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Daddy Yankee (real name: Ramón Luis Ayala Rodríguez) and his longtime wife Mireddys González are getting divorced. The Puerto Rican artist announced the news on Monday (Dec. 2). 

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“With a heart full of respect and honesty, I want to share some important news about my personal life,” he said in a statement on his Instagram Stories. “After more than two decades of marriage and after many months of trying to save my marriage, which my wife and I share, today my lawyers respond to the divorce petition received by Mireddys.” 

He continued to note that his faith in Christ was his refuge and constant guide as the couple — who were high school sweethearts and have two grown kids — tried to overcome their differences.  “This is not an easy time, but I understand that it is part of my life process,” he shared. “It is time to accept and continue. Protect my stability, my children and everything built over so many years. I deeply thank those who have accompanied us during this journey and I ask that you respect our privacy in this process. I know that this news may surprise many.” 

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In the letter, he expressed his respect for González’s decision and that he is “grateful for the time we shared, full of blessings and values, of love and with a beautiful family that will continue to be our priority.”

González was manager of the former reggeatón artist, and CEO of El Cartel Records, and is widely known to wield broad influence over her Yankee’s music career — which the artist previously said to Billboard: “She’s the boss. She has always been the boss.” 

The surprising divorce news comes just two months after Billboard reported that indie music giant Concord acquired parts of the music publishing and recorded music catalog of the Puerto Rican superstar. The deal encompasses certain rights to Daddy Yankee songs including “Con Calma,” his rights as a featured artist on “Despacito” and “Gasolina.” 

This year, Daddy Yankee has also been devoted to his faith and beliefs. He opened up about his new life chapter during his four back-to-back farewell concerts in Puerto Rico in late 2022. 

“For many years I’ve tried filling a void in my life that no one could fill,” the global Latin urban star told fans at the time. “I tried finding a purpose — on many occasions it seemed as if I was happy, but something was missing for me to feel complete. I have to confess that those days are over, and someone was able to fill that void that I felt for a lot of time. I realized that for everyone I was someone, but I was no one without him.”

After closing multiple deals in the past several months, Prediction Enterprises has officially launched as a music rights management company. Co-founded by industry veterans Matthew Limones and Nicolás González, the firm focuses on the rights and revenues of top music industry creatives and rights owners.
“I’m proud to have been able to found a company that offers essential and meaningful services in the sector of the business where I saw the need,” said Limones, CEO, in a press release. “After my tenure as an executive at one of the most important collective management organizations in the world, I saw an opportunity to jump in and start an operation that managed the rights and revenue of creatives that grew their business on the recorded music side.”

The company provides services for labels, publishers, artists, producers, and songwriters, and negotiated “multi-million dollar transactions of music catalog rights” and deals for top names that include Pitbull, Natanael Cano, Gerardo Ortiz, Sech, Darell, Belinda, Gabito Ballesteros, Cristian Castro, Nacho, Fariana, Lit Killah and brands such as Latin music festival Vibra Urbana and media company Rapeton.

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González, COO, added in the press release, “Many creative artists’ music careers move very fast and don’t have time to understand and learn which music rights belong to them or where to start claiming their rights and collecting their royalties. We saw an opportunity to help them.”

Limones brings a rich background in music technology, policy and label management to his role as CEO of Prediction Enterprises. Before co-founding the new company, Limones served as vp of artist relations at RichMusic; he was also the director of marketing at Universal Music Group/Capitol Latin, and manager of artist and label relations at SoundExchange, where he expanded the company’s Latin digital footprint. Limones has been featured on Billboard’s 40 Under 40 list and is a Billboard Latin Power Player alum.

González also offers a diverse background in tech, music business, and production to his role as COO. Before this, the exec was integral to the Uruguayan pop group Rombai, contributing as a music director, composer and producer. His work earned him accolades including the Uruguayan Music Graffiti Awards and honors from the Viña del Mar International Song Festival. He also serves as vp of the Music Managers Forum in Miami.

Check out Prediction Enterprises’ official website here.

Luis Miguel took his spectacular 2023-24 world tour to a new level on Saturday (Nov. 30), on what was a historic night for the Mexican superstar during his debut at the GNP Seguros Stadium in Mexico City. It was the first of two consecutive nights at the venue, and it also marked the beginning of the end of the highest-grossing Latin tour of all time, according to Billboard Boxscore figures.

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With all tickets sold out and an attendance of 65,000 people, as reported by the promoter Ocesa, it was one of the most massive concerts of the famous performer ever recorded in the country. The dubbed “Sol de México” is expected to repeat the feat on Sunday (Dec. 1).

The singer magnified the show he has been presenting on the tour — which began in the summer of 2023 at the Movistar Arena in Buenos Aires, Argentina — to match a venue as imposing as the GNP Seguros Stadium, with huge screens that allowed attendees to appreciate every detail of the show from any angle.

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Known for his obsession with perfection in his productions, Luis Miguel’s concert also surprised attendees with the quality of the audio, which showcased his voice potently. Visibly pleased, the performer appeared on the impressive stage elevated by a platform, impeccably dressed in his classic black suit, white shirt, black tie, black patent leather shoes and black silk socks.

It was the beginning of an unforgettable and magical night for the star and his fans, who sang along to each of Luis Miguel’s songs throughout the performance — those that have catapulted him as one of the greatest Latin stars. Saturday’s repertoire was not much different from what he has presented at other shows on the tour, with pop hits, including “Será Que No Me Amas,” “Amor, Amor, Amor,” “Suave,” “Culpable o No,” “Hasta Que Me Olvides” and “Dame,” as well as a segment dedicated to boleros with songs like “Como Yo Te Amé,” “Solamente Una Vez,” “Somos Novios” and “Todo y Nada.”

One of the most celebrated moments came with the traditional mariachi segment and the special dedication to his beloved Mexico, with the classics “Guadalajara,” “La Bikina” and “La Media Vuelta.” With a pyrotechnics show and the legendary “Cucurrucucú Paloma” — a Mexican huapango-style song written by Tomás Méndez in 1954 — Luis Miguel ended his show with a big ovation from his loyal audience.

After Sunday night’s show at the GNP Seguros Stadium, the artist has two more performances in Mexico’s capital, at the Arena Ciudad de México, on Dec. 8 and 10. Both dates are the result of the rescheduling of his Oct. 23, 24 and 28, which Luis Miguel had postponed due to unspecified health problems.

Although the singer had chosen Mexico City to close a spectacular world tour that grossed $318.2 million and sold 2.2 million tickets in its first 146 concerts, as reported in September by Billboard Boxscore, this week he surprised his fans by announcing on his Instagram Stories that the tour will instead end on Dec. 17 in Buenos Aires, at the Campo Argentino de Polo.

Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.

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Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered either by networking or coming across their music at a showcase, and beyond. See our recommendations this month below:

Artist: DFZM

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Country: Colombia

Why They Should Be On Your Radar: Hailing from Buenaventura (a coastal city in Colombia), DFZM first caught our attention on Mike Bahía’s salsa tune “Cali Buenaventura,” an homage to the hometown of both artists. At only 18 years old, the artist born Dylan Zambrano can easily navigate from a potent freestyle to an enchanting chanteo — all backed by his smooth, deep vocals. In 2023, he signed with Seven Music, Inc. and also forms part of Keityn’s management hub, La Creme. As a singer-songwriter, the newcomer has two verses on “+57,” the recent hit helmed by Karol G, Feid, J Balvin, Maluma, Ryan Castro, and Blessd, and produced by Ovy on the Drums. The song’s virality earned DFZM his first Billboard chart entries across Hot Latin Songs, Billboard Hot 100, Billboard Global 200, and Global Excl. U.S. — JESSICA ROIZ

Song For Your Playlist: “Cali Buenaventura,” Mike Bahía & DFZM

Artist: DREILU

Country: Ecuador

Why They Should Be On Your Radar: “From Guayaquil to the world,” as he describes on his YouTube channel, DREILU (real name: Omar Quiz) is an independent artist based in Miami with an accessible vocal delivery and an interesting combination of genres such as bomba, Afropop and urban rhythms, with lyrics that reflect his personal experiences. This month he presented his debut EP, titled 999, which includes the previously released singles “No Soy de Aquí” and “Barcelona.” Committed to his art, he has new releases scheduled for the coming months. — SIGAL RATNER-ARIAS

Song For Your Playlist: “Contando Estrellas”

Artist: Nia Skyfer

Country: Cuba

Why They Should Be On Your Radar: You’ve heard the work of Cuban-American Nia Skyfer (real name Stephanie Concepción) in songs written for the likes of CNCO, Young Miko and Kim Loaiza. And you’ve heard her powerful vocals on the 2022 season of The Voice, when she made part of John Legend’s team. Now, the Miami-based Bresh DJ is steadily releasing her solo fare, a mix of pop and R&B augmented by a pathos-filled voice that can go from ethereal to commanding. Check our her latest single, the mid-tempo rock track “Mejor no contesto,” with more singles planned for steady release in the next year. — LEILA COBO

Song For Your Playlist: “Mejor No Contesto”

Artist: Os Garotin

Country: Brazil

Why They Should Be On Your Radar: When it comes to burgeoning talent in Latin music, Os Garotin is swiftly carving out their niche. I first stumbled upon this dynamic trio at the Latin Grammy’s Best New Artist Showcase 2024 in Miami, and they were nothing short of electrifying. Hailing from São Gonçalo in Rio de Janeiro, Os Garotin — comprised of Anchietx, Cupertino, and Leo Guima — bring a refreshing blend of funk carioca, soul and rap to the stage, coupled with infectious dance moves. In May, they introduced themselves to the world with their debut album, Os Garotin de São Gonçalo, which encapsulates their energetic essence and plenty of passion. This Latin Grammy-nominated group is undoubtedly a must-watch for any music enthusiast looking to infuse their playlist with fresh, spirited tunes. — ISABELA RAYGOZA

Song For Your Playlist: “Garota”

Artist: Sofi Saar

Country: Mexico

Why They Should Be On Your Radar: Sofi Saar got on my radar during Latin Grammys Week in Miami, Fla. earlier this month, where she was a two-time nominee. With her sweet-girl aura and stoic attitude, the Monterrey-based artist is turning her personal stories into healing music. Once engaged to get married, Saar — who kicked off her career in the pandemic — used the wedding money to invest in recording studio time when she broke up with her ex-fiancé. The songs born during that era gave life to her debut album, Terca (“Stubborn”), earning her the Latin Grammy nomination for best norteño album. Her popteño fusion and relatable lyrics also made her a best new artist nominee. — J.R.

Song For Your Playlist: “Qué Perro Aguante (Emperrada)”

Artist: Yetsi

Country: Venezuela

Why They Should Be On Your Radar: With releases including “Wow,” “Lofi” and “Cuchi Baby” in the last year alone, Yetsi — a Caracas native currently based in Miami with a sweet, powerful voice — has demonstrated a unique ability to fuse rhythms while showcasing her vocal prowess. Her most recent release is “LPC,” an infectious reinterpretation of Amanda Miguel’s classic “Las Cosas Pequeñas” to the rhythm of drum-n-bass. Yetsi, who has also directed some of her own music videos, is a well-rounded artist with a global sound.  — S.R.A.

Song For Your Playlist: “Cuchi Baby”

In his Broadway debut, Sebastián Yatra delivers a solid vocal performance and demonstrates an enjoyable stage presence as the charming, corrupt lawyer Billy Flynn in Chicago. Here, he is not the same singer of Latin pop chart-topping hits; he is a conscious cast member committed to the requirements of this type of show.
The Colombian star began his four-week engagement in the long-running musical on Monday (Nov. 25), where he shares leading roles with Broadway veterans Bianca Marroquín and Kimberly Marable, who play Roxie Hart and Velma Kelly, respectively.

