Music

Becky G, Christina Aguilera, Bad Bunny & More: Vote for the Best Latin Album of 2022

This year gifted us with a lot of exciting albums in Latin music, starting with Bad Bunny’s historic two-part album Un Verano Sin Ti

Featuring thrilling collaborations (Rauw Alejandro, The Marias and more) and edgy fusions (from dembow to indie pop) that transported everyone to a summer in Puerto Rico, the 23-track set became the first all-Spanish album to hit No. 1 on the Billboard 200 year-end albums chart (and has spent 13 weeks at the top so far), and it also earned the first-ever Grammy nomination for album of the year for an all-Spanish release.  

Romeo Santos also surprised fans with his 21-track Formula, Vol. 3, where he collaborated with major acts such as Justin Timberlake, Rosalia, and Christian Nodal. The set dropped eight years after Santos released Vol. 2 in 2014, which is still on Billboard’s Top Latin Albums chart after 386 consecutive weeks — the most for any Latin album in history. 

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The year also marked a comeback period for acts such as Paulo Londra, who recruited acts such as Ed Sheeran and Travis Barker for his Back to the Game studio album released after a three-year hiatus. Christina Aguilera, on the other hand, paid tribute to her Latin roots by releasing Aguilera, her first Spanish-language album in 22 years, following Mi Reflejo, which debuted at No. 1 on Billboard’s Top Latin Albums chart in 2000. 

Just like Bunny, Santos, Londra, and Aguilera, many more artists unleashed musical masterpieces this year, ranging from reggaeton to sierreño, and more. Who had the best production? Vote below!

Read Billboard’s 25 Best Latin Albums of 2022 list here 

Meghan Trainor Wants to Get Pregnant in 2023: ‘I’ve Got to Get on It!’

Meghan Trainor opened up in a new interview on Tuesday (Dec. 20) about wanting to expand her family in 2023.

“Hopefully, I’ll be pregnant,” the pop singer told People when asked what she was manifesting for the new year. “I’m trying to make four children, so I’ve got to get on it!”

Trainor and her husband Daryl Sabara are already parents to son Riley, who will ring in his second birthday early next year, and she says the experience of becoming a mom made her raise her sights when it comes to setting goals.

“After having a baby, I was like, there’s nothing I can’t do,” she continued. “So now I’m just trying to knock off all my dreams on my dream list.”

Motherhood also impacted Trainor’s music, with her newest album, Takin’ It Back, featuring a return to the throwback doo-wop sound that made her famous — all while addressing this new chapter in her life on tracks like “Don’t I Make It Look Easy,” “Superwoman” and “Mama Wanna Mambo” featuring Natti Natasha and Arturo Sandoval.

The studio set also includes her latest single, “Made You Look,” which she recently explained in an exclusive interview with Billboard helped her get her confidence back after giving birth. “Especially after having a baby, I was already struggling to love my body,” she said. “I was covered in a C-section scar crossing over all my stretch marks and I was really struggling to like myself, but also like myself in front of my own husband.”

“So, I was in the shower one day and I was like, ‘Yeah, they could dress me in all these fancy clothes, but when I’m at my grungiest and at home, that’s when my husband is like, ‘You’re the prettiest girl in the world. You’re the hottest,’” Trainor went on. “I wanted to put that in a song, and I wrote the chorus in the shower.”

Read Trainor’s full interview about her hopes to add to her family here.

Lea Michele’s ‘Funny Girl’ Breaks Broadway Box-Office Record

Leading up to the lucrative holiday weeks, the Lea Michele-led Funny Girl broke a box office record at the August Wilson Theatre on Broadway

The revival brought in just above $2 million across eight shows last week, which also marked a record gross for the production. Michele joined the revival in September, following the departure of Beanie Feldstein, in a move seen to help boost grosses for the then-struggling show. 

Since Michele joined the production on Sept. 6, Funny Girl has seen that boost, with the musical bringing in more than $1.6 million a week, and recently closer to $2 million, after more modest returns in the spring and a drop to less than $1 million over the summer. 

Mean Girls, which played the August Wilson Theatre from March 2018 until the theatrical shutdown, previously set the house record at the theater in 2018 with a gross of $1.99 million.

