In a surprise move, the Academy of Motion Picture Arts and Sciences announced Wednesday (May 26) that it is seeking to slow the rate of growth of its new members.

“To ensure the necessary infrastructure, staff resources and environment to support all Academy members, this year’s growth in membership will be limited to roughly half that of recent years,” the Academy said in a statement. “This modification will enable steady future growth and allow the Academy to continue serving its membership in a more personal manner.”

Last year, the Academy invited 819 people to join its ranks — 45% of them women, 36% underrepresented ethnic/racial minorities, and 49% from outside the U.S., according to Academy number-crunchers.

It was the fifth consecutive year in which the Academy invited more than 600 new members to join its ranks. It invited 683 new members in 2016, 774 in 2017, 928 in 2018 (the peak year of the drive to expand its membership) and 842 in 2019. By contrast, it invited just 322 new members in 2015.

The Academy insists that “representation, inclusion and equity remain a priority.”

“As we look to the future growth and goals of the Academy, we need to scale appropriately so we can continue to give the personal service our members have come to expect and appreciate,” said Academy CEO Dawn Hudson. “We remain focused on cultivating a membership body that reflects our diverse film community and the world around us.”

Ahead of this change, the Academy’s board of governors voted on branch-specific guidelines to be applied in determining this year’s new membership invitees. Oscar winners and nominees will be considered without limitation by applicable branches.

The Academy push to expand and diversify its membership followed the #OscarsSoWhite scandals in 2015 and 2016, when, for two years running, all 20 acting nominees were white. In 2016, the Academy set specific inclusion goals (as part of its A2020 initiative) to double the number of women and underrepresented ethnic/racial communities by 2020. The Academy announced last year that it had surpassed those twin goals.

The percentage of Academy members who are women jumped from 25% in 2015 to 33% in 2020. The percentage who are from racial and ethnic minorities nearly doubled, jumping from 10% in 2015 to 19% in 2020.

The Academy reports that it is “committed to advancing its Aperture 2025 initiative, furthering goals to increase equity and inclusion in the stories told through film, elevate different voices within Academy leadership, and provide opportunities to amplify these voices across multiple sectors in the industry.”

There is evidence that the Academy’s diversity efforts have had an effect.

Nine of the 20 Oscar nominations for acting this year went to actors of color — a record.

It was a banner year for diversity in other categories as well. This year marked the first time that two women have been nominated for best director in the same year: Chloé Zhao (Nomadland) and Emerald Fennell (Promising Young Woman). Zhao became the first woman of color to win (or even be nominated) in that category.

Significantly, Judas and the Black Messiah became the first film with an all-Black producing team — Shaka King, Charles D. King and Ryan Coogler — to be nominated for best picture.

The movie won two Oscars. Daniel Kaluuya, as was widely expected, won best actor in a supporting role. And in a major upset, H.E.R., Dernst Emile II and Tiara Thomas won best original song for “Fight for You.”

There’s a new male/female pairing atop Billboard’s Tropical Airplay chart, and both artists score their first No. 1 in almost five years.

Victor Manuelle and La India crown the list as “Víctimas Las Dos” rises 3-1 on the May 29-dated survey. It’s the first duet between a female and male soloist at No. 1 since March 2020, when Natti Natasha and Romeo Santos’ “La Mejor Versíon de Mi” had its final week atop the list.

“Víctimas Las Dos” lands atop the tally boosted by a 35% increase in audience impressions, to 4.8 million, earned in the week ending May 23, according to MRC Data. It ascends to No. 1 after spending 15 weeks in the chart’s top 10 (the song debuted at No. 15 on chart dated Feb. 27 and rose to No. 6 in its second week).

The song is the first collaborative effort by the Puerto Ricans. “’Víctimas’ was inspired by all those manipulative and lying men women come across daily and I thought La India was the perfect interpreter to give drama to the story. We are aware it’s a common issue,” Victor Manuelle tells Billboard.

As mentioned, the pair are the first male/female duo to lead Tropical Airplay in over a year. Natti Natasha and Romeo Santos last ruled with the 15-week champ “La Mejor Versión De Mi” (starting Oct. 26, 2019-March 21, 2020).

“It’s definitely an honor to reach No. 1 on Tropical Airplay,” La India tells Billboard. “Grateful to all radio stations and Billboard for its continuous support with our tropical genre.”

Thanks to the new champ, Manuelle collects his 29th No. 1, dating back to “Hay Que Poner El Alma” (six weeks, 1996), and extends his second-most No. 1 standing just behind Marc Anthony with 34. Between his trips to the summit, Manuelle has only ruled with one other female collaborative effort: “Por Ese Hombre,” with Brenda K. Starr and Tito Nieves.

“I have collaborated with various female singers throughout my career,” Victor remembers. “I have never measured the time between collaborations. They occur spontaneously and organically; I am not measuring the years or the time thinking that it is necessary at that moment. I knew that collaborating with La India, however, was very important for our genre.”

La India, meanwhile, secures her 11th leader, three of which have been via male collaborations. “It’s a privilege to work with Víctor Manuelle, our great youth sonero,” she adds. “To be part of his team was incredible. This powerful song was written by Víctor and was recorded with a lot of love. This divine encounter conveys a lot of feeling and passion and the video is like a musical soap-opera.”

Both salseros claim their best showing since 2016: Victor Manuelle previously achieved a No. 1 with “Imaginar,” with Yandel (July 2016). La India clocked her 10th leader just a month later with “Me Voy a Acostumbrar,” with Juan Gabriel, (August 2016).

“Víctimas” bursts 40-23 on the all-Latin genre Latin Airplay chart. Both acts rewrite their personal bests in over years there.

About the production of the song, Victor Manuelle muses: “It had to be a story that welcomed La India’s great strength and interpretation; a controversial theme females could identify themselves with. It was impressive to have her face to face in a recording studio and to hear how the idea that was in my mind was greatly exceeded. Due to the pandemic, we have only been able to sing it live together once. I hope we can perform it on various stages.”

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Regional Mexican singer-songwriter Christian Nodal and pop star Belinda are engaged, Billboard can confirm.

After dating for almost a year, the “Botella Tras Botella” singer and Belinda announced their engagement via social media on Tuesday (May 25). “Ladies and gentlemen, Belinda Peregrin Schull has made the me the most fortunate man in the world,” Nodal captioned the post on Instagram, in which he and Belinda are sharing a sweet kiss as she shows off her flashy diamond ring.

The pair met on the set of TV Azteca’s La Voz and made their relationship official on Instagram after Nodal shared a video of the two artists kissing on a boat in the middle of the ocean. “The unexpected doesn’t need an explanation,” Nodal said in August.

The engagement announcement comes soon after their first-ever collaboration was revealed. As reported by Billboard, Nodal and Belinda are behind the theme song of Univision’s upcoming telenovela Si Nos Dejan, bringing to life a new version of José Alfredo Jiménez’s mariachi-bolero classic of the same name.

“Nodeli,” as they are called by fans, recorded the song in Spain and it will be released as a single.

See Nodal’s post on their engagement below:

DMX’s legacy continues.

On Tuesday (May 25), the late star’s second posthumously released song, titled “Hood Blues” made its debut. The track, dropped by Def Jam Recordings, was produced by Swizz Beatz and features Benny the Butcher alongside his cousins, brothers Conway the Machine and Westside Gunn.

“Hood Blues” comes nearly two months after DMX, born Earl Simmons, died on April 9 at age 50. The all-new track will appear on X’s first posthumously released studio album, Exodus, which debuts Friday.

DMX begins his verse rapping, “I grew up at the dark side, apartheid/ Where goin’ against the grain will get you kidnapped and hogtied.” He later adds, “I ain’t 50 years old for nothing/ I’m not 50 years old for nothing.”

Westside Gunn kicks off the song, rapping in the first verse, “I’m in the hood, 80 K house, million dollar net.” In verse two, Benny the Butcher joins in, “You know how I rock six figures off zaza/ Come and spend at my shop, I turn your hood to a hotspot.”

Just before DMX finishes the song in the final verse, Conway the Machine begins, “Ah, you throwin’ shots you better be precise/ If I only squeeze it twice, that’s me bein’ polite.”

“Hood Blues” comes after DMX’s first posthumously released song “Been to War” dropped in April, just days after his death.

The late star last released an album in 2012, titled Undisputed.

After producing Selena Gomez’s all-Spanish-language EP, Revelación, Tainy is off to another big move in his career. This time, with Maroon 5.

The Latin hitmaker was revealed as part of Maroon 5’s tracklist for their upcoming seventh album Jordi, on which Puerto Rican trap star Anuel AA was also reeled in for a track called “Button.” Tainy produced and is a featured artist.

“This is another track that I’m excited for,” Tainy tells Billboard. “I’ve been a fan of Maroon 5 for a long time and to get to work with them and bring them into my realm is a dream come true. What made it even better was to get my long-time friend and collaborator, Anuel, to jump on this amazing song. I’m grateful for them trusting me on this song, I really love it.”

Jordi, which was executive produced by J Kash, pays tribute to the band’s late longtime manager Jordan Feldstein, who died in 2017.

The set will include previously released singles “Memories,” “Nobody’s Love” and “Beautiful Mistakes,” featuring Megan Thee Stallion. “Button,” in addition to Levine’s “Lifestyle” collaboration with Jason Derulo, will be included in the physical deluxe edition of the album available exclusively at Target.

Released under 222 and Interscope Records, Jordi will arrive June 11 and can be pre-saved here.