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Ten years ago, Colombian music executive Diana Montes created the Premios Heat (Heat Latin Music Awards) brand with the mission to not only support and develop up-and-coming Latin artists but also offer a platform where their hard work is recognized.
The awards show officially launched in 2015 via the HTV and TBS networks and counted on the support of artists such as Juanes, Juan Luis Guerra, Nicky Jam and a then-rising J Balvin. “It was beautiful because truthfully, Premios Heat was born big already,” Montes, who has a 25-year career in music, tells Billboard.
Now, its eighth edition airing from Cap Cana in the Dominican Republic on Thursday, June 8, via HTV and TNT, the 2023 Heat Latin Music Awards is led by six-time nominees Karol G, Feid and Bad Bunny, followed by five-time nominee El Alfa and, with four nominations each, Romeo Santos and Bizarrap. Confirmed performers include El Alfa, Mau y Ricky, Greeicy, Mario Bautista, Grupo Niche and many more.
But beyond an awards show — which focuses on talent charting in Latin America as opposed to the United States — the Premios Heat brand has a festival franchise and “La Nueva Cepa,” a new partnership with Warner Music Latin and hitmaker Master Chris, to help promote newcomers making a name for themselves in their countries, as they’ve done in the past with Ryan Castro, Anitta, Yahaira Plasencia and Dekko.
“In five years, without a doubt, Premios Heat will be the strongest music brand in Latin America,” Montes assures. “We see it by our numbers, by the growth of the awards and the festival. We are more than an award; we are a television platform, and we see ourselves developing artists as a label in the future.”
In the below Q&A, Montes takes us more in-depth into the Heat Latin Music Awards:
Anitta
Premios Heat/Carlos Zambrano*
Can you briefly explain what Premios Heat is and why are they held on the beach?
It’s an experience. The musical platform where you can make a real connection—the beach gives us that feeling of closeness. What was clear to me when we did the treatment of the awards is that I did not want to do them in the United States for various reasons beginning with we did not have the resources to compete with the larger awards show. Initially, we spoke with Cartagena de Indias but for some reason, we arrived in Cap Cana, and we’ve been hosting the awards here for nine years now. That’s the difference from a traditional award, here you see everyone working and networking but in a bathing suit and with a beer in hand.
How do you determine the nominees for each awards season?
They were initially chosen by the artists that rotated on HTV. Right now it is a mix of HTV, LosHeat.TV—our new platform that in its second year debuted as the best platform in Latin America, following TikTok—and what we see in the Latin American regions. We visit many countries. We have very young people monetizing the local charts and social media in countries like Peru, Ecuador, Colombia, and the Dominican Republic.
The Heat Latin Music Awards has stood out for discovering, supporting and promoting emerging talents such as J Balvin, Karol G, Bad Bunny and many more: Which artist of the new generation do you see possibly reaching that superstar status?
We have Dekko here, who won the 2022 musical promise award. I feel that he is already doing a crossover. I see a very strong Dayanara Peralta from Ecuador, with impressive numbers. I see Mar Rendon and an ADSO doing very interesting things. I see a Young Miko, who carries a very strong movement. We have seen the musical movement in Latin America very closely and the important thing for us is not to look at what’s sounding or trending in the U.S. but rather what’s happening in Peru? What’s happening in Colombia? I feel that these artists need a platform and we have the vision to see that great talent.
Can you elaborate a bit more on the “La Nueva Cepa” initiative and its importance?
It’s an idea we’ve been around for a long time and basically celebrates Master Chris’ 25 years as a music producer. Instead of making a record with artists he has produced like Alexis y Fido, Greeicy, and J Balvin, he wanted to follow the Heat Awards philosophy and discover the talent that exists in Latin America. We are not a record label but on our platform, we have developed many talents. With this initiative, what we are going to do is record them, make videos for them, and put them on HTV.
Marshmello has achieved his first-ever No. 1 entry on the Billboard Latin Airplay chart (dated June 9) with his Manuel Turizo-assisted “El Merengue,” becoming the first non-Latin genre artist to top the chart in 2023.
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The infectious EDM-merengue fusion, which dropped on March 2, finds Turizo singing about not getting over an ex and drinking his sorrows away.
Additionally, “El Merengue”—named after the traditional Dominican music genre—reached No. 1 on Billboard’s Tropical Airplay chart (dated April 8). The song sent Turizo’s own “La Bachata” to No. 2 after 14 weeks in charge.
Below, check out the complete lyrics translated into English:
I’m tired of thinking about youWith my heart brokenThere’s sun but it’s cold since you leftI’m only drinkingLooking at your photosWanting to delete them but I can’t
I should’ve said I’m sorryTo not hold anything backThe kisses I didn’t give youI should’ve stolen them from youMissing you has meWith my eyes redIt’s not the same as being aloneThan being alone and in love
I said I forgot about youBut I didn’t forget youAy, ay, ayI also said I got over youBut I haven’t gotten over youDrunk I said I forgot about youBut I didn’t forget youAy, ay, ayI also said I got over youBut I haven’t gotten over you
Entering the club, I saw her, I saw her, I saw herShe was dancing aloneDancing aloneI got close, I got close, I got closeAnd the hours flew byA couple of hours
Tell me, without shame tell meAsk me whatever you want Except to forget about youWhen one is drinkingThey don’t measure words Today I apologizeIf one day drunk
I said I forgot about youBut I didn’t forget yoAy, ay, ayI also said I got over youBut I haven’t gotten over youDrunk I said I forgot about youBut I didn’t forget youAy, ay, ayI also said I got over youBut I haven’t gotten over you
Entering the club, I saw her, I saw her, I saw herShe was dancing aloneDancing aloneI got close, I got close, I got closeAnd the hours flew byA couple of hours
In her new podcast, the revealing En Boca Cerrada: Lo Que Nunca Se Nunca Se Dicho Sobre El Caso Trevi-Andrade, María Raquenel Portillo (formerly known as Mary Boquitas) tells her story for the first time about the teenage sex cult that shocked the world in the ’90s.
For those who do not remember the case and its protagonists, Portillo — who eventually had a brief career as a singer and actress — was married to Sergio Andrade, the manager, producer and artist promoter who “discovered” Gloria Trevi in the late ’80s and was instrumental in her stardom. But Andrade was later indicted and jailed on sordid charges of corruption of minors, as were Trevi and Portillo, who were later exonerated of all charges against them.
Portillo, however, continued to be singled out by many as an accomplice in the case. Now, for the first time, she details her life with the disgraced Mexican hitmaker, and the changing relationship they had over the years: teacher and student, husband and wife, divorced couple, boss and employee, manager and artist, and master and maid.
Portillo would share with Trevi her husband, the world stage and, later, a prison cell. Billboard Español contacted Trevi’s representatives for comment on the podcast, but received no response. Trevi was acquitted of all charges against her in 2004 and has repeatedly said that she too was a victim of abuse. For his part, Andrade has not commented on the case. He received a sentence of 7 years and 10 months in prison, and was released in 2007.
Produced by Uforia and Pitaya Entertainment, the first season of En Boca Cerrada reveals heartbreaking details about the disturbing case, reminiscent of the Jeffrey Epstein and R. Kelly scandals. The presenter alleges that she was brainwashed into marrying Andrade in the mid-’80s when she was only 15 years old; he was twice her age. She also claims to be the first victim of the Trevi-Andrade clan.
“There is no definite time to tell a story. However before I did it was vital to heal my wounds, get my life back and have the strength to make it happen,” she tells Billboard Español 19 years after being acquitted of charges of corruption of minors. “God’s timing so perfectly aligned with mine and the opportunity came so clearly and precisely.” The presenter invites journalist María García, psychologist Francia Piña, Rubén Aviña, author of the book Aline: La Gloria por el Infierno, her mother, her sister and more people who bring their own knowledge and experiences about the case.
“In the first recordings I swear I almost regretted it — because they say that to remember is to live again,” she continues. “Through my emotions at the time, I discovered how I really went through this and was able to tolerate it.”
According to a press release, in its first week En Boca Cerrada was the most listened to Spanish-language podcast in the U.S., reaching No. 52 on Spotify’s Top Podcasts list, while in Mexico it reached No. 1 on both Spotify and Apple.
While stunningly entertaining, the uncensored podcast ultimately serves as a cautionary tale, a deep dive into the lurid world of a serial child molester and those unfortunate enough to cross his path, in the voice of one of the survivors. Here are five revelations from En Boca Cerrada.
The Tactics of a Child Molester
Over the course of ten chapters, the host reveals increasingly atrocious scenarios. Portillo does not hold back when talking about the warning signs that were present from the beginning, but that neither she nor her family saw. From their first meeting, she describes how Andrade made her wait hours for his appointments, when the then-respected producer had scheduled her for a casting at 4:00 p.m. and was not seen until midnight. According to Portillo, it was a tactic Andrade used to detect his prey and see how far a potential victim and her family were willing to go for the mere possibility of having a better life.
When he formed the all-girl teen group Boquitas Pintadas, Portillo says the girls were not allowed to talk or “gossip” with each other. He reinforced manipulation with extreme jealousy, tender words, long rehearsal days and tons of gaslighting. The gang of five later grew into dozens of aspiring artists who adored and idolized Gloria Trevi’s star power (who was considered the Mexican Madonna and the biggest pop star in Mexico and beyond) and Andrade’s star-making gift. He made the girls believe were all his family, according to Portillo, but instead they “were all one in his eyes,” she says in the podcast.
With the help of his guests, Portillo reveals the profile of an antisocial narcissist, who exercised absolute power over weak victims. He did not foresee consequences or take responsibility, and constantly blamed the girls for the slightest thing, even for eating a can of tuna without permission. “Please sir,” “thank you sir,” and “I’m sorry sir” were a must at the end of every sentence, the narrator says.
“If I Can’t Marry Her, I Will Steal Her”
Portillo says that when she was 14 years old, Andrade began to ask her to marry him. When her parents discovered that their daughter was in love with the producer, he assured them that it was something platonic and fleeting. When the relationship became more serious, Andrade responded to her parents by saying that they also married young. “Yes, but Pepe (Raquenel’s father) was also a child and not a grown man,” exclaimed her mother. “If I can’t marry her, I will steal her. You choose,” Andrade threatened her, something that was not uncommon in rural Mexico at the time. Portillo was about to turn fifteen. Her parents threw her a quinceañera — without chambelanes, at Andrade’s request — in hopes that their daughter would change her mind. It didn’t happen.
Portillo explains that in her time almost all women aspired to marry and raise a family. And rather than to marry a person of lower economic status, Andrade convinced her parents that the only way for their daughter to succeed was to marry a well-positioned man like himself. That, coupled with religion to enforce obedience, became a dangerous mix — because “this man felt he was God,” Portillo says in the podcast.
Normal or Normalized?
“Everything Sergio said sounded logical… that was his power,” Portillo says in the podcast. Andrade had absolute control over his victims because he made sure it was so. The day of their marriage ended their romantic phase and the violence began, according to Portillo. The narrator says she was violently, physically and sexually assaulted on her wedding night. After punching her, he allegedly fondled her and raped her. “I’m doing it for your sake so you’ll be perfect,” he often told her, she recounts. Wired beatings accompanied by sex became the norm for her and other victims, she says.
When she was still a teenager, Portillo became pregnant and he arranged her abortion without her knowledge, she says, a procedure she believes left her sterile for life. “One is taught that love can do anything and that for love everything is endured,” she tells Billboard Español. “In any type of love relationship where you don’t immediately identify a red flag… that’s where the dangerous thing happens, when we love for love, out of affection or compassion and we put up with [abuse] over and over again. And suddenly these types of relationships become addictive. Addiction is co-dependence on something that even though you know it’s wrong, you’re there.”
Andrade was untouchable, Portillo says, noting that people who knew of his misconduct remained silent, including famed television host Raul Velazco, who died in 2006. Velazco was never accused of misconduct or linked to Andrade. Somehow, says the narrator, the disgraced producer — who years later was convicted — managed to normalize the most atrocious behavior.
