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For nearly four years, the deadly shooting of trap artist Kevin Fret has remained an unsolved and salacious mystery that cast a pall over the Latin music scene in Puerto Rico.
After Fret, 24, was shot twice on Jan. 10, 2019, while riding a scooter in the Santurce neighborhood of San Juan, his mother Hilda Rodriguez publicly accused reggaeton star Ozuna and his manager of ordering the death of her son, charges they have denied and that have not been proven.
Now the prosecutor who was assigned to the investigation, Betzaida Quiñones, says that unbeknownst to Fret’s family and the public, only three months after she began her probe, she was told by superiors to shut it down. In April of 2019, she was interviewing a witness, whom she did not name, when she received a phone call from a superior with a message: “From that point on I was not going to continue interviewing that person,” she said Tuesday on WAPA-TV’s Cuarto Poder. The investigation was at its “peak,” she said, “and I was never given an explanation.”
Quiñones’ public statements over the past week, made in a series of television interviews in Puerto Rico, have called the murder investigation into question, raised concerns about undue influence from the rich and powerful and added to questions about Wanda Vázquez, the former attorney general and ex-governor, who was Quiñones’ ultimate boss.
In statements to the media, Quiñones has said that Vázquez and Olga Castellón, the head of the criminal unit in 2019, were involved in the alleged freezing of the investigation.
Public officials, including the island territory’s governor and its current attorney general, Domingo Emanuelli, have promised to investigate the claims. On Thursday (Nov. 3), Emanuelli said that after reviewing “reports and documents related to the case” that he was referring the matter to the division of Public Integrity and Comptroller Affairs for further review.
“These are serious allegations that should be examined in greater detail in accordance with laws and regulations,” the attorney general said in a statement on Thursday.
On Tuesday, Emanuelli said “there should be no doubt that if evidence of any improper intervention arises it will be investigated, no matter who the person is. We are not going to put the integrity of the Department of Justice and its officials at risk for anything or anyone.”
Ignacio Fernández, an attorney for Vázquez, defended the former governor. “It’s an absolute lie,” Fernández tells Billboard. “Why did [Quiñones] wait three years? She had an obligation to come forward at that time. If she doesn’t have the moral rectitude to not bend to powerful people, then that is on her.”
Fernández also defended Castellón, saying “there is no way that Olga would agree to anything like that. She would investigate her own mom if she had to.” (A spokesperson for the U.S. Justice Department in San Juan, where Castellón is an assistant U.S. Attorney, had no comment.)
Quiñones’ claims that higher-ups influenced the investigation have also renewed concerns about the San Juan police department’s handling of the murder probe. A police spokesperson tells Billboard that the case was transferred this September from the homicide division to its Major Crimes division that deals with cases of “high complexity.”
One of the homicide officers originally involved in questioning witnesses, Tito Rivera Hernández, took a selfie with Ozuna at the police station in February of 2019 following a police interview with the Latin star, which Rivera Hernández later posted on his social media accounts.
Col. Roberto Rivera, the head of the investigative branch of the Police Bureau, said this week that his office had filed an administrative complaint against the officer related to his handling of the probe and had put him on leave pending results of the review. Rivera Hernández, who is currently working with a team of federal agents, would be reassigned to another police division if the federal team does not keep him on, according to El Nuevo Día, a Puerto Rican news outlet.
The colonel said that until this October no other agent had investigated the Fret case and that the time Rivera Hernández dedicated to the murder probe “was not extensive” and “not what one expects from such an investigation.” (Rivera Hernández could not be reached for comment.)
Quiñones’ allegations also add to the scrutiny on Vázquez, who was Puerto Rico’s attorney general from 2017 to 2019 and then governor of the island in 2019 to 2021. In August, the Department of Justice arrested her and charged her with bribery and conspiracy in an alleged scheme to finance her 2020 campaign. (She has plead not guilty and expects to go to trial.)
Persons of Interest
In April of 2019, police officials told Billboard that investigators were searching for “two male persons of interest” and were “using every resource at [their] disposal to find these persons,” as well as following up on anonymous tips.
That April, Quiñones interviewed Vicente Saavedra, who is president of promotion and marketing agency Dímelo Vi, as well as Ozuna’s manager, for more than three hours. She also had planned to interview reggaeton and trap singer Arcángel.
But just days later, she said this week, she received a phone call from a superior telling her to shut down the probe. “I had a list of possible suspects, which was communicated at one point to the chief prosecutor [Castellón],” Quiñones said on Cuarto Poder. “It was a list of the possible people who could have participated in Kevin’s murder.” She added that, “obviously, [Fret] was active at that time in the musical world, which was what he wanted to pursue.”
