwell Films Production)
Clipped (FX/Hulu)
“This sports docudrama, created by Gina Welch, based on the ESPN 30 for 30 podcast The Sterling Affairs, tells the story of Los Angeles Clippers owner Donald Sterling’s downfall after his recorded racist remarks were publicized.” (FX Productions)
Fantasmas (HBO | Max)
“Created by and starring Julio Torres, Fantasmas is a surreal, genre-defying HBO comedy series that blends narrative and sketch to explore themes of alienation, queerness, and identity through a whimsical quest for a lost oyster earring in a dreamlike version of New York City. With its bold visual style, diverse cast, and deeply personal storytelling, the show stands as a singular testament to the value of unconventional, imaginative voices.” (HBO in association with Irony Point, Fruit Tree, 3 Arts Entertainment, and Space Prince Inc.)
Hacks (HBO | Max)
“Season 3 of Hacks explores the renewed dynamic between comedy legend Deborah Vance and young writer Ava Daniels as they reunite after a year apart, reigniting their creative spark just in time for Deborah’s shot at hosting Late Night. As Deborah fights to claim a long-denied dream and Ava learns to advocate for herself, the season becomes a powerful reflection on ambition, legacy, and the courage it takes—especially for women—to boldly ask for what they want.” (Universal Television, a division of Universal Studio Group, in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment)
Mr Bates vs The Post Office (PBS/MASTERPIECE)
“This four-part drama is based on the true story of U.K. sub-postmasters who were falsely accused of theft due to a faulty computer system, revealing one of the worst miscarriages of justice in British history. The series sparked nationwide outrage, led to real-world legal reform, and highlighted the extraordinary courage of ordinary people fighting back against institutional abuse.” (A Co-Production of ITV Studios, Little Gem, and MASTERPIECE for ITV)
One Hundred Years of Solitude (Netflix)
“One Hundred Years of Solitude follows José Arcadio Buendía and Úrsula Iguarán as they flee their village and found the mythical town of Macondo, where generations of their family grapple with love, madness, war, and a haunting curse in this stunning adaptation of Gabriel García Márquez’s 1967 masterpiece.” (Netflix / Dynamo)
Ramy Youssef: More Feelings (HBO | Max)
“In Ramy Youssef: More Feelings, the comedian reflects on the complexities of being a Muslim public figure in America, confronting issues of representation, Islamophobia, and the emotional toll of being expected to respond to global crises.” (HBO presents a Cairo Cowboy and A24 production)
Ripley (Netflix)
“Ripley follows a cunning grifter in 1960s New York who is hired to retrieve a wealthy man’s son from Italy, setting off a dark journey into deception, fraud, and murder. Based on Patricia Highsmith’s acclaimed novels, the limited series explores the chilling transformation of Tom Ripley as he manipulates his way through a life built on lies.” (Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix)
Say Nothing (FX/Hulu)
“This FX limited series, adapted from Patrick Radden Keefe’s nonfiction book, traces the unsolved murder of Jean McConville and the brutal complexities of The Troubles in Northern Ireland. Through deeply human storytelling, the series transcends its historical setting to explore universal themes of violence, trauma, idealism, and the moral ambiguities of political conflict.” (FX Productions)
Shōgun (FX/Hulu)
“Creators Rachel Kondo and Justin Marks reimagine James Clavell’s classic tale through a modern lens, exploring what it means for two cultures to collide and transform one another with empathy and authenticity. By involving Japanese collaborators in every facet of production, they move beyond the “stranger in a strange land” trope to create a more inclusive, respectful, and culturally rich storytelling process that could serve as a new standard for global filmmaking.” (FX Productions)
We Are Lady Parts (Peacock)
“We Are Lady Parts is a bold, joyful comedy about an all-female Muslim punk band navigating identity, ambition, and sisterhood, blending sharp humor with themes of inclusivity and representation. In its second season, the series elevates its complexity, challenging cultural stereotypes with heart, humor, and killer music as the band experiences the pressures of success and navigates how to remain true to themselves while monetizing their art.” (Working Title Television, a part of Universal International Studios, a division of Universal Studio Group)
Liza Minnelli is a legend, an icon and a superstar, but the one superlative she can’t quite claim is being an EGOT. She has won an Emmy, an Oscar and three Tonys in competition, but has yet to win a Grammy in competition. She may have another chance when the 68th Annual Grammy Awards are presented early next year.