Gloria Trevi’s Feminist Rebellion
Gloria Trevi was Sergio Andrade’s golden goose, says Portillo in episode 8, “El fenómeno Trevi, un anzuelo perfecto” (or “The Trevi Phenomenon, a Perfect Hook”). She says that the “Pelo Suelto” singer’s success was rewarded with privileges such as eating at fancy restaurants (with the help of the superstar’s hard earned money) that the other girls didn’t have access to, even though many were part of Trevi’s team — Portillo was her backup singer. She also alleges that Trevi’s gigantic hair was not her idea but Andrade’s — allegedly, she liked to keep her hair very neat — as well as her famous ripped pantyhose and sensationalist statements to the press, like how she would run for the presidency. Her feminist artistic rebellion, shockingly, was masterminded by her abuser, according to the podcaster.
The Hierarchy of “The Favorites”
Being among the producer’s “favorites” was something the girls in the clan aspired to — they all wanted to be at the top of the chain, and the younger they were, the more likely they were to get it, according to Portillo. Under Andrade’s control, the 12- and 13-year-olds were “easier” to mold for “maximum results,” while the older ones (18 and up) had a shorter lifespan within the clan, which kept them away from him and the possibility of stardom. Being a favorite, however, did not exclude the girls from physical punishment, Portillo says, but guaranteed them a better standing before the master and occasional small luxuries: a better meal and a couple of compliments.
For most of her two decades with the clan, Mary Boquitas stayed lower on the list of favorites because of her growing age, she says. She was, however, the most loyal, and while that didn’t earn her special treatment, it did earn her Andrade’s trust, a relationship she says she’s not proud of.
Gloria Trevi, however, “was never just one more, she wasn’t like the rest, like them or like me. Without denying that Gloria was not 100 percent free, we all knew that when the time came she would sit down to propose punishments with the teacher, or make decisions that would make it clear that she was not just one more,” narrates Portillo in episode 10. Andrade knew how to manipulate each of the girls to provoke distrust among them, the narrator continues, comparing the dynamics to a reality show, to awaken that pressing need to please him and be able to climb a place in his ranking.
Portillo mentions the National Human Trafficking Hotline at the end of each episode. If you are at risk or know someone who may be, call 1-888-373-7888, or visit https://humantraffickinghotline.org.
The first season of En Boca Cerrada consists of 10 episodes that are available on Uforia. The first nine episodes can be heard on all other podcast platforms. The second season of En Boca Cerrada is currently in production.
Karol G’s just-announced signing with Interscope Records had been rumored for months in Miami music circles, as far back as the release of her record-making album Mañana Será Bonito last February.
So when Interscope finally announced the signing on Monday, after what sources describe as a “lengthy” and complex negotiation, it wasn’t entirely surprising. However, new information indicates this is no ordinary record deal.
According to a source with knowledge of the negotiations, Karol G, whose real name is Carolina Giraldo Navarro, will actually be releasing music under her own imprint, Bichota Records, and will be distributed by Interscope and worked by the label. Moving forward, she will own her masters as well.
“It is one of the most ambitious deals signed by a Latin artist in recent memory,” says the source, who also said the deal is “valued at almost $100 million.”
The arrangement marks a departure from Karol G’s previous recording deal with Universal Music Latino, and seems to be more aligned with her manager Noah Assad‘s independent mentality. Assad’s other superstar client, Bad Bunny, records under indie Rimas and is distributed by The Orchard.
Karol G’s move from Latin label to mainstream label is still fairly uncommon, even at a time when Latin music’s success is growing to unprecedented levels both globally and in the United States. It follows news from April that Brazilian star Anitta signed with Republic Records, but also work with Universal Music Latin Entertainment. While stars who are signed to major labels have historically released their music jointly between Latin and mainstream labels, according to language — Shakira long released her English albums on Epic and her Spanish language albums on via Sony Music Latin, for example, and Enrique Iglesias released both on Interscope and Universal Music Latin — Karol G’s recordings will fall entirely under Interscope’s purview, with the label promoting and marketing her to both English and Spanish-language markets.
Even though Interscope doesn’t have a Latin division per se, it has a Miami office run by Latin music veteran executive Nir Seroussi and it works Interscope’s Latin projects, which also include Kali Uchis and Cuco.
