Latin
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In honor of Hispanic Heritage Month and to celebrate Carlos Vives‘ 30 years in music, the Colombian star is getting his own limited-run radio channel on SiriusXM. Hosted and curated by the “Fruta Fresca” singer himself, Carlos Vives Radio will “showcase the impact” he’s had on the industry and air hits from his extensive music catalog […]
“Tengo Claro” takes Banda MS and Alfredo Olivas to No. 1 on Billboard’s Regional Mexican Airplay chart, where the song rises a spot on the Oct. 5-dated list. The coronation comes thanks to 6.4 million U.S. audience impressions, up 12% from the week prior, registered in the week ending Sept. 26, according to Luminate.
While both acts add their second champ of 2024, Banda MS collects its 21st No. 1, after “Tu Perfume” ruled for one week in April. With the new win, the group continues as the act with the second-most leaders since the tally launched in 1994, coming closer to Calibre 50’s 25 rulers.
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Here’s a review of the acts with the most No. 1s on the almost 30-year-old chart:
25, Calibre 5021, Banda MS19, Intocable18, Banda El Recodo de Cruz Lizárraga18, La Arrolladora Banda el Limón de Rene Camacho17, Christian Nodal17, Los Tigres del Norte
With “Tengo Claro,” Olivas ups his career count to five total No. 1s among 23 chart visits. The song also becomes his second champ through a collaboration, following his featured role on Alejandro Fernández’s “Cobijas Ajenas,” for one week atop Regional Mexican Airplay in June.
“Tengo Claro” was released July 5 via Lizos Music and marks the label’s 17th No. 1. Lizos’ latest hit follows its previous most recent, another Banda MS win: “Tu Perfume” (one week in charge in April).
Beyond its Regional Mexican Airplay coronation, “Tengo Claro” also cracks the top five on the overall Latin Airplay ranking, where it races 6-2, marking Banda MS’ highest-charting song since the No. 1-peaking “No Elegí Conocerte” in 2019. Plus, the group ties with Alejandro Fernández and Marco Antonio Solis for the second-most top 10s among regional Mexican acts, trailing Calibre 50 with 58 top 10s since the chart’s inception.
All charts (dated Oct. 5, 2024) will update on Billboard.com tomorrow, Oct. 1). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Eight weeks after Elena Rose earned her first entry on a Billboard songs chart, the Venezuelan singer-songwriter scores her maiden top 10 on a ranking thanks to “Orión,” her collaboration with Boza.
The song, released May 29 via Sony Music Latin, flies 17-4 on the Latin Pop Airplay chart (dated Oct. 5) after a 217% surge in audience impressions, to with 2.1 million, earned on U.S. monitored stations during the Sept. 20-26 tracking week, according to Luminate.
Thanks to the 217% surge, “Orión” takes the Greatest Gainer honor of the week, awarded weekly to the song with the most audience impressions among the chart’s 40-deep entries. Univision stations WKAQ-FM (Puerto Rico) and WXNY-FM (New York) lead with the most plays in the latest tracking week. Meanwhile, another New York station, SBS’ WPAT-FM, joins in as part of the top three supporters.
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“Orión” ties Play-N-Skillz, Natti Natasha and Deorro’s “Como La Flor” for the largest single-week jump on Latin Pop Airplay in 2024, both rallying 13 positions. The latter climbed 21-8 on the Sept. 28-dated list, for Mexican American DJ Deorro’s first entry and top 10 there. The song keeps pushing, moving 8-3 on the current ranking.
While Boza has enjoyed chart hits dating back to 2020, the Panamanian celebrates his second radio top 10 with “Orión,” following the Silvestre Dangond and Reik team-up, “Sé Que Estás Con Él,” which took them to a No. 6 on Latin Rhythm Airplay in June 2023.
Venezuelan Elena Rose made her maiden chart appearance as a songwriter in 2022, debuting at No. 5 on the Latin Songwriters chart then. “Orión” also gives Elena Rose her first visit on the overall Latin Airplay chart, where the song debuts at No. 49. Boza picks up his third entry.
The new chart achievement arrives following Elena Rose’s three Latin Grammy Award nominations, including song of the year for “Caracas En El 2000.”