The singer-songwriter, known for No. 1 hits on the Billboard Latin Airplay chart like “Tacones Rojos,” “Un Año” (with Reik) and “Robarte un Beso” (with Carlos Vives), makes the leap to the theater mecca two years after making his acting debut in the miniseries Once Upon a Time… Happily Never After.

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Although at 30 he is younger (and sweeter) than other actors who have played Billy Flynn — Jerry Orbach was 40 in the original 1975 production, and Richard Gere was 52 in the 2002 film adaptation — on Tuesday (Nov. 26 ), in only his second performance, Yatra shone, showing new vocal registers and singing classics like “Razzle Dazzle” and “We Both Reached for the Gun” in English. While dancing is not considered his forte, he followed the choreography without issue and stood out with his bearing and likability.

“Everyone in Chicago is excited and proud of him,” Marroquín, who shares several scenes with Yatra in the performance, told Billboard Español on Tuesday as she left the theater. “He has done an exceptional job. He arrived super disciplined with everything memorized, very committed, very responsible, and on top of that he is a sweetheart. Being backstage with him is divine. He is a very beautiful soul. So I love having that connection because, besides, Roxie and Billy have a lot to do with each other in the show. We have created a beautiful friendship, a bond, a very nice chemistry.”

Set in the 1920s, Chicago —the longest-running American musical on Broadway after almost three decades— is a scathing satire of how show business and the media make celebrities out of criminals. With a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Ebb, it includes killer songs like “All That Jazz,” “Cell Block Tango” and “Mr. Cellophane.”

With Yatra, the role of Billy Flynn now receives some Latin and contemporary flavor. “Latinos have something special even when we are speaking English, there is a lot of love within us, a lot of passion,” Yatra told Billboard Español in September, upon the announcement of his Broadway debut. “I think I can offer a perspective from someone who is living in 2024 at almost 30, how he sees that world, also knowing that I could have perfectly been a lawyer and could be that person standing there. Thank God Billy and I don’t share the same values, because that would be messed up!” he added with a laugh.

Over the years, Chicago has invited various Latin stars to join the musical for brief runs. Yatra joins a list that includes Colombian actress Sofia Vergara, who in 2009 played Matron “Mama” Morton, and Mexican singer and actor Jaime Camil, who in 2016 portrayed Billy Flynn.

Chicago is presented at the Ambassador Theatre (219 W. 49th St.) For more information and to purchase tickets, visit the Broadway musical’s site.

On a balmy night in Belém, Pará in northern Brazil, just 100 miles south of the equator and close to the Amazon rainforest, a crowd of over 250,000 attendees assembled in the Mangueirão Olympic Stadium’s parking lot for an unprecedented free concert. Amid this sea of people stood a dramatic ten-story-high pyramid stage; crowning it was Alok, the superstar DJ and producer, famed for pioneering and popularizing Brazilian bass on a global scale.

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He arrived donning a shiny plant-green suit, resembling a blend between a glossy space suit and a verdant beetle. “We are here today in Belém, in the heart of the Amazon, not only to talk about an ancestral future but also to recognize the voices and the legacy of the guardians of the forest,” Alok declared on stage in Portuguese. “Living [in the Amazon] are the riverside dwellers, the Indigenous people — and now, they will share the stage. The future is ancestral is with you now, the Yawanawa.”

Aside from being the name of his latest album, “The future is ancestral” is a phrase that represents Alok’s deep dive into the ancient living traditions of the Yawanawa people who hail from the Amazon. Their ritualistic music and powerful singing offer a transcendent connection to the forest, bridging the past and the present with each note.

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This grand international affair served as the ceremonial commencement of the one-year countdown to the COP30 — the United Nations Climate Change Conference — while simultaneously launching Alok’s Aurea Tour. The event, a manifestation of resilience and hope for the enduring health of our planet, was presented by Banco do Brasil, and received full support from the government of Pará.