After his meeting with the prosecutor, Saavedra said the prosecutor’s questions focused only on allegations that Fret had extorted money from Ozuna over a pornographic video that Ozuna had appeared in when he was a minor. Saavedra said he was not asked about Fret’s murder and that Quiñones told him he was not a person of interest in the case. (Quiñones said publicly in January of 2019 that she was not investigating Ozuna for the slaying. A police spokesperson this week would not tell Billboard if Ozuna was a person of interest in the case because the probe is ongoing.)
Nevertheless, Rodriguez, Fret’s mother, who lives in Massachusetts, has been insistent that Ozuna and Saavedra were somehow involved. “I know that it was [Ozuna] who ordered my son to be killed, together with Vicente Saavedra,” Rodriguez said in a TV interview in April of 2019. She alleged that Ozuna and Fret, who billed himself as the first gay trap Latin singer, had engaged in an “intimate relationship.” She said she had turned over text messages of conversations between the two artists to law-enforcement officials.
Ozuna’s attorney, Antonio Sagardía, told Billboard this week that Ozuna was only questioned about an alleged extortion scheme by Fret — not about the murder itself. He was not asked back for a second interview, the lawyer said. The controversy involving the alleged freezing of the investigation “has nothing to do with Ozuna,” Sagardía said. “That’s an internal matter with the Department of Justice.” (Sagardía has said his client had “nothing to do” with Fret’s murder.)
Rodriguez has denied that her son had engaged in extortion. After Fret found a link to Ozuna’s pornographic video, “the only thing Kevin asked of him was to help him sing as a featured artist on a song,” she said. According to Rodriguez, “Ozuna said, ‘No, I’m going to give you money and I want you to send me the link so that I can erase the video.” But she added that her son wasn’t the only person that had the video. Rodriguez claimed that her son did not want Ozuna’s money and that he would never have mad the video public.
Fret’s mother said that Ozuna gave her son almost $400,000. Both Ozuna and Sagardía have said that at least one payment was made to Fret, but the lawyer put the amount at “close to $50,000.”
Almost two weeks after Fret’s death, a portion of the video in question, which depicted a teenaged Ozuna masturbating, was leaked to the internet and quickly went viral. That same day, Jan. 23, 2019, the artist apologized to his family and fans via a prepared statement, which also said he had been the victim of an alleged extortion plot hatched by Fret.
After she was told to stop questioning witnesses in early April of 2019, Quiñones says she asked for both verbal and written explanations, writing a memo to the Department of Justice asking why it was being held up. “None of my memos that I sent to the Department of Justice were ever answered,” she said on Cuarto Poder.
The recent move by the police to move the case to the Major Crimes unit, the prosecutor says, “opens another window for a full investigation.” And while significant time has passed since the slaying occurred and the evidence was fresh, she says she hasn’t “lost faith” that “eventually we will know the truth of what happened.”
Taylor Swift is out here breaking records with her 10th studio album Midnights, released Oct. 21 via Republic Records, including becoming the first artist in Billboard history to dominate the entire top 10 on the Hot 100 songs chart in a single frame. Additionally, Midnights debuted at No. 1 on the Billboard 200 albums chart, marking the biggest week for any release in seven years.
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In celebration of her historic streak, Billboard Latin has compiled a fan poll, asking readers to vote for which Latin artist she should collaborate with.
Though Swift has shared the stage with artists such as bestie Selena Gomez, Jennifer Lopez and Camila Cabello, who opened her Reputation Tour and would come out to help sing “Shake it Off,” she’s yet to collaborate with a Latin artist.
The poll includes everyone from Bad Bunny (who has teamed up with Drake and Dua Lipa), to Natti Natasha (who has collabs with the Jonas Brothers and Meghan Trainor) to Ozuna (who has dropped tracks with Doja Cat and Swift’s very own BFF Selena Gomez), plus more. We also highlight some of Latin pop’s biggest names, who we think would have great musical chemistry with Swift, such as Camilo, Sebastian Yatra and Pablo Alboran.
Below, vote for which Latin artist Swift should collaborate with.
Following his debut album Hecho en Medellin, Blessd (real name: Stiven Mesa Londoño) presents his sophomore set Siempre Blessd out Thursday (Nov. 3) via Warner Music Latina and JM World Music – Cigol.