All charts (dated Oct. 5, 2024) will update on Billboard.com tomorrow, Oct. 1). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Elena Rose will speak at Latin Music Week Oct. 14-18 at the Fillmore Miami Beach. To register, please visit BillboardLatinMusicWeek.com.
A woman in Brazil is going viral on social media for hosting a Maria La Del Barrio-themed birthday party for her baby. A joint reel posted by @casinhadamarcela and @cakes.roz shows a photo of main character María Hernández — one of Thalía’s most famous telenovela roles — as the cupcake and cake toppers. The birthday […]
Nearly two decades after her death, iconic Spanish singer Rocío Dúrcal will be revived through a biopic that will recount her life and legacy as “the queen of rancheras,” announced last week via Sony Music México. Together with Sony Music Vision and Altit Media Group, the story of the singer of hits such as “La Gata Bajo la Lluvia” and “Como Tu Mujer” will be brought to the big screen.
“It is a true honor for us to be part of this well-deserved tribute to Rocío Dúrcal’s trajectory and celebration of her legacy, which reinforces the cultural impact she continues to have in the industry and society,” said Roberto López, president of Sony Music México, in a statement. “Additionally, it’s the perfect introduction for the new division of Sony Music Vision in Mexico.”
The production will be handled by Altit Media Group, known for The Misfits and The Good Neighbor. It will also feature the participation of Dúrcal’s daughters, Shaila and Carmen, who will play a fundamental role in chronicling this story of female empowerment within music.
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“It is an indescribable honor to see how the story of our mother, a woman who left an indelible mark on the world of music and film, will come to life on the big screen,” said Shaila and Carmen in the statement.
Born on Oct. 4, 1944, Rocío Dúrcal (real name María de los Ángeles de las Heras) began her career in her native Spain as a teenager, appearing in musical films like Canción de Juventud, Más Bonita Que Ninguna, and Amor en el Aire, which catapulted her to fame during the 1960s. By the late ’70s, she surprised many by singing rancheras under the guidance of Juan Gabriel as composer and producer. The duo marked a new era in Latin music, turning her into a mariachi queen following stars like Lola Beltrán, with the uniqueness of being a Spaniard singing Mexican music.
From Rocío Dúrcal Canta a Juan Gabriel, Vol. 1 (1977) to Rocío Dúrcal Canta a Juan Gabriel, Vol. 6 (1984), the partnership of Dúrcal and Juan Gabriel produced timeless songs like “Me Gustas Mucho,” “Fue Un Placer Conocerte,” “Tarde,” “La Gata Bajo la Lluvia” and “Amor Eterno.” After personal differences led to a professional breakup, a new stage in the singer’s career followed with other music geniuses like Marco Antonio Solís, who wrote and produced her albums Como Tu Mujer (1988) and Si Te Pudiera Mentir (1990), as well as Joan Sebastian, who co-wrote and produced Desaires (1993).
Dúrcal, who died on March 25, 2006, of uterine cancer at age 61, left an indelible mark on music and the arts, with more than a dozen film productions, over 20 albums, 11 billion streams on Spotify to date, and 13 billion hits on TikTok. Among other recognitions, in 1998 she won the Billboard Latin Music Award for regional Mexican album of the year with Juan Gabriel for Juntos Otra Vez; in 1999 she received the Billboard Hall of Fame Award; and in 2007, she posthumously received the Billboard Latin Music Award for Latin album of the year of greatest hits for Amor Eterno: Los Éxitos.
No title or release date for the biopic has been announced yet, or who will play the role of Rocío Dúrcal. Sony Music México will provide additional details at a later date.
While Karol G, Bad Bunny and Peso Pluma dominate the charts — and elevate Colombia, Puerto Rico and Mexico’s music scenes, respectively, to the world stage — a new wave of artists across other Latin American countries is also seeking, and earning, the spotlight.
Earlier this year, Chilean artists scored their first No. 1 Billboard hit since 1991 when newcomers FloyyMenor and Cris MJ’s viral reggaetón hit, “Gata Only,” spent 14 consecutive weeks atop the Hot Latin Songs chart — a feat that would have seemed impossible for the country’s thriving local urban movement just five years ago.