The recent box office record was set as Funny Girl played to a capacity of 96 percent and commanded an average ticket price of $213.28, the second highest of all shows for the week. Only The Music Man had a higher average ticket price, at $267.99, which helped the show continue its reign as the highest-grossing show of the week, bringing in $3.25 million. 

Ain’t No Mo‘ was another notable standout in the week ended Dec. 18, as the new play saw its grosses triple to reach $499,303 from $164,592 the previous week and play to a capacity of 93 percent. The surge came as creator Jordan E. Cooper waged a campaign to stop the show from closing and received help along the way from Will Smith and Jada Pinkett Smith, Tyler Perry, Shonda Rhimes, Gabrielle Union, Dwyane Wade, Queen Latifah and Sara Ramirez, all of whom bought out performances. The show has now extended through Dec. 23 after initially being told it would close on Dec. 18.

Grosses remain high for the standard top performers on Broadway, with The Lion King bringing in $2.4 million, Wicked bringing in $2.2 million and Hamilton bringing in $2.3 million. Phantom continues to see elevated interest, after extending its closure to April after a run of 35 years.

But many Broadway newcomers continue to struggle, with productions such as Topdog/Underdog, a Pulitzer Prize-winning play starring Corey Hawkins and Yahya Abdul-Mateen II, grossing $257,217 last week and playing to a capacity of 52 percent, which has been the trend for several weeks. Almost Famous, which just announced a Jan. 8 closing, played to a capacity of 68 percent and grossed $703,714, down about $61,000 from the previous week.

These grosses are still a welcome reprieve from last December, when a surge in omicron cases among cast and company members caused the cancellation of dozens of performances across the industry and led to the permanent closure of some shows. Coming up, the weeks around Christmas and New Years Eve often bring in the biggest grosses productions see all season.

This article was originally published by The Hollywood Reporter.

These 12 Songs Will Compete at 2023 Viña Del Mar Festival

Twelve songs from countries including Argentina, Chile, Colombia, Ecuador, Guatemala, Mexico, Panama, and Peru will compete next year for the Silver “Gaviota” at the 62nd edition of the Viña del Mar International Song Festival, scheduled from Feb. 19 to 24.

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On Tuesday (Dec. 20), the Chilean festival’s organizers revealed the list of participants, which includes six for the Folkloric competition and six for the International competition. In addition to the Silver “Gaviota,” the winning song in each of the categories will receive a prize of about $15,000.

The list consists mostly of emerging artists like Argentine singer Mila Manes, Mexican Ely Blancarte, and Colombian band Bazurto All Stars, but also includes veteran Panamanian rock band Los Rabanes, which will participate in the Folkloric competition with “La Patineta.”

Co-written by Los Rabanes vocalist Emilio Regueira and Dominican singer Henry G, the song was recorded by Colombian duo 123 Andrés with Los Rabanes, Rubén Blades and Roberto Delgado & Orchestra, and forms part of 123 Andrés’ 2021 Grammy-nominated album Actívate.

“Taking ‘La Patineta’ to Viña del Mar is going to be a unique experience because this song contains roots of the Panamanian cumbia from Santeño, along with the murga from Panama, which was the arrangement that Los Rabanes provided for this song,” Regueira said in a statement published on the Instagram account of his Latin Grammy-winning group. “We are a fusion rock band, but the folklore is the backbone of what we do. We know very well the foundations of Panamanian culture and folklore. We are Chitreanos (Chitré), we are from the interior of Panama, and for this reason, this is not the first time that Los Rabanes bring Panamanian folklore to the world.”

Here is the complete list of songs chosen by the commission of the LXII Viña del Mar Festival, by category, along with the artist or group performing them and their country of origin.

INTERNATIONAL COMPETITION:

“No Me Haces Falta,” Mila Manes, Argentina

“Viento,” Yorka, Chile

“Chocolatico,” Teo, Colombia

“Lo Siento,” Tres Dedos, Ecuador

“Como Puedas,” Zelaya, Guatemala

“After Party,” Ely Blancarte, Mexico

FOLKLORIC COMPETITION:

“De A Poquito,” Camilú, Argentina

“Camino,” Laia, Chile

“La Manguera,” Bazurto All Stars, Colombia

“La Última Gota,” Frank Di, México

“La Patineta,” Los Rabanes, Panamá

“Warmisitay,” Milena Warthon, Perú

Viña del Mar previously announced that renowned Latin stars including Karol G, Maná, Alejandro Fernández, Christina Aguilera and Camilo are confirmed to perform at the festival, with additional artists to be announced.

Launched in 1960, the Viña del Mar International Song Festival is held annually at Quinta Vergara, a 15,000-capacity amphitheater located in the Chilean city of Viña del Mar, in the central coast region of Valparaíso.

Over the course of five days, the event features a mix of superstars, emerging singers and local artists competing for the Silver, Gold and Platinum “Gaviotas,” the name of its awards. These are decided by a jury with the help of viewers from their homes, although the so-called “monster” — the audience present at Quinta Vergara — undoubtedly has a great power of influence with its ovations and occasional boos.

The Viña del Mar Festival reaches millions of viewers around the world. Next year, it will be broadcast in Chile on TVN and channel 13, and will be available throughout Latin America on STAR Channel and its streaming platform Star+.

Tickets to attend in person can be purchased on the PuntoTicket website.

Lily Allen Defends ‘Nepo Babies,’ Says Kids With Famous Parents ‘Crave Stability and Love’

Lily Allen is offering up her two cents about nepotism babies.

The singer and actress, 37, defended “nepo babies” in a series of tweets on Monday and Tuesday (Dec.19-20), arguing that children with famous parents are often “starved” of basic emotional needs and “crave stability” while growing up surrounded by the constant demands of the entertainment industry.

Allen, the daughter of actor Keith Allen and film producer Alison Owen, tweeted that the nepotism babies people “should be worrying about” are those with parents working in legal, political and banking careers.

“We’re talking about real world consequences and robbing people of opportunity,” Allen wrote. “BUT that’s none of my business.”

In response to her tweet, she added, “And before you come at me for being a nepo baby myself, I will be the first to tell you that I literally deserve nothing.”

Allen’s comments arrive in the wake of New York magazine’s “Year of the Nepo Baby” cover story on Monday, which examines the offspring of famous actors and musicians, including Dakota Johnson, Lily-Rose Depp and Zoë Kravitz.

The former Lily Allen and Friends host, who has acted in many of her parents’ projects over the years, acknowledged that she is a nepotism baby who had a “privileged upbringing” that “created so many opportunities for me.” She added that the entertainment industry is not “parent friendly” and often has a negative impact on kids who grow up around it.

“In childhood we crave stability and love, nurturing,” Allen tweeted. “We don’t care about money or proximity to power yet. Many of the nepo babies are starved of these basic things in childhood as their parents are probably narcissistic.”

“And entertainment business is not parent friendly eg. Touring/months away shooting. It can be hard to see one’s own privilege when you’re still processing childhood trauma, and a lot of these kids haven’t figured that out yet.”

See Allen’s comments on Twitter below.

Red Velvet & aespa’s ‘Beautiful Christmas’ No. 1 on Hot Trending Songs Chart

The holiday spirit is in the air on Billboard’s Hot Trending Songs chart, powered by Twitter and sponsored by Xfinity Mobile, as Red Velvet and aespa’s “Beautiful Christmas” tops the Dec. 24-dated list.

Billboard’s Hot Trending charts, powered by Twitter and sponsored by Xfinity Mobile, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Dec. 9-15.

“Beautiful Christmas,” the first collaboration – holiday or otherwise – between South Korean labelmates Red Velvet and aespa, premiered Dec. 14, with a teaser going up on Dec. 12.

It’s the first No. 1 on the weekly Hot Trending Songs chart for both groups; aespa previously peaked at No. 6 with both “Savage” (2021) and “Girls” (2022), while Red Velvet reached No. 16 with “Feel My Rhythm” earlier this year.

Further chart appearances for the song are possible upon its first full week of tracking, running Dec. 16-22 and for the Billboard charts dated Dec. 31.

“Beautiful Christmas” is followed by NewJeans’ “Ditto,” which was teased during the latest tracking period and released in full Dec. 19. An additional to-be-released song from the South Korean quintet, “OMG,” bows at No. 5.

Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.

Taylor Swift’s ‘Anti-Hero’ Becomes Her 10th No. 1 on Pop Airplay Chart

Taylor Swift’s “Anti-Hero” ascends to No. 1 on Billboard’s mainstream top 40-based Pop Airplay chart (dated Dec. 24). The song becomes her milestone 10th leader on the survey, dating to her first, “Love Story,” in 2009.

Swift becomes the first woman to have topped Pop Airplay in the 2000s, ’10s and ’20s and the second act overall to achieve the feat, after Maroon 5.

Here’s a recap of Swift’s 10 Pop Airplay No. 1s:

Title, Weeks at No. 1, Year(s)

  • “Love Story,” one, 2009
  • “I Knew You Were Trouble.,” seven, 2013
  • “Shake It Off,” two, 2014
  • “Blank Space,” six, 2014-15
  • “Style,” three, 2015
  • “Bad Blood” (feat. Kendrick Lamar), five, 2015
  • “Wildest Dreams,” two, 2015
  • “Look What You Made Me Do,” one, 2017
  • “Delicate,” one, 2018
  • “Anti-Hero,” one (to-date), 2022

Swift moves to within one of the record for the most Pop Airplay No. 1s since the chart began in 1992. Maroon 5, Katy Perry and Rihanna have all notched 11 leaders, while Swift ties Justin Bieber, also with 10.

“Anti-Hero” blasted in atop the all-genre, multi-metric Billboard Hot 100 chart dated Nov. 5, as Swift made history as the first artist to monopolize the chart’s entire top 10 in a single week, with all tracks all from her new Republic Records album Midnights. The song reigned in its first six weeks on the Hot 100, becoming just the 10th single to have spent at least its first six weeks on the chart at No. 1.

The set’s “Lavender Haze,” which opened at No. 2 on the Nov. 5 Hot 100, is the second Midnights single at pop radio and rises to a new No. 16 high on Pop Airplay.

What Category Should the Grammys Add Next? Omar Apollo, Wet Leg, Kim Petras & More Weigh In

In June, the Recording Academy announced five new competitive categories for the 65th annual Grammy Awards on Feb. 5, 2023, hosted by Trevor Noah. The additions spotlight performers, songwriters, video game soundtrack composers and more, with CEO Harvey Mason Jr. telling Billboard at the time, “We’re doing it in a way to make sure we’re representing music and that’s ultimately our goal.”

With the music industry always evolving, Billboard asked artists spanning several genres,What category would you like to see the Recording Academy add to the Grammys next and why? See their responses below:

Omar Apollo: I’d love for the Recording Academy to add an engineer of the year award. Engineers are so important to the musical process and should get as much shine as producers and writers. Thank you to my engineer, Nathan Phillips — he was a big part of the process for my album, Ivory.

Taylor Bennett: I would love to see hip-hop join the Grammy categories. For years now, I’ve seen record stores, digital streaming platforms and awards shows branding “hip-hop/rap.” Although hip-hop and rap can be considered close cousins, I do believe there is great distinction between the two.

Priscilla Block: Best new (genre) artist: As a new artist, it means the entire world to get recognized by an association as prestigious as the [Recording Academy]. There is so much new talent in every genre, so I think it would add a lot to the Grammys to recognize each one’s best new artist. These are the rising stars that will turn into music’s next superstars.

Robert Glasper: Best mixed genre album: This category doesn’t exist. It’s for the people who make albums that represent and speak to more than one genre of music!

Gryffin: I would like to see the Recording Academy add best electronic/dance producer. Due to the nature of dance/electronic music, most artists [nominated] are producers, and it would be incredible for the Recording Academy to recognize the producers in the space who are innovating and pushing the genre forward. I believe that there are so many incredible producers who are pushing the boundaries of electronic dance music whose songs may not qualify under the best dance/electronic song or album categories.

Wet Leg: Best lo-fi recording. Our track “Angelica” was recorded on the Isle of Wight in our living room on a laptop with just a few mics. It would be great to have a category that highlights other artists who are making music in this way despite not having access to many resources.

Lolo Zouaï: It would be cool to have a special bilingual album category — not language-specific — to highlight all the multilingual artists out right now mixing English with other languages. Either that or a category awarding independently released albums that doesn’t focus on genre necessarily.

Kim Petras: The category I would add to the Grammys would be “the biggest slay,” of course. Woo-ah!

A version of this story originally appeared in the Dec. 17, 2022, issue of Billboard.

Rappers Rinne, Kubota Kai & Anatsume Featured in Billboard Japan & TikTok’s ‘Next Fire’ December Edition

The December edition of Billboard Japan and TikTok’s hybrid program Next Fire featured a fresh roster of Rooftop artists including Anatsume, Kubota Kai, and award-winning rapper Rinne.

Next Fire is a show on TikTok Live that highlights the rising J-pop artists of the moment, based on Billboard Japan’s TikTok Weekly Top 20 chart. The collaborative project streams live performances and pre-recorded interviews by the featured act of the month to give fans an in-depth look at their artistry.

Rising rapper Anatsume was the first to appear in the studio decorated with a Christmas tree and lights for the December mini-festival. He kicked off his three-song set with “Stay True,” a song with lyrics that touch on the theme of determination expressed through the young rapper’s gentle voice over an airy sound. Next, he brought out a special guest, the vocalist Ai from the all-female band Haku, for a performance of the collaborative track “Aoi tobari” that features the band. “This song is about a precious time in your life and your youth,” said Anatsume before the male-female vocals depicted a wistful, sentimental scene that tugged at viewers’ heartstrings.

The 19-year-old artist closed his showcase set with “Tokyo no Fuyu” (Winter in Tokyo), a song based on the ABEMA romantic reality show he appeared in called Koisuru Weekend Homestay 2020 Winter Tokyo. “The next will be my last song,” he said, introducing the number. “It’s a really valuable song for me because it let me meet a lot of people. I wrote it for the person I was in love with when I was in high school.” The warm, genuine lyrics and the feel-good groove got the audience swaying naturally.

Anatsume

Anatsume

Masanoi Naruse

Next up was Kubota Kai, who took over the stage and immediately launched into the up-tempo and funky “Midnight Dancing.” The young artist hyped up the audience with his speedy rapping over the powerful groove from his backing guitar and keyboards, while drawing them in with his boisterous stage presence. Kubota — his name is stylized in Japanese order, surname first — then slowed things down a bit with a performance of “Seikatsu,” accompanying himself on an acoustic guitar. As the title suggests, the lyrics depict the minutiae of daily life over a gentle track. Kubota finished his set with his hit song “Piasu” (Pierced Earrings) that charted on the TikTok Weekly Top 20 for four weeks in a row. Many viewers seemed familiar with this song that showcases Kubota’s versatile vocal techniques, and the speed of the comments being sent in visibly increased during the performance.

Kubota Kai

Kubota Kai

Masanoi Naruse

Last but not least on the roster was rapper Rinne, who kicked off his set with “heaven town.” The Japan Record Awards New Artist winner for 2020 then segued into “Blue Diary,” performing twosongs off his latest album cloud achoo back-to-back. The melodious chorus exuding emotion in its tranquility left a lasting impression.

The 24-year-old then took a moment to introduce himself and his backing DJ, ShunMaruno, and addressed the audience watching the livestream. “I first came across the incredible culture of hip-hop and rap through my cell phone, kind of like today’s TikTok. I’m sure you’ll also find your own thing through such means someday,” he said. “My buddies from the same agency are here today. We’ve made a lot of history together, and I’m looking forward to  performing with them tonight.”

Rinne first invited Kubota Kai back into the studio. “‘Kubokai’ and I have been friends for a long time,” he shared about his label mate. “Ever since we first met at a freestyle rap battle, the timing for everything we do has been the same, like our first concerts and the like.” The two rappers performed “Haru ni furarete” (Dumped in Spring), a collaborative track released last year featuring catchy rap phrases that highlight the differences in their styles and a chorus that displays the chemistry of their voices.

Then Rinne brought back Anatsume for a performance of “raspberry,” also a collaboration from last year. The bright and cheerful beat featuring brass and other instruments filled the studio with a cheery vibe.