Karol G’s signing to Interscope — much as with Anitta’s Republic signing — signals the Latin superstar’s intent to break into a mainstream U.S. audience and expand her brand globally even more than she has already. And although she has recorded in English in the past (in the track “Don’t Be Shy” with Tiësto) there are no immediate plans to release English language music right now, sources say.
“I’m continuously amazed at the support my fans give me, which motivates me to deliver the best of me, and I’m certain that this partnership with Interscope and their incredible team will help us continue building and making history,” said Karol G in a statement announcing the deal. “I’m thrilled to see what’s to come.”
Singer-songwriter and producer Edén Muñoz seeks to build a bridge between the past, present, and future of Regional Mexican music with an album where he will present notable songs from his catalog and new singles accompanied by legendary and emerging acts.
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The two-part set, titled Ayer y Hoy (Yesterday and Today) (Lizos Music), does not have a release date, but Muñoz has already been giving fans a preview of his project, including his latest single “Abcdario” with Junior H, part of the Hoy album.
“The concept of ‘Ayer y Hoy’ was born from the perspective I have of music at this moment in my life, in a generational context. I feel right in the middle of the new exponents of the Mexican regional and the music legends with whom I grew up”, explains Muñoz exclusively for Billboard Español.
The track with Junior H will be followed by Ayer’s first single, featuring norteño music legend Lalo Mora, on June 16. Although the voices of “Mi recaída en los excesos” were recorded remotely, the music video was filmed by both stars in Monterrey, Mexico.
“It had been one of my great dreams and I am very grateful for the opportunity to work with one of the pillars of our music. These bases are what allow us to be where we are now today,” he continues. “We must continue supporting Regional Mexican at this important moment. It’s now when the eyes of the world are on us and they must know our roots, our essence, and our musical foundations to get to where we are.”
Muñoz, 32, is considered a key player in the development and rise of the regional Mexican genre for his achievements and contributions in recent years, first as part of Caliber 50, and now as a soloist. He’s placed seven albums at No.1 on Billboard‘s Regional Mexican Albums chart, in addition to 22 number 1s on the Regional Mexican Airplay chart with songs of his own performed as a soloist and by artists such as Caliber 50, Banda MS, and La Arrolladora.
That is why young artists such as Gabito Ballesteros, Junior H, Pedro Tovar (Eslabón Armado), Fuerza Regida, El Fantasma, Los Dos Carnales, Luis R. Conríquez, and Carin León have not hesitated to be part of Hoy. With the latter, there’s great expectation for the soon-to-be-released collab called “Me Rento.”
“[Carin León and I are] very alike in many ways, even down to the physical,” he notes. “Carlos Rivera brought us together for ‘Alguien me espera en Madrid’ and the chemistry was instantaneous. We went into the studio a few days later.”
On the other hand, the great exponents that participate in Ayer with a more traditional sound are Rosendo Cantú, Eliseo Robles, and Miguel y Miguel. “I would love it, and I hope it will be achieved, that Los Tigres del Norte was part of this dream that I am making come true,” he adds.
Additionally, Muñoz is set to embark on his first solo U.S. tour called Consejos Gratis (produced by Live Nation) on August 25 at the Kings Theater in Brooklyn, New York, and wrapping on November 22 at The Pavillion in Irving, Texas.
Marshmello claims his first No. 1 on Billboard’s Latin Airplay chart with the Manuel Turizo collab “El Merengue,” which advances to the summit of the list dated June 10.
“El Merengue” jumps from No. 2 despite a 5% dip in audience impressions, to 10.4 million, earned in the U.S. in the week ending June 1, according to Luminate. It ousts Grupo Frontera and Bad Bunny’s “Un x100to” after its three-week command, sending it to No. 2, likewise with a decline on weekly impressions (falls 11% to 10.36 million).
As “Merengue” tops Latin Airplay, Marshmello becomes the first artist unfamiliar to the Latin genre to occupy the top slot in 2023. Congolese French singer and rapper Gims (born Gandhi Alimasi Djuna) last completed the deed as “Arhbo (Music From The FIFA World Cup Quatar 2022),” with Ozuna, took over Latin Airplay for three weeks last December.