The new generation of Chilean artists has broken out in part thanks to star-studded linkups: Pablo Chill-E on Bad Bunny’s “Hablamos Mañana” (alongside Duki) in 2020; Paloma Mami on Ricky Martin’s “Que Rico Fuera” in 2021; and Cris MJ enlisting Karol G and Ryan Castro for his “Una Noche en Medellín (Remix)” in 2023. All of those tracks made major inroads on Billboard’s Latin charts.
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“We believe a lot in the Chilean market, as it’s experiencing an extraordinary exploitation of music that’s still very young,” says Emilio Morales, managing director of Rimas Publishing, which this year expanded its services to the country through a strategic agreement with Chilean-based label Wild Company, providing A&R services, artist development and more. “Our interest in signing Chilean artists is not just to sign them. We are looking for new horizons for them and for them to be consumed outside of Chile. We want to boost their music to European and international markets.”
Argentina’s music scene has also stretched beyond the country’s borders. Among the speakers during this year’s Latin Music Week, María Becerra recently recorded with Paris Hilton and Enrique Iglesias, and Luck Ra, an emerging act from Córdoba, teamed with Chayanne for a revamped version of his 2003 hit “Un Siglo Sin Ti,” which peaked at No. 15 on the Tropical Airplay chart in September, Luck Ra’s first entry ever on the chart.
“I love collaborating with artists from abroad,” the Argentine newcomer says. “I feel that everyone in their country grows up with different music, everyone has different rhythms in their blood, but the fact that people from different ages and countries listen to you is the most beautiful thing.”
As Chayanne puts it, the song is proof that collaborations across the Latin world help all the artists involved: “The song’s rhythm, so close to Caribbean beats, once again demonstrates the deep brotherhood of all Latinos, reflected in our cultural expressions, especially in music.”
During Latin Music Week, Morales will appear on the “Role of Music Publishers in Cross-Cultural Collaborations” panel, Luck Ra on Billboard Argentina’s “Entre Amigos” panel and Becerra in a conversation with Thalia on mental health.
This story appears in the Sept. 28, 2024, issue of Billboard.
When today’s reggaetón stars refer to the genre’s OGs, names like Daddy Yankee, Don Omar, Wisin and Yandel always come up. During Latin Music Week, Yandel will star on his own panel, which, like his upcoming album (out Oct. 10 on Warner Music Latin), is titled Elyte and will feature new and legendary reggaetón names across 19 tracks.
At 47 years old — and now on his 11th solo set — Yandel is not only comfortable in his role as a solo act, but also as a leader and mentor to a new generation and a bridge between reggaetón’s past and future.
What does being a reggaetón OG mean to you?
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I feel blessed to be here and still be relevant. It’s any artist’s dream. I’m a real OG, a real musical gangster. I know how to traffic my music and lead my business. It’s been 25 years of killing it. I’m someone who respects new generations and collaborates with new artists. I think that’s what keeps me relevant.
How do you see reggaetón today versus 20 years ago?
The evolution of reggaetón has been a complex process, both musically and culturally. Reggaetón came up in the ’90s as a mix of reggae in Spanish, dancehall and hip-hop. In its beginnings, it was cruder, born from the parties and experiences in the streets of Puerto Rico. It has adapted, and in recent years it has integrated other genres like pop, trap, electronica and smoother rhythms like pop and ballads, which have allowed it to be more versatile and accessible to a global audience. It’s gone from being a marginalized genre to dominating global charts.
What’s your role in the genre today?
I’ll continue to explore different sounds, but keep faithful to reggaetón while incorporating trap, pop and dembow. On Elyte, I’ll display a versatility that maybe wasn’t there last year. And I’ll continue to grow on the business side, continue to be relevant and a bridge between classic and modern reggaetón. You know, keep being a legend. Captain Yandel.
This story appears in the Sept. 28, 2024, issue of Billboard.
Metallica closed out its visit to Mexico on Sunday (Sept. 29) with a final tribute to the country. Bassist Robert Trujillo and guitarist Kirk Hammett once again surprised the crowd who gathered at the GNP Seguros Stadium (formerly known as Foro Sol) with a performance of another classic from the Mexican popular songbook: “Los Luchadores” by the legendary tropical music group La Sonora Santanera.
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“El Santo, el Cavernario, Blue Demon y el Bulldog,” sang Trujillo, who is of Mexican origin, while Hammett delighted the 65,000 fans gathered at the venue with his challenging riffs, according to figures provided by the promoter OCESA.
With the band’s unique interpretation of La Sonora Santanera’s classic song, the quartet ended a series of performances in Mexico City that marked its return to the country after a seven-year absence. In total, Metallica gathered 260,000 attendees during four sold-out shows, according to OCESA.
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The legendary Californian metal band, also made up of vocalist and guitarist James Hetfield and drummer Lars Ulrich, visited Mexico as part of its M72 World Tour. The group promoted its four dates —Sept. 20, 22, 27 and 29 — with photos of guitar picks with drawings of Mexican pop culture such as the iconic wrestler “El Santo” and a colorful piñata.
Each show included a song in Spanish by a Mexican act, all performed by Trujillo accompanied by Hammett. On Friday (Sept. 27), the band played its own version of the Mexican group El Tri’s classic “A.D.O.” The gesture was reciprocated hours later by the Mexican band’s frontman, veteran rocker Alex Lora, in a video posted on social media.
“Thank you, Metallica, for making my classic A.D.O. yours! Thank you, Trujillo! Thank you, Hammett! And long live rock n’ roll!” Lora said in a video on Instagram, in which he also played the first few verses of his celebrated song.
Previously, during the band’s first night on Sept. 20, Metallica paid tribute to the norteño music group Los Tucanes de Tijuana by playing “La Chona.” Two days later, the rockers paid tribute to rock group Caifanes with their cumbia-themed hit “La Negra Tomasa.”
Metallica’s history with Mexico began three decades ago while promoting its Black Album (1991), when they performed five shows at the Palacio de los Deportes in 1993. Since then, the band has maintained a close relationship with the country, including recording the live DVD Orgullo, Pasión y Gloria (2009), which portrays three spectacular nights in June 2009 at the Foro Sol (now the GNP Seguros Stadium).
Two decades ago, while hip-hop maintained its cultural dominance, reggaetón began to carve out a niche in the global music scene, and Fat Joe — deeply connected to his Puerto Rican and Cuban heritage and known for his unmistakable New York swagger — bridged the two genres. As both have evolved, so has he: His involvement in Don Omar’s 2005 “Reggaetón Latino (Chosen Few Remix),” alongside N.O.R.E. and LDA, marked a pivotal moment in bringing reggaetón and rap closer together.
Since then, he has consistently fused Latin influences with hip-hop, from his 2019 salsa-infused track “Yes” with Cardi B and Anuel AA (which samples Héctor Lavoe and Willie Colón’s “Aguanile”) to the more recent single “Paradise” with Anitta and DJ Khaled. Fat Joe spoke with Billboard ahead of his conversation with N.O.R.E. during Latin Music Week about the intersection of hip-hop and reggaetón.
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How has your Latin heritage influenced your music?
Man, I just love making music for everybody. But every time we can tap the Latino market — because I’m Puerto Rican and Cuban, my wife’s Colombian — we do it for everybody. And you know, nobody knows how to celebrate like Latinos. It’s about time we teamed up with Anitta from Brazil and then DJ Khaled [with “Paradise,” which premiered at the 2024 MTV Video Music Awards] and make a Latino national anthem.
Since “Reggaetón Latino,” how have you seen the relationship between these two styles evolve?
I’m just proud of reggaetón and everywhere [those artists have] gone because when we started out, they were the little guys. Now they’re killing the whole game — Don Omar, Tego Calderón, Daddy Yankee, Wisin & Yandel, all the guys who pioneered the game and brought it over to America and then the world.
In your view, how have hip-hop and reggaetón supported or influenced each other’s wider cultural acceptance over the years?
Hip-hop is the blueprint. It’s the foundation of everything. Reggaetón came after and just took it to another level in the Latino space and the global space. Even people who aren’t Latinos love reggaetón, but hip-hop is always the blueprint. It started everything when you talk about the flow, the music, the fashion… It just runs neck and neck.
This story appears in the Sept. 28, 2024, issue of Billboard.
The new docuseries Reggaeton: The Sound that Conquered the World reunites some of the biggest hitmakers in the genre — including Daddy Yankee, Ivy Queen and Bad Bunny — to tell the story of how it went from underground music to a style that went on to reign supreme. Set to premiere Oct. 3 on […]