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Drummer Dino Danelli, Co-Founder of the Rascals, Steven Van Zandt Band Member, Dies at 78

Drummer Dino Danelli, an original member of 1960s New Jersey rock group The Rascals has died at 78. His death was confirmed by Rascals archivist and friend Joe Russo on Danelli’s Facebook page, where Russo wrote, “To know Dino, you must understand that art was his life. Art, music and film consumed his mind and his heart. He was an insomniac, sometimes staying awake for days, because he was always writing, reading, painting, drawing, watching films. He was beyond private and for someone who many consider one of the greatest drummers of all time, humble to a fault.”

Russo said the drummer who manned the kit for the Rascals from 1965-1971 — and also performed with E Street Band member and solo rocker “Little” Steven Van Zandt’s Disciples of Soul from 1982-1984 — was the “most private person I knew.” While he did not disclose a cause of death, Russo wrote that Danelli was “acutely disappointed” about the “abrupt” conclusion of the Rascals’ 2013 “Once Upon a Dream” reunion tour and he noted that after it fell apart the timekeeper was “almost obsessed” with trying to find a way to “keep the ball rolling” as his health began to decline.

“When this project attempt failed, it seemed Dino’s intense artistic spirit began to drift away,” Russo wrote of the musician who was born in Jersey City on July 23, 1944 and formed the Young Rascals with singer Eddie Brigati, keyboardist Felix Cavaliere and guitarist Gene Cornish in 1964.

“Around this time in 2017, I noticed subtle changes in his movements and ability to walk steady. One day, he asked me to pick him up from a doctor’s visit. We returned to his apartment where he began indicating to me certain wishes he would like honored after his passing,” Russo continued. “It wasn’t alarming for a man his age to do so, but it seemed unusually sudden and out of left field.”

With his musical ventures drying up, Russo said Danelli’s desire and ability “to do the creative things he loved suddenly began dissipating. He stopped being ‘Dino.’ Almost overnight it seemed, a huge aspect of the the tremendous personality I knew since I was a teenager virtually began to vanish.” Russo said Danelli ended up in a hospital and then checked out in Dec. 2019, only to return in early 2022 to a rehab center where his condition quickly deteriorated.

“He’d spend every day there until his passing,” Russo explained. “His primary challenges were coronary artery disease and congestive heart failure, but there were many others. He had already required an angioplasty over a decade earlier.” (Read the full Facebook post here.)

Driven by Danelli’s swinging, high-energy drum sound, the Young Rascals (as they were originally known) scored nine Billboard Hot 100 singles, including their signature No. 1 1966 recording of Rudy Clark and Arthur Resnick’s “Good Lovin’,” as well as the 1967 No. 1 “Groovin’,” and 1968’s chart-topping civil rights anthem “People Got to Be Free,” written by Brigati and Cavaliere in the wake of the murders of Martin Luther King Jr. and Robert F. Kennedy. The band — who shortened their name to just The Rascals in 1968 as they moved away from their more eclectic garage soul vibe to a more psychedelic sound — was inducted into the Rock and Roll Hall of Fame in 1997.

After the departure of Brigati and Cornish in the early 1970s, Danelli and Cavaliere carried on and released two more albums to diminishing returns before breaking up in 1971. Danelli formed the group Bulldog with Cornish that year and the duo released a pair of albums before breaking up three years later. Danelli then bounced around, playing with Mountain’s Leslie West and the short-lived power pop act Fotomaker before joining Van Zandt’s band in the early 1980s and playing on the groups first two records, 1982’s Men Without Women and 1984’s Voice of America.

The Rascals reformed in 1988 briefly, with all four original members on hand for their Rock Hall induction in 1997 and then again for a run of shows entitled “One Upon a Dream” in 2012-2013 — which was co-produced and co-written by Van Zandt — before taking that show on the road for a North American run. In a Facebook message, Cornish wrote, “It is with a broken heart that I must tell you of the passing of Dino Danelli. He was my brother and the greatest drummer I’ve ever seen. I am devastated at this moment. Rest In Peace Dino I love you brother.”

