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Rodrigo Nieto-Galvis of City National Bank Shares 5 Finance Tips for Young Artists on ‘Latin Hitmaker’ Podcast

This article is sponsored content.

Rodrigo Nieto-Galvis, the vice president and team lead in Miami for the Entertainment Banking division of City National Bank, is well aware that the Latin music industry works differently than any other genre, which is why he’s sharing his knowledge and expertise with independent and emerging artists who want to learn how to manage their money properly.

“It’s important to understand that usually an entertainer is self-employed,” he tells Billboard. “They don’t have constant earnings. They are easily exposed to lawsuits. They have international residency with income in multiple jurisdictions. And it’s really difficult to predict the future of their careers and their income.” 

In this episode of Billboard‘sLatin Hitmaker podcast, Nieto-Galvis elaborates on five common mistakes artists make with their finances and how they can be fixed or avoided overall.

On building your career as a business: “You know, as an artist, sometimes they want to focus on their craft, on their art, on their music, but they also have to be the CEOs or of their careers. They need to manage their careers as a business […] and there’s something also that you may not be savvy in every area of a business, so you need to surround yourself with the right team. You need a lawyer, you need an accountant, you need a business manager who understands and can help you with your growth.” 

On managing expenses: “You need to open an entity and you need to divide your personal income and expenses by your corporate income and expenses. Otherwise, your income is going to become your pocket money, and that’s not something that you want. You shouldn’t be mixing this type of income and expenses and also […] something very important as well is to not leave money on the table. So what that means is when you are negotiating contracts and deals, bring your lawyer, you know, bring somebody to understand these contracts and also sign contracts with every member of your team just to avoid future litigations.” 

On creating a budget plan: “So the first thing that you need to do as an artist is creating a plan at a budget for the year. you need to know what will be resources you need to achieve the goals that you are trying to reach. Right. So like have a plan for 12 years. What are the resources that you’re going to need if you buy that car? If you can buy that boat, is that going to affect the plan? Are you still going to have the resources to achieve those goals? Right. So so again, the third issue is the area of problems is managing your expenses, having a budget, having a plan.”

On understanding taxes: “You really need to have an accountant that understands not only your business but the fact that you work in multiple jurisdictions, in multiple countries. So what we’re talking about is getting the right advice, or also there are elements such as the CW, tax exemptions, which are only for international artists.” 

On protecting your savings: “Avoid getting into investments that you don’t understand and actually, the final component on that aspect is also to pay attention to estate planning. Like what’s the legacy that you’re going to leave, how you’re going to be providing to your loved ones once you are not here anymore. So you pay attention to those areas.”

Listen to the full episode of Latin Hitmaker here:

City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2023 City National Bank. All Rights Reserved. City National Bank does business in the state of Florida as CN Bank

AI-Composed Music Is the Next Frontier – But We Can’t Be Naive About the Human Cost (Guest Column)

In the recent article “What Happens To Songwriters When AI Can Generate Music,” Alex Mitchell offers a rosy view of a future of AI-composed music coexisting in perfect barbershop harmony with human creators — but there is a conflict of interest here, as Mitchell is the CEO of an app that does precisely that. It’s almost like cigarette companies in the 1920s saying cigarettes are good for you.

Yes, the honeymoon of new possibilities is sexy, but let’s not pretend this is benefiting the human artist as much as corporate clients who’d rather pull a slot machine lever to generate a jingle than hire a human.

While I agree there are parallels between the invention of the synthesizer and AI, there are stark differences, too. The debut of the theremin — the first electronic instrument — playing the part of a lead violin in an orchestra was scandalous and fear-evoking. Audiences hated its sinusoidal wave lack of nuance, and some claimed it was “the end of music.” That seems ludicrous and pearl-clutching now, and I worship the chapter of electrified instruments afterward (thank you sister Rosetta Tharpe and Chuck Berry), but in a way, they were right. It was the closing of a chapter, and the birth of something new.