Home to 13 tracks, including the previously-released “Instagram (Remix)” with De La Ghetto and Darell, and “Tendendia Global” with Myke Towers and Ovy on the Drums, Siempre Blessd continues to consolidate the artist’s status as Colombia’s breakthrough performer.
The set navigates from songs that will inspire aspiring artists from the barrios to dream big (such as “Barrio Antioquia”), to songs about embracing solitude after a failed relationship (such as the Ñengo Flow-assisted “Solitario”) to songs inspired by him discovering the world (such as “Europa”).
But beyond all, it’s fully charged with certified club bangers — including edgy reggaetón songs, raw trap bangers, and infectious collaborations with other renowned acts and newcomers, including Dalex, Rvssian, Amaro, Pirlo, and Philip Ariaz. It also demonstrates Blessd’s ability to freestyle, sing, and pen his own music.
“This album fills me with great pride because it is an album that I can call mine,” the Colombian artist, who appeared as a panelist at 2022’s Billboard Latin Music Week, says in a statement. “With this album, I want to connect with all my fans and take my career to another level.”
Siempre Blessd drops with the focus single “Que Duro,” which the artist produced himself and further demonstrates the album’s connectivity with its audience. Below, he elaborates on the focus track, and also breaks down other essential tracks.
When Alessandra Alarcón was named president of SBS’ entertainment division in 2019, she became, at 31 years old, the first woman to ever lead the Latin media company’s very lucrative live events division.
“We have a sweet little nickname at corporate for my division,” she says with a laugh. “They call us the ‘profit center.’”
“The profit center,” as Alarcón calls it, puts together SBS Entertainment’s many highly regarded and successful music events, including Los Angeles’ Calibash, the urban fest that takes place every January. In the three years since Alarcón took over, Calibash has gradually pared down the number of acts and emerged with a more star-studded lineup. “I thought the audience would be okay, because I would be okay with there being less acts but more quality sets. And I’m happy to report that I was right,” she says.
Garnering success was especially important for Alarcón given that she’s the granddaughter of SBS founder Pablo Raúl Alarcón and one of the daughters of SBS Chairman Raúl Alarcón.
In this episode of the Billboard podcast “Latin Hitmaker,” Alarcón, in her first in-depth interview since being appointed to her post, spoke about the importance of legacy, the new U.S. Latin market and balancing work and motherhood. Below you can find some highlights from the conversation.
On bringing a bilingual, bicultural perspective to a Spanish-language media company: “It gives me a very unique perspective on business and how business is done. There are a lot of deep relationships [in Latin] and there’s a certain way of thinking of how things have to get done, because that’s the way it was always done. And I think that being born in L.A., and then [living] in New York and raised in Miami […] and having that more bicultural view of business and how things get done has certainly helped me accomplish a lot of things and not getting lost in the noise, which sometimes happens.”
On her negotiating style: “I’m definitely more of a velvet hammer. This is a very male-dominated industry. Women are making strides, but it is a very male-dominated industry. There’s a time and a place to be tough, but I always like to come in, hearing someone out, making them feel heard and respected. But certainly there’s a hammer that has to come down every once in a while.”
On work advice from her dad: Raúl Alarcón always imparted on his daughter the importance of being respectful to others. “He said, ‘There’s nothing worse than having an enemy that works for you. The solution is going to come to you, but you’re not going to get it by berating someone or making them feel bad about themselves.’”
On balancing work with her six and four-year-old children: “This [is a] piece of advice I got from my aunt. She worked and she had two children and she said: ‘You can have it all, just not at the same time.’”
On her advice to those new in the business: “The obstacle is the way. There is a way through anything. There’s a solution to every problem. It might not be the exact thing that you want, and that’s where the humbling and the flexibility comes in. You know, you have to be limber and ready to adapt because if you don’t adapt, you die. You have to pivot.”
Listen to the full episode of Latin Hitmaker here:
There are a handful of achievements that many musicians dream of: obtaining a Platinum-certified record, entering the “Billions Club” on a streaming platform, topping the Billboard charts, and of course, winning a Grammy. For the Bad Bunnys, Karol Gs, and Ozunas of the world, those feats come in abundance, especially as música urbana continues to increasingly gain momentum worldwide.
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While the urbano greats continue to dominate with some of these achievements, Billboard below highlights a dozen lesser-known Latin Grammy nominees, beyond the best new artist category. Whether it’s Mireya and Roman Rojas competing for best regional song against musical monoliths like Christian Nodal, Christina Aguilera, Grupo Firme and Maluma, or giving indie artists more shine in categories not aired during the telecast — like flamenco newcomer Carmen Doorá, or tango revivalists Spinettango (who channel their love for Argentine rock legend Luis Alberto Spinetta) — we got you covered.
