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Jelly Roll hasn’t had the easiest road to success, but he hopes to heal the hurt he might have caused along the way.
In a vulnerable, in-depth interview with Jay Shetty on the latter’s On Purpose With Jay Shetty podcast, the “Need a Favor” singer opened up about wanting to reach out to the people he robbed over weed when he was a teenager. Jelly was subsequently charged as an adult with aggravated robbery and was facing a potential 20-year sentence, though he ultimately served over a year for the charge, followed by more than seven years of probation.
“I really want to have a conversation with them. I’ve thought about reaching out,” he told Shetty. “This has been 24 years ago now. I just don’t know how that would even start, or, you know, how I would go about it because sometimes I wonder if they might have even seen me in passing or are aware of my success. I wonder if they’ve even correlated. I mean, I’ve obviously dramatically changed. I was 15, dude, you know what I mean? I couldn’t grow facial hair at all. I hardly hit puberty. I still had my high voice when I did that robbery. So, I’ve thought about that a ton and they’re definitely on my list.”
He added that he would apologize, take accountability and ask for forgiveness. “I had no business taking from anybody,” Jelly explained. “Just the entitlement that I had, that the world owed me enough that I could come take your stuff. It’s just what a horrible, horrible way to look at life and people. What a horrible way to interact with the Earth.”
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The Grammy-nominated star continued, “I hope that they would see that I’ve made it my life’s mission to change and to change people because that’s what I’m representing the most in what I do. I think people cheer for me because they see a little bit of me in them, or they see their cousin — I’m a family member, they relate, and I speak for an unspoken group of people, and I hope they would know that. […] I’m trying to diligently prove myself that I’ve not only changed but also I took the platform serious and that it’s making me change more every day. I hope they would forgive me.”
Elsewhere in the interview, Jelly opened up about how he doesn’t relate at all to the person he once was. “I look back at those years, and I’m so embarrassed to talk about them,” he revealed. “I was still a bad person in my early thirties, but I mean, I was a really horrible kid all the way into my mid-twenties. People are always like, you’re the nicest dude I’ve ever met. I’m like, I’m so glad y’all haven’t met nobody that knew me 20 years ago.”
He added, “I took zero accountability for anything in my life. I was the kid that if you asked what happened, I immediately started with everything but me. And it took years for me to break that, like years of work, solid work to just like break that. It also has taken years of work for me to even forgive that kid.”
Watch Jelly Roll’s full On Purpose With Jay Shetty interview below.
Soulja Boy is typically one to brag about being the first rapper to do something, but he’s had to retract one of his latest claims.
On Oct. 12, Big Draco posted a clip to social media of himself in the cockpit of a plane with a pilot gearing up for takeoff. “I was the first rapper to fly an airplane. Let’s go, we bout to get in the air,” he said in the video. “You ready to do this? Let’s do this.”
The “Crank Dat” rapper must’ve not been familiar with Snoop Dogg’s pilot work as Captain Mack in 2004’s Soul Plane.
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Ludacris, who has posted clips of himself flying planes while working on his pilot license dating back to 2021, hopped into Soulja Boy’s comments section with a simple message to correct his fellow rapper, leaving a thinking emoji with the hand over its chin. Plenty of fans backed up the rapper-turned-actor’s claim and Soulja took note. Big Draco did some research and bent the knee to Ludacris while handing over the rap pilot title belt.
“I just saw ur video you did it first,” Soulja Boy wrote back to Luda with a gold medal emoji.
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Back in June 2021, Ludacris joined The Ellen DeGeneres Show, where he cleared the air about his flying videos and clarified that although he owns a plane, he doesn’t have a pilot license.
“That’s something that’s called a ‘nickel ride.’ That term goes back to the military days. So, it’s my first time actually flying,” he told the comedian at the time. “I actually own a plane, but for all of these years, I’ve never wanted to become a pilot, because you can’t drink alcohol within eight hours of flying. Who would want to go on a vacation and not drink before they leave?”
Ludacris continued: “Long story short, that’s the first of many, but I do plan to get my pilot’s license soon. It’s a work in progress, it takes some time.”
