Music

Maggie Baird Talks Working With Daughter Billie Eilish & Paramore to Fight Food Insecurity

Maggie Baird has brought her Support + Feed mission to those in her community, to fans at her daughter Billie Eilish‘s concerts and, as of Friday (April 28), to Global Citizen Now.

The food and climate activist was one of four speakers on a panel about food insecurity and ethical, sustainable sourcing at the 2023 New York City summit for activists, joining Impossible Foods CEO Peter McGuinness, restauranteur Pinky Cole and Eleven Madison Park owner Daniel Humm onstage in front of fellow industry leaders and members of the press. Baird founded Support + Feed in 2020 to combat hunger in Los Angeles during the pandemic, through which she developed a bigger mission of eliminating food insecurity via equitable plant-based food systems because, as she explains, “climate change is inextricably linked to what we eat.”

But environmentalism has been her life’s passion since long before then. Behind the scenes of the summit, Baird spoke with Billboard about spending most of her life as an “apologetic” vegan and climate warrior, until one Thanksgiving about 15 years ago, she just stopped apologizing. “I was like, no more going to people’s houses with the turkey on the table, everyone worshipping the destruction of an animal, nobody caring about the environment,” she recalls of putting her foot down.

“We’re going to do Thanksgiving at home alone, [because I’ve been] bringing all the food anyway cause I’m bringing the vegan version of everything,” she continues. “Why have I been apologizing for decades for doing something that is right?”

Both Eilish and her older brother/songwriting partner Finneas have grown up to become vocal climate activists. The “Bad Guy” singer features informative videos on Support + Feed at her concerts along with stations where fans can challenge themselves to eat daily plant-based meals, and she made her mom’s organization one of a few green organizations to benefit from her proceeds.

“Billie’s fans jumped on the bandwagon,” Baird says of Support + Feed’s beginnings. “It was amazing. One of the things I did with Billie from the beginning was push the music industry to be more sustainably minded. I think the music industry is special in a lot of ways. They have direct artist to fan connection — other forms of entertainment, not so much. A musician has a real heart-to-heart connection with their fans.”

And while Baird did raise Finneas and Billie with firm, sustainable values — every year, for example, their Christmas presents are wrapped in the same reusable cloths — she says both musicians independently found their own distinct passions for the cause. “I was not apologetic to my family, I was always very outspoken,” she says with a laugh. “We put things in their paths for them to learn it themselves. I remember very distinctly [Billie] watching a David Attenborough documentary with me and how it influenced her way more than I ever could. She’s quite adamant. Anything that might have come from me, she’s taken it on and then some.” 

In addition to Baird’s food-focused discussion, the two-day Global Citizen Now summit included conversations on abortion access, supporting women in workplaces, protecting protesters in Iraq and Kenya and more climate-focused seminars. John Legend stopped by to advocate for greater voter turnout as the 2024 election approaches, actress Busy Philipps called for more representation of reproductive health issues in entertainment, and French President Emmanuel Macron joined in via video chat for a conversation on implementing global sustainability policies.

Going forward, Baird has plans to team up with more big-name musicians to spread Support + Feed’s message. Paramore endorses the organization at shows — “[Hayley Williams] basically said to me, ‘We don’t want to tour unless we’re doing something good for the world,’” Baird recalls — and Pharrell Williams has also come aboard.

“We can offer musicians the chance to reach their fans and do something really active,” Baird says. “They can give them the chance to learn about what’s happening, take our plant-based pledge and hopefully deliver meals. Musicians and music events are perfect because you’ve got so many people in the same place, and people who really care.”

Rema & Selena Gomez Each Score Their First Rhythmic No. 1 With ‘Calm Down’

Rema and Selena Gomez’s “Calm Down” ascends to No. 1 on Billboard’s Rhythmic Airplay chart, jumping to the top of the May 6-dated survey.

It’s Rema’s first Rhythmic Airplay No. 1, earned with his first charting title. The format now has two straight No. 1s by first-time leaders, following Coi Leray’s six-week reign with “Players.”

“Calm Down” is the first No. 1 by an artist in a first Rhythmic Airplay appearance since Steve Lacy, whose “Bad Habit” led for a week last November.