Van Zandt also paid tribute, tweeting, “RIP Dino Danelli. One of the greatest drummers of all time. Rascals 1965-1971. Disciples Of Soul 1982-1984. On Broadway at the Richard Rodgers Theater in Once Upon A Dream 2013.” While heartbroken over the inability to carry one with the Rascals, Russo said Danelli continued to work with him on video, art and photography projects as well as writing, recording and producing “entire albums worth of songs together” that have not been released.

“He was the epitome of ‘cool’ and never ceased to impress me with his seemingly endless reservoir of ideas and approaches,” Russo said of his friend and collaborator. “The word ‘artist’ is so commonly used to describe even the slightest level of self expression, but let me assure you Dino Danelli possessed a mindset, a creative philosophy and a set of skills as profound as any of the great artists you’ve ever read about.”

Watch the Young Rascals performing “Good Lovin’” on the Ed Sullivan Show in 1966 below.

How Abbey Road Studios Documentary ‘If These Walls Could Sing’ Came Together

There are few more sacred spaces in the music world than the recording studio, and fewer still that evoke the kind of emotional reaction that Abbey Road Studios in London does. Inextricably linked with The Beatles, the studios have been the recording home for the likes of Pink Floyd, Aretha Franklin, Buddy Holly, Radiohead, Frank Ocean and Adele and has been one of the most storied places in music history since its inception in 1931.

Now, 90 years after Abbey Road first opened, Universal Music Group’s Mercury Studios is releasing If These Walls Could Sing, out today (Dec. 16) on Disney+. Directed by Paul McCartney’s daughter Mary McCartney, the documentary is a love letter to the studio that helped birth one of the greatest albums of all time and nurtured one of the most significant acts in music history. The release of the documentary helps earn Mercury CEO and co-president Alice Webb the title of Billboard’s Executive of the Week.

Here, Webb discusses the making of the film, her three-year tenure atop the UMG-owned studio and the evolution and explosion of music documentaries over the past several years, with artists seemingly releasing a companion documentary to each major new album. “Much has changed in how fans consume content over the past few years that has enabled us to elevate the medium of music documentaries,” she says. “I think there is a diversity in the documentaries being made more now than ever before — from issues-led projects to ones that are easily consumable but offer great insight and information.”

This week, Mercury Studios released If These Walls Could Sing, the Abbey Road Studios documentary directed by Mary McCartney. What key decision did you make to help see this come to fruition?

Every decision starts with the story, and with this one we had a hefty responsibility to do it justice. Recruiting Mary McCartney, who is the heart of this film, was an incredibly easy decision to make given her unique perspective having grown up at Abbey Road. She is an amazing talent and as this was her feature directorial debut, our job was to build the best team to support her vision and the story of this magical place. If These Walls Could Sing is the result of a myriad of considered decisions — every film is a carefully crafted work of art and there’s no cookie cutter approach to breathing life into it. In the end, I think the key consideration is, are we doing right by the story, the artists and the fans around the world?

How did this project come together?

This was a story that had to be told and a project that had been gestating for several years, in several different incarnations, before I became involved. So, it was about putting the pieces together in the right way. My co-president, Marc Robinson, along with John Battsek and Ventureland, were key to building the foundation, along with Mary at the helm. When all of those elements came together, we felt confident to greenlight the feature.

What makes this topic in particular so important, both in general and for Mercury?

Abbey Road Studios is like nowhere else on earth. The walls rattle with stories; the magic of what was created within the studios still lingers all these years later. This year marked the 90th year of Abbey Road Studios. Looking back at the roster of artists including The Beatles, Celeste, Depeche Mode, along with scores such as Star Wars, was incredibly special; the music that was made there still connects with fans everywhere.

Part of the promise of the studios is the unconditional freedom provided to artists to find their sound — to be their unvarnished authentic selves. Doing justice to the artists, technicians and producers who’ve accomplished their best work at Abbey Road Studios is both an honor and a pressure that we felt keenly. With Mary’s vision and judging by the overwhelming support from luminaries such as Paul McCartney, Elton John, Roger Waters, Ringo Starr and others who attended the premiere this week, I think we may have pulled it off.

This film is being released with Disney+. How do you choose which distributor to go with, and which films see a theatrical release vs. a streaming one?

Your films are a bit like your children. Heaven knows some of them take as long to create as children do growing up. For that reason, you want these projects to go to the best home, which is why we couldn’t be prouder to have Disney+ as our partner for If These Walls Could Sing. In our experience Disney+ cares about artists, creators and storytelling — which is very much in line with everything we do at Mercury. And of course Disney+ has a massive global footprint. As soon as they knew we were making the film, they wanted it. They made it clear it mattered to them, just as it matters to us. That’s a persuasive combination, which as a filmmaker is what you hope to find in your distributor: someone who is as passionate about your film as you are and who will treat it like they made it themselves.

You’ve been running Mercury for three years now. Which projects have stood out for you that you’ve worked on during that time?

If These Walls Could Sing is an obvious highlight for the reasons I’ve already mentioned, but so is My Life As A Rolling Stone, the premium limited series we produced this year. It was an intimate, first-hand account of life as a Rolling Stone by Mick, Keith, Charlie and Ronnie and was special to me because I don’t think anyone thought there was anything left to say about these titans of music. But we knew different, and our faith was rewarded with four captivating films that were enjoyed by audiences in 96 countries. At the other end of the spectrum, I’m extremely proud of Mars, the short film we made with Yungblud. It’s about the life of Charlie, a transgender teenager growing up in the north of England. Not only was it a heartwarming film about self-acceptance and youth, but we made sure the story was told — on and off screen — by people whose lived experiences were LGBTQI+. We were dedicated to and deliberate about authenticity and although there were challenges, I wouldn’t change anything. Mercury Studios is driven by our values, and we’re proud to wear them on our sleeves, in the stories we tell and the way we make our films.

There seems to have been an explosion in artist documentaries in recent years, often produced by and in conjunction with the artists themselves. How has the music doc world changed during your career?

I think the fact that music documentaries have always been special is a reflection of the timelessness of music stories. Some of the best directors of our lifetime have committed their passions to this medium. Documentaries have always been a popular format to tell stories; there’s a rich history of storytelling from VH1s Behind the Music to our own series, Classic Albums, and so much more. Much has changed in how fans consume content over the past few years that has enabled us to elevate the medium of music documentaries. I think there is a diversity in the documentaries being made more now than ever before — from issues-led projects to ones that are easily consumable but offer great insight and information.

Great examples are our recent film, Shania: Not Just a Girl on Netflix and Interscope Films’ Selena Gomez: My Mind & Me on Apple+. There’s a level of honesty and authenticity in music documentaries that resonates with audiences. We’ve also been able to indulge in huge feasts of musical testimony with the likes of Amy, The Defiant Ones, Get Back, Moonage Daydream, in recent times. I’m excited to see how documentary projects continue to evolve.

What are your dream music projects with Mercury?

It’s endless. Mercury Studios’ core has very much been unscripted productions, but that’s starting to change. We’ve just announced our scripted co-production with Steven Knight (Peaky Blinders, SAS: Rogue Heroes) and Kudos (Broadchurch, Utopia, Spooks) which will bring This Town to our screens in 2024, and you can expect to see more scripted projects from us soon. Just as you can expect to see more premium audio projects, like our recent Audible limited series Crush Hour. It’s jam packed with characters, story, original new music, and is guaranteed to put a smile on your face. I’d say that’s definitely a dream project.

Taylor Swift’s Eras Tour on Track to Sell $590M in Tickets. Here’s Where That Money Goes 

When Taylor Swift sells the remaining 170,000 tickets for her 52-date Eras tour later this month, the U.S. trek will have generated $591 million in sales, Billboard estimates. The average ticket price is $215, according to concert business sources.

This total will make Swift the highest-grossing female touring artist of all time, according to the Billboard Boxscore chart, topping current title holder Madonna whose Sticky & Sweet Tour (of 2008 and 2009) currently holds the No. 1 slot with a gross of $407 million. Swift’s U.S. tour will also put her in fourth place on the all-time Top Tours chart, which is currently led by Ed Sheeran, whose 2017-2019 Divide shows grossed a total of $776.2 million.

Normally with a tour of this scale, artists share some revenue with a promoter and an agent. In this case, Swift will presumably keep a higher share of revenue, because she’s not represented by one of the major booking agencies and because independent promoter Louis Messina is booking the entire tour and providing some of the services an agency normally would.

