BBLatin
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“Los Del Espacio” by LIT Killah, Tiago Pzk, Maria Becerra, Duki, Emilia, Rusherking, Big One and FMK rules the Billboard Argentina Hot 100 chart (dated July 15) for a sixth week. With the new week at No. 1, the song breaks from a tie for the second-longest command in 2023, trailing only Emilia, Big One and Callejero Fino’s “En La Intimidad” which ruled for seven weeks this year.
Meanwhile, Becerra places two other tracks in the top 10, starting with “Corazón Vacío,” which holds at its No. 2 high for a third consecutive week, while “Adiós,” with Ráfaga, dips 5-6.
Myke Towers earns his seventh top 10 as “LaLa” rallies up the chart from No. 12 to No. 3. It’s the Puerto Rican’s highest ranking since “Pareja del Año,” with Sebastián Yatra, peaked at No. 2 in May 2021.
The week’s Hot Shot Debut goes to “Atorrante,” the collab by Argentinians Emanero, Ulises Bueno and Migrantes, at No. 34.
Elsewhere, Quevedo adds his 11th entry with “Columbia” at No. 35, while 15-year-old Milo J picks up his eighth entry as “Rincón,” produced by Big One, bows at No. 43.
Singer-songwriter BM takes the week’s Greatest Gainer as “Ni Una Ni Dos” surges 90-47. Plus, the Argentinian scores another entry through his featured role in Luck Ra’s “La Morocha”, at No. 64.
Lastly, two other songs debut this week: Peso Pluma and Grupo Frontera’s“Tulum” at No. 93 and DJ Tao and Karina’s “DJ Tao Turreo Sessions #18” at No. 100.
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In the upcoming Barbie movie, directed by Greta Gerwig, Barbie (Margot Robbie) will have to choose between her picture-perfect life or know what life is like in the real world — one that is less … pink. For those of us that live in said real world, we’ve been transported to Barbie’s universe thanks to […]
07/19/2023
From Karol G’s history-making Mañana Será Bonito to Don Omar’s comeback album Forever King, see our picks here for the best Latin LPs from 2023’s first six months.
07/19/2023
Billboard unveiled on Wednesday (July 19) the first round of talent set to participate at the 2023 Billboard Latin Music Week in Miami.
The five-day legacy event will be held Oct. 2-6 at the Faena Forum and will feature exclusive panels and conversations with Arcángel, Edgar Barrera, Maria Becerra, Eladio Carrión, Fonseca, GALE, Grupo Frontera, Natanael Cano, Nathy Peluso, Nicki Nicole, Peso Pluma, Santa Fe Klan, Sebastian Yatra, Vico C, Yng Lvcas and Young Miko.
“Billboard Latin Music Week prides itself on bringing the best, brightest and most relevant and exciting artists and executives together,” said Leila Cobo, Billboard’s chief content officer for Latin/español. “This year’s very diverse group represents why Latin music is dominating global charts. This is a groundbreaking year for Latin Music Week with many more announcements to come.”
Maria Becerra, GALE, Nicki Nicole, Nathy Peluso and Young Miko will be part of the Boys Club No More! panel focused on the women making noise in the Latin Music landscape. Additional panels include The New Mexican Revolution with Natanael Cano, Peso Pluma, Santa Fe Klan, and Yng Lvcas, plus the Making the Hit LIVE panel starring Edgar Barrera and Grupo Frontera, who will create a hit onstage from scratch. Last year’s Making the Hit LIVE featured Ovy On The Drums and Blessd who conceived the song, “Billboard” now available for streaming. Programming will also feature Billboard’s En Vivo concert series, a series of concerts with performers to be announced soon.
“Billboard is committed to fostering and celebrating Latin music and culture,” added Mike Van, president of Billboard. “We’re returning to Miami in October, which coincides with Hispanic Heritage Month, to continue championing Latin voices through unique curated programming.”
With 30 years of events, Billboard Latin Music Week is the longest-running and biggest Latin music industry gathering in the world. After a sold-out 2022 edition that featured star Q&As with Maluma, Ivy Queen, Chayanne, Romeo Santos and Christina Aguilera, to name a few, the event returns coinciding with Hispanic Heritage Month.
Billboard Latin Music Week will also coincide with the 2023 Billboard Latin Music Awards on Thursday, Oct. 5, at the Watsco Center in Miami, which will broadcast live on Telemundo. The awards show will also broadcast simultaneously on Spanish entertainment cable network, Universo, and throughout Latin America and the Caribbean on Telemundo Internacional.
Registration for the 2023 Billboard Latin Music Week is now open at BillboardLatinMusicWeek.com.
Rauw Alejandro’s Playa Saturno album blasts in at No. 4 on Billboard’s Top Latin Albums chart (dated July 22), his sixth straight top 10 which encompasses all of his charting efforts.