Is new always better, though? Or is there a sweet spot ratio of machine to human? I often wonder this sitting in my half analog, half digital studio, as the stakes get ever higher from flirting with the event horizon of technology.

In this same article, Diaa El All (another CEO of an A.I. music generation app), claims that drummers were pointlessly scared of the drum machine and sample banks replacing their jobs because it’s all just another fabulous tool. (Guess he hasn’t been to many shows where singers perform with just a laptop.) Since I have spent an indecent portion of my modeling money collecting vintage drum machines (cuz yes, they’re fabulous), I can attest to the fact I do indeed hire fewer drummers. In fact, since I started using sample libraries, I hire fewer musicians altogether. While this is a great convenience for me, the average upright bassist who used to be able to support his family with his trade now has to remain childless or take two other jobs.

Should we halt progress for maintaining placebo usefulness for obsolete craftsmen? No, change and competition are good, if not inevitable ergonomics. But let’s not be naive about the casualties.

The gun and the samurai come to mind. For centuries, samurai were part of an elite warrior class who rigorously trained in kendo (the way of the sword) and bushido (a moral code of honor and indifference to pain) since childhood. As a result, winning wars was a meritocracy of skill and strategy. Then a Chinese ship with Portuguese sailors showed up with guns.

When feudal lord Nobunaga saw the potential in these contraptions, he ordered hundreds be made for his troops. Suddenly a farmer boy with no skill could take down an archer or swordsman who had trained for years. Once more coordinated marching and reloading formations were developed, it was an entirely new power dynamic.

During the economic crunch of the Napoleonic wars, a similar tidal shift occurred. Automated textile equipment allowed factory owners to replace loyal employees with machines and fewer, cheaper, less skilled workers to oversee them. As a result of jobless destitution, there was a region-wide rebellion of weavers and Luddites burning mills, stocking frames and lace-making machines, until the army executed them and held show trials to deter others from acts of “industrial sabotage.”

The poet Lord Byron opposed this new legislation, which called machine-breaking a capital crime — ironic considering his daughter, Ada Lovelace, would go on to invent computers with Charles Babbage. Oh, the tangled neural networks we weave.

Look what Netflix did to Blockbuster rentals. Or what Napster did to the recording artist. Even what the democratization of homemade porn streaming did to the porn industry. More recently, video games have usurped films. You cannot add something to an ecosystem without subtracting something else. It would be like smartphone companies telling fax machine manufacturers not to worry. Only this time, the fax machines are humans.

Later in the article, Mac Boucher (creative technologist and co-creator of non-fungible token project WarNymph along with his sister Grimes) adds another glowing review of bot- and button-based composition: “We will all become creators now.”

If everyone is a creator, is anyone really a creator?

An eerie vision comes to mind of a million TikTokers dressed as opera singers on stage, standing on the blueish corpses of an orchestra pit, singing over each other in a vainglorious cacophony, while not a single person sits in the audience. Just rows of empty seats reverberating the pink noise of digital narcissism back at them. Silent disco meets the Star Gate sequence’s death choir stack.

While this might sound like the bitter gatekeeping of a tape machine purist (only slightly), now might be a good time to admit I was one of the early projects to incorporate AI-generated lyrics and imagery. My band, Uni and The Urchins, has a morbid fascination with futurism and the wild west of Web 3.0. Who doesn’t love robots?

But I do think in order to make art, the “obstacles” actually served as a filtration device. Think Campbell’s hero’s journey. The learning curve of mastering an instrument, the physical adventure of discovering new music at a record shop or befriending the cool older guy to get his Sharpie-graffitied mix CD, saving up to buy your first guitar, enduring ridicule, the irrational desire to pursue music against the odds (James Brown didn’t own a pair of shoes until he 8 years old, and now is canonized as King.)

Meanwhile, in 2022, surveys show that many kids feel valueless unless they’re an influencer or “artist,” so the urge toward content creation over craft has become criminally easy, flooding the markets with more karaoke, pantomime and metric-based mush, rooted in no authentic movement. (I guess Twee capitalist-core is a culture, but not compared to the Vietnam war, slavery, the space race, the invention of LSD, the discovery of the subconscious, Indian gurus, the sexual revolution or the ’90s heroin epidemic all inspiring new genres.)