Before the next song, Rinne paused again to encourage fans. “Four or five years ago, I was the one doing the chasing, but now I have a junior colleague like Anatsume and a friend like Kubokai. My old dreams are coming true little by little,” he said. “But what led to my current position was just a tiny opportunity that was lying right at my feet. So if you’re a younger person watching TikTok now, or someone my age, or even someone older, I think it’d be a waste to give up on your dreams too soon. The reason why I say this is because many of my own dreams have come true, partly by luck and partly by coincidence. Like recently, I was asked to write theme song for a TV drama series. It’s a dream that came true thanks to everyone’s support. I was so moved when I was offered the opportunity.”

He then performed the theme he wrote for the NTV drama series Sister, entitled “qualia.” The lyrics, which he said he made a little easier to listen to while retaining the emotional weight of the suspenseful drama depicting a messy love triangle, was delivered over a melodious track.

The last number of the evening was Rinne’s biggest hit to date, “snow jam” from 2020. “I met so many people through this song and I’m still singing it like this. I hope this winter becomes a wonderful one for you all,” he said before performing the smash hit, which struck a chord with students during the early days of the pandemic. Viewers shared their excitement in hearing the live version of the number perfect for winter, featuring a chill vibe that makes you want to lose yourself in the laid-back flow of sound.

A pre-recorded interview by Rinne, Kubota Kai, and Anatsume will stream on Billboard Japan’s TikTok channel (https://www.tiktok.com/@billboard_japan). Excerpts from the Dec. 9 livestream can be seen on each artist’s TikTok account.

Brad Paisley, Dierks Bentley & More Set For George Jones ‘Still Playin’ Possum’ All-Star Celebration

Brad Paisley, Dierks Bentley, Lorrie Morgan, Tanya Tucker and more are set to honor the life and career of late country music artist George Jones, with a one-night-only concert event and television taping, Still Playin’ Possum: Music and Memories of George Jones slated for April 25, 2023 at the Von Braun Center in Huntsville, Alabama. Jones, one of country music’s most influential vocalists, died nearly a decade ago, on April 26, 2013 in Nashville, Tenn. at age 81.

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The television taping, announced by Jones’ widow Nancy Jones, will also feature Jamey Johnson, Justin Moore, Mark Chesnutt, Michael Ray, Sam Moore, Trace Adkins, Tracy Byrd and Tracy Lawrence among the first round of announced special guests.

“George Jones died on April 26, 2013, in Nashville, Tennessee. It will be ten years since he left us with just his songs, so to produce this night of music to honor his legacy is perfectly fitting,” Nancy Jones said via a statement. “George made history and influenced artists from all genres and many of them will celebrate with us in April. The night will bring lots of emotion for the fans, our family, and anyone who just loved country music.”

Ticket prices will start at $25.00 and a special VIP upgrade, which includes dinner the night before with Nancy Jones and friends, for $200.

Country Music Hall of Fame member Jones was born in Saratoga, Texas. He served in the United States Marine Corps before returning to Texas and recording for the Starday label. He earned his first Billboard country hit, “Why Baby Why,” in 1955. He followed with his first No. 1 on Billboard’s Hot Country Songs chart in 1959, with the Mercury Records single “White Lightning,” which stayed at No. 1 for five weeks. He would go on to record for labels including United Artists, Musicor, Epic, MCA, Asylum and Bandit Records, and would earn a lengthy list of enduring hits, including “He Stopped Loving Her Today,” “The Grand Tour,” “Bartender’s Blues,” “She Thinks I Still Care,” “A Good Year for the Roses,” “The Race is On,” and “Tender Years,” as well as a string of hit duets with Tammy Wynette, including “We’re Gonna Hold On” and “Golden Ring.”

“He Stopped Loving Her Today,” which Jones released in 1980, won the CMA Award for single of the year, while helping Jones win the top male vocalist award in 1980 and 1981. He also earned a Grammy award for best country vocal performance, male. Over the course of his career, Jones earned two Grammy wins (also earning a best male country vocal performance accolade for “Choices”) and 16 nominations. Jones was inducted into the Country Music Hall of Fame in 1992.