Here are 12 lesser-known artists you should know in the running for a Latin Grammy, in alphabetical order.
Afro-Andean Funk
Nominated for: The Sacred Leaf (Best Alternative Album)
Perú is celebrated for its vibrant Andean roots music, colorful indigenous art, and sacred medicinal rituals. Mix these elements with hints of psychedelia, and the result is Afro-Andean Funk’s debut, the Sacred Leaf. Comprised of singer Araceli Poma and producer/bassist Matt Geraphty, the Spanish- and Quechua-language duo embrace these traditional trademarks, all the while paying respect to millennia-old practices — like healing through coca leaves, shamanism and sacred water. The album is experimental and introspective, but above all, it’s a love letter to the ancient Andean culture.
Bala Desejo
Nominated for: Sim Sim Sim (Best Portuguese Language Contemporary Pop Album)
Composed of Julia Maestre, Dora Morelenbaum, Zé Ibarra and Lucas Nunes, Brazilian band Bala Desejo bring a carefree spirit and warmth to Sim Sim Sim. The Rio de Janeiro four-piece moved in together during quarantine to unite their artistic abilities and concoct this poptimistic delight. Combining jubilant choruses, groovy beachside ballads, and a dash of experimentation, their debut full-length album is a refreshing continuation of the feel-good and forward-thinking vibe of late-‘60s tropicalia.
Bruses
Nominated for: Monstruos (Best Pop/Rock Album) and “Qué voy a hacer conmigo???” (Best Pop/Rock Song)
Mixing goth rock, rawness and lyrical introspection, Bruses’ Monstruos intrigues. The Tijuanense singer-songwriter tackles delicate themes with grit against a propulsive, glimmering sound that combines contradictory elements that pair well together (think Nightmare Before Christmas, or BABYMETAL). “For me, these songs represent 13 of my monsters, which I also know are not only mine, they are everyone’s monsters — and we have somehow learned to survive with them,” said the artist in a statement.
C4 Trío
Nominated for: Back to 4 (Best Instrumental Album)
Back to 4 equals cuatro virtuosity, where C4 Trío’s nylon dexterity takes a front row seat. Consisting of cuatro masters Edward Ramírez, Héctor Molina, Jorge Glem, and bassist Rodner Padilla — who are all producers and songwriters — all navigate through jazzy experimentation, Caribbean and joropo rhythms. Ultimately, the quartet showcases the various facets of the native Venezuelan instrument at its peak.
CA7RIEL
Nominated for: El Disko (Best Alternative Album) and “Bad Bitch” (Best Alternative Song)
Formerly of cloud rap duo CA7RIEL & Paco Amoroso, the eccentric Buenos Aires artist has been wreaking havoc in the crossover Argentinian trap scene as a charming goofball with a sinister edge. Since he launched his solo career with two EPs in 2018, the quirky trap star has been building a loyal following. But his debut album El Disko sees him expanding his sonic palette in abstract ways filled with thrilling complexity. Funky grooves (“Bad B–ch”), old school hip-hop-meets-ominous distortions (“Polvo”), and glowing synths (“Chanel Maconha”) collide against lo-fi minimalism. It’s half an hour of unpredictable excitement.
Carmen Doorá
Nominated for: Orgánica (Best Flamenco Album)
The charm of Orgánica lies in its bewitching simplicity. Carmen Doorá’s dynamic rasp and Paco Hereida’s riveting guitar fretwork make a powerful pair. Together, they revitalize the essence of flamenco with utmost respect for the centuries-old tradition. With original material and beautiful renditions by Nina Simone, Spain’s nueva canción singer Joan Manuel Serrat, and Argentine tango singer Carlos Gardel, the Murcia-basad singer performs ten tracks live in the studio with gut-wrenching delivery — like agony and ecstasy.
Isabel Marie
Nominated for: Una ilusión (Best Tejano Album)
Isabel Marie is a promising new voice pushing tejano forward. Born in Chicago and based in Texas, the 19-year-old singer entered the music business as a child competing for La Voz Kids, and since 2014, she’s been busy releasing a steady stream of rancheras, tejano songs, and mariachi. With her 2022 Latin Grammy-nominated EP, Una Ilusión, the sultry-voiced singer adds co-producer to her title, and claims inspiration from Selena, Vicente Fernández, and Mariah Carey.