Other companies involved in the tour won’t do as well as they normally do, either. Ticketmaster and SeatGeek, which handled sales for the tour, normally allow ticket buyers to sell tickets on their secondary markets and take a percentage of that revenue. (Ticketmaster handled sales for 47 shows, while SeatGeek sold seats for the remaining five.) But Swift would not allow the companies who handled primary ticket sales to also sell secondary market tickets. As well, Swift asked Ticketmaster to help make sure tickets went to fans, rather than scalpers, and the company says it used its Verified Fan technology to reduce the number of tickets on resale sites by 75%.

That’s an expensive decision. Ticketmaster makes a much higher margin on resale tickets than primary tickets, since it keeps all of the fees it charges — typically 10% of the sale price for the seller and another 20% for the buyer. The company still charges a 25% service fee for all primary ticket sales. However, it only keeps a small percentage of that money, $3.50 to $5 per ticket, which for this tour will come out to about $7.6 million to $10.8 million. The rest of the fees normally go to venues and promoters. (Ticketmaster, like most ticketing companies, also charges 2.75% for credit card processing, of which it keeps about 10% and pays the rest to credit card companies. The Eras tour generated approximately $13.8 million in these fees, Billboard estimates.) All told, by the time Ticketmaster sells the remaining 170,000 tickets, the company’s total revenue will add up to between $9 million and $12.9 million.

Ticketmaster’s efforts to fight scalpers means that relatively few tickets wound up on the secondary market – but the ones that did are expensive. A month after the presale, on Dec. 14, the average resale ticket price was $1,425, according to TiqIQ, which tracks secondary ticket sales across multiple marketplaces.

TiqIQ estimates that about 1,100 resale tickets are available per show, out of an average of about 50,000. At an average price of $1,425, that would work out to about $1.6 million worth of tickets per show on the secondary market. Assuming that Ticketmaster would have captured about 15%–20% of those purchases, based on 2018 estimates by the United States Government Accountability Office, that means that the company could have brought in an additional $12.5 million to $16.4 million in revenue, of which Ticketmaster would have kept $3.8 million to $5 million in fees, if Swift had allowed the company to sell tickets on its own secondary market.

SeatGeek, which has a 12% share of the secondary market according to its April earnings report, agreed to turn off resale for the five shows it ticketed on the tour, but not the 47 shows sold by Ticketmaster. (Ticketmaster blocked secondary sales for the SeatGeek shows.) That means SeatGeek could make about $9 million from the Ticketmaster shows it lists on its secondary market, although it missed out on about $960,000 in revenue for not allowing secondary sales on the five shows for which it initially sold tickets.

Working with Swift has benefits beyond the financial, of course. In addition to the prestige of working with an artist of that stature — and enduring the embarrassment of the flubs around the Nov. 15 presale — Ticketmaster will presumably see an increase in app downloads and usage of its digital ticket platform, which has been a priority for the company.

Kelly Clarkson Promises She’ll Be ‘Home’ for the Holidays With Christmastime Classic: Watch

Kelly Clarkson spread holiday nostalgia on Friday’s episode (Dec. 16) of The Kelly Clarkson Show with her cover of “I’ll Be Home For Christmas.”

Forgoing the song’s intro, the talk show host launched right into its famous first verse, singing, “I’ll be home for Christmas/ You can count on me/ Please have snow and mistletoe/ And presents under the tree/ Christmas Eve will find me/ Where the love light gleams/ I’ll be home for Christmas/ If only in my dreams.”

Clarkson previously recorded the track, which was made famous in 1943 by Bing Crosby to honor soldiers overseas during the holidays, for her 2013 Christmas album Wrapped in Red. Since then, she’s also released a couple more holiday one-offs like 2017’s “Christmas Eve” and the 2020 duet “Under the Mistletoe” with Brett Eldredge before unveiling her second yuletide record, When Christmas Comes Around…, in Oct. 2021.

The superstar has filled the week of “Kellyoke” picks with her original Christmas songs as well, including “Merry Christmas (To the One I Used to Know),” “Christmas Isn’t Canceled (Just You)” and a solo version of “Santa Can’t You Hear Me” sans collaborator Ariana Grande. Jewel also stopped by at the top of the week to perform a jazzy “Have Yourself a Merry Little Christmas” when the host was filming from home due to COVID.

Next year, Clarkson will return for her ninth season on The Voice after taking this past season off, opposite Blake Shelton and incoming coaches Niall Horan and Chance the Rapper.

Watch Clarkson perform “I’ll Be Home For Christmas” below.

TINI, Becky G and More Latin Music Stars You Didn’t Know Were Soccer WAGs

Soccer and music have always meshed well. Some of Latin music’s biggest artists, such as Maluma, Carlos Vives, Melendi, and Fito Paéz have proven to be passionate fútbol aficionados and vice versa. Soccer stars such as José Manuel Pinto (former goalkeeper for Barcelona FC) and Jese “Jey M” Rodriguez (former striker for Real Madrid), for instance, have not shied away from kicking off music careers. The former has collaborated with CNCO and Lali; The latter has a remix with Alexis & Fido, De La Ghetto, and Alex Rose.

Soccer and music are also a match made in heaven when it comes to romance. The best example is soccer superstar David Beckham and former Spice Girl Victoria Beckham, whose dreamy love story began 25 years ago, and who have since welcomed four children: Brooklyn, Romeo, Cruz, and Harper.

Another popular soccer-and-music power couple was Shakira and Gerard Piqué, who met during the 2010 World Cup and share two children, Sasha and Milan. Unfortunately, after a 12-year relationship, the Colombian artist and Barcelona defender announced their split in June this year.  “We regret to confirm that we are separating,” the two said in a joint statement released by Shakira’s public relations firm. “For the well-being of our children, who are our highest priority, we ask that you respect our privacy. Thank you for your understanding.”

There have been several famous soccer WAGS (the term given to the wives and girlfriends of athletes) from the Latin pop world over the years. Below, check out some past and present real-life couples who blended the two worlds.

TOMORROW X TOGETHER’s New EP ‘The Name Chapter: Temptation’ Finally Has a Release Date

TOMORROW X TOGETHER‘s EP officially has a release date and a longer title to match. After teasing the mini album in a surreal concept trailer on Dec. 2, the K-pop group — which consists of members Yeonjun, Soobin, Beomgyu, Taehyun and Hueningkai — revealed on Friday (Dec. 16) when The Name Chapter will be released through a handy schedule of events.

The project, officially titled The Name Chapter: Temptation, will be released on Jan. 27. Leading up to the mini album’s arrival, several concept teasers will be rolled out in early January. The album’s tracklist and official poster will be dropped on Jan. 19, while the album preview will arrive on Jan. 22. Two teasers for the project’s lead single will be shared on Jan. 24-25. Following the album’s release, the K-pop group will perform a special showcase on Jan. 28.

The Name Chapter: Temptation will be the first music release the quintet has released since the arrival of its fourth mini EP, minisode 2: Thursday’s Child. That project was a hit for the K-pop stars. It spent a total of 14 weeks on the all-genre Billboard 200 chart, where it peaked at No. 4. The project achieved even more success on the Top Current Album Sales chart, where it spent 20 weeks on the tally and hit No. 1.

Speaking about Thursday’s Child in a May interview with Billboard, Soobin looked ahead to the future. “As we have more years and even more albums under our belts, we’re getting better outcomes and better numbers,” he said. “We have [also] tried many genres in music. As we work on more and more albums, [I feel like] we don’t have any limits. We’ve taken this musical journey step by step.” 

See the full schedule of event for TXT’s The Name Chapter: Temptation below.

From Rosalía & Cardi B to The Weeknd, What’s Your Favorite New Music Release of the Week? Vote!

We’re officially less than 10 days from Christmas, and new music remains the gift that keeps on giving. This week, everyone from Rosalía and Cardi B to The Weeknd dropped new songs, and we want to know which release you love the most.

The Weeknd unveiled “Nothing Is Lost (You Give Me Strength)” just in time for the premiere of Avatar: The Way of Water. The grandiose ballad, which plays over the end credits of the long-awaited alien sequel from James Cameron, was produced by Swedish House Mafia and takes a sonic cue from Gerard McCann’s “Cry Little Sister” from the 1987 cult classic The Lost Boys as The Weeknd sings, “I thought I could protect you from paying for my sins/ And I been walking this earth long enough that that’s a gift.”

Rosalía reinvents her MOTOMAMI smash “DESPECHÁ” by enlisting none other than Cardi B on the official remix. Cardi jumps into the groove headfirst, taking over both of the song’s verses and the cooing, dual language refrain of “Baby, please don’t call me/ Why you on my line? ‘Cause I got a new body?/ I have decided que voy pa’ la calle/ With all my motomamis y no hay quién me pare.

As far as new albums go, Little Simz followed up her 2021 breakthrough Sometimes I Might Be an Introvert with her fifth studio album NO THANK YOU. Meanwhile, Juice WRLD‘s latest posthumous release arrives in the form of “Face 2 Face,” rising girl group FLO builds on the momentum they’ve earned throughout 2022 with their latest single “Losing You,” and PinkPantheress finally crosses the three-minute mark with new synth-pop banger “Take Me Home.”

Vote for your favorite new release in Billboard‘s weekly poll below.

Billboard’s Greatest Pop Stars of 2022: No. 1 — Bad Bunny

For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard is counting down our staff picks for the top 10 pop stars of 2022 all this week. At No. 1, we remember the year in Bad Bunny — who made the jump from being the world’s greatest Latin pop star to simply the world’s greatest pop star.

In the summer of 2021, Billboard talked to Bad Bunny about him producing Tommy Torres’ new album, El Playlist de Anoche – his first run at producing an album outside the urbano realm. “Everything in life is a risk,” he said then. “I made this album because I wanted to do it and because it fulfilled me.” If there’s one that’s clear about the Puerto Rican chart-topping artist, it’s that any project he works on, he does it for those two reasons — which allows him to deliver genuine projects that connect with countless millions of fans across the globe.  

Billboard’s Greatest Pop Stars of 2022:
Introduction & Honorable Mentions | Rookie of the Year: Steve Lacy | Comeback of the Year: Sam Smith | No. 10: Nicki Minaj | No. 9: Future | No. 8: Jack Harlow | No. 7: Doja Cat | No. 6: Lizzo | No. 5: Drake | No. 4: Beyoncé | No. 3: Taylor Swift | No. 2: Harry Styles

Benito Antonio Ocasio Martínez, or in his own words, “Benito Martínez el más hijueputa (the biggest motherf–ker),” has proven to be a force to be reckoned with — and, in a matter of two years, has unsubtly transitioned from Latin star to global superstar, penetrating the mainstream in a way that no other Latin artist has. Just last year, Bad Bunny was No. 10 on our Greatest Pop Stars of 2021 list. This year, he’s unequivocally No. 1. 

Statistically both Billboard’s Top Artist of the Year and (for a third consecutive year) Spotify’s most streamed artist globally, El Conejo Malo been on a wild ride since he made his grand return to the stage with El Último Tour del Mundo at the top of 2022, winding his way to the spring release of his blockbuster album Un Verano Sin Ti — which catapulted Bunny to unprecedented heights, on and off the charts.  

By 2022, Bad Bunny’s success was already an anomaly. Between 2020 and 2021, he had released three consecutive Top Latin Albums-topping sets (YHLQMDLG, Las Que No Iban a Salir and El Último Tour del Mundo), had a WWE sting during a tag-team match against The Miz and John Morrison at Raymond James Stadium in Tampa, and produced that album for Torres — which landed the veteran singer-songwriter his first top 10 entry on Top Latin Albums in nearly a decade. He’d also announced an ambitious tour for 2022, which would mark his grand return to live touring since the pandemic. “POR FIN!!! ESTÁN LISTOS??? (Finally! Are you all ready?),” he captioned the announcement on social media.  

Boy, were they ready. After becoming the fastest-selling trek since 2018, with 480,000 tickets sold in less than a week, Bad Bunny finally kicked off his El Último Tour del Mundo stint in the U.S. in February, marking the start of a blockbuster year for the artist. With El Último Tour, Bunny embarked on his biggest stage tour yet, earning $116.8 million in North American arenas, according to figures reported to Billboard Boxscore. It then became the highest grossing Latin tour in Boxscore history, breaking local records in more than half of the markets where he played. (It’s worth noting that even before he began the U.S arena tour, in January, he announced an ambitious 29-date stadium tour that would kick off in the summer, following El Último Tour.) 

It made sense that he’d tour again. When Bunny revealed plans for a second trek, he also announced he was releasing a new album. The new set would be a follow up to 2020’s El Último Tour del Mundo, which earned him his first No. 1 on the Billboard 200 albums chart, marking the first all-Spanish-language album to reach No. 1 in the then-64-year history of the all-genre chart. Could Bad Bunny best his last album? Probably, given his career-long upward trending. But no one was expecting that Un Verano Sin Ti, which was released in May, would rewrite records broken not just by a Latin artist, but by any artist in general.  

Un Verano Sin Ti debuted at No. 1 on the Billboard 200 (dated May 21), earning 274,000 equivalent album units in the U.S., according to Luminate. And with 356.66 million on-demand official streams for the set’s songs in its first week, the album registered the largest streaming week ever for a Latin music album. Verano – which spent 13 nonconsecutive weeks at No. 1 on the Billboard 200 – also placed 22 songs from the set on the May 21-dated Billboard Hot 100, the most in a week for a core Latin music artist and the most in a week performed all in Spanish. 

There’s no one reason for the unprecedented success of this particular album, but there are many contributing factors. For one, Latin music market share has been on the rise for some five years now after “Despacito” opened the floodgates for a wave of Spanish-language songs to become global. And, for the first time ever, Latin music expected to reach billion dollars in revenues by year-end in the U.S., according to the RIAA. Its 23% increase is outpacing overall market growth.  

Then there’s the obvious. Bad Bunny’s Un Verano Sin Ti is packed with back-to-back hits that, sonically, all sound completely different (from dembow to mambo and alt-rock). He’s completely deviated from the traditional to innovate, pushing all popular music forward and expanding pop in a way few major artists are right now. There weren’t just one or two singles that were being pushed from Verano — rather, the entire album was being streamed on repeat. Everyone had a different answer when asked which song was their favorite from the set, because there’s a song that just about everyone can relate to – which helps explain why a stunning 11 of the tracks stuck on the Hot 100 for double-digit weeks.   

Within a few months, Verano had grown into easily the biggest non-English-language album of the century — without Bunny having to record in English or do a major non-Latin collaboration – and in early August, he expanded his multi-platform stardom with his first major film role, as an assassin in the Brad Pitt-starring action-comedy Bullet Train. But despite being intended as a summer album, UVST’s dominance carried over to Fall — thanks to Bunny’s stadium tour, which kicked off with three sold-out performances at El Choli in his beloved Puerto Rico in July.

The U.S. leg officially opened in August, with shows that began very much on brand for the album: a seagull call filled the stadium; Bad Bunny appeared sitting on a beach chair with a neverita (cooler) next to him. His UVST vision literally came to life in every show. Later that month, his Yankee Stadium performance was beamed into the VMAs, with the superstar stealing the awards show without even attending. “I always knew that I could become a huge artist without changing my culture,” he said while accepting the artist of the year award — the first Latin act to win that category. 

His second tour of 2022 doubled the gross of his prior record-breaking trek: The World’s Hottest Tour grossed $232.5 million and sold 944,000 tickets from just 21 shows in the U.S. The combination of El Ultimo Tour Del Mundo & World’s Hottest Tour landed him at the top of Billboard‘s annual Boxscore recaps. Moreover, Un Verano Sin Ti became the first non-English album to ever top the year-end Billboard 200 albums ranking, and tied Drake’s Views and Disney’s Frozen soundtrack for the most weeks at No. 1 on the chart in the last decade. In November, it also earned the first ever nomination for album of the year at the Grammys for an all-Spanish release, one of three nods Bad Bunny garnered for the 2023 ceremonies. 

Bad Bunny wasn’t the only artist who dominated this year. There were Harry Styles and Taylor Swift, too, and many other stars who had stellar years with new album releases. But while those artists had years that felt momentous, Bunny’s was truly historic — capturing the zeitgeist not just of Latin music, but for all of global pop. 

Watch Billie Eilish & Dave Grohl Honor Taylor Hawkins With a ‘My Hero’ Duet at Her L.A. Show

Warning: You may experience strong emotions once you see the surprise performances Billie Eilish treated her crowd at Los Angeles’ Kia Forum to Thursday night (Dec. 15). The 20-year-old pop star carved out time in her Happier Than Ever, The World Tour setlist to bring out Dave Grohl for a stunning tribute to his late Foo Fighters bandmate Taylor Hawkins, and later, Phoebe Bridgers for a duet of “Motion Sickness,” one of the indie rocker’s biggest tearjerkers.

Eilish first welcomed Grohl onto her stage. “I would like to invite a friend of mine,” she said, while thousands of fans cheered as the former Nirvana drummer walked on stage.

Grohl went on to share with the crowd how he, his Foo Fighters bandmates and their families gathered earlier this year to watch the Grammys, at which Eilish — who wore a Taylor Hawkins T-shirt at the ceremony — was one of the performers. “The room was filled with real tears of love and gratitude,” Grohl recalled of the night, which was just over a week after Hawkins’ shocking death. “Let’s sing it for Taylor.”

Sitting on stools with Grohl playing guitar, the two went on to duet Foo Fighters’ 1998 track “My Hero.”

Later in the show, Bridgers came out on stage, nothing but an acoustic guitar in tow. “This is so cool. I’m, like, shaking,” the L.A. native confessed. “Everybody close their eyes and I’ll be way less nervous.”

She then started strumming her 2017 breakthrough hit “Motion Sickness,” with Eilish adding soft harmonies to Bridgers’ lead vocals. When the “Everything I Wanted” singer took the lead on the song’s second verse, her crowd let out a brief cheer of wild excitement before quieting down so that everyone could properly hear the performance.

The show marked the second of three concerts Eilish has lined up at the Kia Forum this December, with the final show slated for Friday (Dec. 16). At the concert prior to Bridgers’ and Grohl’s appearances, she invited Labrinth onstage to sing “I’ve Never Felt So Alone,” a song from the Euphoria soundtrack.

Watch clips from Eilish’s duets with Grohl and Bridgers below:

BLACKPINK Takes Over the VMAs in Third ‘Born Pink Memories’ Video: Watch

BLINKs, the newest episode of BLACKPINK‘s “Born Pink Memories” has finally arrived. The Friday (Dec. 16) episode sees members Jennie, Jisoo, Lisa and Rosé preparing to make their debut at the VMAs — which took place at New Jersey’s Prudential Center in August — and sharing their excitement leading up to the show.

“We are now at the Incheon International Airport. Lisa went to check her bag for a second. Our cute plane … see its head over there? We’re headed to New York! For the VMAs!” Rosé says as she kicks off the video, appearing to be near the plane’s boarding gate.

The video then cuts to Jennie and Jisoo seated next to each other on the plane, taking turns explaining the purpose of the trip. “BLINKs, we are on a flight to the VMAs,” Jennie starts, with Jisoo adding, “It’s been a while since we’ve been to New York, so I’m very excited.”

Jennie reveals BLACKPINK’s appearance at the awards show was a big deal because “this is our first time presenting ‘Pink Venom’ on a big stage besides last week’s music show, so we’re very much looking forward to it.”

Jisoo also expresses her happiness at attending the VMAs. “It’s exciting to perform in front of a large audience after such a long time,” she shares in the cli. “We’ll make sure to have a good time on stage. I hope I won’t be crying while watching this video in the future!”

After a brief stop in NYC, the girls then head to Prudential Center to rehearse their performance for “Pink Venom.” Lisa had fun backstage showing off her VMAs talent badge before rehearsal kicked off; Jennie experienced trouble with her microphone staying in place, but was able to pull it together when it was time to hit the stage.

The video then cut to footage of the K-pop quartet attending the VMAs red carpet. Reflecting on the rehearsal experience backstage, Jisoo says, “During yesterday’s rehearsals, I got excited because it felt like we were doing a concert.”

Other highlights from the video include BLACKPINK meeting up with fans and fellow musicians Anitta and Khalid, the group’s performance of “Pink Venom” and Lisa’s win for best K-pop.

Watch the third installment of BLACKPINK Memories in the video above.