Not to sound like Ted Kaczynski’s manifesto, but technology is increasingly the hand inside the sock puppet, not the other way around.

Do I think AI will replace a lot of jobs? Yes, though not immediately, it’s still crude. Do I think this upending is a net loss? In the long term, no, it could incentivize us to invent entirely new skills to front-run it. (Remember when “learn to code” was an offensive meme?) In fact, I’m very eager to see how we co-evolve or eventually merge into a transhuman cyber Seraphim, once Artificial General Intelligence goes quantum.

But this will be a Faustian trade, have no illusions.

Charlotte Kemp Muhl is the bassist for NYC art-rock band UNI and the Urchins. She has directed all of UNI and The Urchins’ videos and mini-films and engineered, mixed and mastered their upcoming debut album Simulator (out Jan. 13, 2023, on Chimera Music) herself. UNI and the Urchins’ AI-written song/AI-made video for “Simulator” is out now.

The Legal Beat: Gunna Takes Plea Deal In YSL Case – Plus Megan Thee Stallion, Metallica & More

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings, and all the fun stuff in between. This week: Gunna takes a plea deal to escape the sprawling case against Atlanta rap crew YSL, the Tory Lanez/Megan Thee Stallion trial continues with blockbuster testimony, Metallica loses a battle with its insurance company, and much more.

THE BIG STORY: Gunna Pleads Guilty, But Says He Won’t Flip

With a trial looming in less than a month, the rapper Gunna bowed out this week from the closely-watched criminal case against members of the Atlanta rap crew YSL, reaching a deal with prosecutors that will allow him to end his “personal ordeal” while seemingly still not cooperating against Young Thug or the other defendants.

The chart-topping, Grammy-nominated rapper (real name Sergio Kitchens) took a so-called Alford plea — a maneuver that allows a defendant to enter a formal admission of guilt while still maintaining their innocence. After pleading guilty to the single charge he was facing, he was sentenced to five years in prison but immediately released because he was credited with one year of time served, while the rest of the sentence was suspended.

Gunna’s plea deal will allow him to exit a sweeping criminal case filed in May by Fulton County prosecutors, who claimed YSL was not really a record label called “Young Stoner Life,” but a violent Atlanta street gang called “Young Slime Life.” Listing dozens of individual allegations (including murder, carjacking, armed robbery, drug dealing and illegal firearm possession), the case accused Young Thug (real name Jeffery Williams) and 27 others of violating Georgia’s Racketeer Influenced and Corrupt Organizations Act, a state version of the more famous federal RICO statute that’s been used to target the mafia. Such laws make it easier for prosecutors to sweep up many members of an alleged criminal conspiracy based on smaller “predicate acts” that aren’t directly related.

A plea deal for Gunna made sense. The rapper was facing only a single charge and was named in only nine of the 191 predicates that make up the YSL RICO case — and most of those were either problematic references to his music or linked to an earlier case in which he eventually pled guilty to having illegally tinted windows. By way of comparison, Young Thug is facing several other separate criminal charges over guns and drugs and is named in substantially more of the RICO predicates.

But such a deal was always going to raise heated debate about the touchy subject of snitching — about whether Gunna had won his freedom by promising to cooperate with prosecutors against Young Thug and the other defendants. In his own statement announcing the deal, the rapper strongly denied any such arrangement.

“While I have agreed to always be truthful, I want to make it perfectly clear that I have NOT made any statements, have NOT been interviewed, have NOT cooperated, have NOT agreed to testify or be a witness for or against any party in the case and have absolutely NO intention of being involved in the trial process in any way,” Gunna wrote.

The situation is a little more complicated. In footage of the plea hearing, Gunna acknowledged that YSL was both “a music label and a gang,” and that he had “personal knowledge that members or associates of YSL have committed crimes in furtherance of the gang.” He also acknowledged that if called by any party in the case, he would be required to testify “truthfully.” But he also reserved his Fifth Amendment right to avoid incriminating himself and, in texts released on social media this week, Gunna’s lawyer made clear that if subpoenaed, the rapper would indeed “take the 5th and not testify.”

The trial against Young Thug and the rest of the defendants is set to kick off Jan. 9, so stay tuned.

Other top stories this week…

TORY LANEZ TRIAL CONTINUES – The criminal trial over whether Tory Lanez shot Megan Thee Stallion in the foot ran all week long, featuring blockbuster testimony in which Megan herself recounted the alleged shooting and said, “I wish he had just shot and killed me.” Later in the week, the rapper’s former friend and assistant Kelsey Harris — expected to be a star witness for the prosecution — largely failed to re-affirm previous statements pinning the blame on Lanez. But then on Friday (Dec. 16), prosecutors played recordings of those earlier statements, in which Harris said Lanez had shot the Grammy-winning rapper and then tried to buy both women’s silence with million-dollar bribes. The trial continues and, though a verdict was expected this week, it’s unclear if the case is moving fast enough to get there.

LIVESTREAM FIASCO – Nearly two years after Marc Anthony was forced to cancel his highly-anticipated “Una Noche” livestream concert at the last minute, event promoter Loud and Live Entertainment filed a breach of contract lawsuit against Maestro, the streaming platform that hosted the show. Loud and Live says Maestro assured them its technology could “automatically scale” to accommodate over 100,000 ticketholders, but had suffered a “complete collapse” when users tried to log on, causing “significant economic losses.”

METALLICA LOSES INSURANCE BATTLE – A California judge ruled that Metallica’s insurance company (a unit of Lloyd’s of London) doesn’t need to pay for six South American concerts that were canceled when COVID-19 struck, thanks to an exclusion in the policy for “communicable diseases.” The case is one of many that have been filed by music venues, bars and other businesses seeking insurance coverage for harm caused by COVID-19 — and one of many that have been decided in favor of insurance companies.

DEVIL IN THE DETAILS FOR MGK – Citing the name of Machine Gun Kelly’s 2019 album Hotel Diablo, lawyers for the superstar last week quietly launched a legal battle to block the television network Fox from securing a trademark registration on the term “Diablo” — the name of an anthropomorphic dog character on Fox’s animated sitcom HouseBroken. Kelly’s attorneys, who are currently seeking to trademark a wide range of terms linked to the star, argued that Fox’s “Diablo” was “confusingly similar in overall commercial impression” to “Hotel Diablo” and must be refused.

ULTRA V. ULTRA – Nearly a year after Ultra Records founder Patrick Moxey sold his 50% share of the lauded dance imprint to Sony Music, the major label sued him for trademark infringement over his continued use of the “Ultra” name. When Moxey parted ways with the imprint, which he founded in 1995, he held on to another company called Ultra International Music Publishing, but the new lawsuit from Sony claims he has no legal rights to use the “Ultra” name following the sale: “He has sought to perpetuate the falsehood that he remains involved with Ultra Records by wrongfully continuing to use Ultra Records’ ULTRA trademark.”

Hitmaka Catches Heat For Critiquing ‘P***y Rap’ On Social Media






Hitmaka Catches Heat For Critiquing ‘P***y Rap’ On Social Media

























Hitmaka recently upset Twitter users with his commentary on women in the rap game.

Hitmaka Says He Needs ‘A Pretty Female Rapper That’s Strictly About Bars’

The situation unfolded on Sunday after Hitmaka—who was previously known as Yung Berg—made an odd announcement online.

He initially proclaimed that he “can’t wait to work with a pretty female rapper that’s strictly about bars to even the playing field.”

Then, the producer explained that, while “p***y rap” had “shock value” in the past, he thinks it’s worn out and overdone.

A couple of hours later, Hitmaka issued a follow-up tweet and announced, “Top of the year I’m starting this female rapper project.”

Social Media Slams Hitmaka Over His Comments

It swiftly became evident that social media users were largely against the producer on the subject.

Specifically, many took issue with Hitmaka wanting to work with a “pretty” rapper, suggesting that he wouldn’t be interested in someone who spits bars but doesn’t meet his physical expectations.

People also side-eyed what he meant by “pretty.”

While responding to him, Twitter users clowned Hitmaka over his history of getting robbed.

Additionally, they also brought up past abuse allegations against the star.

Asian Doll & LightSkinKeisha Chime In

Some noteworthy women in the rap game took the time to share their thoughts on the matter.

Without directly naming Hitmaka, Asian Doll questioned why men are “always worried” about what female rappers are discussing.

“N***as been rapping bout the same thing since rap was invented.. ladies rap for the ladies not for you n***as. We running s**t rn so let us be US.”

She humorously went on to add, “Even tho I don’t only rap about my p***y still Stfu.”

On the other end of the spectrum, however, LightSkinKeisha jumped to Hitmaka’s defense. She also alleged that fans themselves are part of the reason why the industry is so obsessed with attractiveness.

“How y’all mad at Hitmaka for saying he wants to work w/ a pretty female rapper? Let’s be real, y’all not supporting nothing that u don’t find attractive in some way! Cus if it’s a ‘ugly’ female rapper, y’all gone rip her to shreds and remind her she ugly every chance y’all get!”

At this point, we should note that—despite the controversy—Hitmaka was just glad to have gotten the conversation started.

Do you agree with the backlash, or do you personally understand his point?



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Proud Mother Perms 3-Year-Old Daughter’s Hair And Shares Video On TikTok, Leaving Users Divided






Proud Mother Perms 3-Year-Old Daughter’s Hair And Shares Video On TikTok, Leaving Users Divided
























Three days ago, a TikTok was posted of a mother perming her three-year-old daughter’s hair in a beauty salon. The video was shared by user @flambingo, who listed her identity as a 23-year-old mother-of-one in her account’s bio.

The video was shared on Saturday and has garnered over 468,000 views. As well as 22.3 likes.

The TikTok Video

The video begins with the mother showing the three-year-old girl sitting in a styling chair at the salon. The hairstylist can be seen applying the chemical relaxer to the child’s hair.

The video then shows the relaxer being washed and shampooed out of the child’s hair. From there, the child returns to the styling chair. And the hairstylist seems to apply another product, which could be a conditioner, to the three-year-old’s hair.

Then, the stylist proceeds to part her hair into sections and styles the girl’s hair into braids.

The video then cuts to the three-year-old showing off her braids, which look to have added length, to another woman. The video ends with the child waving at the camera.

@flambingo

my girl got a relaxer? #imnotexplainingshit #relaxer #natural #toddler #thismymfbaby #fyp

♬ Spongebob Tomfoolery – Dante9k Remix – David Snell

TikTok Users Are Split In Their Reactions

The clip has garnered over 3,000 comments. And undeniably left viewers split in their stance. Some users have questioned why the mother would decide to perm her daughter’s hair at such a young age. While others have shared their understanding of her decision.

lol i got my 1st perm at 3! My hair is still long & healthy permed hair

As long as the child is happy, and it’s taken care of then I don’t see no wrong

Easier to maintain w/o crying i did it to my daughter hair I regret it buttt i can maintain her hair w/o hassle

Awww baby’s happy and mama’s happy!! That’s all that matters

Other users replied voicing their disagreement with the mother’s decision.

Do you worry about fibroids/cancer risk with the relaxer?

I did this to my daughter.. worse decision I made!!! She’s 21 now and her hair still ain’t right smh

I’m surprised the stylist did it, more than anything. Stylists should be educating along with styling but it’s your kid so it’s your decision

I’m surprised though that they give relaxers that young

Just know that relaxing doesn’t stop maintenance. It needs even more now bc the hair is in a more fragile state and the bonds are broken.

Some were confused why the mother decided to perm the girl’s hair, only to follow up by styling it in braids.

She didn’t have to relax her hair for that style …. I thought she was trying to give her some finger waves or summ

She put a relaxer in and rubber bands

Relaxed it to just put braids in

The Girl’s Mother Responds To TikTok Users

The 23-year-old mother took the time to respond to some comments. And defended her decision to perm her three-year-old daughter’s hair. She replied to one comment saying that is 23 years old with a “head full of RELAXED hair.” And another, saying that her decision was a “last resort.”

this was last resort type stuff honestly, it’s not damaging if you going to the right person and know how to maintain it

She also followed up with a few videos making light of the situation.

@flambingo

#fyp

♬ original sound – Brent Afortunado?

@flambingo

Replying to @bexxyfaces ??

♬ Haircut – Gmac Cash

Then continued to defend her decision.

@flambingo

yall can literally shove yall opinions, where the sun dont shine. #fypシ #relaxers #naturalhair #relaxersareback #getoverit #imnotexplainingshit

♬ original sound – flambingo

The 23-year-old’s mother also shared a TikTok, defending her daughter’s decision.

@talisahousley3135

Check the comments on flambingo page. I go hard for mine ALWAYS FWM

♬ original sound – Talisa Lashun Housle

Roommates, what do you think of the mother and grandmother’s decision?



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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.

VIDEO: Shanquella Robinson’s Father Describes Heartbreaking Moment He Saw His Daughter’s Injuries For The First Time At Her Funeral






Video: Shanquella Robinson’s Father Describes Seeing Her Injuries
























Nearly two months removed from Shanquella Robinson‘s death, her grieving father Bernard Robinson opened up about the devastating moment he saw his daughter’s beaten and battered body, while the friends she was traveling with blamed her death on alcohol poisoning.

Robinson said he knew the cause of Shanquella’s mysterious death wasn’t alcohol when he saw her open casket, according to the Charlotte Observer.

Shanquella Robinson’s Father Describes Heartbreaking Moment He Saw Daughter’s Beaten, Battered Body

“When I saw in that casket, and I saw the knot, (…) the cut on her lip, I know for a fact that they did some bodily harm to her,” Bernard said.

On Dec. 10, Bernard was joined by friends, family and local leaders at a justice rally for Shanquella organized by the Million Youth March of Charlotte as well as the Salisbury Teen Advisory Board.

He described the heartbreaking moment of seeing his daughter’s injured and lifeless body to the hundreds of people who gathered in support of Shanquella at Little Rock AME Zion Church in Charlotte, the outlet reports.

“All I want is justice,” the heartbroken father said at the rally last week.

An autopsy revealed that Shanquella suffered a cracked spine and a broken neck, however the coroner’s report mostly led to more questions than answers.

A viral video began making the rounds on social media, showing a woman brutally attacking Bernard’s 25-year-old daughter. She was naked and refused to fight back, despite pleas to do so from the cameraman as others cheered on.

Bernard Robinson Calls Shanquella’s Friends The “Cabo Six” As Family Still Awaits Justice In Daughter’s Death

Bernard went on to call the group of friends the “Cabo Six.”

While Mexican authorities have reportedly issued an arrest warrant in Shanquella’s case last month, no arrests have been made since her death, The Shade Room reported. On Oct. 28, Shanquella arrived in San José del Cabo. She was pronounced dead the next day.

Her father says all he wants is for authorities “to do the right thing, (and) make it right.”

“All I want is justice. I just want the Mexican authorities, the embassy, to do the right thing, make it right. Because they came over there on your soil and did what they did and came back here,” Bernard continued.

Shanquella’s Mother Blasts The FBI Over Lack Of Progress & Lack Of Information

Shanquella’s grieving mother Salamondra blasted the FBI over their lack of progress in her daughter’s murder case and the lack of information she’s been provided with as days turn into weeks following the 25-year-old’s death at a Mexican resort, The Shade Room previously reported.

Meanwhile, the family has been anxiously awaiting justice to be served.

The FBI is still investigating the case, which local authorities in Mexico have deemed a femicide.

The arrest warrant, issued for a still-unnamed American woman, has yet to bare any results as officials work to extradite her to face a Mexican court. The suspect, described as one of the friends who traveled with Shanquella, could face up to 60 years in prison.



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WATCH: Bishop Lamor Whitehead Says He’s ‘Not Guilty’ Of Recent Charges: ‘I’m A Man Of Integrity, Stature, God’






Lamor Whitehead Denies Fraud & Extortion Charges After Arrest

























Bishop Lamor Whitehead is back outside following an arrest on Monday (Dec. 19). Whitehead is facing two counts of wire fraud, one count of extortion, and one count of making false statements to the FBI.

But, on Tuesday, Bishop Whitehead took to his Instagram account to clapback at the charges in a 15-minute video. He opted for a cream suit jacket and dark brown turtleneck rather than his usual luxury print suits or large, diamond chain. He sported an iced-out watch on his right wrist and a large gold ring with a ruby on his left finger.

The church leader emphasized that an arrest doesn’t translate to guilt, which the U.S. Attorney’s Office in the Southern District of New York already established in their arrest statement.

“The bishop was arrested, and everybody is coming up with some type of opinions and advice, but imma tell y’all today that the bishop is not guilty and I’m gonna fight it,” Whitehead said. “I have the right legal team, and most importantly, I have God.”

He named his family, including his parishioners, as his support system and thanked those who offered theirs. And for people with questions regarding the charges and his arrest, he emphasized that he is innocent.

“First of all, I want to say that I’m not guilty,” Lamor said. I want to make that clear y’all. That’s why I have a smile on my face. I’m in amazing spirit, I’m great and I’m not guilty.”

Again, he resorted to thanking his wife, Asia DosReis-Whitehead, his family, and his Leaders of Tomorrow International Churches parishioners. He declared that they are familiar with who he “really is.” 

Lamor Whitehead Charged With Fraud, Extortion And Making False Statements 

Meanwhile, the D.A.’s office alleges Whitehead defrauded a former parishioner out of $90,000. Pauline Anderson filed a lawsuit against Lamor in 2021, saying he convinced her to liquidate her savings to help her buy a home but instead used her money on personal expenses.

In a separate incident, authorities say Whitehead defrauded a businessman out of $5,000 and attempted to squeeze another $500,000 from him. Additionally, the arrest statement says he lied to the FBI about having two phones during an investigation.

In their arrest statement, the D.A.’s office declared that Whitehead’s “campaign of fraud and deceit stops now.” FBI Assistant Director Michael Driscoll also spoke on Whitehead’s charges.

“As we allege today, Whitehead carried out several duplicitous schemes in order to receive funds from his victims. Additionally, when speaking with authorities, Whitehead consciously chose to mislead and lie to them. If you are willing to attempt to obtain funds through false promises or threats, the FBI will ensure that you are made to face the consequences for your actions in our criminal justice system,” Driscoll said.

Lamor Whitehead Asks For ‘An Opportunity’ To Prove His Innocence

As the video continued, Whitehead spoke about having God on his side and how no one could be against him because of it. He flashed smiles and released chuckles throughout the video as he recited Bible scriptures, explained his innocence, and urged people to let his legal team do their jobs.

He referred to his church robbery and how people speculated he was involved until police arrested two of the men who allegedly committed the crime in September.

“I want y’all to really stay focused in this season, stay firm in this season. We have to understand we have a purpose, we have a process, we have a promise. I’m living my purpose, I’m going through my process to enter my promise. And I want you guys to allow me and my family to have peace,” Whitehead said.

Lamor added that he received death threats and wishes against him and his family after the robbery and involvement speculations. However, he’s hoping for a different outcome this time as he undergoes the legal process.

“A lot of you might not like me cause you don’t understand me, but I want y’all to give me an opportunity, give me a chance so that you guys can understand who Bishop Whitehead is: a man of excellence, a man of integrity,” Whitehead said. “And if I wasn’t a man of God the enemy wouldn’t be fighting me like he is.”

Watch his complete statement below:



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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.