Playa Saturno, the Puerto Rican’s fourth-studio album, is the follow-up to his retro-futuristic No. 2-peaking Saturno, released in Nov. 2022; Saturno holds solidly on the tally at No. 15 in its 35th week.
Playa dropped via Duars/Sony Music Latin on July 7, the first day of the chart’s tracking week. According to Luminate, it launches with a little over 21,000 equivalent album units earned in the U.S. during its first week of activity ending July 13.
As with Rauw’s preceding three studio efforts, streaming fuels nearly all the set’s opening sum. The 21,000 streaming-equivalent album units equals to 27.5 million official on-demand clicks for the songs on the album, while the remaining balance is a negligible sum comprising album sales and track-equivalent album units.
Playa’s 27.5 million official on-demand streams improves on Rauw’s streaming performance as Saturno registered 25.6 million official streams in its first week. Among his chart entrances, including the No. 6-peaking Track Cake, Vol. 2 EP, the two-week album champ Vice Versa, continues to lead with 29.1 million U.S. clicks during its debut week (July 2021).
As mentioned, Rauw collects his sixth straight top 10 album, dating back to his maiden visit, Concierto Virtual En Tiempos de Covid-19, which reached No. 10 in Sept. 2020.
Further, Rauw’s four studio albums simultaneously rank in the top 30 on Top Latin Albums (Playa at No. 4, Saturno at No. 15, Vice Versa at No. 19, and Afrodisiáco at No. 29), the second-most among Latin rhythm artists after Bad Bunny, who’s placed as many as six top 30 albums throughout different chart weeks.
Playa’s entrance extends to the airplay, digital sales, and streaming data-fused Hot Latin Songs chart, where three songs from the album debut: “Picardía,” with Junior H, at No. 42; “Cuando Baje El Sol” at No. 45; and “Al Callao’” at No. 48. Plus, the album was preceded by one track: “Baby Hello,” with Bizarrap, which rises to its No. 32 high on the current tally.
Beyond its top five launch on Top Latin Albums, Playa Saturno also makes its way to two other albums charts: a No. 3 bow on Latin Rhythm Albums, and No. 29 start on the all-genres Billboard 200.
There was much buzz about Anuel AA and Yailin La Más Viral’s relationship, which they made Instagram official in January 2022 and married six months after, tying the knot in June of that same year. Five months later, the Puerto Rican artist and Dominican newcomer announced they were expecting a baby. But the fairytale-like story […]
The Latin Recording Academy announced on Tuesday (July 18) that artists Ana Torroja, Mijares, Carmen Linares, Arturo Sandoval, Simone and Soda Stereo will receive this year’s Lifetime Achievement Award, as part of its annual Special Awards Presentation. Additionally, Alex Acuña, Gustavo Santaolalla and Wisón Torres will receive the Trustees Award. Explore See latest videos, charts and news See latest videos, charts […]
When the producers of VGLY first came up with the idea in 2018 for a series that would capture the ever-evolving landscape of Mexican music, they may have been ahead of their time.
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See latest videos, charts and news
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Produced by Candle Media’s Exile Content Studio and directed by Sebastián Sariñana, the 13-episode series made its debut over the summer on HBO Max, with renowned Mexican artist Camilo Lara (Mexican Institute of Sound) as its music producer.
Season one follows a crew of young visionaries (from rappers to producers and creative directors) on their quest to stand out in a crowded field of emerging urbano artists in Mexico City’s neighborhood “La Guerrero.” The journey to the top is anything but smooth sailing. Along the way, the aspiring rapper- singer VGLY (Benny Emmanuel) and his friends learn how to navigate the industry the hard way. He even starts beef with nemesis Lil Vato, played by corridos tumbados pioneer Natanael Cano, which only leads to back-and-forth diss tracks.
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The series — renewed this month for a season two — is soundtracked by original music overseen by Lara and songs licensed by Exile Music (which also marketed and distributed the soundtrack), which perfectly capture the zeitgeist of música mexciana today. Featuring trap, cumbia, reggaetón and corridos tumbados, “this series came at the right moment,” says Lara, who’s produced music for award-winning films such as Coco and Black Panther: Wakanda Forever. “We all knew there were huge things happening in Mexico with new producers and artists — trap was bubbling and so were corridos tumbados — so this series is polaroid of what’s been happening and that’s really beautiful.”
For the series’ original music soundtrack, Lara worked with a handful of emerging producers and artists in Mexico to create a wide-ranging album powered by hip-hop, trap and corridos featuring Cano, VGLY and other emerging acts from the series including Triana and Trippy B. “The idea for the music was to have these songs that were produced by young producers that are actually working in the hip-hop world and are part of the landscape,” explains Lara. “Mexico City also serves as a canvas because if you think about it, everything is a key player in that city so we wanted to deconstruct the sounds to create our own universe.”
