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Whether it was on a red carpet, sold-out concer, or in a music video — rocking her cow-printed vest and miniskirt or bedazzled bustiers — Selena Quintanilla’s fashion-forward style always shined. Now, one of her most emblematic outfits is part of the Smithsonian National Museum of American History’s “Entertainment Nation” exhibition.
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Marking the Smithsonian’s first dedicated exploration of entertainment history, the exhibition features approximately 200 objects that honor theater, television, film, music and sports, including Quintanilla’s leather jacket and satin brassiere combo that she wore at the 1994 Tejano Music Awards in San Antonio, Texas. Quintanilla wore the outfit on display to perform a medley of “Donde Quiera Que Estés” with the Barrio Boyzz and “Bidi Bidi Bom Bom.” That same year, she won female artist of the year, female entertainer of the year, and album of the year for Selena Live!
The rockstar-inspired ‘fit was donated to the museum by the Quintanilla family in 1998.
“This costume is on display on a red carpet, so it’s kind of a spotlight moment to explore Selena, her legacy, the impact that she had,” Ashley Mayor, a curatorial assistant who worked on the exhibition, tells Billboard via email. “It’s important to explore the impact of Selena on a generation of young Latinos who dreamed of being like her. She affected so many people with her music and brought Tejano music to a national and international level. She became a phenomenon.”
Courtesy of the National Museum of American History
In August, the Quintanilla family released Selena’s new posthumous album Moonchild Mixes, home to 10 previously unreleased songs that the Queen of Tejano recorded between the ages of 13 and 16. In an interview with Billboard, her father Abraham Quintanilla Jr. said releasing the album is a way to keep her memory and legacy alive.
The album debuted at No. 1 on Billboard’s Latin Pop Albums chart (dated Sept. 10), as well as at No. 2 on Regional Mexican Albums and No. 8 on the all-Latin-encompassing Top Latin Albums chart. It earned the late icon her seventh No. 1 on Latin Pop Albums, tying Shakira and Thalia for the most among women, and extended her record for the most total weeks spent atop the chart.
Argentina’s last game was a nail-biter. After a nerve-racking penalty shootout over the Netherlands in one of the most exciting matches yet of the 2022 World Cup, Argentina is the last team standing from Latin America.
Now in the semifinals, Argentina — with star player Lionel Messi leading La Albiceleste — will go up against Croatia on Tuesday, Dec. 13. It’s been a wild ride for Argentina, who started the tournament in November losing against Saudi Arabia 2-1. But in a 360, the team won the rest of their matches against Mexico, Poland and Australia.
Ahead of what will probably be an equally thrilling game between Argentina and Croatia, we put together a list of Argentine anthems to help calm the nerves and get you feeling hopeful. Of course, Messi’s now-confirmed favorite song, La Mosca‘s “Muchachos, Ahora Nos Volvimos a Ilusionar,” powered by a blend of ska, rock and pop, laced with tango, is on the playlist. The song not only pumps Messi but also Argentine fans who are just as passionate about the sport.
“The Argentine fan isn’t happy just being a spectator; he wants a starring role, from the stands, from the audience,” La Mosca’s lead singer Guillermo Novellis previously told Billboard. “As far as soccer goes, every single person in Argentina has played soccer at some point in their lives.
From Andrés Calamaro‘s “Maradona” to Fito Paez‘s “Y dale alegría a mi corazón,” stream the playlist of Argentine anthems we’ve put together to get you in the spirit and rooting for Argentina — if that’s the team you’re hoping to win it all.
One year ago on Dec. 12, the iconic Mexican artist Vicente Fernández died at the age of 81 due to complications following surgery for a cervical spine injury after a serious fall. His timeless music, which reflects a more than 50-year prolific trajectory, has stood the test of time through generations.
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His potent vocals and heartfelt rancheras have accompanied fans through every stage of emotions, from tragic heartbreak to life’s happiest celebrations. At karaoke spots, especially, Chente’s music continues to be very high in demand.
“They request his music all the freaking time,” says Maricela Olivas, Nicaraguan singer and karaoke animator at Guacalito Restaurant. “I think that out of all the songs, ‘El Rey’ is the ultimate Latin karaoke song. This song will never fail at a Latin karaoke spot.”
On the first anniversary of his passing, Billboard celebrates “El Ídolo de México” with a fan poll that highlights more than 10 emblematic Chente tracks popular at karaoke.
The list includes the ever-favorite “El Rey,” the passionate “Aca Entre Nos” and “La Diferencia,” the sweet tribute to women “Mujeres Divinas,” and the mariachi classic “Volver, Volver.”
On the Billboard charts, the iconic singer and actor placed 40 entries on Top Latin Albums, including 25 top 10s and six No. 1s. On Hot Latin Songs, he logged a total of 61 entries, from 1987 to 2013, including 20 top 10s and one No. 1. Fernández holds the record for the most entries on Hot Latin Songs for a regional Mexican solo act, with 61.
What’s your favorite Chente song to sing at karaoke? Vote below.
Massive overselling of tickets for the last two concerts of Bad Bunny’s World’s Hottest Tour in Mexico City this weekend led to hundred of people being denied entry to the superstar’s shows and will have million-dollar consequences for Ticketmaster Mexico, according to Mexican authorities.
The head of Mexico’s Federal Attorney’s Office for Consumers (PROFECO), Ricardo Sheffield, told the Televisa network on Sunday that those affected must receive a 100% refund plus a 20% compensation, and that the company will also be fined.
In a statement, Ticketmaster México acknowledged on Saturday that “the access problems were the result of the presentation of an unprecedented number of counterfeit tickets, which caused an unusual crowd of people and an intermittent operation of our system” which “generated confusion and made entrance to the stadium complicated, with the unfortunate consequence that some legitimate tickets were denied entry.”
Sheffield confirmed the ticketing problem for the Puerto Rican super star’s shows was triggered by an “oversale” of tickets. A total of 1,600 faulty tickets were reported for the first concert Dec. 9, and 110 for the second on Dec. 10. Both shows were at Estadio Azteca. Organizers said some 80,000 people attended each night.
“The difference between those defrauded in the first and second concert is proof of it. 1,600 tickets in the first concert… and 110 in the second”, Sheffield explained on TV program Aguila o sol.
The fine for Ticketmaster México could amount to up to 10% of that company’s total sales in 2021, the official said.
“Ticketmaster claimed they were counterfeit, but they were all issued by them,” Sheffield said in an interview on Saturday with Radio Fórmula.
According to the Mexican official, in its investigation, PROFECO determined that many tickets claimed as false were indeed legitimate and had been purchased through legitimate channels.
Those affected are also preparing a class action suit against the company. PROFECO opened an investigation and invited those who had irregularities with their tickets for Bad Bunny and other major events to file a complaint.
“As we are a fiscal authority, if they don’t want to pay of their own will, we will seize their accounts then, and they will pay because they have to,” said Sheffield.
The ticket issue delayed Bad Bunny’s show on Friday for almost an hour, while a crowd of hundreds outside Estadio Azteca demanded an explanation. Some people climbed through the main gate of the compound in an attempt to gain entry but were stopped by law enforcement. On Saturday, PROFECO announced plans to assist those affected.
Billboard Español reached out to both Ocesa and Ticketmaster Mexico for comment on Friday and Monday, but had not received a reply by press time. On Saturday, Ocesa sent Billboard the press release issued from Ticketmaster Mexico about what had happened at Estadio Atzeca the night before. Last year, Live Nation acquired 51% of the operations of the Mexican company Ocesa and Ticketmaster México.
Cancellations or duplications of tickets for concerts operated by Ticketmaster México and concert promoter Ocesa have increased in recent months for massive concerts, including those of Daddy Yankee, Harry Styles and Dua Lipa, according to complaints from users of the popular ticket sales platform.
The situation in Mexico comes after fans of pop star Taylor Swift collectively sued Ticketmaster parent company Live Nation in the United States for the chaotic ticket sales of her The Eras Tour. Thousands of the singer’s followers were unable to get tickets for her concerts.
It’s been one years since the death of Mexican legend Vicente Fernández, who passed away on Dec. 12 in his native Guadalajara at 81 years old. With family, fans and fellow musicians remembering and honoring his legacy today, Billboard is remembering the ranchera titan with his biggest Hot Latin Songs hits.
On the Billboard charts, the iconic singer and actor placed 40 entries on Top Latin Albums, including 25 top 10s and six No. 1s. On Hot Latin Songs, he logged a total of 61 entries, from 1987 to 2013, including 20 top 10s and one No. 1.
Fernández holds the record for the most entries on Hot Latin Songs for a regional Mexican solo act, with 61, the record for the most entries on Regional Mexican Albums, with a total of 52, and the record for the most No. 1s for a regional Mexican solo act on Regional Mexican Albums, with a total of 17.
His career totals in the U.S., according to MRC Data (which began in 1991), stand at 23.4 billion in cumulative radio audience for all his songs; 5.5 billion on-demand streams; and 9.2 million albums sold.
Fernández’s cause of death was due to complications following surgery for a cervical spine injury after a serious fall last August. The ranchera singer had remained hospitalized since then in stable but serious condition but in the last 24 hours, his condition deteriorated.
“It was an honor and a great pride to share with everyone a great musical career and to give everything for his audience,” reads a statement on his official Instagram account. “Thank you for continuing to applaud, thank you for continuing to sing.”
Below, see all of Chente’s greatest hits to enter the Top 10 on Hot Latin Songs.
“Dos Corazones” peaked No. 10 on chart dated Feb. 6, 1988
“Aunque Mal Paguen Ellas” peaked at No. 4 on chart dated Aug. 26, 1989
“Por Tu Maldito Amor” peaked at No. 10 on chart dated Dec. 2, 1989
“Que Sepan Todos” peaked at No. 6 on chart dated June 1, 1991
“Yo Quiero” peaked at No. 9 on chart dated July 25, 1992
“Aca Entre Nos” peaked at No. 8 on chart dated Oct. 31, 1992
“La Fiesta” peaked at No. 8 on chart dated Feb. 20, 1993
“Lastima Que Seas Ajena” peaked at No. 3 on chart dated Sept. 25, 1993
“Miseria” peaked at No. 6 on chart dated Sept. 24, 1994
“No, No y No” peaked at No. 8 on chart dated Dec. 17, 1994
“Aunque Me Duela El Alma” peaked at No. 2 on chart dated June 24, 1995
“No Te Vayas” peaked at No. 5 on chart dated July 6, 1996
“Nos Estorbo La Ropa” peaked at No. 4 on chart dated Nov. 1, 1997
“Me Voy a Quitar De En Medio” peaked at No. 4 on chart dated March 27, 1999
“Borracho te Recuerdo” peaked at No. 8 on chart dated Jan. 13, 2001
“El Ayudante” peaked at No. 9 on chart dated Sept. 29, 2001
“Estos Celos” peaked at No. 3 on chart dated Oct. 20, 2007
“La Derrota” peaked at No. 7 on chart dated June 14, 2008
“Para Siempre” peaked at No. 2 on chart dated Aug. 16, 2009
“El Ultimo Beso” peaked at No. 1 on chart dated Feb. 21, 2009
Penske Media Corporation’s music, art and food festival LA3C closed its inaugural edition on Sunday (Dec. 11) with a Latin music-centered lineup, a nod to Los Angeles County’s’ Hispanic population, where more than 4.8 million Hispanics live, accounting for almost half of the county’s population.
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The second day of LA3C — which started off gloomy and rainy — included performances by Colombian hitmaker Maluma, regional Mexican star Gerardo Ortiz and Mexican-American rapper Snow tha Product.
Check out Sunday’s best moments below.
El Pana Con Más Flow Just as the sun peeked through the clouds for some much needed sunshine, Panamanian artist Chicocurlyhead marked his first main stage performance at a festival in the U.S. Wearing a monochromatic military green outfit and black sunglasses, Chico effortlessly zigzagged through R&B, trap and rock showcasing his versatility. “For those that don’t know me, I’m Chicocurlyhead. I was born in Panama and raised in Atlanta,” he told a small but mighty crowd. “That’s what you hear in my music. Spanglish. The real deal. I’m ‘El Pana con Flow.’”
Welcome to my paradiseMexican-American singer-songwriter Monogem delivered a soulful performance. With a set that began 50 minutes late, the crowd was forgiving offering her a warm L.A. welcome. One fan ran towards the stage holding a vinyl of the artist’s Gardenia, her first Spanish-language album. “I see you,” Monogem acknowledged the fan. “I’m so happy to be here. Soy mitad mexicana (I’m half Mexican) and it’s an honor to celebrate my Latin roots.” Mid-set, she welcomed fans to her paraíso and proceded to ask fans: “Is it ok if I get high with you guys? I mean we’re in L.A. My hometown.” However, she couldn’t light her joint due to the wind.
Os prometo que hemos ensayadoFrom Spain to L.A.! Marc Seguí and his band — who all wore bright colored t-shirts (red, yellow, blue and pink — one that had “we promise we rehearsed” written across it) — delivered a breezy performance paired with groovy visuals from outer space, the ocean and flowers. In the middle of his 30-minute set, the Spaniard brought a friend out to join him onstage. “I haven’t come alone. A big round of applause for Xavibo.” The pair were like best friends onstage enjoying every second of the performance — which included Segui’s “360” and his and Xavibo’s “Contigo Loca” — jumping up and down to pump up the crowd.
PR In the House“Hace un frío cabron aquí afuera,” Chesca said at the top of her performance,acknowledging the colder temperatures. The Puerto Rican artist delivered a high-energy performance with a troupe of dancers. “I feel so proud to be here with all of you,” she said just minutes before introducing her special guest, who flew in from Mexico just to join her onstage. It was none other than her fellow Puerto Rican hitmaker Villano Antillano, marking the first time she performs in L.A. “Thank you LA3C for having me. Latinos to the top. You should all feel so proud.”
Music of todayColombian singer-songwriter Fonseca got everyone dancing with his vallenato anthems. He kicked off with “Vine a Buscarte” and then got emotional with a heartfelt speech. “We’re very happy to be here tonight. It feels amazing to be back in L.A. We’re proud to be part of a festival that is featuring so many genres from all over the world. It represents the music of today.” The artist, who’s celebrating 20 years in music, went on to sing “Volvámonos a Enamorar” and of course the highly-anticipated “Te Mando Flores.” “Thank you for being part of this dream. Cheers to 2023, I hope it’s filled with good health, friends and family.”
Long live regional Mexican musicRegional Mexican star Gerardo Ortiz, who was born in Pasadena, Calif., enjoyed a homecoming with a set that proved to be a highlight of the night. Transforming the stage into a Mexican party — with a banda and norteño group in tow — Ortiz didn’t waste any minute belting out anthems such as “Quién Se Anima,” “Tranquilito,” “Por Qué Terminamos” and “Recordando a Manuel.” Wearing black jeans, a leather jacket with blue patches and silver studs styled with a cowboy hat and pointy boots, Ortiz, a much-experienced artist whose dynamic and interaction with his fans throughout proved to pull in not only fans who were there to see him, but also new ones who were just discovering him. Never too late to join the Gerardo Ortiz club.
