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:

Her lips may be sealed, but Haylie Duff’s Instagram stories speak volumes. The elder sister of Hilary Duff shared a snap of a playdate between her and Ashley Tisdale‘s kids, which the actress then shared to her own account.

“Under table shenanigans,” Duff wrote of the children playing together.

Tisdale, of course, recently sparked controversy when she penned an essay for The Cut, in which she called out a “toxic” mom group that fans theorized involves Hilary, Mandy Moore and Meghan Trainor among others, though she didn’t name names. “I thought I found my village. Instead I was back in high school,” Tisdale wrote. “Even though it had been decades since 10th grade, the experience of being left out felt so similar.”

“Here’s the hard-earned lesson I hope you’ll take to heart: It’s not the right group for you. Even if it looks like they’re having the best time on Instagram,” she added of eventually leaving the cadre of mothers. Tisdale would later deny she was writing about the specific group of Duff, Moore and Trainor.

At the time, Haylie — who is rumored to be estranged from her sister — liked the Instagram that Tisdale posted to her account of the article.

Hilary’s husband, Matthew Koma, then took to his own Instagram to mock Tisdale’s magazine cover. “When You’re The Most Self Obsessed Tone Deaf Person On Earth, Other Moms Tend To Shift Focus To Their Actual Toddlers,” Koma’s fake headline read.

For her part, Hilary remained silent, only promoting her upcoming album Luck… or Something, out this February. Trainor also weighed in on TikTok with “me finding out about the apparent mom group drama” in text over a video of her sitting at her computer with her song “Still Don’t Care” playing in the background.

ROSÉ just spilled a bunch of tea about BLACKPINK, from details about the band’s upcoming mini-album to what the members would do if one of them didn’t want to be in the group anymore.

Appearing on the episode of Call Her Daddy posted Wednesday (Jan. 28), the Grammy nominee shed some light on Deadline, BLACKPINK’s first collection of songs as a group since 2022’s Born Pink album. It will arrive after the foursome — which is also comprised of JISOO, JENNIE and LISA — reunited for their world tour last summer.

“It’s an album that we’ve all kind of obviously come back from after that year of exploring and all being our individual selves,” ROSÉ said, referencing BLACKPINK’s hiatus in 2024 as the women pursued solo projects. “And so I think it was really interesting to come back and see what was created after that. I really like all the songs there.”

Specifically shouting out “Jump,” the mini-album’s lead single released in July, the New Zealand native also teased, “We have a fun collaboration that’s coming up. And I played it for a bunch of my team and my friends, and they all were like, ‘It feels like “Jump,” but it’s, like, so different’ … It’s a big funky mixture of like all these things, but for some reason it works, and I’m really excited for the fans to see that.”

It’s been years since BLACKPINK properly released music as a group. After debuting in 2016 under YG Entertainment and working nonstop for years afterward, the quartet spent some time apart before re-signing their contracts ahead of their reunion last year.

But what happens if one of the ladies decides she doesn’t want to be in the band anymore? I think if one of us feels like at that time, that’s not the right thing, then we’re all in,” ROSÉ told host Alex Cooper. “We will understand, and — like any relationship — if one person is not ready for something, then it should just be respected, and I think we will always be ready to do that, because BLACKPINK is only four members. We will not be able to neglect anyone’s decision at any time in their life, and we trust that every decision made is the right decision for each person.”

Elsewhere in the podcast, ROSÉ rehashed the time Taylor Swift gave her advice at a party — “She pulled me aside, and she’s like, ‘Ask me anything’” — and recalled her initial reaction to her label choosing her stage name pre-debut. “It was the day before they released my picture … and, like, the name got announced,” she said. “I freaked out. I think it was like eight hours before it came out.”

“I love [ROSÉ] now,” she added. “But at the time, I was like, ‘What is it, ROSÉ?’ I was like, I sound like a grandma … Then they typed it on the computer, and they’re like, ‘Look, it’s going to look so cool.’ And then I saw it on screen, and that’s when I was like, ‘OK, it looks nice.’”

Watch ROSÉ’s full interview on Call Her Daddy above.