As for Gomez, “Calm Down” is also her first No. 1 on Rhythmic Airplay, logged with her 14th charting title. She boasts a pair of previous top 10s: “Good for You,” featuring A$AP Rocky (No. 4, 2015), and “Same Old Love” (No. 6, 2016).

Concurrently, “Calm Down” lifts 3-2 for a new high on Pop Airplay. It also bullets at No. 24 on Adult Pop Airplay and No. 35 on R&B/Hip-Hop Airplay.

On the all-format Radio Songs chart, “Calm Down” held at its No. 4 best on the April 29-dated list with 72.4 million audience impressions in the April 21-27 tracking week, according to Luminate.

The April 29-dated Billboard Hot 100 found “Calm Down” at No. 7, after rising as high as No. 6 so far. In addition to its radio airplay, the song earned 15.7 million official U.S. streams and sold 5,000 downloads April 14-20.

The collaboration has also topped the Billboard U.S. Afrobeats Songs chart for 34 weeks running, the longest rule since the ranking began a year ago in partnership with music festival and global brand Afro Nation.

“Calm Down” is the second single from Rave & Roses, Rema’s debut studio album, released in March 2022. Since its release, the set has earned 291,000 equivalent album units.

Jamie Lee Curtis Showers Pregnant ‘Film Daughter’ Lindsay Lohan With Love

Fans have been waiting 20 years for a sequel to 2003’s Freaky Friday, and Jamie Lee Curtis added fuel to the flame on Friday (April 28), when she took to Instagram to celebrate her co-star Lindsay Lohan’s pregnancy.

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“My friend and film daughter @lindsaylohan is growing up! So thrilled for her. What a mama she will be,” the Everything Everywhere All at Once star captioned a repost of photos Lohan shared a day prior, in which she’s seen holding her growing stomach, as well as smiling with friends and family at a variety of recent events. 

Lohan revealed last month that she and husband Bader Shammas are expecting their first child via Instagram.

Back in February, Curtis told Variety that a Freaky Friday sequel is “going to happen” at the Producers Guild Awards. “It’s going to happen,” she said. “Without saying there’s anything officially happening, I’m looking at you in this moment and saying, ‘Of course it’s going to happen.’ It’s going to happen.”

She continued, “I’m 64 in a week and Lindsay is 36…[A sequel] lends itself so beautifully, We’re both committed to it, and it’s not ours to make. It’s Disney’s to make and I think they’re interested and we’re talking.”

Zendaya & Tom Holland Hit Up Usher’s Vegas Residency for Date Night: Watch Her Sing Along

They’ve got it bad! Zendaya and Tom Holland recently had a date night at Usher‘s Las Vegas residency.

“When I tell you we barely had a voice by the end of this… Childhood dream came true,” Zendaya wrote on an Instagram Story Thursday (April 27). The clip shows her singing gleefully along to Usher’s “Confessions Part II” with Holland next to her sporting a green hoodie.

In another moment captured by an attendee, Usher took a moment during the show to acknowledge the Spider-Man: No Way Home stars. “Zendaya is in the house, ladies and gentlemen. Tom Holland is in the house, ladies and gentlemen,” the R&B crooner told the crowd, which broke into rabid applause, and the attendee panned to the couple standing just a few seats away in the same section.

At CinemaCon Thursday, Zendaya opened up about her connection to Holland and her role as MJ Watson while accepting the star of the year award. “Literally my first date was when I was 15 years old and it was to go see [The Amazing] Spider-Man in 3D,” the Emmy winner said during her speech, according to People. “Now I consider myself honored to be able to buy a ticket and sneak into the back of one of your theaters, which I’ve done many times before, and watch my own.”

Usher’s My Way the Las Vegas Residency is currently running at the Dolby Live Theater inside the Park MGM, with 15 shows added through the end of October.

Meanwhile, Zendaya just made her own heralded return to the stage by surprising the crowd at Labrinth’s Coachella set on Weekend 2 to perform “All for Us” and “I’m Tired,” her two collaborations with the British producer featured on the soundtrack to HBO’s Euphoria.

Check out Zendaya and Holland living it up at Usher’s show in Sin City below.

Durand Jones on His New Album, Transparency and a Time America Got It Right

The songs on Durand Jones’ debut solo album Wait Til I Get Over have been incubating for close to a decade, as the frontman (along with his band The Indications) rose to prominence while embracing jazz, soul and disco sounds from decades past. Jones even pitched tracks to the group from the solo debut – out May 5 on Dead Oceans – like the swinging “See It Through,” which he envisioned as a Christmas track.

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“The Christmas song wasn’t vibing at all. That was a straight-up chop,” Jones laughs. “I wanted to keep it in my back pocket. I didn’t consider that song to be a failure.” 

Instead of forcing the track to be a holiday tune, Jones harvested it as one of 10 tracks on his highly personal new album. Tied together by Jones’ stirring vocals, the genre-eclectic album sprouted from penultimate track “Letter to My 17 Year Old Self” — a jazz trip that contemplates “this thing called life.” At 17, Jones was playing in a punk rock band, singing gospel in church on Sundays and performing classic and jazz pieces in the school marching band, all while growing up in a rural Southern town founded with reparations paid out to eight former slaves. “I wanted it to envelop all of those things and show that everything I learned musically and everything that I experienced after leaving [hometown] Hillaryville lead me to this record,” he tells Billboard.

Hillaryville, La., was something out of a historical fiction novel — a town built by and for the Black community, where folks like Jones’ grandmother didn’t have to enter back doors or sit in separate sections of restaurants. As his grandmother tells the history, the first thing the founders did was build a school — since reading had been illegal for Black people — followed by churches, restaurants, a general store and hotels, to create a self-sustaining community that didn’t discriminate based on a person’s skin color.

“Here’s an example of America getting it right for eight men, and here’s what they did with that,” says Jones. “I realized when I moved away just how special my upbringing was and how unique it was.”

He captures the generational struggle of his grandmother’s generation attempting to instill those original values in their children, and the need for those children to leave home, in the foot-stomping “Have Mercy on Me.” The song is launched by a poetic interlude quoting Jones’ grandmother, who called Hillaryville “the place you’d most want to live,” before it ascends into a swampy groove that helps capture the tale of an idyllic town lost to time and gentrification.

Wait Til I Get Over is rich in burdens Jones has had to overcome in life, from underappreciating his hometown to the guilt of infidelity on the gospel-inspired “Sadie,” and the “taboo” love he felt for another man on “That Feeling.” “That Feeling” is a contemplative track (practically a whisper compared to Jones’ muscular vocals on other songs) that brings tenderness to the frustration, sadness and nostalgia felt after the end of an inmate relationship, and marks the first time Jones has openly expressed his sexuality. “I was worried about fans receiving it in a very negative way, but it’s been absolutely opposite,” says Jones of coming out. “I told myself this year would be a year of transparency for me. I don’t want to hide myself.”

For the album’s titular track, Jones set up a microphone in his bedroom and did his best to emulate the voices he heard in church to deliver the thesis of his first solo collection: “Wait Til I Get Over.” It’s a phrase he uses to illustrate crossing a river — like the Mississippi, which he grew up near and considers a huge influence in his art. For him, each song tackles a burden or an issue he feels the need to address.

“I wanted to think of this record as a trial of sorts… and as each song is done, the burden’s washed down; it is leaving my body,” he says. “Hopefully, by the end of the record, I can make it to the other side and I reach this state of elevation or mystic transformation.”

New Music Latin: Listen to Releases From Eslabon Armado, Monsieur Perine and More

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

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Eslabon Armado, Desvelado (DEL Records)

Eslabon Armado’s Desvelado couldn’t come at a better time. The group’s sixth studio album — which follows their five back-to-back No. 1s on Billboard’s Regional Mexican Albums chart — drops when the Mexican-American sierreño band’s “Ella Baila Sola” with Peso Pluma is No. 1 on the Billboard Global 200 (dated April 29). It’s the first regional Mexican song to top the tally, and it’s also the first one from that genre to enter the top five on the Hot 100. Of course, the track is found on Desvelado, and while that might be the song that will draw you to listen to this album, you’re going to stay for all the other gems that Eslabon delivers. Mostly written by frontman Pedro Tovar (who is currently No. 1 on the Hot 100 Songwriters Chart), Desvelado further cements Tovar’s ability to adapt the classic genre to Gen Z, with super-modern lyrics — like in the opening track, “Quién Es El?” where he sings, “Who is he, the one you’re posting on social media, hanging out in the same places I once took you and kissed you?”