The three-hour concert expanded across various segments, also spotlighting local legends like Joelma, Gaby Amarantos, Zaynara, Viviane Batidão and Pinduca, many of whom represent the native music of Pará, carimbó (a traditional upbeat style characterized by Afro-Indigenous rhythms) and tecnobrega (meaning “techno tacky” — electronic reworkings of Brazilian music), as well as indie rock singer Zeeba.

The pyramid stage itself, which took two weeks to build, stood as a towering feat of modern technology, equipped with over 100 tons of gear, a 360-degree platform, and more than 2,000 LED panels. The event’s visual spectacle was further intensified by 432 drones, orchestrated by Flyworks Drone Show, which painted the night sky with luminescent forms — celestial motifs, an Indigenous headdress, and a colossus tree, all casting a magical glow over the gathered throngs.

Alok performs in Belém, Pará, Brazil on Saturday, Nov. 23 as part of his Aurea Tour, kicking off the countdown to COP30 in 2025.

Filipe Miranda

In support of these initiatives, the governor of Pará, Helder Barbalho, emphasized the importance of such events in changing public perceptions and policy directions. “It’s an extraordinary opportunity to host the world’s largest climate change event in Belém,” he asserted to Billboard Español, referring to COP30.

The governor highlighted the dual necessity of preserving the immense biodiversity of the Amazon while also considering the livelihoods of its 29 million inhabitants — drawing a vivid picture of the “urban Amazonians, riverine Amazonians, and Indigenous peoples” who form the fabric of this vibrant ecosystem. “I believe there is no more symbolically important place for this than the Amazon than Belém. We understand that using entertainment to engage society is crucial,” Barbalho added.

But it was a profound personal journey that set Alok on this path a decade ago. Struggling with a deep depression in 2014, the artist sought solace and meaning. “I was looking for answers. I just felt a huge emptiness,” he said days before the event at the Ilha do Combú, an island located along the Guamá River. “A friend of mine showed me a YouTube video of Saiti Kaya, from the Yawanawa, singing, and it was just beautiful. I said, ‘Wow, this is inspiration. I want to go there. I want to visit them.’”

With nothing to lose, Alok booked his journey, unaware that it would require three flights totaling 13 hours, followed by a grueling nine-hour trip in a small canoe (“not a boat,” he added with a chuckle). As he navigated the river, a massive rainstorm suddenly erupted, prompting him to question, “What am I doing here?” But he pressed on, compelled by a deep need to continue.

Upon arriving, Alok experienced a profound realization. “We have this impression that we are a more developed culture and they are less developed. As soon as I arrived there, I realized that [notion] doesn’t exist. It’s different views and different goals. The way they connect with nature was something that we lost a long time ago.”

During his 10-day immersion with the Yawanawa people, Alok engaged with their traditional practices, diving into the spiritual and medicinal aspects of their culture. He participated in rituals involving ayahuasca — a potent hallucinogenic brew, made from specific vines known for their powerful psychoactive effects — and kambo, which involves applying the secretion of a frog to burns on the skin, believed by many to cleanse the body and mind. These experiences opened new realms of understanding for Alok, touching on themes of life, death and rebirth inherent in these rites.

Alok explained that the discovery of ayahuasca is a miracle of nature, requiring a mysterious combination of two plants among the vast biodiversity of the Amazon. The odds of such a discovery, he noted, were astronomically low, “one in 100 million.”

“[The Yawanawa] told me that it was a dream how they found out how to combine,” he added. “We have an enzyme in our digestive [system] that does not allow the DMT to release. What happens is that one plant releases the DMT and the other one shuts down our enzyme. So that’s how it works properly. It was a life-changing experience that [transformed] how I contribute through my art.” He explains that he ultimately shifted from commercial hits to “songs for healing.”