“My favorite thing is women supporting women”Snow Tha Product meant business when she took the stage at LA3C. The Mexican-American rapper performed a riveting one-hour set where she showed off her slick verses and rapping skills. Her performance also included shots straight from a tequila and champagne bottle, a sea of women twerking onstage and Snow’s proud mom. She started off with a quick homage to Vicente Fernandez, who passed away one year ago. She took a shot in his memory. She then brought her mom onstage to take a shot with her and celebrate her success. “I didn’t go to college and I’m doing pretty good,” Snow said. “I told my mom I’d be the most famous lesbian Mexican rapper that ever existed. Mom, say a few things while I take a shot.” Her mom took the mic and started with, “Cómo estan todos (how is everyone doing)? I love you all so much for loving and respecting my daughter. God bless you all.”
She also invited multiple women to join her onstage and dance up there for the remainder of her show. “My favorite thing is women supporting women,” she declared. During her performance, she made sure she got what she paid for and give fans the best performance she could. After production wouldn’t light the fire effect onstage because the dancers “weren’t behind an orange line,” she protested. “I paid $5,000 to have the fire, I should have the fire. The apply rules to a woman that they wouldn’t to a man. If I don’t get fire in this next song, return my money.” She left her fans with advice: “In 2023, go where you’re loved and appreciated.”
Maluma BabyBefore the Colombian hitmaker took the stage, a short video played in front of a crowd that gathered to see Maluma front and center. “Today, my heart stops like if it was the first time [performing],” he said in the video. “Now, I give you my heart.” Then, the man of the hour appeared. Wearing black leather pants, a Supreme biker jacket and red leather gloves, he kicked off his one-hour set with the smash hit “Hawái.” “Good night, L.A. I’m Papi Juancho,” he greeted the audience. In a span of 60 minutes, Maluma delivered a show-stopping performance powered by fireworks and back-to-back hits including “Borró Cassette,” “Felices Los 4,” “Sobrio,” “Chantaje,” “Vente Pa’ Acá,” “11PM” and “Corazón.”
“Where are my Latinos?” he asked. “Los Angeles are you ready? It’s good to be back in one of my favorite cities.” Toward the end of his set, he reflected on his trajectory. “How cool that we’re all here. Is everyone drinking here because I am definitely drinking tonight. We’re ending the year and I want to thank you for the love you give me every single day. Without it, I wouldn’t be anyone. It’s been 11 years since I began my career but we’re just starting. There’s Maluma for many more years. Cheers.”
Penske Media Corporation is the parent company of Billboard.
MEXICO CITY — For some fans, going to Bad Bunny’s Estadio Azteca show Friday night in Mexico City was a dream come true. But for others, it turned into a nightmare after they became victims of a scam, with Ticketmaster Mexico canceling their tickets at the entrance to the show saying they were fake and a throng of angry fans at the door demanding to go inside.
Dozens of people who had arrived hours and some days earlier — coming from different places in Mexico and the U.S. — were not able to get inside Bunny’s fist night in Mexico City, which also marks the end of his tour.
Valeria Carrillo, a young fan who came from the seaside town of Isla Mujeres and said she had paid over 9.000 Mexican pesos (some $455), was one of the unlucky ones. She stood in line since early in the morning to be one of the first to get inside the stadium. She couldn’t.
“I didn’t come all the way from Isla Mujeres to have this happen to me!” she told Billboard Español, in tears.
Some desperate fans climbed over the main gates of the stadium trying to get inside but were blocked by security.
In a press release posted Saturday, Ticketmaster Mexico admitted that “the issues with access were the result of an unprecedented number of fake tickets, which led to a not normal agglomeration of people and an intermittent operation of our system.
“The above generated confusion and complicated the entrance to the stadium, with the unfortunate consequence that people with legitimate tickets were denied access,” added the release.
Mexico’s Federal Attorney for the Mexican Consumer (PROFECO) said it had opened an investigation and asked those who had been affected to present their complaint on a website provided by the institution. By Friday evening, PROFECO said in the same release that only seven people had submitted complaints, but more were expected.
On its end, Ticketmaster said it would refund ticket-holders who hadn’t been able to get into the venue and would also provide additional compensation of “no less than 20% of the price paid for the ticket, in accordance with the terms of article 92 Bis of the Federal Law of Consumer Protection, which states that right when a service is deficient or is not rendered.”