Minnelli co-produced the cast album to the Off-Broadway hit DRAG: The Musical. The album will be released on April 25 via PEG Records/Warner. If it wins a Grammy for best musical theater album, Minnelli will become the 22nd EGOT (unless someone else gets there first).
Minnelli produced the album with co-creator Tomas Costanza, with Nicholas Kaiser as executive producer. (Minnelli is also a co-producer of the live show.)
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“From the moment I got involved with DRAG: The Musical, I knew it was something special — bold … brave … bursting with heart and music that is all about love,” Minnelli said in a statement. “The songs here will make you laugh and cry. This entire experience and adventure helps you find yourself. Producing this exquisite live album with Tomas is a joy, because he’s a genius surrounded by a brilliant cast and company, and because it captures that electric energy you only get in a theater full of love, laughter and lashes. This is a fabulous family show. It celebrates childhood innocence, adult tsuris and gorgeous glitter! Darling, this cast sings their faces off — and I couldn’t be prouder to help bring this art into the world.”
Minnelli has been nominated for Grammys for best traditional pop vocal album twice, for Gently (1997) and Liza’s at the Palace…! (2010). She received a Grammy Legend Award in 1990 (alongside Andrew Lloyd Webber, Smokey Robinson and Willie Nelson, when those awards were presented on a separate broadcast), and a Grammy Hall of Fame induction for the Cabaret soundtrack, but most awards historians don’t count honorary or special awards toward EGOT status. (Barbra Streisand, film and TV producer Frank Marshall and three late greats — James Earl Jones, Harry Belafonte and Quincy Jones — are also EGOTs only if you count honorary or special awards.)
If Minnelli wins a Grammy early next year, she’ll set a new record for the longest span of EGOT-qualifying wins of any EGOT winner (61 years). She won her first EGOT award, a Tony, in 1965 for her leading role in Flora the Red Menace. The current record holder for the longest span of EGOT-qualifying wins is held by Helen Hayes, with a 45-year span. Hayes won her first Oscar in 1932 and her first and only Grammy in 1977.
Minnelli is 79 and will still be 79 when the Grammys are dispensed early next year. Only one person has been that old or older upon clinching EGOT status. That’s John Gielgud (Minnelli’s co-star in the hit 1981 film Arthur), who was 87 when he achieved the feat.
Other people who were 70-plus when they finally became EGOTs (proving there’s always hope!), were Elton John (76), Helen Hayes (76), Mel Brooks (74), Tim Rice (73), Alan Menken (70) and Andrew Lloyd Webber (70).
Minnelli reached a career peak that few performers have ever reached in 1973 when she won both an Oscar for best actress for Cabaret and a Primetime Emmy for outstanding single program − variety and popular music for Liza With a ‘Z’. A Concert for Television. She won her second and third Tony Awards in 1978 for The Act and 2009 for Liza’s at The Palace…!, which won in the competitive category of best special theatrical event. (She also won a special, non-competitive Tony in 1974 for “adding luster to the Broadway season.”)
DRAG: The Musical, written by drag star Alaska Thunderfuck alongside Tomas Costanza and frequent collaborator Ashley Gordon, tells the tale of two rival drag bars coming to blows amid financial struggles. But underneath the glamorous costumes (courtesy of designer Marco Marco) is a story of acceptance, self-identity and the power of community.
The show debuted off-Broadway last October following two runs at Los Angeles’ The Bourbon Room. The show is playing at New World Stages in New York City until April 27.
Including two songs new to the production, “One of the Boys” and “The Showdown”, DRAG: The Musical LIVE (The Cast Recording) features a mix of drag and theater stars including Minnelli, Thunderfuck, Nick Adams, Adam Pascal, Beau Coddou, Dylan Patterson, Eddie Korbich, J. Elaine Marcos, Jan Sport, Jujubee, Lagoona Bloo, Kodiak Thompson, Luxx Noir London, Nicholas Kraft, Nick Laughlin, Peli Naomi Woods, Tamika Lawrence and Teddy Wilson Jr.