Throughout the album, Eslabon sticks to the sad sierreño, guitar-driven sound that’s not only worked for them but marks a new generation of Mexican music hitmakers. The LP includes eight collabs, including the norteña-tinged cumbia “Quédate Conmigo” with Grupo Frontera (fresh off a Bad Bunny team-up) and the soon-to-be breakup anthem “Tomando Tequila,” with Jhayco’s raspy vocals taking center stage. Eslabon reels in artists the group has previously recorded with, including Junior H and DannyLux, for duets. If you’re barely discovering Eslabon Armado because you’ve listened to “Ella Baila Sola,” you’ve arrived just in time. This album is a treat to new and loyal fans alike. — GRISELDA FLORES

Monsieur Periné, Bolero Apocalíptico (5020 Records/Sony Music Latin)

The Colombian duo of Catalina García and Santiago Prieto is one of the few acts around who can truly deliver eclectic albums that manage to sound like a cohesive full listen. Their newest, the intriguingly titled Bolero Apocalíptico (Apocalypic Bolero), as usual navigates whimsy (check out the reggae-infused “Mundo Paralelo” with Pedro Capó), musicality and multiple genres tinged with the unexpected, but always guided by strong melodies, making them outliers in the alternative world. Witness too how Monsieur can get signature acts to leave their comfort zone, as they do by inviting Ana Tijoux to do “Cumbia Valiente.” There’s sultry barroom fare and yes, an apocalyptic bolero to end it all, performed simply by Prieto and accompanied by guitar. — LEILA COBO

Mike Bahía, Contigo (Warner Music Mexico)

Latin Grammy winner Mike Bahía comes to full circle with the release of his new album Contigo — the third and final installment in the album trilogy that gave life to Navegando (2019) and Contento (2021). Together, the titles of these three albums form the phrase “Navegando Contento Contigo” (Sailing Happy With You), a name and concept that serve as a reflection of and dedication to the incredible journey that is his musical career and the people who have supported him thus far — including his team, his fans, and his family. Known as “The Captain of the Ship,” Bahía delivers a 12-track set packed with deep romance, pain, heartache, and vulnerability — as shown with the focus single “Corazón” which represents an open conversation with your heart in the purest way.

Produced and co-written by Keityn, along with the contributions of the team at La Creme, Contigo also includes the previously released singles “La Falta”; the powerful, statement-making release with regional Mexican star Carin León; the undeniably irresistible “El Egoísmo,” featuring Keityn and rising Colombian singer and songwriter Dekko; “De Qué Manera,” the salsa song with which Bahía pays tribute to his hometown of Cali, Colombia; and of course, “Mi Pecadito,” featuring Greeicy — the song in which he experiments with the sensual sounds of bachata, fusing the genre with the vibrant tropical rhythms that have come to define his work over the years. — INGRID FAJARDO

Jay Wheeler, Emociones 1.5 (Linked Music/Dynamic Records/EMPIRE)

Jay Wheeler is a happy newlywed, married to the love of his life, artist Zhamira Zambrano. But on his nine-track Emociones 1.5, he’s exactly that: emotional. In the first three tracks, “Intro,” “Te La Dedico,” and “For You” — all powered by ballad melodies and acoustic guitars — Wheeler stays faithful to his alter ego “La Voz Romantica” (the romantic voice) by pouring his heart out to melancholy lyrics. “Intro” is about disconnecting from a loved one; “Te La Dedico” comes from a man who has moved on; and “For You,” the only English track on the EP, is about nostalgia and change.