Issues with tickets delayed the show for nearly 60 minutes. Originally scheduled for 9 p.m., it started at 10 p.m. But once the lights went out, it was party time. Benito Ocasio Martínez took the stage in front of 85,000 attendees, with a slew of special guests that included Bomba Estéreo for “Ojitos Lindos,” Chencho Corleone for “Me Porto Bonito,” Mora for “Una vez” and Jowell & Randy, with whom he sang “Safaera.” Bunny finally brought up his friend and fellow hitmaker Jhayco for “Tarot.”
One of the highlights of the evening came when the Puerto Rican star paid homage to the late Mexican music idol Juan Gabriel by sampling his hit “Querida,” and later, when performing “Yo No Me Visto Así,” which also references “Querida” and Juan Gabriel in its lyrics.
For Bunny’s second Mexico City show on Saturday, PROFECO had personnel at the entrance to the stadium beginning early in the afternoon, and there were reports on social media of fans with fake tickets being turned away.
Few things faze Noah Assad, Bad Bunny’s manager. But even he admits that launching a stadium tour barely three months after an arena tour was a bit daunting.
“We knew it was going to be a learning experience and something none of us had done before,” Assad says now, “but we went for it and worked through it with the help of old and new partners and set new industry standards.”
Bad Bunny ends the year as the top touring act of 2022, grossing $373.5 million from 1.8 million tickets across 65 shows, according to Billboard Boxscore, and that number doesn’t even include his last 20 Latin American stadium shows. This makes Bunny — born Benito Martinez Ocasio — the first act who doesn’t perform in English to ever top the year-end tally.
World’s Hottest Tour broke venue revenue records in 12 of the 15 U.S. markets that it hit, including Chicago and Washington, D.C., and New York, where he played Yankee Stadium. All told, the North American leg of tour averaged $11.1 million per show – the biggest per-show average gross by any artist in any genre in Boxscore history (dating back to the late 1980s).
Bunny also became the only artist to ever launch separate tours each topping $100 million in the same calendar year. His stadium tour launched after he played his 35-date El Ultimo Tour Del Mundo, an arena tour that earned $116.8 million from 35 shows.
So, how did an artist who only records in Spanish, who is signed to an independent label and has only been five years in the market achieve this feat? To find out, Billboard spoke with agents, promoters and producers to piece together the ingredients of Bunny’s spectacular touring success.
The seeds for World’s Hottest Tour, which ends with sold out shows Friday (Dec. 9) and Saturday (Dec. 10) at Mexico city’s Estadio Azteca, were sown April 15, 2021, when tickets went on sale for Bunny’s April 2022 arena tour. The tour sold out in a matter of hours, says Jbeau Lewis, one of Bunny’s agents at UTA, with some 200,000 to 300,000 people in virtual queue in individual arenas trying to score tickets, and it became clear how much demand there was for Bad Bunny concerts.
“I remember vividly Noah having a discussion that day and saying, ‘We have to hold some stadiums for next year.’ We saw the unprecedented demand for [2022 arena tour] Ultimo Tour del Mundo,” says Lewis. “And knowing that tour was going to be nine months away and that Benito had plans to release more music, the only way to provide enough supply to alleviate the demand was to move to bigger venues. And that’s when we started working on it.”
Last year Assad signed on with Henry Cardenas of Cardenas Marketing Network (CMN), Bunny’s longtime promoter who was already doing his arena tour who’d been booking him since he played 1,000-people club shows back in 2017 and 2018 in cites like New York and Miami. Cardenas brought in Live Nation, which has vast experience with stadiums, as his partners in the U.S.
In the U.S., the biggest challenge was not the prospect of selling out stadiums; Lewis felt very confident that wouldn’t be an issue if they stuck to those markets where Bunny had strongest demand. Scheduling was the problem, given that the tour was being booked just 15-16 months in advance, and MLB and NFL teams already had dates locked down. Assad and Bunny were also adamant that he not play more than two dates per city, so fans wouldn’t think that one market was preferred over another.
In the end, they settled on 15 U.S. cities and tickets went on sale before the tour design even was finalized, something tour producer Roly Garbalosa says is unusual. “Normally for a tour this big, you design, then look for the markets. Not here. Here we just went.”
Bad Bunny hit road Aug. 5 with a massive production hauling his massive “beach,” palm trees, LED screens and of course, the contraptions needed for his flying stunt, where he gets on top of a small island with a palm tree and soars over the crowd, singing all the way. While a typical tour will take about 20 cargo trucks, Bunny traveled with up to 36, carrying 100 tons of equipment. While CMN and Live Nation promoted the entire U.S. trek of the tour, in Latin America CMN took over seven concerts. The others went to independent promoters Assad has long worked with in the past, including Bizarro in Chile, Westwood Entertainment in Mexico and Dale Play in Argentina.
“Noah has a code of honor,” says Fede Lauria, the founder of Dale Play, who promoted Bunny’s two shows at Velez Sarsfield Stadium in Buenos Aires. “I promoted Benito’s first tour here in Luna Park in 2016. This time, it’s been the biggest production I’ve ever done. We sold 90,000 tickets, but I would have sold 900,000. We sold out in half an hour. I had over a million people in virtual line trying to buy tickets.”
For Latin America, Bunny again insisted on his no more than two shows per city rule. He also insisted that his show had to be exactly the same as what his fans saw in the U.S. This is easier said than done. Usually, promoters will pay artists their guarantee plus the cost of local production. But Bunny couldn’t rely on local production for such a technically complicated show. Many countries and venues simply don’t have the equipment necessary to replicated what can be done in state-of-the-art stadiums in the U.S. And many local promoters can’t afford to pay the costs of importing production and still break even, especially in countries that are suffering from massive devaluation. So, instead of modifying the show to meet local production standards, “He took all his equipment, put it inside a 747 jet, and took it with him,” Cárdenas says. “And he paid for that.”
Even then, says Garbalosa, adjustments were required. Bunny’s flying stunt in the U.S. is done commonly by hitching the equipment to the lights and towers. Because many stadiums in Latin America don’t have that capability, “We had to rent cranes and place them outside the stadium,” says Garbalosa.
Bunny traveled through Latin America with the 747 cargo jet for his more than 100 tons of equipment; a passenger jet for his 130-plus crew and personnel and a private jet for himself and his immediate five-to-six-person team. And he paid those costs.
“No other artist does that,” says Cárdenas.” I will say it in plain English: He’s the only artist who invests that kind of money in his production in Latin America.”
What that decision translates to is less money for the artist. Shows in the U.S. make more because ticket prices are higher and the cost of production, in this case, can be far less.
“But he said, my fans deserve the same show,” Cárdenas says. “It will pay off in the future.”
In some ways, you could say it’s already paying off.
“I’ve been doing this for 30 years,” adds Garbalosa, the production manager. “I’ve never worked with an artist that creates this kind of frenzy.”
From career milestones and new music releases to major announcements and more, Billboard editors highlight the latest news buzz in Latin music every week. Here’s what happened in the Latin music world this week.
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Maestro Cares 2022 Gala
This week, the Maestro Cares Foundation, co-founded by Marc Anthony and Henry Cárdenas, hosted the ninth annual “Changing Live, Building Dreams” gala at Cipriani Wall Street in New York City, hosting more than 600 guests, including J Balvin, Ariana Debose, key industry leaders and more. This year’s event, co-hosted by Ana Navarro and Cesar Milan, recognized five key personalities in the music, sports and business fields: Gloria and Emilio Estefan with the community hero award, Mariano Rivera with the all-star award, Jeff Hoffman with the courage to care award, and Eduardo Trujillo with the corporate social responsibility award. Proceeds from the fundraiser will provide essential support for Maestro Cares, which is a nonprofit organization established to improve the quality of life of disadvantaged children and communities in Latin America and the U.S.
