Christmas couldn’t feel farther away for Kelly Clarkson, who performed her own hopeful holiday song “Christmas Come Early” on Monday’s (Dec. 13) Kelly Clarkson Show.

Joined by her band Y’all, the Emmy-winning daytime talk-show host sang earnestly about needing the holiday season to come sooner and bring joy to the world when it needs it most, pleading, “Christmas, won’t you please come early this year?” in front of a makeshift white Christmas trees.

“Christmas Come Early” is featured on Clarkson’s second holiday album, When Christmas Comes Around…, which was released on Oct. 15 via Atlantic Records. The album, which features star-studded collaborations with her fellow The Voice coach Ariana Grande, Chris Stapleton and Brett Eldredge, went No. 1 on Billboard‘s Top Holiday Albums chart.

Watch her Kellyoke performance of “Christmas Come Early” below.

A mass for Vicente Fernández was televised Monday (Dec. 13) live from his Los 3 Potrillos ranch in Guadalajara featuring a beautiful tribute by his family and longtime mariachi, as well as fans chanting his songs and bidding their final goodbyes.

While colleagues and family members gathered in person to honor the life of “El Rey de la Ranchera,” others, including key industry figures, who weren’t in attendance shared what it was like working closely with Fernández and about the significance of his legacy. In an official statement given to Billboard, Pepe Garza, programming director at L.A.’s Que Buena 105.5/94.3 FM station and founder of Premios de la Radio, said: “Whenever you listen to a Vicente Fernández song, it’s going back to that time when you were happy. That, to me, is the most important thing about his repertoire and what he represented.”

The latest edition of Premios de la Radio in November featured a grand tribute to Fernández with special performances by Grupo Firme, Natalia Jiménez and Leonardo Aguilar. The vibrant set featured a medley of some of his most iconic songs such as “Por Tu Maldito Amor,” “Hermoso Cariño,” Volver Volver” and “El Rey.”

Fernández, who has blessed Latino households for generations with hits such as “La Ley del Monte,” “Mujeres Divinas” and “Amor de Los Dos” died at the age of 81 at a hospital in Guadalajara on Sunday morning due to complications following surgery for a cervical spine injury after a serious fall last August.

On the Billboard charts, “Chente” — how he was known to fans — holds the record for the most entries on Hot Latin Songs for a regional Mexican solo act, with 61 songs. He also holds the record for the most No. 1s for a regional Mexican solo act on the Regional Mexican Albums chart, with a total of 17, and the record for the most top 10s on Regional Mexican Albums, with a total of 49.

Mexican songwriter Martín Urieta — also president of the consejo directivo at Sociedad de Autores y Compositores de México — who wrote more than 20 songs for Fernández, including the ranchera anthem “Acá Entre Nos,” posted a heartfelt tribute to remember his colleague and friend.

“Friends, we are dismayed about the passing of our adored Vicente Fernández,” Urieta said in a video. “The last giant of ranchera interpreters. As of now, he is now part of the angelical chorus that sings to God.”

Below, see how Garza, Huppe and other industry leaders remember Fernández:

“It has been a true honor to work with you all these years. Thank you for everything, my beloved Chente! We will continue to enjoy your divine art, but we’re already missing you. Sending a big hug to your beautiful family that we love so much. Rest in peace.” — Afo Verde, chairman and CEO for Sony Music Latin Iberia

“With heavy hearts, we bid adiós to Regional Mexican legend and cultural icon Vicente ‘Chente’ Fernández. For more than 60 years, the singer, producer and actor brought the musical traditions of his beloved country to audiences worldwide through his amazing performances and his gifted voice, which featured impressive operatic power and range. Known as ‘El Rey de la Música Ranchera,’ Fernández, whose discography comprises more than 100 albums, won multiple Latin GRAMMYs and GRAMMYs throughout his career. In 2002, he was recognized as the Latin Recording Academy Person of the Year. ​ A man of hard work, Fernández was true to his word. Even after formally retiring in 2016, he continued performing and making music. In a 2002 interview with The Latin Recording Academy, when asked if he would ever retire, he proudly declared that ‘as long as my physical voice and faculties are intact, I’ll be there.’ And so, in 2019, he took the stage at the 20th Annual Latin GRAMMY Awards for an unforgettable first-time-ever performance with his son, Alejandro Fernández, and grandson, Alex​ Fernández. Making music to the very end, he released what would be his final album, ‘A Mis 80’s,’ which just won a Latin GRAMMY under the category Best Ranchero/Mariachi Album and is currently nominated for the 64th GRAMMY Awards under the category of Best Regional Mexican Music Album (Including Tejano).  At The Latin Recording Academy and the Recording Academy, we celebrate the life and career of Don Vicente Fernández and pay homage to his legacy. We offer our gratitude for his vast contributions to Latin music and our deepest condolences to his family, friends, and fans.” — Manuel Abud, ​CEO The Latin Recording Academy and Harvey Mason jr. CEO, Recording Academy