By the fourth track, Wheeler starts to step out of his comfort zone — both musically and lyrically — best represented in “Pacto” with newcomers Luar La L, Dei V, and Hades66 and “SOS.” In the former, he unleashes a sultry Latin trap about two people who have crazy sexual chemistry. In the latter, he taps into a fusion of alternative and 80’s new wave. One of the most notable tracks in Emociones is “Corazón Roto,” a playful punk rock tune that smoothly transitions into a traditional bachata beat towards the end. And amidst the mix of romantic reggaetón and hard-hitting perreo, Wheeler wraps up his EP with “2022,” his first-ever attempt at dropping a regional Mexican tune. — JESSICA ROIZ

Niña Pastori, Camino (Sony Music España)

The Spanish singer-songwriter Niña Pastori — and one of the greatest exponents of flamenco — launches her new album Camino this wekk. The 10-song collection is a mix of rhythms in which Pastori flaunts her vocal versatility and undeniable experimental essence — fusing, once again, her deeply rooted flamenco with other Latin musical genres. It includes everything from the more commercial pop of “Bon dia,” going through cheerful gypsy salsas like “Regoleta” and “Osú qué niña” (the first single released of the album), to bulerías like “De Repente” — full of cante, jaleo and roll of palms.

Camino is full of emotions, embodied in positive and optimistic songs like “Bon dia,” soundtracks to getting off on the right foot in the morning. Her voice is passionate, intense and emotional in each of her tracks. But it is not the only thing that stands out from the new project. In the San Fernando, Cadíz, Andalusia native’s lyrics, she also includes life reflections — as in “Caminante,” in which she talks about social realities such as homelessness and childhood famine, and invites you with her song to be part of the change: “Come leave your mark with love… This will be a better world.” Camino is a delight, whether you are having a cup of coffee in Barcelona, or just hoping to take an authentic journey through Spanish folklore through Niña Pastori’s contribution to flamenco — which she’s been making for over 25 years. — LUISA CALLE

Alex Anwandter feat. Buscabulla, “Mi vida en llamas” (5 AM)

With an insatiable and unmatched knack for crafting the perfect pop hook, Alex Anwandter returns with another swoon-worthy single, “Mi Vida En Llamas.” This time, the Chilean artist enlists Puerto Rican indie pop duo Buscabulla, where Anwandter and Raquel Berrios trade off their heavenly voices to create a whirling sensation of bliss in technicolor. Although euphoric, the heavy-hearted pop song details the feeling of your body going up in flames, amid pandemic uncertainty — “when the world and our respective love lives seemed to be going up in flames,” explains the singer-songwriter/producer in a press release. “Overall, it’s a positive song about how the world might be a bad place, but life, in spite of all, is pretty wonderful.” The grooving single is from his upcoming album, El Diablo en el Cuerpo, out May 26. — ISABELA RAYGOZA

Get tickets to the first-ever #BBMujeresLatinas on May 6 in Miami: billboardmujeresenlamusica.com

Country’s Streaming Boom: How Morgan Wallen & Others Beat Pop at Its Own Game

In 2015, before Luke Combs had broken through, his manager, Chris Kappy, gave fans a merchandise discount at concerts for showing they paid to subscribe to Spotify or Apple Music. “I was trying to push people into the digital age as quickly as I could,” he says. “And the fastest way I knew I could do it was giving them $1 off a T-shirt.”

Combs was one of the first country superstars who built his career digital-first. Though most of the recorded-music industry has been streaming-focused for over a decade, until recently country music — and its fans — have remained driven by radio play and album sales. Thanks to artists like Combs, Morgan Wallen, Zach Bryan and others, from 2019 to 2022, country audio streaming jumped 58%, according to Luminate, outpacing the industry’s 48.5% growth and increasing faster than every other genre besides Latin music. In early March, Wallen’s No. 1 album One Thing at a Time racked up 483 million audio streams in its debut week, according to Luminate — the fifth-largest streaming week ever, after albums by Drake, Taylor Swift and 21 Savage. Later that month, Combs’ Gettin’ Old hit 83.5 million streams.

“Finally! Thank God,” says Tim Foisset, senior vp of commercial partnerships for Warner Music Nashville, which represents Bryan. “The A&R’s really good right now, and it appears to be really sticky with a younger audience.”

New stars who are digital natives — and have careers rooted in the digital world — are one key reason for country’s streaming boom. Combs started out on Vine, and Kappy boosted his profile through a Facebook fan group; one of Wallen’s breakthroughs was 2020’s “Heartless,” with EDM star and social media wizard Diplo; Bryan recorded songs on his iPhone and posted them to YouTube. Whereas pop, dance and hip-hop tracks took off at streaming as early as 2011, the country tipping point from physical to digital didn’t start until roughly 2017, shortly before Wallen released his debut, If I Know Me.

“It was the perfect storm of incredible music, the younger demographic that was already gravitating to Morgan at that time and the audience shifting mediums,” says Patch Culbertson, GM and senior vp of Big Loud Records, Wallen’s label. “That rocket exploded, and he carried that audience with him. We’ve seen a massive move onto streaming.”

Another reason for the growth of country streaming is the COVID-19 pandemic, which pulled older fans and digital holdouts away from terrestrial radio and CDs. “Some of the more mature demographics of country weren’t in their cars, they weren’t going to the office, and they used that time to say, ‘OK, I’m going to figure out what streaming is all about,’” says Randy Goodman, CEO of Sony Music Nashville, which represents Combs. “And there are no more boundaries, genrewise. Kids are listening to Kendrick Lamar and to Morgan. It’s a younger demographic we’re appealing to.”

Both Sony’s Goodman and Warner’s Foisset say radio remains “incredibly important,” but add that country hits now often start on streaming, then take off at radio instead of vice versa. In 2019, Goodman explains, “the world began to change,” and country stars followed their pop, hip-hop and EDM counterparts into YouTube, TikTok and Spotify virality long before radio took notice. “From a record-company perspective, we realized we had to make these shifts,” he says.

Wallen has led this transformation: Dangerous: The Double Album racked up 3.6 billion audio streams in 2021, hitting No. 1 in overall consumption that year, outpacing Olivia Rodrigo, Drake and Adele. Last September, tracks by Wallen, Bryan and Combs hit the top 10 on Billboard’s Streaming Songs chart, the first time at least three non-holiday country songs reached the milestone. That week, 13 of the chart’s 50 songs were country; on the chart dated April 15, Wallen has three tracks, and Bryan’s “Something in the Orange” is No. 14. And there’s more to come: Foisset notes that some of country’s biggest young stars, including Cole Swindell, Bailey Zimmerman and Jelly Roll, are scheduled to release albums in 2023.

Country streaming-music fans are unusually dedicated. According to a new Digital Media Association survey, they spent about 1,270 hours per year listening to music annually, about 1.6 times more than country music fans who do not stream. Which is not surprising to Emily Cohen Belote, principal music curator for Amazon Music. The service has emphasized country for years through Country Heat, including a playlist and an online radio station and hit 13 billion streams in 2021. “We’ve been doing this for a while, and it’s not just a flash in the pan,” she says. “Country music is happening in streaming in a really big way.”

Taylor Swift Sings About ‘Falling Back in Love’ on The National Collab

Taylor Swift teamed up with The National on their new song “The Alcott” on Friday (April 28), and the collab immediately had Swifties buzzing over its lovelorn lyrics.

The downtempo cut off the band’s new album First Two Pages of Frankenstein finds the pop star’s voice melding perfectly with frontman Bryce Dessner’s as they wistfully intone, “And the last thing you wanted is the first thing I do/ I tell you my problems, you tell me the truth/ It’s the last thing you wanted, it’s the first thing I do/ I tell you that I think I’m falling back in love with you” on the chorus.

Swift’s ardent fandom flooded the Instagram comments of her official fan club’s posts announcing the track with reactions to the song, with one writing, “Taylor remember he’s dreamy, but you’re the sun in your universe!!! Thank you for allowing us to look directly in the sun when we see our lives reflected in your poetic music!”

Others were quick to compare the track to Folklore‘s “Exile” featuring Bon Iver and earlier The National collab “Coney Island” from Evermore. “It’s so exile im crying,” one commented; another opined, “This is literally Coney Island and exile’s love child and I ABSOLUTELY LOVE IT.”

Recently, Swift brought out The National’s Aaron Dessner out during her Eras Tour stop in Tampa, Fla. to perform Midnights bonus track “The Great War” as one of the tour’s many surprise songs.

Stream Swift and The National’s “The Alcott” and check out Swifties’ reactions to the song on social media below.

Grupo Marca Registrada Nabs First No. 1 on Regional Mexican Airplay Chart With Grupo Frontera Collab ‘Di Que Si’

Grupo Marca Registrada expands its winning streak across Billboard charts thanks to “Di Que Sí,” its first collab with Grupo Frontera, which conquers the Regional Mexican Airplay chart dated April 29.

The new coronation arrives a week after the song cracked the top 10 barrier on the all-genre Latin Airplay ranking (dated April 22) at No. 5, where it climbs to No. 3 on the current chart.

“Honestly, we did not expect such a great reaction from the audience,” Fidel Castro, leading member of Grupo Marca Registrada, tells Billboard. “This is a collab that we enjoy very much, and it certainly won’t be the last one!”

“Di Que Sí,” written by Edgar Barrera, jumps 2-1 on Regional Mexican Airplay with a 6% increase in audience impressions, to 8.4 million, earned in the U.S. during the April 14-20 tracking week. It evacuates Calibre 50’s “Dirección Equivocada” from No. 1 after two weeks in charge.

“Di Que Sí,” released Feb. 3 through Interscope/RB, takes over the chart in its sixth week. Regional Mexican Airplay sees both Interscope at the summit for the first time, in its third chart appearance, following Enrique Iglesias’ “Ritmo Total” which debuted and peaked at No. 22 in Dec. 1999.

Notably, the Marca Registrada and Frontera collab returned the label to the ranking following two decades and a half of absence when it debuted at No. 20 on the March 25-dated list.

Meanwhile, RB also secures its first leader in its fourth try. The label last scored a No. 21 high with Pancho Barraza’s “Al Sabor del Champagne” in Oct. 2022.

Further, “Di Que Sí” concurrently gives Marca Registrada its first chart entrance, at No. 99 on the all-genre Billboard Hot 100 tally. Frontera secures its fifth visit. In addition to its radio boost, the track registered 5.1 million official U.S. streams in the U.S. during the same period.

Luis Figueroa’s “La Luz” Arrives: Elsewhere on the Latin charts, Puerto Rican Luis Figueroa captures his sixth top 10 on Tropical Airplay as “La Luz” ascends 11-9 in its fifth week. The track was released onMarch 16 via Magnus/ Sony Music Latin. It’s Figueroa’s first single from his upcoming EP Voy a Ti (to be released later this year).

“La Luz” enters the upper region on Tropical Airplay with 2.4 million in audience impressions, up 18%, earned during the same tracking week.

In total 19 songs have hit the top 10 on Tropical Airplay so far in 2023. Out of those, eight by solo artists, unassisted of a collaborator. As “La Luz” rises to No. 9, Figueroa becomes the only artist to place two top 10s, as a soloist, unaccompanied by any other act, in 2023. Here’s a look at those tracks:

Artist, Title, Peak Date, Peak Position

Manuel Turizo, “La Bachata,” Aug. 6, 2022, No. 1

Rosalía, “Despechá,” Oct. 1, 2022, No. 1

Luis Figueroa, “Fiesta Contigo,” Feb. 4, 2023, No. 4

Prince Royce, “Otra Vez,” Feb. 11, No. 6

Tommy Torres, “Mi Secreto,” Feb. 4, No. 10

Romeo Santos, “Solo Conmigo,” March 18, No. 3

Victor Manuelle, “Esta Noche Te Conviene,” April 1, No. 9

Luis Figueroa, “La Luz,” No. 9, April 29

Further, “La Luz” grants Figueroa a sixth entry on the all-genre Latin Airplay chart, at No. 46. It’s his best debut after “Todavía Te Espero” launched at No. 45 in May 2022. The track later entered the top 20, at No. 15.

Angie Martinez Talks ‘Iconic Records’ Podcast, Radio & Celebrating Hip-Hop’s 50th Birthday

“I’ve pivoted in my career. At this point, I want to do things that I’m truly passionate about … things that I want to leave on the table.”

One of those “things” for Radio Hall of Famer Angie Martinez, aka “The Voice of New York,” happens Saturday with the April 29 premiere of Iconic Records. Spotlighting iconic albums in pop culture, the new visual podcast series kicks off its debut season with a look back at The Notorious B.I.G.’s esteemed final studio album, the 11x platinum Life After Death. Martinez doubles as host and an executive producer of the eight-episode series from WMX, Warner Music Group’s next-generation artist services, media and creative content division. Viewers can watch the show on the WMX Hip-Hop channel on The Roku Channel (Ch. 1137; 8 p.m. ET/5 p.m. PT).