The album was engineered by Drew Levy, a two-time Tony-nominee for best sound design of a musical, and mixed by Davey Badiuk.
The show recently won a special recognition award from the GLAAD Media Awards and scored six Lucille Lortel Awards nominations, which tied Our Class and Three Houses for the most nods this year.
Such stars as Chappell Roan, Adam Lambert, Alex Newell, Bob the Drag Queen and Orville Peck have visited the show.
Minnelli is featured on two of the 18 tracks on the album – the opener, “Prologue / Welcome to the Fish Tank,” and the penultimate track, “Two Bitches Are Better Than One / Epilogue.” But that’s not enough for her to qualify for a Grammy as a performer. Her ticket to a Grammy nomination is as an album producer.
Here’s the Recording Academy’s rule for who is nominated in the category of best musical theater album. “For albums containing greater than 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50% or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this category.”
Here’s the complete track listing for DRAG: The Musical LIVE (The Cast Recording)
“Prologue / Welcome to the Fish Tank,” Liza Minnelli, Tamika Lawrence, Lagoona Bloo, Luxx Noir London, Nick Adams, Peli Naomi Woods, Nicholas Kraft, Teddy Wilson Jr.
“She’s All That,” Nick Adams, Tamika Lawrence, Lagoona Bloo, Luxx Noir London, Peli Naomi Woods, Nicholas Kraft, Teddy Wilson Jr.
“Cathouse Fever,” Jan Sport, Jujubee, Nick Laughlin, Peli Naomi Woods, Nicholas Kraft, Teddy Wilson Jr.
“Queen Kitty,” Jan Sport, Jujubee, Nick Laughlin, Alaska Thunderfuck, Peli Naomi Woods, Nicholas Kraft, Teddy Wilson Jr.
“Drag Is Expensive,” Nick Adams, Luxx Noir London, Lagoona Bloo, Tamika Lawrence, Adam Pascal
“Wigs,” Jan Sport, Jujubee, Nick Laughlin, Lagoona Bloo, Tamika Lawrence, Luxx Noir London, Alaska Thunderfuck, Nick Adams
“One of the Boys,” Tamika Lawrence
“Gay as Hell,” Eddie Korbich, Nicholas Kraft, Teddy Wilson Jr.
“Gloria Schmidt,” Lagoona Bloo, J. Elaine Marcos, Adam Pascal, Tamika Lawrence
“Rita LaRitz,” J. Elaine Marcos, Alaska Thunderfuck
“It’s a Drag,” Alaska Thunderfuck, Nick Adams, Eddie Korbich
“It’s So Pretty,” Nick Adams, Beau Coddou, Nicholas Kraft, Teddy Wilson Jr., Kodiak Thompson
“I’m Just Brendan,” Beau Coddou
“Straight Man,” Adam Pascal
“The Showdown,” Alaska Thunderfuck, Nick Adams
“Once Upon a Toilet,” Tamika Lawrence, Lagoona Bloo, Luxx Noir London, Nick Adams, Adam Pascal, Beau Coddou, Peli Naomi Woods, Nicholas Kraft, Teddy Wilson Jr.
“Two Bitches Are Better Than One / Epilogue,” Liza Minnelli, Alaska Thunderfuck, Nick Adams
“Real Queens / Brendan is His Name / Welcome to the Catfish,” Luxx Noir London, Jan Sport, Jujubee, Lagoona Bloo, Tamika Lawrence, Nick Laughlin, Dylan Patterson, Adam Pascal, Alaska Thunderfuck, Nick Adams, Peli Naomi Woods, Nicholas Kraft, Teddy Wilson Jr., Kodiak Thompson
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Jan. 29, 2024 to Jan. 26, 2025. The entries for each category were announced last month and the nominees for each category was revealed Thursday (Apr. 17).
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The third installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the entries in the Best Cross-Border Collaboration Song category that honors songs written in collaboration between domestic and overseas artists. Let’s take a look at how Japanese music interacts with the world, using data of the entries for this award.
The Artists’ Involvement in the Creative Process is Key
We divided the 50 entries into five types and calculated the percentage of songs in each. “JOINT PERFORMANCE” refers to co-writing as well as joint performances, and “FEATURING” refers to guest appearances (remixes of existing songs fall under “REMIX”). More than half the entries fall under JOINT PERFORMANCE or FEATURING.
“PRODUCE” refers to tracks where artists from overseas participate as producers in songs by Japanese artists, and accounts for 24% of the total. This includes Fujii Kaze’s “Feelin’ Go(o)d”, f5ve’s “UFO” (both produced by A.G. Cook), and ONE OR EIGHT’s “Don’t Tell Nobody” (produced by Ryan Tedder of One Republic).
For many of the songs that fall under JOINT PERFORMANCE, FEATURING and PRODUCE, the artists themselves participated in the creative process, such as writing the lyrics and composing the music. In the second installment of this series, we noted that the entries in the Top Global Hits from Japan category seem to be slightly more oriented towards artists who write and perform their own works compared to those up for the Song of the Year award, which honors songs popular in Japan. The same can be said for collaborative works that span countries and regions. It seems that, compared to within Japan, it’s more important for artists to be actively involved in the creative process overseas, both from the perspective of listeners and creators.
Affinity With the Collaborators’ Nationalities
The above shows the share of each country/region excluding Japan, calculated by adding up the number of streams of all entries in the Best Cross-Border Collaboration Song category during the tallying period. The country with the highest share was the United States, and it also leads the list of the collaborators’ nationalities, which we’ll touch on later, but the order below second place didn’t match the collaborators’ nationalities at all. This shows that the collaborators’ nationalities and the countries/regions where the songs are actually listened to do not necessarily match.
For example, “Bekhauf,” the collab between BABYMETAL and the Indian metal band Bloodywood, accounted for 1% of the streaming numbers in India. Meanwhile, “RATATATA,” the collab between BABYMETAL and the German metal band Electric Callboy, accounted for 49% of the streaming numbers in Germany. One reason for this difference is that the market for metal music in Germany is more mature than in India. From this trend, we can see that affinity with the collaborators’ nationality is also an important factor in maximizing the effect of collaborations.
Countries/regions Interested in Collabs Between Japanese and Foreign Acts
Megan Thee Stallion’s “Mamushi (feat. Yuki Chiba)” was the collaborative number with the most streams among this year’s entries, with an large share in multiple countries/regions including the U.S. (68%), the Philippines (79%), India and South Africa (both 87%). When there’s a song with such an overwhelming share, the overall share is greatly influenced by the trend of that song.
So to identify countries/regions with high interest in collaborative songs in general, rather than a specific one, we extracted the top 10 countries/regions for each song’s streaming numbers and compiled the number of songs that charted in the top 10 by country/region. Countries/regions ranked multiple times in the top 10 of each song’s list likely have strong tendencies to consistently support collabs between Japanese and overseas artists.
Top Countries Excl. Japan by Streams According to Luminate
Total Number of Entry Songs in Top 10 by Country/Region
Canada, Indonesia, and Taiwan came in at Nos. 2, 3, and 4. These are all countries/regions that didn’t rank high in terms of collaborators’ nationalities and streaming numbers. These countries/regions are considered to have high interest in songs featuring Japanese artists, regardless of who they collaborate with. Taiwan, in particular, had 32 songs in the top 10 despite its relatively small population.
The Properties of Collaborative Songs
Next, looking at the domestic and international streaming shares of the entries in the Best Cross-Border Collaboration Song category during the tallying period, 78% of the total streaming count for all 50 songs combined came from outside Japan. This is higher than the percentage of overseas streams for the entries in the Top Global Hits from Japan category, an award for Japanese music being listened to outside the country (59%), indicating that collaborative songs are more actively listened to overseas. Approximately 80% of the songs weren’t linked to other works or products, suggesting that whether or not a collaborative song is a tie-in doesn’t influence its popularity.
The chart above shows the genre breakdown of the entries. Soul/R&B accounts for 22% of the total, largely due to the six songs by SIRUP that made the list. Hip-Hop/Rap accounts for 20%, and here, all tracks except for two by Chanmina are by different artists. Notably, the share in this genre is 15% more than the 5% in Top Global Hits from Japan.