KURT
Nominated for: La Vida (Best Traditional Vocal Pop Album)
KURT knows how to craft a dazzling pop ballad. With his poetic prowess and guitar plucking skills, the Mexican musician is making a name as a compelling singer-songwriter to know. On his Latin Grammy-nominated album, La Vida (2021), his second studio album, the Sinaloa native, born Kurt Schmidt Ramos, displays the perfect mix of open-hearted wordplay and catchy melodies. “KURT’s songs are not dedicated to just anyone,” writes one of his twitter followers in Spanish.
Marilina Bertoldi
Nominated for: Mojigata (Best Rock Album)
Dissonant piano stabs, screeching guitar melodies, and drum syncopation collide throughout Marilina Bertoldi’s 2022 release Mojigata. Although her confidence and attitude pours out of her, her voice is as cutting as ever, shouting verses like “I spent my time sharping knives” (Spanish lyrics of “La Cena”). She enlists Chilean electro-pop artist Javiera Mena on the dazzling “Amuleto”, and distorts the mood with reved-up power chords on “Beso Beso Beso.” In 2019, Bertoldi became the first female rock artist to win the Premio Gardel de Oro in the history of the award ceremony.
Mireya & Roman Rojas
Nominated for: “Nunca te voy a olvidar” (Best Regional Song)
It begins with a riveting joropo rhythm in the hands of Jorge Glem’s cuatro (also of C4 Trío), and transitions into a fierce mariachi anthem. Led by a pulsing guitarrón and a dense vihuela, the song marks Mireya Ramos’ first nomination as a solo artist — she usually co-fronts and plays violin for the New York mariachi ensemble Flor de Toloache. Produced by Venezuelan alchemist Román Rojas, and co-written by Ramos and Rojas, this is Mexican tradition-meets-Venezuelan folk at its finest.
Nico Cotton
Nominated for: Producer of the Year; Ya no somos lo mismo by Elsa y Elmar (Album of the Year and Best Engineered Album)
Nico Cotton is one of the most sought-after beatmakers behind many booming tracks coming out of the Argentine trap scene. A movement that began to accelerate just a few years ago, it has seen acts like Cazzu, María Becerra, and Tiago PZK break into global prominence, partly thanks to the producer’s darkly compelling beats. Catapulted by dissonant trap and Latin drill configurations — like on Cazzu’s Trampa Nena (2022) — the three-time nominee has also lent his craft to Colombian pop singer-songwriter Elsa y Elmar and Conociendo Rusia’s indie-rock splendor, showcasing his impressive versatility. This year, he competes against Tainy, Eduardo Cabra, last year’s winner Edgar Barrera, and Julio Reyes Copello for producer of the year.
Spinettango
Nominated for: Spinettango (Best Tango Album)
Spinettango’s eponymous debut is a charming reimagining of Luis Alberto Spinetta’s songs with a deep affinity for tango. Arriving ten years after the passing of the late influential Argentine rocker, the band sets out to explore the tango side of El Flaco. For example, “Muchacha (Ojos de Papel)” and “Seguir Viviendo Sin Tu Amor” are captivating reworkings. The album also features legendary Argentines such as Litto Nebia and Daniel Melingo, as well as the Uruguayan murga troupe Falta y Resto. Spinettango is the creation of the Los Altiyeros collective, formed by Hernán “Don Camel” Sforzini together with Damián Torres Quintet and Santiago Muñiz.
Loud And Live, the Miami-based entertainment, marketing, media and live events company, has committed to making a $1 million dollar donation to the Latin Grammy Cultural Foundation, the company tells Billboard.
Marking the largest single donation in the foundation’s history, the money will be donated over the next five years to advance the foundation’s mission to further international awareness and appreciation of the contributions of Latin music and its makers to global culture via college scholarships, grants and educational programs, according to a press release.
The donation builds on Loud And Live’s culture of giving and philanthropic commitment.
“We’ve been fortunate to have great success in this industry, and for us, we feel it’s an obligation to give back to the community that we’re a part of,” said Loud And Live CEO Nelson Albareda. “Our history partnering with the Latin Recording Academy goes back to 2003, and we can’t think of a better partner to channel and make a meaningful impact with this donation, than the Latin Grammy Cultural Foundation.”
For nearly two decades, Loud And Live has supported the Latin Grammy Cultural Foundation by donating time, services and resources, including a private fundraising event that featured an intimate conversation with Cuban-American superstar Pitbull. Most recently, the foundation has benefited from various tours produced by Loud And Live, including those by Camilo and Carlos Vives, both of whom pledged to donate $1 from each ticket sale on their respective tours to the foundation.
“We are grateful for the generous donation of Loud And Live, a longtime partner of the Foundation,” added Becky Villaescusa, vp of strategic planning & corporate development at the Latin GRAMMY Cultural Foundation. “Together we have the ability to continue creating opportunities, have a positive impact on our communities, and preserve the legacy of Latin music and Latin music creators.”
Both Bizarrap and Quevedo can check off a new career milestone as “Bzrp Music Sessions, Vol. 52” hits No. 1 on Billboard’s Latin Airplay chart (dated Nov. 5) — the first No. 1 for both acts. The new achievement lands after their team-up led both, the Billboard Global 200 chart (six weeks) and the Global Excl. U.S. chart (four weeks) starting the July 30-dated rankings.
“Bzrp Music Sessions, Vol. 52” advances to the top slot in its seventh week on Latin Airplay thanks to an 8% gain, to 9 million, earned in the U.S. in the week ending Oct. 30, according to Luminate.
With the move, Bizarrap and Quevedo join four other acts who have notched their first champ through their first showing on the list in 2022. Here are this year’s new winners:
Artist, Title, Accompanied Artists, Peak DateVictor Cárdenas, “El Incomprendido,” with Farruko & DJ Adoni, Jan. 29DJ Adoni, El Incomprendido,” with Farruko & Victor Cárdenas, Jan. 29Lisa, “SG,” with DJ Snake, Ozuna & Megan Thee Stallion, April 2Megan Thee Stallion, “SG,” with DJ Snake, Ozuna & Lisa, April 2Bizarrap, “Bzrp Music Sessions, Vol. 52,” with QuevedoQuevedo, “Bzrp Music Sessions, Vol. 52,” with Bizarrap
The collaboration between Argentinian Bizarrap and the Spaniard Quevedo outs another pairing, Romeo Santos and Justin Timberlake’s “Sin Fin,” after its one-week command.
Meanwhile “Vol. 52” leads Latin Rhythm Airplay for a second week.
Elsewhere, “Vol. 52” steps 12-11 on the multi-metric Hot Latin Songs chart despite a decline in both streams and sales. The song dips 5 in U.S. streams with 4.1 million logged in the week ending Oct. 27. It also falls 7% in downloads sold in the same period.
For an artist who says music is his passion and the music of others is his hobby, it’s no surprise why Puerto Rican salsa icon Gilberto Santa Rosa released a conceptual album called Debut y Segunda Tanda. Both the Vol. 1 and a deluxe version were produced by his label B2B Music and distributed by Believe.
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The “Debut” part of its title, as he explains to Billboard, represents three of his original recordings, such as “Cartas Sobre La Mesaz” — while “Segunda Tanda” pays tribute to emblematic tracks recorded by his colleagues, such as Willie Chirino, Mucho Manolo and Carlos Vives’ “For Sale,” to name a few.
“The first song that was created was ‘Cartas Sobre La Mesa,’ and that’s the one that sparked the concept of my album,” he says of his first set in two years. “This album came at the perfect timing.”
Below, read 20 questions with El Caballero de la Salsa, where he opens up about his new album, being from Santurce, Puerto Rico, the movie that makes him cry and more.
1. This is your first album in two years — what’s the concept behind Debut y Segunda Tanda?
It’s simple. My new songs are the ones debuting and the second part is the covers. Half of the songs were originally recorded by me and the other half are songs that other artists lent me for the album.
2. On this album, you pay homage to your colleagues Willie Chirino, Mucho Manolo, Septeto Acarey, Grupo Bahia, Carlos Vives and Alejandro Sanz. Which of these covers was most challenging for you to interpret?
Truthfully, I identify with all of them, even if they’re not my songs. But I would have to say “Cartas Sobre La Mesa” because it was originally recorded as an urban song. I’ve done tropical and romantic covers, but it’s the first time I did something urban. Even though salsa and urban have a lot of things in common, starting with their origin, this song was the most peculiar for me.
3. Of your original tracks on the album, which is your personal favorite?
Without a doubt “En Defensa Propia.” It’s a very well-written song, very Santa Rosa. It’s a song made for expression and it gives the album a special touch.
4. Which song from Debut y Segunda Tanda are you most excited to perform live?
I like all of them! Since I select the songs for my shows, I would like to perform them all, because it’s an album I really want my fans to discover.
5. Why did you decide to release this album in two parts?
The album was divided because I went into the studio and got excited. I realized I had a lot of songs, and we decided to work on the first eight. Besides, time passes by very fast, and a lot of music gets lost in the way. That’s when we had the idea of releasing it in two parts.
6. What’s at the top of your professional bucket list?
I don’t really have a bucket list. Who knows if in a couple of years I’ll focus on that list? But for the time being, I don’t have anything.
7. Who made you realize you could be an artist full-time?
I was six years old. There was a teacher in my school who unfortunately passed away very young, her name was Yenny Diaz. She was a science teacher, but she also led the music classes. She taught us to play the guitar. She encouraged me and taught me a lot. I remember her with great affection. She was the only person, of all the people who gave me a lending hand, who did not see me develop my career.
8. Which would you say is the most emblematic song of your career?
“Conciencia” and “Perdóname.” They are two songs that I have definitely had to sing in all the places since I recorded them.
9. What was the first concert you ever saw?
I started singing very young, so I had access to see almost all the artists for free. But, the first concert I went to which my uncle paid for the ticket was Las Estrellas de Fania — and the first concert that I paid for, where I worked and saved, was to see a great Cuban singer named Roberto Ledesma, a spectacular romantic singer.
10. What artist, dead or alive, would you like to see in concert?
Well, it’s going to surprise you, because I’ve seen almost every artist. But I would like to see John Legend, Alicia Keys, or Justin Timberlake, if possible.
11. How did being from Santurce, Puerto Rico shape your art?
Totally. A large number of musicians and singers who excelled in salsa music came from Santurce. At one time, the heart of entertainment was there including radio and television stations. The atmosphere in general is a very happy sector with a lot of music. I always remember my grandmother’s house, when you went out to the balcony and there was music everywhere, and you were nourished by all that. Being from there helped me with my training, of course.
12. What was the last song you listened to?
When I prepare for my concerts, I like to listen to music by other artists. Last night I was listening to a song called “Adolorido” by a Cuban singer named Tito Gomez who has already passed away.
13. What song or movie always makes you cry?
There is a movie that has it all! It has tears, it has suspense, and even quite a lot of violence but very well used. The first Godfather movie, I’ve seen it like 900 times. I always find something that I didn’t see the previous time. That movie talks about family, and loyalty, it goes beyond being a mobster movie. There are many interesting and deep messages.
14. Do you recall your first job ever?
I’ve always worked in music. I thank music for sustaining me all my life. But, the very first job I had was delivering newspapers for two weeks. The other time, I was a model for a car show. I had to drive one, but I’m usually not a good driver, so it didn’t go very well for me. Those were the last times I worked on something other than music.
15. Besides music, what’s another passion of yours?
I can be a bit boring because I’m passionate about music and nothing else. My work is music and my hobby is the music of others. In the last few years, however, I wasn’t much into going to the studio. For me, the recordings were very tedious, but about five years ago, I began getting involved and visiting the studio every once in a while to record things. That’s why I have many songs for this album.
16. What’s your all-time favorite vacation spot?
Las Vegas. I love going there for the entertainment lifestyle. It’s a city where there is always something new going on. I’ve seen almost every artist in the residences. I have a good time even if it’s on a bench drinking coffee. It is an interesting desert.
17. Describe 2022 in one word?
Spectacular!
18. With a more-than-40-year career, what’s one piece of advice you would give to younger salsa artists?
A genuine vocation and the stamina to move forward are important. It is not an easy road — life, in general — is not, but today, there is a contrast between all the advances that exist. And that seems to be an advantage, but sometimes it is not, because the competition is even stronger. It is more difficult for people to focus on an artist. So, you have to have the stamina and character to be able to fulfill a dream. There is always a door that opens, there will always be an opportunity, and there is always a person who helps you — but we cannot give up on the first failure or the first “no.” It is hard to start a project and defend it.
19. What’s the one word you always use?
Everyone knows me because I use the phrase “Caminalo!” At first, it started out as a strictly rhythmic phrase, but today for me it’s almost a philosophy. It suggests going forward, not stopping, the future, and movement.
20. What do you hope to accomplish or experience in 2023?
We are going to start promoting both volumes of Debut y Segunda Tanda, and in 2023, we will begin planning the new tour that we hope will take us to Europe again.
Shakira and Ozuna’s “Monotonía” rallies 25-3 on Billboard’ Hot Latin Songs chart (dated Nov. 5) after its first full tracking week. The track was released Oct. 19 via Sony Music Latin, and debuted in the top 30 a week ago with five days of airplay (during the Oct. 17-23 tracking week).
“Monotonía” pushes to No. 3 with gains in all metrics. It earned 9.4 million U.S. streams, up 205%, in the week ending Oct. 27, according to Luminate. That yields a No. 3 debut on Latin Streaming Songs. Sales, too, assist its position increase, with 2,000 downloads sold — up 38% — during the same period. (The song holds strong at No. 1 on Latin Digital Song Sales.)
Meanwhile, on the radio front, “Monotonía” generated 6 million in audience impressions, up 106%, earned in the week ending Oct. 30, which prompts a 36-13 surge on the all-genre Latin Airplay. On Tropical Airplay, the song lifts 8-4.
Further, “Monotonía” breaks up a Bad Bunny monopoly of the top three on Hot Latin Songs — the entire top three has been occupied by nothing but Benito’s songs since the May 21-dated chart, where he has ruled with songs from his Un Verano Sin Ti album.
“Monotonía’s” move earns Shakira her 32nd top 10. She continues to hold the record for the most top 10s among women since the tally launched in 1986. Ozuna adds a 28th top 10 to his career count.
Elsewhere, “Monotonía” also enters the all-genre Billboard Hot 100 chart at No. 65. It becomes Shakira’s highest debut since “Empire’s” No. 58 arrival in 2014.
On Global territory, Shakira secures her third top 20 title on the Billboard Global 200 ranking as “Monotonía” debuts at No. 18. Ozuna, meanwhile, captures his third top 20 on the Billboard Global Excl. U.S. survey, as the song soars 174-4 in its second week.
Music is an essential part of the Día de los Muertos (Day of the Dead) celebration. For this reason, many Latin artists have lent their voice to showcase the traditional melodies of this Mexican festival, which mixes indigenous roots with Christian traditions from the Spanish colonial era, but also to bring to the forefront more recent songs such as those included in the 2017 Disney-Pixar movie soundtrack, Coco.
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According to this tradition, every Nov. 1 and 2, the dead and alive are reunited when they return from Mictlan, as the ancient Mexicans called the Underworld.
In honor of Day of the Dead, Billboard compiled five heartfelt songs. Listen to them below:
“La Llorona,” Various Artists
“La Llorona” is one of the best known tracks in the Mexican popular songbook and has its origin in the region of the Isthmus of Tehuantepec, Oaxaca. The most famous version is performed by the late singer of Costa Rican origin Chavela Vargas. Other popular interpreters include Mexican artists Lila Downs, Aída Cuevas, and Natalia Lafourcade.
In recent years, the timeless song has positioned itself among the young generations thanks to Ángela Aguilar, who recently performed it before thousands of people in the Zócalo of Mexico City during the closing of the mega-parade dedicated to the Day of the Dead.
This year, there is also a new version performed by another young regional Mexican artist, Carolina Ross, who accompanies her singing with a TikTok where she is transformed into a Catrina skull.
“La Nostalgia,” Julieta Venegas
Mexican-American singer-songwriter Julieta Venegas pays tribute to the Mexican tradition with “La Nostalgia,” which premiered Sunday (Oct. 30) exclusively on her Facebook page. The song is part of her seventh album, Tu Historia, set to be released on Nov. 10. In this song, Venegas captures her memories of Mexico and is strongly inspired by the Day of the Dead.
“Las Flored del Camposanto,” Lupita Infante
The Mexican-American singer (granddaughter of the emblematic Mexican actor and singer Pedro Infante), released a majestic mariachi version of this song written by Luis Rosado Vega and performed in 1986 by the late Mexican singer-songwriter and musician Óscar Chávez. Infante recorded the piece to pay homage to those who are no longer with us and to the place where they rest, the cemeteries.
“Flores y Tierra,” Danny Felix
Phoenix-based singer Danny Felix, one of the pioneers of the corrido tumbao genre, also released new music in honor of Day of the Dead. On Nov. 1, he shared a video on his YouTube account announcing “Flores y Tierra,” which he states is “dedicated to loved ones who are no longer with us.” An accompanying music video shows Felix performing the song at a cemetery during the day.
“Recuérdame,” Natalia Lafourcade, Carlos Rivera
“Recuérdame” is the main theme song from the Disney Pixar film, Coco. Many versions of this heartfelt track exist, including one by Carlos Rivera, who recorded the version in Spanish for Latin America, and “Remember Me” in English recorded by Miguel Natalia Lafourcade. The song was also performed by renowned Latin actor Gael García Bernal during the 2018 Oscars ceremony, where it took the award for the best original song.