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“Celebrating B.I.G. and 25 years of this album in a different way was exciting,” says Martinez of being approached by WMX about the project’s inaugural season, which coincides with the 50th anniversary of hip-hop. “That’s because some of the people we talked to weren’t the traditional people we see or hear from and who had different types of viewpoints on him.”

The ever-busy multimedia personality also talked about a few other things she’s leaving on the table. Those include her podcast In Real Life With Angie Martinez, nominated for an NAACP Image Award in the arts and entertainment category this year, and still holding court in the afternoons on her eponymous radio show on iHeartMedia’s Power 105.1 in New York. She also shared reflections on hip-hop’s momentous birthday.

As the Iconic Records promotional trailer notes, you spoke to “25 people over five nights.” What was that like?

It was fast. [Laughs] When you do something in five days, you’re, like, immersed in it. But we didn’t want to drag it out; we wanted it to feel fresh. It was cool because the interviews would overlap. Somebody would be walking out, somebody would be walking in and it would create this storytelling energy, even off camera. [Among the guests sitting down with Martinez were Lil Cease, Fat Joe, Pusha T, Rick Ross and Too $hort.] It was this community of people reminiscing about B.I.G. and the album; personal stories that I’d never heard before. And you could feel his spirit. It was also exciting to talk to some of the producers and the people who worked at Bad Boy. There were so many who had been around for a long time and had so much impact in so many areas that I’d never had a chance to talk with before. Like, I’d never interviewed [producer/DJ] Clark Kent, who’s a friend of mine and a beacon in the culture. So to have that moment with him was great.

The first anniversary of In Real Life is in August. Why did you decide to do a podcast?

I’ve been really lucky in my career. I love what I do, always have. The reason I still love what I do is because I’m always trying to challenge myself and grow. It’s not even about reinventing. It’s about making sure my career is aligned with where I am in my life. And that was how IRL opened up. I’ve had a lot of real-life lessons: success, trauma, heartbreak, disappointment. I don’t want to say it was a calling, but I just felt compelled that this was something that I had to offer; I wanted to have this conversation about life. So I kind of jumped out the window with it, calling Lauren London and asking if she’s talk with me. She said yes. [Martinez’s guests since then include Kelly Clarkson, Mary J. Blige and Mike Tyson.]

Everything is so calculated and metrics-driven in our business now that you lose the heart of what just feels right. Honestly, the beauty of creating your own content, owning your own company and being in a position where you can operate from your gut is so freeing and rewarding. I’ve been leaning into that. Sometimes I don’t know who’s going to be the next guest. But somebody will call and say they want to talk. It’s been so natural. Even the audience community that we’re building is organic as I really haven’t done any major promotion yet. It’s been an independent effort, which I’m so proud of. Because now we have the roots that come from an honest, authentic place. And watching that grow is going to be fun for me over the next few years. I also have other ideas about doing live events and creating content for other people. So it’s going interesting as well to see where this evolving road takes me.

Why is radio still important?

Over at least the last decade, I’ve been hearing people say, “You better start figuring something out. Streaming platforms are coming and your job isn’t going to exist anymore.” [Laughs] I still love being on the radio, talking about music and with new artists. At the end of the day, it’s about connection. There are people who feel connected to their favorite radio station or personality. Radio is free, it’s local, it’s comfortable. It’s going to be there although it may shift in terms of how it operates or what the verticals need to be. But radio is just a staple.

What does hip-hop reaching such a momentous birthday mean to you?

It’s a beautiful time to reflect on its history and evolution. It’s come so far that it’s very easy to forget the history. And attention spans are so short that sometimes people skip over details. So this is a great opportunity for us to lift up hip-hop’s history and make sure people are aware of the founders, the ups and downs while celebrating the evolution. There are a lot of people doing cool stuff, which I salute and respect. Like Nas, a pillar of the culture, and what he’s doing with Mass Appeal. But then I also see people just trying to jump on the bandwagon and throwing up hashtags without offering any thoughtful or caring input on the culture. I don’t love to see that. Let’s make this anniversary important; let’s make it matter.