The Good Bunny Foundation
The Good Bunny Foundation (a nonprofit organization founded by Bad Bunny) will host its “Bonita Tradición” gift drive, where they will give out 25,000 gifts related to the arts (sports equipment, instruments, paint materials and more) to children in Puerto Rico. The event will include many stations serving traditional food and drinks, as well as live music and the opportunity to snap a photo with Los Reyes Magos. “We want to close the year in the best way, bringing a bit of joy, hope, and love to the children with an event that reflects the best of this time with a very special emphasis on the traditions of our island,” said José “Che Juan ” Torres, director of the Good Bunny Foundation, in a press statement. “Bonita Tradicion” will take place at 8 a.m. local time on Dec. 27 at Coliseo Roberto Clemente in San Juan.
Karol G’s Film Venture
After her successful Strip Love Tour, Karol G picks up the mic for a new venture — this time, lending her voice for the Puss in Boots: The Last Wish movie soundtrack in a song dubbed “La Vida es Una.” In true Karol fashion, the Ovy on the Drums-produced track is a vibrant reggaeton with a flair of flamenco guitars in honor of Spanish actor Antonio Banderas, who returns as the voice of the notorious PiB. The animated film, which comes 11 years after the premiere of the 2011 film Puss in Boots, will be available in theaters this Christmas.
Love Is in the Air
A lot of love is in the air as of late, starting with Becky G who just got engaged to her longtime boyfriend, soccer star Sebastian Lletget. The couple, who began dating in 2016, shared the news on social media with a sweet photo carousel. “Our spot forever,” they captioned the joint post.
Meanwhile, Puerto Rican artist Jay Wheeler and his girlfriend, singer-songwriter, Zhamira Zambrano, celebrated their one-year anniversary this week. “You are the best thing that has happened in my life, princess, thank you for being part of my happiness and for giving me peace in this world that is so heavy and full of so much damage,” Wheeler expressed. The couple got engaged in the summer.
Argentinean Artists Celebrating
A wave of Argentinean music stars are celebrating after a very suspenseful match between Netherlands and Argentina at the 2022 FIFA World Cup. After a nearly three-hour game, Lionel Messi and the team have qualified for the semifinals with a 4-3 win in the penalty kicks round. On social media, many artists shared their excitement, including Fito Paez. Others, like Lali Esposito and Bizarrap, celebrated at the actual game in Qatar. And artists such as Maluma, Bad Bunny and Daddy Yankee, were spotted supporting the game.
This week, there were multiple Latin music releases, including brand-new albums by Anuel AA and Maria Becerra.
First, we’ll talk about the Puerto Rican artist’s ambitious 33-track sixth studio album. It begins characteristically, with a “bandit musical” opener he dubs “BRRR” that features a hypnotic Mobb Deep sample (“Shook Ones, Pt. II”) as he raps about the sinister side of the hustle and grind culture. He takes a joyride through maximalist EDM (“Vibra”) alongside David Guetta, and then slashes it up with the introspective “Monstruo.” Some key collaborations on the set include tracks with and Bryant Myers, De La Ghetto, his boo Yailin la Mas Viral, DaBaby, and others.
Meanwhile, Becerra showcases Argentine pride in her new 13-song album, La Nena de Argentina, which explores different genres. She zigzags from a romantic bachata on “Hasta Que La Muerte Nos Separe” to a cumbia and reggaetón fusion in “Adiós” to an experimental trap blend with dembow in “Mandamientos.” About her set, Becerra said: “I wanted to be myself, María. This reflects my love of making music and my fascination with all genres of music. In these songs, my two sides are exposed; the wilder side — full of sexual tension and seduction — and my sensitive side, where I’m emotional and dramatic.”
Other new releases include Grupo Frontera and Carin Leon‘s collaboration “Que Vuelvas,” Natti Natasha‘s banger “To’ Esto Es Tuyo” and Prince Royce‘s new bachata track “Otra Vez.”
Which release is your favorite? Cast your vote — or enter in your favorite selection — in the poll below.