“The last giant of ranchera interpreters. As of now, he is now part of the angelical chorus that sings to God. Rest in peace and our condolences to all his family.” — Martín Urueta, Mexican songwriter & consejo directivo at Sociedad de Autores y Compositores de México (SACM). 

Así despide el maestro Martín Urieta, presidente del Consejo Directivo de la SACM, a Vicente Fernández, “último gigante de los intérpretes de la canción ranchera”. Descanse en Paz 🕊 pic.twitter.com/pEZSawufT1

— SACM México (@SACM_Oficial) December 12, 2021

“Our Mexican brothers and his followers around the world mourn his goodbye. It is a very deep loss for the entertainment world, as he is an idol and icon of Mexican ranchera music. At times like this, we make a call for artists who have been in the industry for years or who are about to start, remember his legacy to keep alive and give future to traditional genres and topics like his,” — Mauricio Mendoza, Head of Content and Industry Relations, Deezer 

“The hearts of the music industry are heavy today with the passing of a true icon, legendary performer and recording artist Vicente Fernández. He was a force for joy, inviting the world into the rich history of traditional Mexican sounds. His commanding presence helped broaden a genre of music that will thrive for generations to come.” — Michael Huppe, president & CEO, SoundExchange

“Vicente Fernández has a significant importance for the pueblo, for the people of Mexico and even for many others throughout Latin America. Mexicans have a very recent past or fond memories of life on a ranch. Our grandparents or great grandparents lived in rural communities and Vicente’s music transports us to those moments, those memories, to our parents and grandparents, and that’s the most important thing we have, especially if you’re a Mexican living in the United States. Whenever you listen to a Vicente Fernández song, it’s going back to that time when you were happy. That, to me, is the most important thing about his repertoire and what he represented. As a musician, as a singer and someone who had great success with all his albums, he had the virtue of having a great team that was there to suggest a catalog of songs that is very valuable. Songs that will forever live in our hearts.” — Pepe Garza, programming director at L.A.’s Que Buena 105.5/94.3 FM station and founder of Premios de la Radio

“His immense voice will always have the key to Mexico’s spirit. The radiant ‘Charro de Huentitán will shine in our hearts. Rest in peace. We’ll miss you. Sending a hug hug to his family, friends and his fans. We will never stop applauding.” — Roberto Cantoral Z., general director at Sociedad de Autores y Compositores de México (SACM).

“Don Vicente Fernández, the greatest among greats. You left us and we’ll remember you forever with great fondness and admiration. Thank you for becoming the great artist that would sing in Mexico and around the world as no one had done before. You loved your country and your fans like no one else had. A great friend, companion, and colleague of other artists. You are a legend that was able to have a goodbye concert where you always wanted, at the Estadio Azteca in Mexico City, that was free so all your pueblo could be with you one last time. You were always grateful, giving your all to your fans and you corresponded with them with the same support they always gave you throughout your career. Querido Vicente, we will remember you forever with lots of love, admiration, and respect. Thank you for so much, my beloved Chente.” — Roberto Lopez, president of Sony Mexico

The Mnet Asian Music Awards have come and gone for another year, and while one of the most prestigious music award shows in South Korea is always chock-full of exciting performances and plenty of idol worship, this latest event felt truly special. After the 2020 ceremony featured no live audience at all, it was obvious to all involved that the 2021 staging had to be bigger and more fantastic than ever… and thankfully, the show was everything it should have been.

BTS wrapped the evening as the biggest winners, as they claimed all four Daesangs — artist of the year, worldwide icon of the year, song of the year (for “Butter”) and album of the year (for Be) — as well as just as may other prizes, bringing their total claim to eight awards. IU came in second place with three trophies, while both Twice and Aespa ended up with a pair of honors.

More than 20 performances from many of the brightest stars in the South Korean music industry (and Ed Sheeran) made the four-and-a-half hour-long ceremony exciting and kept it moving. These segments ended up filling much more airtime than people actually accepting awards, and that made it a thrilling viewing for fans all around the world.

These were the eight best moments from the 2021 MAMAs.

The Opening Number: ‘Bloom the Sound’

Producers ensured the program kicked off with a bang thanks to the opening number, “Bloom The Sound,” a stop-and-start demonstration that highlighted the talents of some of the most beloved members of chart-topping bands. Featuring performers from Enhypen, Aespa, Stray Kids, Ateez, Itzy and Tomorrow X Together, the bit was intense and impossible to look away from, and those in the crowd loved it when the lights came on and they all got to see which idol was on stage.

The Animation!

Throughout the dozen-plus musical performances scattered throughout the night, a number of groups employed a neat visual trick which allowed computer animation to weave seamlessly into their show. Aespa was preceded on stage by a terrifying and considerably real-looking black mamba, while Jannabi used it to make the entire stadium twinkle like it was filled with fireflies. The special effect was well-executed, and it made the entire ceremony feel magical.

Brave Girls’ Teary Acceptance Speech

After a recording hiatus of several years, Brave Girls mounted a surprising and massive comeback in 2020 and 2021, and they were once again invited to the MAMAs. After making their singles “Chi Mat Ba Ram” and “Rollin’” feel Christmas-y (but somehow still summer-ready), the group finally won a trophy, a decade after they were first nominated. While accepting the KTO breakout artist award, the members were emotional, with one even crying during her time on stage.

Street Fighter Woman‘s Incredible Moves

In a night filled with excellent dancing and incredible choreography, nobody had the moves quite like the contestants from Mnet’s own dance survival program Street Woman Fighter. The talented artists hit the notes harder and pushed their bodies further than anyone else, and that’s saying a lot, because so many of the groups who took to the stage nailed it in this department.

Aespa’s MAMAs Debut

2021 was a breakout year for Aespa, and they made their presence at the latest MAMAs known. Nominated for five awards, the quartet’s Karina took part in the opening number, and that was to be just the beginning. They went on to snag a pair of prizes, with the audience going wild any time their name was called. Toward the end of the ceremony, the four women took to the main stage to perform their global smashes “Next Level” and “Savage,” and the production did not disappoint. From the inclusion of their own avatars to the sometimes-scary special effects to their general kick-ass attitude, it’s clear that in their first year at the show as a band, Aespa had finally arrived.

Wanna One’s Comeback

Two years ago, the members of Wanna One all went their separate ways, with the group disbanding after a short but highly successful run of EPs and albums. Ahead of the 2021 MAMAs, it was announced that most of the original performers from the band were to reunite for a one-off performance of some of their biggest hits, and immediately their showing became one of the most highly-anticipated segments of the evening. For a while, there were worries that this might not happen due to some COVID-19 fears, but all ended up going well, and the boy band nailed it.

Wanna One proved that while they may be returning to their solo ventures after this one show, they still rank as one of the best groups of the past several years.

NCT Dream’s Hot-Hot-Hot Show

Three of the NCT-branded groups performed at the 2021 MAMAs, and while both NCT 127 and NCT U put on an excellent show, NCT Dream’s “Hot Sauce” featured one of the most elaborate and expensive stages of the night. The boy band started, appropriately, with “Hello Future” before jumping into “Hot Sauce,” and the group made sure everything from their moves to the set design matched the tune. After singing inside a giant bottle of hot sauce, with flame-themed outfits and embers appearing on screen thanks to some clever animation, the members emerged from said structure and continued the show to thunderous applause.

Itzy Mixes Violence With Sex Appeal

One of the longest performances of the night, Itzy’s segment included a staged intro, Squid Game star Heo Sung-tae, violence, sex appeal and seemingly everything in between. The girl group topped off an incredible year by showcasing their hit singles “Loco” and “In the Morning,” and their performance saw them don black leather outfits while their backup dancers wore cat masks, swung on stripper poles and even staged shooting and killing a man in front of everyone. The theatrical performance was next-level, and it proved that Itzy is doing it like so few in the business.

Steven Spielberg’s critically acclaimed West Side Story sang off-key in its domestic debut with a subdued $10.5 million from 2,800 theaters, but the closing song has yet to be written regarding the musical’s box office fate.

Heading into the weekend, 20th Century and Disney had hoped the big-budget event pic — which hits the big screen 64 years after the iconic Broadway stage and 60 years after the first movie adaptation — would clear at least $13 million domestically. Some tracking services had first-weekend estimates as high as $15 million more.

The good news: West Side Story was able to claim the No. 1 spot on the weekend chart ahead of Disney Animation holdover Encanto.

Overseas, West Side Story debuted to an even more disappointing $4.4 million from 37 material markets for a global start of $14.9 million, well behind the $25 million Disney was predicting.

While there are many major markets yet to open, including South Korea and China, the film so far isn’t resonating in Latin America or Asia, according to box office analysts. That puts pressure on Europe, where the omicron variant is slowing down the box office recovery in certain key markets such as Germany, where West Side Story debuted to a paltry $300,000. Outside of the U.S., the U.K. led with $1.7 million.

Musicals face a huge challenge in the pandemic era, since they rely on older adults, and particularly older females. Yet moviegoers over the age of 35 are the most leery in terms of returning to theaters. According to PostTrak, the largest quadrant of the West Side Story audience was ticket buyers over the age of 55 (26 percent), while more than half of the audience was over the age of 35. The film performed best in big cities.

The hope now is that stellar reviews — the film boasts a 94 percent score on Rotten Tomatoes — and glowing audience reviews, including an A CinemaScore, will help West Side Story build momentum throughout the year-end holidays and Oscar season. If not, Spielberg’s movie, which cost upwards of $90 million to make before marketing, could be facing major losses.

In late December 2017, musical The Greatest Showman, starring Hugh Jackman, was written off as a dud when opening to $8.8 million. The movie, however, quickly turned into a sleeper hit before topping out at $174 million domestically and $437 million globally.

In terms of recent musicals, West Side Story opened ahead of Dear Evan Hansen ($7.4 million) but slightly behind In the Heights ($11.5 million).

West Side Story was a huge draw in Imax and premium format screens, which turned in 33 percent of the gross.

Directed by Spielberg from a script by Tony Kushner, West Side Story was originally set to open in 2020. The film stars Ansel Elgort and newcomer Rachel Zegler as star-crossed lovers Tony and Maria. Ariana DeBose, David Alvarez, Mike Faist and Rita Moreno — the first Latina to win an Oscar for her role as Anita in the 1961 film — also star in Spielberg’s film, which was a passion project for the filmmaker and is his first musical.

The weekend’s other new nationwide release, the college football drama National Champions, got sacked. The film, directed by Ric Roman Waugh, grossed $120,000 from 1,197 theaters on Friday for an estimated weekend opening of $300,000. STX, which is handling the film, is counting on a robust premium VOD run in January tied to the real-life national championship game.

Among holdovers, Encanto placed No. 2 with $9.4 million from 3,750 theaters for a domestic total of $71.3 million. Overseas, it took in $13.6 million from 47 markets for a foreign tally of $80.5 million and $151.8 million worldwide.

Sony’s family friendly Ghostbusters: Afterlife placed No. 3 in North America with $7.1 million from 7,815 locations to finish Sunday with a domestic cume of $112 million and $169.7 million globally.

MGM and United Artists’ House of Gucci — one of the few adult-skewing movies to prosper in COVID-19 times — earned another $4.1 million from 3,407 theaters to place No. 4 in its third outing for a domestic tally of $41 million. Overseas, it is also impressing, grossing another $10.1 million from 63 markets for a foreign total $52 million and $93 million worldwide.

As it prepares to clear the $400 million mark worldwide, Disney and Marvel’s Eternals rounded out the top five with $3.1 million for a domestic cume of $161.2 million and $395.3 million globally.

At the specialty box office, A24 opened Red Rocket in six locations, reporting a per location average of $16,158.

Among holdovers, MGM and United Artists’ Licorice Pizza continued to post impressive per screen averages in its third weekend, earning $176,349 from four locations in New York and Los Angeles for a theater average of $44,088, which is well above the norm in the pandemic era.

Focus Features’ Belfast, another awards hopeful, expanded into a total of 819 theaters for a cume through Sunday of $6.5 million.

This article originally appeared on The Hollywood Reporter.