“For us, music is vital,” said Célia Xakriabá, an activist of the Xakriabá people of Brazil and the first Indigenous woman to earn a doctorate in anthropology from the Federal University of Minas Gerais. “Many ask, ‘What’s the top hit this year?’ For my people, the most significant music isn’t the newest but the oldest, the most ancestral. [Alok] said to me, ‘Célia, I’ve had the impression of singing to millions of people and them not hearing me.’ And I said, ‘Maybe it’s because you’re singing from too high a stage. We, Indigenous people, sing from the earth.’”

Meanwhile, Mapu Huni Kuin, spiritual leader, chief, and musician of the Huni Kuin people, was discovered by Alok through his song “Índio Mensageiro” on YouTube. Mapu recalled how Alok reached out to him, not only appreciating his art but recognizing the potential for greater awareness and preservation: “He saw this project as an opportunity for us to archive our knowledge and practices for future generations — our prayers, our art, our way of life.”

Alok released The Future is Ancestral in April, a nine-track album that features Yawanawa Saiti Kaya, Guarani Nhandewa, Wyanã Kariri Xocó, Brô MC’s, OWERÁ, Kaingang, as well as Mapu and Célia, representing a total of eight Indigenous communities from Brazil to help save the Amazon; all proceeds directly support the artists and their communities.

“What we present is the voice of the forest,” said Mapu. “The Future Is Ancestral is about making people listen to what the elders used to say and speak, and the best way is through our sacred chants. We pray for the healing of humanity.”

“It’s a platform that amplifies the Indigenous voices of Brazil, which has faced significant threats. Once numbering five million, we are now only one million and seven hundred,” added Célia. “Indigenous peoples make up 5% of the world’s population yet protect 82% of its biodiversity. Together with traditional communities, we represent 50% of the solutions for the planet’s health. So, when Indigenous peoples sing, the forest sings with us.”

Aligning with the environmental goals of his album, Alok brought up a relevant global initiative to emphasize the practical importance of natural solutions, “Elon Musk launched the XPRIZE [Carbon Removal] competition. If you could create a technology that’s able to remove the carbon [dioxide] from the atmosphere, you would get $100 million. That exists; it’s called trees. You know what I mean? That’s the point.”

He continued to reflect on the cultural paradigm shift his project aims to bolster: “That’s why every time we say ‘The Future sI Ancestral,’ we are bringing the ancestral knowledge to create a sustainable future for us. That’s the most important point about this project — it’s raising their voices. I’m very proud of them. Something beautiful about this project is that many times when I work with [other non-Indigenous] artists, it’s always about ‘them, them, them.’ But with the Indigenous, it’s different, they always think about the collective.”

Governor Barbalho highlighted the strategic preparations for Belém to host the upcoming COP30 next year, underscoring its significance not just locally but globally: “We are preparing Belém to host 60,000 attendees immersed in environmental discussions, exploring solutions and tackling social challenges. This positions us to leave a tangible legacy for the environment and the city.” In conjunction with COP30, Global Citizen Fest will also take place in Belém, simultaneously, marking the first time the New York City festival arrives in Latin America.

“Our generation has a unique opportunity to create a lasting legacy for the Amazon and its people, and to improve Belém as a city,” explained Barbalho. “My hope is that by the end of this journey, we will have played our part in ushering in a new era for this generation. More importantly, I hope we leave future generations with a healthier environment and a thriving forest that holds environmental, social, and economic value.”

Alok reflected on the transformative potential of intertwining ancestral knowledge with contemporary global movements. “It is [imperative] that the population understands the importance of COP30, which is going to be the most significant one in history,” said Alok. “We are approaching [what is called] the point of no return. Just this year in Brazil, we’ve lost an area equivalent to 130 cities the size of São Paulo — home to 11.5 million people — to deforestation. The forest cannot recover by itself. People need to realize that Brazil can be a leader in sustainable growth and how we can onboard others. The population must pressure our leaders to make real changes.”

As COP30 approaches, Belém becomes a turning point in global environmental advocacy, with the help of Alok and The Future is Ancestral project. With the world watching, there is a collective aspiration that the international event will highlight the critical need for sustainable practices and mobilize concrete actions to safeguard our planet for generations to come.