Watch Soulja Boy’s video of himself in a plane’s cockpit below:
Feid, one of the biggest artists in the música urbana movement today, participated in the panel From Clubs to Stadiums Featuring Feid. Presented by Live Nation, the conversation — which also featured his manager, Luis Villamizar, and Hans Schafer, SVP of global touring for Live Nation — took place on Monday (Oct. 14) during Billboard Latin Music Week 2024.
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Moderated by Alejandro Marin — a radio DJ, writer, podcaster and music analyst — together they offered perspectives on the Colombian star’s rise to the top. Here are the best quotes:
“For me, the most special thing is to work as if it were the first day, with the same enthusiasm; I don’t like to just wait,” said Feid. “There are many of us who are part of the team. It has been a daily process, dreaming about everything we are achieving. I strive every day to be better than yesterday in every possible aspect. I live intensely in the present, and this helps us stay alert.”
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He mentioned that he started as a composer from his home and how his team gradually grew. “At the beginning, we were one, two, three, four — and now we are 140! We focus on organizing all aspects, improving concerts, music production and emphasizing the importance of the live show,” he said. The musician also talked about a trip to Europe, where he performed in front of only six people in nightclubs, and how he never got discouraged despite difficulties. “There is a very interesting theory that says that, although sometimes something may be tedious, we always celebrate our triumphs,” said Feid.
“When we opened for Karol at the Bichota Tour in Bogotá and Cali, we broke records in Colombia, but when we started on the West Coast, we had to learn how to manage an audience that had no idea who we were,” Feid continued. “In one way or another, that broadened our view of how tours are managed in the United States and Europe, and how to navigate those worlds.”
“There is a secret magic in our team, including the executives and everyone involved in every aspect: recording, lighting, screens and sound,” said manager Villamizar.
Schafer mentioned what he considers Feid’s most important qualities: “Being patient, hardworking, having a lot of empathy, optimism, being a person who accepts failure, not as a bad thing, but as a way to change, to adjust. The setlist was not perfect; it needed to be adjusted. I always believe that money follows success. The things that move you, motivate you, inspire you. Money is not going to solve everything. Like turning this stone into a diamond.”
Over the past 35 years, Latin Music Week has become the one, steady foundation of Latin music in this country, becoming the single most important — and biggest — gathering of Latin artists and industry executives in the world. Initially named Latin Music Seminar, sponsored by Billboard, the event traces back to 1990, where it kicked off as a one-day event in Miami featuring a two-artist showcase and awards show.
Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
Latin music has gone global and its revenues have now surpassed the $1 billion mark, which means the business of Latin music has evolved.
The New Latin Music Business panel, which took centerstage on Monday (Oct. 14) at the 2024 Billboard Latin Music Week, was moderated by Rancho Humilde’s CEO and founder Jimmy Humilde, and featured panelists Atella (producer and songwriter, head of music, Zumba and ZML Records), Cris Falcão (managing director of artist & label strategy and GM Latin, Virgin Music Group) and Txema Rosique (senior VP of A&R, Sony Music U.S. Latin).
Humilde kicked off the conversation acknowledging the globalization of Latin music, adding that labels, whether indie or not, have had to adapt to a new way of doing business with artists who now want to be more involved in that aspect and are looking for different types of deals — from record, distribution or even single-track deals.
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“Our challenge is to make the new artists understand what labels have to offer, from A&R, marketing, business development, they can make use of all those resources, that’s the challenge we have as a label now,” said Rosique. Alternatively, Atella added that “some artists arrive with the idea that the label is going to do everything for them, but the artist has to give 100% — they can’t stay at home and think that the label is going to do everything for them.”
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Falcão explained that at Virgin Music Group, they have focused on deals that are “tailor-made” for each artist. “We’re not just truck with boxes anymore, we offer something different for each partners, all types of services, depending on trends, product management or marketing.” Humilde said he’s following a similar approach. “I sit with the artist and ask what they’re looking for, what deals they feel most comfortable doing. In the near future, the artist will be making their own deals, so really we’re open to take any deal that come our way.”
The panelists also spoke about the importance of both the artist and label or management company being happy with whatever type of deal they land on. “Today, the artist is clear that their patrimony is their music, their masters, every time we see more artists that are clear about what they want to give to the company and what they don’t, and obviously that depends on the commitment from both parts. This is a business where everyone needs to be happy with the deal, all parties involved. You cannot have a depressed artist.”
The 2024 Billboard Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
Director Martin Scorsese is among the producers on an upcoming documentary about the Beatles‘ legendary first trip to the United States slated to stream exclusive on Disney+ starting Nov. 29. According to Variety, Beatles ’64 will feature never-before-seen footage of the band and its rabid fans at the height of Beatlemania.
Scorsese produced the doc directed by David Tedeschi (Personality Crisis: One Night Only), which will also feature new interviews with living Beatles Paul McCartney and Ringo Starr. The film follows McCartney and Starr and late bandmates John Lennon and George Harrison as they land in New York in Feb. 1964, promising to reveal “a more intimate behind the scenes story” of the group’s iconic debut on The Ed Sullivan Show, as well as footage of the Fab Four’s first American show at the Washington D.C. Coliseum.
The quartet made their debut appearance on Sullivan’s variety show on Feb. 9, 1964, a performance that was seen by a record-breaking 73-million people and is often cited by musicians of a certain vintage as their inspiration for starting a rock band. Variety reported that the doc also features rare footage shot by documentarians Albert and David Maysles (Gimme Shelter).
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A synopsis of the film reads: “On February 7, 1964, The Beatles arrived in New York City to unprecedented excitement and hysteria. From the instant they landed at Kennedy Airport, met by thousands of fans, Beatlemania swept New York and the entire country. Their thrilling debut performance on The Ed Sullivan Show captivated more than 73 million viewers, the most watched television event of its time. Beatles ’64 presents the spectacle, but also tells a more intimate behind the scenes story, capturing the camaraderie of John, Paul, George, and Ringo as they experienced unimaginable fame.”
In addition to Scorsese – who also directed 2011’s George Harrison: Living in the Material World doc — other producers of the doc include McCartney, Starr, Harrison’s widow, Olivia Harrison, Lennon’s son, musician Sean Ono Lennon, and others.
The new Beatles doc will be accompanied by the Nov. 22 release of all seven American Beatles albums in a vinyl reissue collection entitled The Beatles: 1964 U.S. Albums in Mono; the albums will be available individually as well as in a box set. According to Variety, the reissue will include 180-gram albums that have been out of print on vinyl since 1995, including Meet the Beatles!, The Beatles’ Second Album, A Hard Day’s Night (Original Motion Picture Sound Track), Something New, The Beatles’ Story, Beatles ’65 and The Early Beatles.
J. Cole offered up his response to ducking the Kendrick Lamar and Drake feud with his “Port Antonio” track last week, which sparked plenty of debate on X and other social media platforms. One person not feeling Cole’s reply was Joe Budden, who ripped into the Dreamville boss during the Oct. 13 Joe Budden Podcast episode for his alleged lack of accountability when it came to the “big three” and the Drake and Kendrick Lamar beef that he played a role in.
“What do you mean you finally free? That dismisses all accountability from the part that he has played in the big three debacle,” Budden stated on his show. “What do you mean you finally free as if you never wanted parts of the big three conversation? That is a load of crap and I’m not going to let you n—-s just piss on me and tell me it’s raining. Get the f–k out of here.”
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But he wasn’t done there. “Don’t pop back up and say, ‘If I would’ve I could’ve, but then I would’ve lost a [bro].’ N—a, no, not over ‘Dead Presidents.’ You ever heard ‘Dead Presidents?’” the rapper-turned-podcaster continued. “The n—a was holding his man’s hands at the hospital bed saying, ‘I’m going to kill them n—-s for you.’ Get the f–k out of here with this soft s–t. I hate this soft hip-hop s–t. It’s soft.”
Budden’s caveat being that Cole is rapping at an exceptionally high level, but the points are made separate of each other.