The percentage of the collaborators’ nationalities was calculated based on the number of artists. The United States (27%) had the highest percentage, with many collaborations with rappers such as Megan Thee Stallion and Big Sean. The United Kingdom (18%) featured artists associated with Hikaru Utada, such as Sam Smith and A.G. Cook.
South Korea has entries featuring rappers such as ASH ISLAND and Zion.T, as well as collaborative tracks with dance and vocal groups like ATEEZ. Three songs have entered from Thailand: BALLISTIK BOYZ from EXILE TRIBE’s “Meant to be feat. F.HERO & BOOM BOOM CASH,” ATARASHII GAKKO!’s “Drama (feat. MILLI),” and HYBS x SIRUP’s “I’m Blessed.”
Cross-border collaborations are becoming an important channel connecting Japanese music with the world, and the Best Cross-Border Collaboration Song award is a symbolic category that captures this global trend. We hope this award will serve as an opportunity to further enhance the presence of Japanese artists in the international music scene.
The Academy of Country Music revealed the winners of the ACM Radio Awards bright and early on Thursday (April 17). Ella Langley, this year’s top nominee at the upcoming 60th ACM Awards with eight nominations, called the radio on-air personalities and radio stations to surprise them with the news of their ACM Awards.
Winners announced include multiple first-time honorees. In the On-Air categories, first-time winners include: Lorianne Crook and Charlie Chase of Crook & Chase Countdown for National Weekly On-Air Personality of the Year; Josh Holleman, Rachael Hunter, and Steve Grunwald of Josh, Rachael and Grunwald in the Morning for Major Market On-Air Personality of the Year; Joey Tack and Nancy Barger of Joey & Nancy for Medium Market On-Air Personality of the Year; and Mel McCrae of The Cat Pak Morning Show for Small Market On-Air Personality of the Year.
Among radio stations, WIVK in Knoxville, Tenn. won Radio Station of the Year, Medium Market for the ninth time, a longer winning streak than any of this year’s other winners.
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The 60th ACM Awards are set to take place on Thursday, May 8 at Ford Center at The Star in Frisco, Texas and streaming exclusively on Amazon’s Prime Video. Reba McEntire is set to host the show, which will feature performances by Blake Shelton, Eric Church, and Lainey Wilson, with more to be named. A limited number of tickets to the 60th ACM Awards are available now at SeatGeek.
The 60th Academy of Country Music Awards is produced by Dick Clark Productions (DCP). Raj Kapoor is executive producer and showrunner, with Patrick Menton as co-executive producer. Damon Whiteside serves as executive producer for the Academy of Country Music, and Jay Penske and Barry Adelman serve as executive producers for DCP. John Saade will also continue to serve as consulting producer for Amazon MGM Studios.
Here’s a complete list of the 2025 ACM Radio Award winners, with a notation indicating how many times each has won in this category.
On-Air Personality of the Year Winners
National Daily: Big D, Bubba | Big D & Bubba (fourth wins)
National Weekly: Lorianne Crook, Charlie Chase | Crook & Chase Countdown (first wins)
Major Market: Josh Holleman, Rachael Hunter, Steve Grunwald | Josh, Rachael and Grunwald in the Morning – WYCD – Detroit, Mich. (first wins)
Large Market: Big Dave, Stattman | The Big Dave Show – WUBE – Cincinnati, Ohio (fourth win, third win, respectively)
Medium Market: Joey Tack, Nancy Barger | Joey & Nancy – WIVK – Knoxville, Tenn. (first wins)
Small Market: Brent Lane, Mel McCrae | The Cat Pak Morning Show – WYCT – Pensacola, Fla. (third win, first win, respectively).
Radio Station of the Year Winners
Major Market: KYGO – Denver, Colo. (second win)
Large Market: WQDR – Raleigh, N.C. (fourth win)
Medium Market: WIVK – Knoxville, Tenn. (ninth win)
Small Market: WXBQ – Bristol, Va. (second win)
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
Ice Cube has become a forever part of Hollywod’s TCL Chinese Theatre, and he celebrated the moment on Instagram.
On Tuesday (April 15), Cube stopped by the TCL Chinese Theatre to imprint his hands and his feet — technically his Converse All-Stars — into the cement outside the venue.
“Today was legendary,” Cube wrote of the moment on IG. “Left my prints in cement at the iconic TCL Chinese Theatre in Hollywood. Honored to continue to receive my flowers in a business I never thought I’d be apart of.”
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The moment now includes Cube amongst dozens of other Hollywood elite, including legendary actors like Steve McQueen, Harrison Ford and Jack Nicholson.
“To have my hands, signature, to put the Chuck Taylors in the cement here, it’s next level,” Cube told ABC7 of the honor. “It’s things you don’t even dream of because the dream is too big.”
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He added: “I think my forte is truth to power and I think speaking the truth has gotten me power so, you know, I think it’s really about celebrating from NWA all the way to my new records and everything in between.”
During Cube’s ceremony, his son O’Shea Jackson Jr. spoke fondly about his dad. “I said in my speech, ‘People always ask, “What’s it like to be Ice Cube’s son?”‘ I don’t know. You know, O’Shea Jackson Sr. is my dad, and he likes to eat cereal at night, watches the Lakers and would make you take the trash out every now and then.”
Mike Epps also paid homage to his friend, saying: “Ice Cube has been the most influential part of my life apart from my dad. I listened to his music as a teenager. I’m still starstruck of this dude. I’m still amazed at his talent.”
The huge moment comes as Cube gets ready to embark on his Truth to Power: Four Decades of Attitude Tour. Celebrating nearly 40 years in hip-hop, the trek will take the N.W.A rapper across North America starting Sept. 4.
Check out Cube’s Instagram post honoring the moment below.
MELBOURNE, Australia — Just months after the 2024 Music Victoria Awards were confirmed to have been targeted in an egregious occurrence of voter fraud, organizers have made the decision to suspend the 2025 event.
The 2024 edition of the awards – which seeks to honor and recognize the talents of musicians in the Australian state of Victoria – was held in Melbourne on Oct. 24, though it was later announced on Nov. 27 that an “unknown assailant/s” had targeted the voting process and manipulated several of the publicly-voted categories.
In a statement, Music Victoria, the trade body that produces the annual ceremony, explained they had become aware of “unusual activity within the third-party voting system used for the public voted categories.”
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Following a thorough internal investigation, and liaisons with “the third-party voting system Award Force, cyber security experts and legal advice,” it was discovered that “thousands of misregistered votes” had been “falsely attributed to nominees, resulting in a change to the recipients of five of the six publicly voted categories.”
As a result of the discovery, the rightful winners were later reinstated and Music Victoria insisted it will “carve out space” in the 2025 ceremony to “present the winners in front of our industry.”
However, a statement issued by Music Victoria on Wednesday (April 16) has now confirmed the awards will in fact be suspended for 2025.
“This decision comes after careful reflection, consultation, valuable feedback and learnings over the last 18 months,” the statement read. “The organisation believes this is the right time and opportunity for Music Victoria to reassess and reimagine the Music Victoria Awards, ensuring they are reflective of and aligned with Victoria’s diverse music community while operating in a financially sustainable manner.
“Music Victoria remains deeply committed to its mission of providing a valuable platform for artists and industry and looks forward to engaging with stakeholders – working together to uncover new ways to celebrate and support Victorian music meaningfully.”
Music Victoria CEO Fiona Duncan also issued a statement, noting, “this short-term action gives us the opportunity to set up the Music Victoria Awards for a robust and sustainable long-term future.”
“We need to take one step back to allow leaps forward,” Duncan added. “We look forward to collaborating closely with our community to shape this next chapter to celebrate the depths of talent we have in Victoria. We appreciate your understanding and continued support as we evolve through these changes.”
The Music Victoria Awards were originally launched in 2006 as the EG Music Awards, as a means to celebrate the 21st anniversary of Melbourne newspaper The Age’s long-running entertainment guide. Initially a retrospective ceremony, the focus shifted in the ensuing years to reflect the annual performance of musicians from Victoria.
The 2024 edition of the Music Victoria Awards saw names such as Angie McMahon, Gut Health, and Maple Glider, recognized for best album, best group, and best solo artist, respectively.