Further “Merengue” is just the second tropical tune to lead the overall tally this year, after Romeo Santos and Rosalia’s “El Pañuelo” headed the Feb. 25-dated ranking.
Turizo, meanwhile, cements his airplay No. 1 growth with six champs spanning almost six years. Previously, the Colombian topped Latin Airplay with another tropical track: “La Bachata” (one week in October 2022).
Beyond its Latin Airplay coronation, “Merengue” wins a second term at its No. 5 high on Hot Dance/Electronic Songs in its 13th week in the top 10, encompassing its entire run in the chart so far.
Bad Bunny Keeps Going
Elsewhere on the Latin charts, Bad Bunny collects his 28th top 10 on Latin Rhythm Airplay as “Where She Goes” soars 20-9, the biggest climb in 2023 so far. The song flies with an 88% gain in audience impressions, to 4 million, during the same period, the biggest percentage increase of the week.
As “Goes” enters the upper region on Latin Rhythm Airplay, Bad Bunny picks up his 28th top 10, the eight-most since the chart launched in 2005.
The song also makes its first chart visit on Latin Airplay, at No. 26.
Over on Latin Streaming Songs, “Goes” holds at its No. 2 high despite a 30% dip in weekly streams. It logged 16.3 million official U.S. streams, 7 million less than the week prior. That yields a 7-3 tumble on the overall Streaming Songs list.
Astrud Gilberto, “The Girl From Ipanema” singer who would make bossa nova a sensation in the 1960s, died at 83 on Monday (June 5). Paul Ricci, a friend and former collaborator of Gilberto’s, confirm the news of the Brazilian singer’s death on social media at the request of her son Marcelo. “She was an important […]
In the latest three-part series, 70 Hours with Eladio Carrión x Tequila Don Julio, Billboard and Don Julio embarked on a 70-hour journey with Puerto Rican singer, Eladio Carrión delving into the depths of his passion, heritage, and the legacy he aims to create. Take a look at Hour 24. Related Images:
Becky G is officially part of the Blue Beetle movie cast, the upcoming superhero film based on the DC Comics character Jaime Reyes/Blue Beetle. The Mexican-American singer and actress born Rebbeca Marie Gomez will voice the key role of Khaji-Da, an alien who controls the Scarab (an ancient relic of alien biotechnology), she announced in […]
Since Thalia burst onto Latin America’s pop culture scene in the late 1980s as a member of Mexican teen group Timbiriche, and then as a soap opera star, she has often collaborated with next-generation talent from Maluma to Sofía Reyes.
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But on Thalia’s Mixtape (released April 28 on Sony Music Latin, alongside an accompanying Paramount+ series on May 2), the pop mainstay takes a different approach by re-creating classic rock en Español hits of her childhood, including Soda Stereo’s “Persiana Americana,” Aterciopelado’s “Florecita Rockera” and Hombres G’s “Devuélveme a Mi Chica.” On the lattermost, she even convinced the band’s David Summers to join her revitalized rendition.
Why revive the idea of the mixtape?
It was that little piece of you inside those songs [that] you would record and include in your playlist. The songs that were my life’s soundtrack were rock en Español. So this was about me looking for my teen idols and finding out: How did they write that song? How did their rebelliousness help us find ourselves? And how can a new generation connect with those songs?
David Summers is on the album, and Soda Stereo’s Charly Aberti is in the Paramount+ series. How did it feel to get their approval?
We’re talking about their crown jewels. These are rock en Español anthems for entire generations. But they also loved the idea of presenting them in another way to a new generation. Honestly, being able to sing with them but also vibe with them in a new way was mind-blowing.
Including the mixtape’s collaboration with Kenia OS, why do you collaborate with rising Latin artists?
It has always felt good to me. It’s a necessity. I think we’re better together, especially when it comes to young artists who go up against so much in an industry dominated by men. It’s important to have another woman backing you up.
Will there be a part two to this project?
More than a part two, I hope it inspires other artists. The first step was Thalia’s soundtrack, but I hope other artists come along and do their own mixtape.
This story originally appeared in the June 3, 2023 issue of Billboard.