It’s been just more than six months since J. Cole initially jabbed at Kendrick with his “7 Minute Drill” diss track in April, before taking the stage at his Dreamville Festival days later and apologizing.
Budden compared the move to a UFC fighter throwing a punch and leaving the ring seconds later. “He did get in the octagon and do it,” he said on his podcast. “And climbed out. If we saw it in a UFC fight, we’d laugh at the n—a… He don’t get to come in and repurpose some s–t and reframe what we forgot about.”
Cole opens up about the feud with added perspective on “Port Antonio,” which arrived Oct. 9, claiming he wouldn’t have lost the battle, but lost “a bro.”
“I pulled the plug because I seen where that was ’bout to go/ They wanted blood, they wanted clicks to make they pockets grow/ They see this fire in my pen and think I’m dodging smoke/ I wouldn’t have lost a battle, dog, I woulda lost a bro/ I woulda gained a foe,” he raps.
Cole then even showed love to Drake while looking to inspire him to keep his head up. “They say I’m pickin’ sides, don’t you lie on me, my n—a to start another war/ Ay, Drake, you’ll always be my n—a/ I ain’t ashamed to say you did a lot for me, my n—a/ F–k all the narratives/ Tapping back into your magic pen is what’s imperative,” he rhymes.
Watch the episode below. The J. Cole discussion starts around the 37-minute mark.
We’re in the full swing of autumn, which means it’s “sliding down the wall” season — and that calls for a new Summer Walker album. On Friday (Oct. 11), the Billboard chart-topping crooner announced her third studio LP, Finally Over It, alongside the pre-save for its lead single, “Heart of a Woman.” The new set will follow 2019’s Over It and 2021’s Still Over It, which debuted at No. 2 and No. 1 on the Billboard 200, respectively.
GloRilla, another beloved Southern female artist, dominated music news this week with the release of Glorious, her highly anticipated debut studio album featuring collaborations with Megan Thee Stallion, Kirk Franklin, Latto, Sexyy Red, Muni Long, and more. Fellow MC J. Cole also grabbed some of the spotlight; last Wednesday (Oct. 9), he released a new track titled “Port Antonio,” in which he detailed his thought process behind stepping out of the year-defining Kendrick Lamar–Drake feud.
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In other news, Ye (formerly Kanye West) is being sued by former assistant Lauren Pisciotta, who alleges the rapper drugged and sexually assaulted her during a studio session he co-hosted with embattled mogul Diddy.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Cordae’s blazing new track to Elijah Blake and Sevyn Streeter’s smoldering duet. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Elijah Blake & Sevyn Streeter, “Stuck in My Ways”
Earlier this year (Aug. 2), R&B singer-songwriter Elijah Blake dropped one of the year’s most stellar albums. Now, he’s back for a victory lap with the deluxe edition of his self-titled set. Assisted by a passionate co-lead vocal courtesy of fellow R&B heavyweight Sevyn Streeter, Blake delivers “Stuck in My Ways,” a heartwrenching duet that equally explores the throes of love and pain like only R&B can. “I miss my friend/ Stay the night/ And love me out/ Of these chains/ Got me stuck in my ways,” they croon in the final chorus, Blake’s forlorn falsetto and Streeter’s skittering rap-inflected cadence beautifully coalescing across a sweeping, string-laden soundscape cultivated by Eric Hudson.
S!MONE, “Short Notice”
Led by Grammy winner Coco Jones, the cast of Peacock’s Bel-Air has ample music crossover — and S!MONE (aka Simone Joy Jones, the actress who portrays Lisa Wilkes) is looking to continue that streak. Over neo-soul-evoking bass and swinging percussion, S!MONE sweetly sings of the cat-and-mouse game of the early stages of infatuation. “I left my T-shirt in your car/ Something in the shower/ Thought I left my heart, be there in an hour,” she croons, camping out in her sensual falsetto and occasionally decorating the lead vocal line with tasteful riffs and melisma.
Dave East feat. Jozzy, “Ain’t Get Caught”
New York rapper Dave East has been dropping heat for nearly a decade and a half, and his new Jozzy-assisted “Ain’t Get Caught” is the latest addition to his collection. Nearly four minutes of nuanced self-reflection on his younger, rowdier days, “Ain’t Get Caught” finds East effortlessly flying through a combination of flows that highlight the different pockets of the breezy, bass guitar-inflected Scott Storch production. “I was hiding evidence while they was looking for proof/ Marble floors, elegant, such a heavenly view/ I wake up and hear the birds singing/ Such a beautiful song/ Was guilty to proven innocent but knew I was wrong,” he spits, before Jozzy croons, “Feels so good that we didn’t give up/ Feels so good that we didn’t get caught,” offering a bird’s eye view to complement East’s cerebral verses.
Big Boogie feat. 42 Dugg & YTB Fatt, “Pool Party”
Everyone should want an invite to Big Boogie’s “Pool Party.” The CMG rhymer lifts the spirits of any room he steps in with his jovial personality and cheeky bars. After emerging from underwater, Boog’s raspy flow paints a picture of his ratchet pool party filled with booze, women and money raining from the sky. He then tags in his teammates 42 Dugg and YTB Fatt to complete the 100-meter rap freestyle relay race. Building on the momentum of his Gangsta Grillz Redrum Wizard mixtape from earlier this year, Boogie will deliver a second 2024 serving with his ETHER project on Oct. 18.
Cordae, “Mad as F*ck”
The Crossroads era is here and Cordae unleashed another single with “Mad as F*ck” finding the DMV spitter taking his frustrations out over starry Smoko Ono production. He raps “Took your dream girl on a f–king date/ I still show up late like Lauryn Hill/ Then I hit her good in my penthouse/ Told her, Get out, like Jordan Peele” like the rent is due. It’s a three-minute lyrical masterclass, with Cordae making his bar exam look easier than a Steph Curry jumper. The 27-year-old hopes to leave his mark on the year’s fourth quarter, with his third studio album arriving on Nov. 15.
Wynne & Conductor Williams, “Bad Girl”
Wynne is letting her guard down and getting even more personal heading into her next body of work. The Portland native delivers a raunchy ride-or-die anthem with “Bad Girl.” Wynne really has an affinity for nailing relationship issues and relatable romance situations that millennials and Gen-Z are struggling to navigate. There are times it feels like looking in a mirror with just how accurate she is. The potent MC doesn’t flinch when coloring in the lines of Conductor’s dusty boom-bap drums as his hard-hitting beats continue to stand out among the pack.
Big Moochie Grape, “Trollin”
It’s a dog-eat-dog world out there. Big Moochie Grape goes after his opposition, who turn to trolling and other online antics, which he’s not part of at all compared to some other 20-something artists roaming the music industry. “I don’t give a f–k how I say it, just know everything facts,” the PRE rapper declares in his husky voice. With his legal issues behind him, Big Moochie’s larger-than-life personality will shine through on his Eat or Get Ate 2 sequel project, which arrives on Halloween.
Wolfacejoeyy feat. BEAM, “Nympho”
A viral snippet fans have been bumping for a couple of months finally received a proper release on DSPs. After Missy Elliott didn’t give Wolfacejoeyy sample clearance, he went back to the drawing board on the woozy production for the BEAM-assisted “Nympho.” The sultry yet intoxicating track feels like something out of the PartyNextDoor or Bryson Tiller playbook with Joeyy’s melodic sauce bringing the steamy composition to another level. “You my main, you never the side-piece/ I’ll make it real for you like Spike Lee,” Joeyy coos. Even after Valentino’s impressive arrival earlier this year, the Staten Island rapper isn’t letting up to close out 2024.
Shaboozey’s “A Bar Song (Tipsy)” orders a 14th round at No. 1 on the Billboard Hot 100. The song, which became the singer-songwriter’s first leader in July, extends 2024’s longest reign and moves to within two weeks of tying the longest command this decade; Morgan Wallen’s fellow country/pop crossover smash “Last Night” led for 16 weeks in 2023.
Plus, as “A Bar Song (Tipsy)” became Shaboozey’s first Hot 100 chart entry with no other billed acts, it ties for the second-longest No. 1 stay among all such breakthrough hits, with only Lil Nas X’s debut, “Old Town Road” (featuring Billy Ray Cyrus), having led longer, for an overall-record 19 weeks in 2019.
“A Bar Song (Tipsy)” additionally furthers the longest No. 1 run of 2024 on the multimetric Hot Country Songs chart, adding an 18th week in the top spot.
A fan of multiple musical styles upon discovering music, Shaboozey “found country to be the thing that resonated with me in a really strong way,” he shared for his Billboard cover story. “Me being from Virginia, me loving the style and the way of life and the things they talked about … it all seemed very peaceful. It seemed like I could be real. I found country music could teach people that the little things in life are where the value is. Just having a working truck that you can take your girl in to ride to a cliff and watch the sunset is enough.”
“I love hip-hop; I’m a part of their community, too,” Shaboozey added, with “A Bar Song (Tipsy)” having reworked J-Kwon’s 2004 hit “Tipsy.” “That’s what I want to do with my music: be disruptive and show people that music is progressing.”
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Oct. 19, 2024) will update on Billboard.com tomorrow, Oct. 15). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
‘Tipsy’ Airplay, Streams & Sales
If it’s anything but a spotlight, Mariah Carey wants nothing to do with your overhead bulbs. In a clip from the superstar’s upcoming guest appearance on Bowen Yang and Matt Rogers’ Las Culturistas podcast posted Sunday (Oct. 13), Mimi went on a hilarious tirade against a certain interior design choice. “I can’t with the overhead […]
The future of radio may be difficult to predict, but one thing is clear: Radio is in a good position and adaptable — it’s what makes it ubiquitous, says Raúl Alarcón, chairman and CEO, Spanish Broadcasting System. During a Q&A titled The Future of Radio and moderated by Billboard‘s Leila Cobo that helped kick off day one of the 2024 Billboard Latin Music Week on Oct. 14, Alarcón was candid about the status of radio in the United States and the impact it has on an artist’s career today.
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“It’s been around 100 years, and that’s not a coincidence,” the executive says categorically. “It will always be with us, it’s ubiquitous, it’s free, you don’t need an external way to receive it. Radio is in a good position.”
SBS, a family-owned company around for more than 40 years and has endured the force of the streaming era, is home to radio stations such as Mega 97.9 (New York), 97.9 La Raza (Los Angeles) and La Ley 107.9 (Chicago), to name a few. “We always have to keep adapting, fixing, refining, but radio allows us to do that more than any other medium. Radio is also super local and that’s important.”
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Below, find some of the best quotes from The Future of Radio Q&A with Raúl Alarcón.
Is there a threat to radio?
“There was, there is and there will be, so one must always be evolving. We were the first to put comedy in the morning. I remember when the morning show started, that was innovation. We took a risk, but that’s what it’s about — always evolving and, after a while, adapt again.”
Catching trends
“We can perceive trends because radio stations are hyperlocal. Like corridos tumbados or bélicos, we were able to catch that trend as it was happening, we saw indications of the trend and we were able to adapt quickly because radio is local. People will tell us right away if they like it or not — it’s one of our strengths. We adapt to what our listeners want.”
Artists still want a No. 1 on radio
“Artists have told us, ‘You makes the hits, you sell tickets, run promotions.’ People are now realizing that radio was a discarded … this medium, like it’s been discarded before when TV came, now I have noticed that there’s a resurgence. Radio is important, radio is everything, it’s the connection with the local public, it adapts to trends, it’s entertainment. It’s not just a repeater, few people can create, and creativity is adaptation.”
Does radio inform streaming or vice versa?
“The two are not mutually exclusive — what we’re implementing is just another adaptation. They are both different, but can be conjugated together. But while digital expands, it doesn’t give you that immediate local fanbase.”
A new network
“We’re launching a network over the air and digital, for that new fusion of regional Mexican with urban, because we’ve seen that the music is appealing. And La Privada is not just a station, it’s a whole network. We’re still in preparations, but in the next 90 days, we’ll launch in Chicago, New York and other major cities.”
The 2024 Billboard Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.