VGLY‘s universe is a reflection of not only the versatile new generation of Mexican artists but the spotlight that the country has today with Mexican music reaching global masses. “I would say it’s about time,” Lara says categorically. “It’s something I would fight in the early days. Back then I was trying to convince the world that cumbia was cool, then it happened. The same with regional Mexican music. This new generation of artists, they live in both worlds: the digital and the traditional. They understood that music is popular art so you have to reshape it, remodel it, change it. That’s the beauty of it. I couldn’t be more proud of what is happening.”
Myke Towers has signed a management deal with Brandon Silverstein’s S10 Entertainment, Billboard has learned. The signing — which is in partnership with Orlando “Jova” Cepeda (One World Music) and Jose “Tito” Reyes (Casablanca Records) — comes on the heels of Myke’s viral hit song “LALA,” which topped Spotify’s Top 50 Global chart and entered at […]
In May, local authorities of a famous resort in Cancún, Mexico, banned live concerts of corridos tumbados, and other musical genres that authorities believe encourage violence.
At the same time, in the United States and in Mexico, the most important artist of the moment in Latin music is Peso Pluma, the newest Mexican star who this week has 11 songs on the Billboard Hot 100 (dated July 15).
And while Peso Pluma is known for many styles of music, from romantic sierreño (like the hit “Ella Baila Sola” with Eslabon Armado) to party songs like “La Bebe Remix” with Yng Lvcas, he also sings corridos tumbados, a subgenre of traditional Mexican corridos that fuses rap, hip-hop and even reggaetón, and that often openly address the issue of weapons and drugs.
He’s not the only one. Artists such as Natanael Cano, Junior H, Luis R. Conriquez and Fuerza Regida, among many others, also sing corridos tumbados as part of their repertoire, managing to enter the global Billboard charts with those songs.
The music can be successful, but in Mexico, it has been a source of controversy. Along with their popularity, corridos tumbados raise controversy precisely because of their lyrical themes, in a country with thousands of violent deaths and more than 111,000 missing people, according to official data.
Performances of narcocorridos — corridos that narrate the lives and exploits of real or fictional drug traffickers — have been banned in several Mexican states for decades, and now, those bans have been extended against corridos tumbados in some places.
Specifically, on May 18, local authorities did not allow a second concert by Alfredo Ríos, better known as El Komander, to take place.
El Komander had a second show scheduled for May 19 at the Plaza de Toros along with Chuy Lizárraga, Ángel Preciado and Francisco “El Gallo” Elizalde. But the general secretary of the Cancún City Council, Jorge Aguilar Osorio, announced on social media that the city council had approved a new measure that would not allow the concert to take place.
“Not allowing the concert to take place has to do with the fact that the city council has decided not to continue authorizing public performances that encourage violence,” said Aguilar Osorio. “We do not limit freedom of expression. Artists can sing whatever music they want. But the authorities cannot have this ambiguity of looking for a better, more peaceful society and, on the other hand, raise alerts every time we have these concerts due to the probabilities of violence that these type of public spectacles can generate”.
Controversial Rhythms
The controversy that corridos tumbados generate today is the same that was generated in the past by the so-called narcocorridos, which glorify drug traffickers.
Because it is considered a justification for the crime, the dissemination of narcocorridos has been prohibited since the early 2000s in the states of Baja California, Chihuahua and Sinaloa, the latter is the home state of Mexican cartel kingpin Joaquín “El Chapo” Guzmán. The prohibition consists of million-dollar fines and even the veto of concerts for those who perform them live.
Sanctions against corridos have even reached popular groups like Los Tigres del Norte, fined in 2017 by Chihuahua authorities for singing narcocorridos, and Los Tucanes de Tijuana, who were banned by Tijuana authorities in 2008 from playing live for allegedly giving a shout out to a capo during a concert in that city.
As for corridos tumbados, these are equally popular among the youth on both sides of the U.S.-Mexico border. The lyrics about drug use and the war between cartels are a fundamental part of the composition — although over time, some performers have integrated lyrics of love and heartbreak.
“People like the sound of tumbados and when the new genre started, they sang about drugs and other situations, but now they sing about heartbreak,” Danny Felix, singer-songwriter and co-writer of several of Natanael Cano’s first hits, told Billboard Español.
For Oswaldo Zavala, journalist and academic at the City University of New York (CUNY), the justification discourse is based on a political-social position that seeks to regulate this type of cultural expression associated with drug trafficking.
“There is a way of imagining northern Mexico as a place of violence, in the case of corridos tumbados, or Latin America in general, and also of a lot of sensuality and eroticism. These two pathways are constantly activated in much of the popular music that is currently consumed,” Zavala says.
The issue of corridos is so debated that even the Mexican president, Andrés Manuel López Obrador, has spoken about it on several occasions. “Forbidden to prohibit,” he said last week in one of his daily conferences with the press, stressing that he did not believe in censorship. But, he added: “We have the right and obligation to guide young people and give our opinion that nothing that leads to drug use should not be accepted […] There is a wide repertoire of songs that have nothing to do with drugs or with violence.”