Alok performs in Belém, Pará, Brazil on Saturday, Nov. 23 as part of his Aurea Tour, kicking off the countdown to COP30 in 2025.

Filipe Miranda

Disclosure: This trip to cover Alok’s concert in Belém, Pará, Brazil was sponsored by Alok’s team and the government of Pará, who provided funding for the flight and accommodations.

Erick Brian Colón—a former member of famed Latin boy band CNCO—is launching his solo career under an exclusive deal with Warner Music Latina and Big Bad Wolf Management Group.     With the focus on sharing high-quality music that will showcase his evolution as an artist and storyteller, Erick Brian (his artistic name) will officially debut his […]

Jowell & Randy will soon host their five-date stint at the Coliseo de Puerto Rico José Miguel Agrelot —where they’ve already handed an interesting rider list to the promoter. 
As tradition holds, a rider is a set of requests for the dressing room made by the artist that is typically fulfilled by the hosting venue. This can range from foods to beverages to decorations and beyond. For their upcoming shows, the pair requested 1,500 pounds of dog and cat food. 

Though this may sound bizarre, it’s actually for a good cause. 

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The Puerto Rican duo — known for hits like “Bonita” with J Balvin, Nicky Jam, Yandel, & Ozuna, and “Safaera” with Bad Bunny and Ñengo Flow — teamed up with Giving Tuesday Puerto Rico to highlight the importance of donating to and supporting local social causes. 

“We as artists ask for whatever we want because we have our requirements,” member Joel “Jowell” Muñoz said in a press statement. “We asked for 1,500 pounds of dog and cat food, but it’s to donate to the Save a Sato organization through the Giving Tuesday movement. There are several artists who joined and it is a positive initiative on our part. Anyone who wants to join and donate can choose any other foundation, the important thing is to donate.”

The Pet Friendly PR organization also confirmed that they will be collecting donations of pet foods at some of the Jowell & Randy concerts taking place Dec. 12, 13, 14, 15, and 20. 

“Creative actions like this help give visibility to the crucial work of our organizations,” Blamilsa Corujo, local leader of Giving Tuesday Puerto Rico, added.

Other artists who joined the Giving Tuesday initiative included Rawayana, Gale, and Jon Z, asking for donations such as 300 whoppers and 200 hula hoops, for example. For more information, visit Giving Tuesday PR.

11/26/2024

See how Billboard ranks every song on the new LP.

11/26/2024

The 2024 edition of Bésame Mucho in Los Angeles will not move forward, the festival announced on social media on Monday (Nov. 25).
The third annual iteration of the one-day event was supposed to take place Dec. 21 at Dodger Stadium and headlined by acts like Shakira, Pitbull, Enrique Iglesias and Los Tigres del Norte. The news comes a month after headliner Shakira announced she was updating her U.S. arena tour to stadiums, and moving her dates to next year.

According to an official statement, Bésame Mucho was canceled “due to circumstances beyond our control.” Adding, “We take great pride in our annual celebration of exceptional music and culture, connecting generations in a way no other event can. After working tirelessly all year to bring you another unforgettable show in December, we are deeply disappointed to share this news.”

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The first-ever Bésame Mucho, produced by Frias Entertainment, was received with much fanfare, offering fans a lineup that showcased the best of the ’90s-’00s Latin pop, rock, banda, norteño, cumbia and merengue acts. Then, tickets to the inaugural 2022 event sold out in 12 minutes. Last year, after a successful run in Los Angeles, Bésame Mucho expanded to Austin, Texas.

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While the Los Angeles edition may be cancelled, Bésame Mucho confirmed that event set for April 5 in Austin is still taking place. That edition’s lineup includes Carín León, Peso Pluma, Banda MS, Pepe Aguilar, Tito Double P and Bronco, among many others. (See the complete lineup here.)

Read Bésame Mucho’s official statement below: