Karol G achieves her 21st No. 1 on Billboard’s Latin Airplay chart as “Coleccionando Heridas,” with Marco Antonio Solís, rises from No. 3 to secure the top spot on the chart dated Jan. 31. Solís returns to No. 1 after more than a decade, with the victory giving him a 12th leader.

“Coleccionando Heridas” is the fourth single from Karol G’s Top Latin Albums No. 1 Tropicoqueta to land at the summit on the overall Latin Airplay chart. Cowritten by Karol G, Keytin, CASTA and Edgar Barrera, the song takes the lead in its 13th week, marking the longest climb to the top among the album’s four chart-topping singles: “Si Antes Te Hubiera Conocido” took four weeks to hit No. 1, “Latina Foreva” achieved the feat in seven weeks and “Verano Rosa” succeeded in 11 weeks.

“Coleccionando Heridas” reaches the summit following a 16% increase in audience impressions, to 8.83 million, accrued during the Jan. 16-22 tracking week, according to Luminate.

With the new achievement, Karol collects her 21st No. 1 on Latin Airplay, the second-most champs among women since the chart’s inception in 1994. She trails only Shakira, who continues to lead with 24.

For Marco Antonio Solís, the success marks his return to the top of the Latin Airplay chart after more than a decade, his last No. 1 being his featured turn on Enrique Iglesias’ 2014 No. 1 “El Perdedor.” In between, El Buki secured a top 10 through “Se Veía Venir” (No. 5 high in 2021).

Beyond its Latin Airplay coronation, “Coleccionando Heridas” fortifies its stronghold on Latin Pop Airplay, reigning for a fifth consecutive week at No. 1.

Grupo Frontera’s 16th Hit

Elsewhere on the Latin charts, Grupo Frontera achieves its 16th No. 1 on Regional Mexican Airplay through “Monterrey” as the song jumps 2-1 with 7.8 million audience impressions, up 17%, during the tracking week.

Among its 16th champs, “Monterrey” gives Grupo Frontera its second ruler unaccompanied by any other act, following “Hecho Pa’ Mí” in 2024.

“Monterrey” is one of 13 songs on the album Lo Que Me Falta Por Llorar, which debuted and peaked at No. 11 on the Regional Mexican Albums chart in November.

When Ozzy Osbourne died in July, the world remembered how the Black Sabbath legend had shaped both modern rock and many aspects of today’s music business — showing artists how they could build massive merchandising empires and turn reality TV stardom into a new revenue stream, while also pioneering the concept of a genre-focused touring festival.

But while Ozzy was the face of those innovations, the creative force behind the blueprints was his wife of 43 years, Sharon Osbourne — a supremely talented music executive in her own right who’s not yet done changing the industry.

“All of the creative direction for visuals at Ozzfest was mine. I can’t sing a note — I’m tone-deaf — but I can be creative, and I like to create things,” Osbourne, 73, reminisced in December from a hotel room on New York’s Upper East Side, perfectly coiffed and sipping tea after a late night out at a star-studded private rock show at the Capitol Theatre in Port Chester, N.Y., that featured Slash, Eddie Vedder, Anthony Kiedis, Yungblud and Bruno Mars, among others.

“I’ve been talking to Live Nation about bringing [Ozzfest] back recently,” she continues. “It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people. We really started metal festivals in this country. It was [replicated but] never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”

First, Osbourne says, she’s working with Live Nation to launch a classical tour of Black Sabbath’s catalog, performed by local orchestras and set to state-of-the-art visuals, as well as a scripted feature film about a portion of Ozzy’s life. (Just weeks before Ozzy’s death last summer, Osbourne organized Back to the Beginning, a farewell concert for Black Sabbath stacked with metal legends in the band’s native Birmingham, England, that raised around $10 million for charity.)

Osbourne, the daughter of music impresario Don Arden, was born in London and cut her teeth working at her father’s record label, Jet Records, before taking what she calls the biggest risk of her career: leaving that label to manage Ozzy, whom she’d married after he was fired from Black Sabbath in 1979.

“Everybody thought Ozzy’s career was never going to happen as a solo artist — in those days, there weren’t that many people that had left bands and actually gone on and done really well,” she recalls. “They thought Ozzy and I would just end up in the toilet. It was really about getting up every day and showing everyone: F–k you, this is what we’re going to do. I never took no for an answer.”

She went on to manage acts including The Smashing Pumpkins and Motörhead. And while she wouldn’t go back into management now (“management is all or nothing — you can’t just be a little bit in”), she’s still obsessed with discovering new talent, seeing as much live music as she can and scouring the internet for gems. “I’ll troll all night,” she says, “and I’ll reach out to people I think are talented.

“I’m not interested in little girls in leotards throwing themselves around and humping the floor — some of them are really talented, but it’s not original,” Osbourne continues. “You have to have that sense of individuality, because otherwise you’re just a clone. Are you going to be an icon? Are you going to last the test of time? If you want to be a serious artist, who are you? It’s so easy to market yourself these days. Come out with a great little video — do it yourself at home, but be different. Don’t follow. You’ve got to be a leader. You’ve got to have your own look, your own sound. Your voice has to be instantly recognizable.”

Osbourne finds the business “very nerdy” now, remarking that “everybody is so polite,” and she hates streaming and AI-generated music: “I don’t like anything by machines — it’s got no soul.”

She still looks up to great executives, though, particularly Irving Azoff (“Love him, hate him, whatever — he’s a f–king icon,” she says). And while she says “grief is a new part of my life that I have to get used to” and admits she gets little sleep (“I’m up 24 hours a day. I only catnap now”), she’s heartened by the prospect of showcasing a new crop of rising stars at the next iteration of Ozzfest, which she says could launch as soon as 2027.

The festival would tour everywhere, just like it used to, she says, but of course, she has a new vision for it: “I’d like to mix up the genres.”

This story appears in the Jan. 24, 2026, issue of Billboard.

These memories still follow us around. The video for Taylor Swift’s “Wildest Dreams” — off of her fifth full-length, 1989 — has has passed one billion views on YouTube, her sixth to accomplish that feat. (The others? “Blank Space,” “Shake It Off,” “You Belong With Me,” “Bad Blood” and “Look What You Made Me Do.”)

Directed by Joseph Kahn — who also helmed the superstar’s visuals for “Blank Space,” “Bad Blood,” “Look What You Made Me Do,” “… Ready for It?” “End Game” and “Delicate” — dropped in August of 2015 in support of 1989’s fifth single.

The video stars Swift and Scott Eastwood as old-school Hollywood actors on the set of a 1950s movie in Africa, and whose short-lived love affair wreaks havoc during filming and at the film’s premiere. During the end credits of the gorgeously shot romantic tale, the title cards revealed that “all of Taylor’s proceeds from this video will be donated to wild animal conservation efforts through the African Parks Foundation of America.”

Eastwood recently admitted he was unaware of Swift when he got the call for the role. “I’d never met Taylor Swift before,” he said during the press tour for his 2025 movie Regretting You. “She called me out of the blue. She said, ‘Hey this is Taylor.’ I’m, like, ‘Taylor who?’”

In a 2016 interview, the actor revealed he also almost didn’t end up in the video. “None of my agents wanted me to do it, actually,” Eastwood said. “They said, ‘Oh, we don’t want you to do that! Why would you be Taylor Swift’s boy toy?’ and I said, ‘Why the hell not?’”

Watch the video for “Wildest Dreams” below: