Becky G has officially joined the list of famous Latin artists who took on the Hot Ones challenge.

The artist (real name: Rebbeca Marie Gomez) — a self-proclaimed spicy food enthusiast — shared her excitement with Hot Ones host Sean Evans about finally getting to be on the show, saying: “This is my Super Bowl.”

The Mexican-American singer came in confident in the most recent episode of the wing-sauce franchise, sharing a story with Evans of the spiciest food experience she has ever had.

“I remember being about 7 years old, and I was triple-dog-dared by a family member to bite a chili and rub it around my lips for 30 seconds,” she said. “My lips got so big, and I definitely had a reaction of sorts — but I got my 10 dollars.”

From Garlic Delight to The Last Dab: Thermageddon, Becky got candid with Evans as he asked her a round of questions about her childhood, her favorite Selena Quintanilla song, and shifting from an early career in English to becoming a Spanish-language pop star.

“The amount of research that you do for these is crazy,” she exclaimed when Evans asked if she still frequented Kelso Ranch Market, a supermarket in Los Angeles, to eat a paleta de sandía (watermelon popsicle) after school. “I remember shooting the ‘Becky From the Block’ video there and thinking I was hot sh–,” she recalled of the video, which included a Jennifer Lopez cameo.

“Becky From the Block” played a key role in introducing Becky to a wider audience with millions of YouTube views and establishing her as an emerging bilingual artist in 2013. Eventually, she released “Shower,” her breakout global hit on the Billboard Hot 100, peaking at No. 16 in 2014.

Though she was seemingly surprised by how hot some of the sauces actually are, she managed to get to the end of the challenge, with a few candid reactions along the way. “You can’t even enjoy that,” she said to Evans after biting into the 10th wing. She also suggested a taco spin-off to the host instead of just sticking to wings.

Watch the Hot Ones episode with Becky G.

Mexican rapper Dharius surprised his fans by venturing into regional Mexican music on his new studio album, Directo Hasta Arriba Vol. 2, which is set to release Thursday (June 4) at 8 p.m. ET.

Accompanied by mariachi, an introduction of guitar melodies and the collaboration with Christian Nodal, the song “Ey Mezcal” breaks norms by showcasing Dharius in a romantic light, using language very different from what he typically employs in his songs.

“This is the first album where I dared to experiment with other genres. I used to be very closed off, only wanting to make rap,” says the artist, who was a member of the iconic group Cartel de Santa years ago.

The 14-track album includes titles such as “Top Top,” “El Cumbión,” “Cuando Te Toca” and “Bien Perro,” and also features collaborations with other prominent Mexican rap artists, including C-Kan, La Santa Grifa, Kami Mami, MC Davo and Gera MX — all of them representatives of the new generation of that musical genre that has significantly grown in Mexico in recent years.

Born in Monterrey, the cradle of norteño music, Dharius (real name Alan Alejandro Maldonado) started rapping at the age of nine, setting himself apart from his schoolmates. “I remember my classmates would go to school festivals wearing boots and cowboy hats, while I showed up with baggy pants,” says the 41-year-old artist, who now supports young rappers through his own record label, El Clan Records.

Between 1999 and 2013, he was part of Cartel de Santa, one of the most prominent groups in the rap scene in Mexico, and in 2014 he debuted as a solo artist with the album Directo Hasta Arriba, which featured songs like “Te Gustan Malos,” “Hey Morra” and “La Durango.” Directo Hasta Arriba Vol. 2 marks his fifth solo album.

In an interview with Billboard Español, Dharius delves into his career, explains why he’s venturing now into regional Mexican music and reveals that Nodal actually “raps and does it well.”

How hard was it to be a rapper in a place like Monterrey?

It definitely wasn’t easy in a place traditionally known for norteño music. However, we have to give credit to Control Machete, who turned rap into a phenomenon here; it was the band that paved the way for the rest of us. They gave us hope that we could make a good living doing this.

You were part of another very important group in the genre. Was it difficult to build a solo career?

I made five studio albums with Cartel de Santa, I was with them since I was 17. And yes, when I started working on ideas for my own compositions, it was tough at first, but little by little, I found my rhythm. Today, I’m on my fifth solo album.

How does it feel to now be a reference point for the new generation of the genre?

Since they started, I’ve been following them and their careers; I respect them a lot. C-Kan is from Guadalajara, MC Davo and Gera MX are from Monterrey like me, but there’s also my friend Santa Fe Klan from Guanajuato. This shows how much rap and hip-hop have opened up in Mexico. There’s still a lot of work to do, but I think this is a great moment for the genre.

What made you decide to venture into regional Mexican music on this album?

This is the first album where I dared to experiment with other genres. I used to be very closed off, only wanting to make rap. That has changed because we need to adapt. In Monterrey, there’s a strong culture of cumbia and vallenato, and that influences you. Plus, my aunt is a mariachi singer, so I’ve been exposed to that kind of music since I was little.

How did the collaboration with Christian Nodal happen? Was it through Gera MX, with whom he recorded “Botella Tras Botella”?

The first time we talked, yes, it was through Gera MX. He [Nodal] had a rap track he wanted me to record — you should know he raps and does it well; in fact, he has the title of one of my albums, Mala Fama, Buena Vidha, tattooed on him —but time passed, and it didn’t happen. “Ey Mezcal” is a song I wrote about two years ago. I had the chance to show it to Christian in Monterrey and he liked it, but we hadn’t been able to coordinate to record it. Finally, it happened: he called me, we went to the studio and we made it happen. Honestly, I’m very happy with the results.

How do you see the landscape for women in Mexican rap?

I think it’s very promising. There are many talented women. In fact, Kami Mami is featured on this album. She’s from Guadalajara and sings, writes and raps excellently. I also have two female rappers signed to my label, El Clan Records, who are about to finish their albums. I think we’re 20 years behind the United States in that regard, but streaming platforms are helping the growth of Mexican rap.

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Japanese vocal group XG, otherwise known as Xtraordinary Genes, is going to embark on the North American leg of THE CORE world tour this winter.

The K-pop-adjacent act’s trek began on Feb. 6 through Feb. 8 in Yokohama, Japan. The “GALA” singers — consisting of members Jurin, Chisa, Hinata, Juria, Cocona, Maya and Harvey — will be making their first stop in the States on Nov. 3 in Oakland, Calif., at the Oakland Arena, before heading to Los Angeles, Chicago, Ontario, Dallas and more, before wrapping on Nov. 22 in Mexico City, Mexico, at Arena Ciudad de Mexico.

This is the second time the musicians have gone on a world tour, with their last journey round the globe taking place in 2024. So if you’ve been dying to see XG live, we’d advise you to jump on tickets before they’re gone for good.

Keep reading to find affordable ticketing options for the North American stops on XG’s WORLD TOUR: THE CORE online.

Where to Buy Affordable Tickets to XG’s 2026 XG WORLD TOUR: THE CORE North American Leg

As of this writing, pricing for seating to the Japanese group’s world tour on Ticketmaster is pretty budget-friendly at certain venues. Tickets currently go for as low as $55.40. This is the lowest pricing we’ve seen thus far on XG tickets. If you’re looking for an up-close view, floor seats are available for $400+. The ticketing service offers a fan guarantee, which allows for cancellations, refunds or exchanges within 24 hours of booking, subject to certain exclusions.

StubHub is a great option when searching for reasonably priced seating. As of this writing, we have seen tickets for the group’s world tour go for as low as $77. That said, competition for seating is strong, and tickets at this price are scarce. When searching on StubHub, you’ll find certain venues labeled with a “great value” badge that indicates pretty hefty markdowns on tickets. For example, the group’s Oakland, Calif., show at Oakland Arena seems to have the best pricing right now, according to StubHub.

The platform makes buying tickets easy with its “FanProtect Guarantee,” which protects your purchases with authentic tickets and refund policies. Plus, if your event is canceled and not rescheduled, you will receive a credit worth 120% of the amount you paid, or the option of a cash refund.

SeatGeek is another ticketing site with inexpensive options for XG’s 2026 WORLD TOUR: THE CORE. The Japanese act’s Chicago show at the United Center features seating for as low as $69. Spots closest to the stage are around $200+. Right now, you can use promo code BILLBOARD10 at checkout to receive $10 off for new members. The ticketing service features a Buyer Guarantee that ensures smooth ticket purchases every time.

A great option for price-conscious ticket shoppers is Vivid Seats. The site has a slew of affordable options on prime venues such as the United Center in Chicago for $64 or the group’s Oakland Arena show in Oakland, Calif., for $67. To sweeten the deal, you can use our promo code BB30 to snag $30 off your purchase for new members only. The ticketing service offers a “100% Buyer Guarantee” policy that vows your transaction will be secure, that your tickets will be delivered before your event, and that your tickets will be valid and authentic. 

More savings can never be bad. You can grab stubs to XG’s set through TicketNetwork with the code BILLBOARD150 to save $150 off orders of $500. TicketNetwork has $72 seats for the act’s Chicago show at the United Center. If you don’t have the funds to buy your tickets just yet, you can also buy the tickets on the website now and pay later with help from Affirm. Plus, the site includes all-in pricing that lets you see exactly what you’ll be paying upfront (fees included).

We’ve also found that Gametime has great pricing and tons of seating for the vocal group’s world tour. Tickets are going for as low as $66 at some venues. Gametime’s in-depth maps show that there are still ample seats available for spots on the floor or higher up. The site will also notify you when certain venues/dates feature deals, allowing you to find the best pricing every time.

Given how in demand XG’s North American dates are, seating can be sparse, and ticket values can be high. Gametime guarantees the lowest prices, event cancellation protection and on-time ticket delivery for a smooth ticket-buying experience every time, no matter the occasion.

Ahead of their North American stops, XG will also be performing at Head in the Clouds 2026, a festival showcasing Asian talents happening on Saturday, Aug. 8 at the Rose Bowl Stadium in Pasadena, Calif. You can buy tickets for the occasion here.

Check Out Dates for XG’s 2026 North American Tour

Nov. 3: Oakland, Calif. @ Oakland Arena
Nov. 5: Los Angeles, Calif. @ Crypto.com Arena
Nov. 9: Chicago, Ill. @ United Center
Nov. 12: Hamilton, ON @ TD Coliseum
Nov. 14: Newark, N.J. @ Prudential Center
Nov. 17: Dallas, Texas @ American Airlines Center

When Hollywood Unlocked presents its sixth annual Impact Awards on Friday (June 5), a new honor will be introduced. Grammy-winning “Godmother of Soul” Patti LaBelle will accept the media company’s inaugural Patti LaBelle Legacy Award. The Tiffany Haddish-hosted ceremony will take place at The Beverly Hilton in Los Angeles and stream live (7 p.m. PT) via the Zeus Network.

Proceeds from the Impact Awards will benefit the Hollywood Cares Foundation. Established by Hollywood Unlocked CEO Jason Lee, the nonprofit organization supports “underserved youth in Black and Brown communities.” Lee tells Billboard that the foundation received a $13 million grant from California’s Gov. Gavin Newsome this year to build a youth center that will provide services such as after-school programs and support for young people in crisis.

Lee describes the Impact Awards as a “spirit-filled room” embracing achievement, cultural impact and empowerment. The evening’s additional honorees include Tyler Perry (Innovator Award), Kehlani (Fearlessness Award), Kirk Franklin (Inspiration Award), RZA (Culture Award) and Bozoma Saint John (Pioneer Award).

Multiple Grammy winner Kenneth “Babyface” Edmonds will serve as musical director for a performance lineup featuring Chlöe, Donald Lawrence, Jekalyn Carr, Joyner Lucas, Kierra Sheard and Sheléa. Capping the celebration: a tribute to gospel legend Richard Smallwood. Prior Impact Award honorees include Cardi B, Don Lemon, Whoopi Goldberg and Floyd Mayweather.

In the walk-up to the awards ceremony, Lee has also been busy moving Hollywood Unlocked’s popular The Jason Lee Show to a new home. The CEO’s namesake show is now the flagship series for BET Creator Studio, described by the cable network as a digital-first “dedicated space where culture-forward creators come to amplify their content.”

In the two months since its April 8 premiere, the series — now in season four — has welcomed guests ranging from Wu-Tang Clan’s RZA to actress Jenifer Lewis. Lee recently went toe-to-toe with entrepreneur and Roc-A-Fella Records cofounder Damon “Dame” Dash during a rollicking sit-down. New episodes arrive every Wednesday via BET.com and BET’s YouTube channel.

High on Lee’s guest wish list are Barack and Michelle Obama, Rihanna and Queen Latifah. “In the past, we’ve had Jemele Hill, Terrell Owens and Robert F. Kennedy Jr. — a real broad spectrum,” Lee tells Billboard. “Culture is not a monolith. I think oftentimes we become enslaved to brand culture or to corporate culture where we have to act in a certain way. Sometimes my message may come out messy because I need to make sure the whole world hears it. But at the the end of the day, we try to cover it all and provide space to people that we’re just uniquely interested in.”

During its evolution, The Jason Lee Show has been affiliated with iHeartMedia and Premiere Networks, Fox Soul, Revolt TV and the Zeus Network. The decision to join BET, says Lee, was easy. “This licensing deal is consistent with every deal I’ve had because self-ownership is important to me,” he explains. “To be able to create this collaborative relationship where we could bring the spice and virality of our show to such a legacy cultural brand and retain ownership is amazing.”

Lee, who also serves as the vice mayor of Stockton, Calif., is well aware of the current climate in which DEI and journalistic freedom are under attack, and that BET is no longer Black-owned, first sold to Viacom in 2001 and now owned by Paramount Skydance as of this year. However, Lee is “hopeful that the Paramounts of the world, and all of those that do have the resources and capability, understand that the obligation of giving people what they want isn’t to decide what they want — it’s to invest in what’s already proven. And BET has been a proven brand for decades.”

Billboard Japan unveiled its 2026 mid-year charts, tallying the period from Nov. 24, 2025, to May 24, 2026.

On the all-genre song chart Japan Hot 100, Kenshi Yonezu’s “IRIS OUT” claims the No. 1 spot. Written as the theme song for Chainsaw Man – The Movie: Reze Arc, the track hit 100 million streams in four weeks, the fastest any song has reached that milestone in Billboard Japan history. It also peaked at No. 5 on the Billboard Global 200 dated October 4, 2025, the highest position ever achieved by a Japanese-language song on that chart. The long-running hit has become a hit both domestically and internationally, riding on the strength of the anime’s popularity. Yonezu swept a total of 11 mid-year chart titles including this one.

“I’m proud that ‘IRIS OUT’ has become a song so many people have taken to heart,” says Yonezu. “Listening back to it now, I can’t help but laugh at what an outrageously unhinged song it is, but having put something like this out into the world at this particular moment in time, and being able to keep making music from here, is the greatest happiness I could ask for as a pop musician. I want to express my gratitude once again to Chainsaw Man, a truly extraordinary work. Thank you.”

Coming in at No. 2 is M!LK’s “Sukisugite Metsu!” The track’s catchy hook, a surge in media appearances including the 76th NHK Kohaku Uta Gassen, and viral traction on social media fueled it to 23 consecutive weeks in the top 10 during the tracking period. Mrs. GREEN APPLE’s “lulu.,” the opener for the anime series Frieren: Beyond Journey’s End Season 2, follows at No. 3, and the list continues with King Gnu’s “AIZO” at No. 4 and HANA’s “Blue Jeans” at No. 5. The top tier brings together a diverse range of acts — solo artist, idol group, band, and dance-and-vocal unit.

On the Japan Hot Albums roundup, BTS’s fifth album ARIRANG, the group’s comeback after roughly three years and nine months, takes the top spot. The set topped both physical sales and streaming, and held the No. 1 spot eight times across the tracking period.

“We are deeply honored and overjoyed that the album we released after three years and nine months has been loved by so many,” BTS comments. “Like Arirang, that gives the album its name, our hope is that this music will resonate with people across eras and borders, and be remembered for a long time to come.”

HANA’s first album HANA lands at No. 2, followed by King & Prince’s STARRING, a concept album built around a cinema theme, at No. 3. Number_i’s second full-length project No.II comes in at No. 4, and the RADWIMPS tribute album Dear Jubilee -RADWIMPS TRIBUTE- rounds out the top five.

On the Japan Artist 100 list, compiled from the results of the Japan Hot 100 and Hot Albums charts, Mrs. GREEN APPLE continues to dominate. The three-man band tops the Japan Artist 100 mid-year roundup for three consecutive years, an unprecedented achievement in the list’s history.

“Winning three years in a row is an incredible honor,” says Mrs. GREEN APPLE frontman Motoki Ohmori. “We’re actually right in the middle of working on an album slated for release later this year, so this gives us motivation, or energy, to make that record as good as it can be. Thank you so much.”

HANA follows at No. 2, just over a year after the seven-member group’s major-label debut, while back number comes in at No. 3 after placing a total of 14 songs on the mid-year Japan Hot 100. Kenshi Yonezu, whose “IRIS OUT” continues its long run on the chart, lands at No. 4, and M!LK, coming off a blistering run that stretches from last year into 2026, places No. 5.

On the Global Japan Songs Excl. Japan chart (tallying the period from Nov. 21, 2025 to May 21, 2026), which tracks songs from Japan charting around the world, Kenshi Yonezu’s “IRIS OUT” again takes the top spot, and also reaches No. 1 in six different countries/regions on the Japan Songs lists.

Billboard Japan Hot 100 Mid-Year Chart 2026

1. “IRIS OUT” / Kenshi Yonezu

2. “Sukisugite Metsu!” / M!LK

3. “lulu.” / Mrs. GREEN APPLE

4. “AIZO” / King Gnu

5. “Blue Jeans” / HANA

6. “Bakuretsu Aishiteru” / M!LK

7. “ROSE” / HANA

8. “On The Way” / AiNA THE END

9. “JANE DOE” / Kenshi Yonezu, Hikaru Utada

10. “CHARISMAX” / Snow Man

Billboard Japan Hot Albums Mid-Year Chart 2026

1. ARIRANG / BTS

2. HANA / MHANA

3. STARRING / King & Prince

4. No.II / Number_i

5. Dear Jubilee -RADWIMPS TRIBUTE- / Various Artists

6. Cosmic Princess Kaguya! / Various Artists

7. THE CORE / XG

8. ANTENNA / Mrs. GREEN APPLE

9. BE:ST / BE:FIRST

10. Prema / Fujii Kaze

Billboard Japan Artist 100 Mid-Year Chart 2026

1. Mrs. GREEN APPLE

2. HANA

3. back number

4. Kenshi Yonezu

5. M!LK

6. BTS

7. CHANMINA

8. Official HIGE DANdism

9. Vaundy

10. Snow Man

Billboard Japan Global Japan Songs Excl. Japan Mid-Year Chart 2026

1. “IRIS OUT” / Kenshi Yonezu

2. “TOKYO DRIFT(FAST & FURIOUS)” / TERIYAKI BOYZ

3. “AIZO” / King Gnu

4. “JANE DOE” / Kenshi Yonezu, Hikaru Utada

5. “KICK BACK” / Kenshi Yonezu

6. “Mayonaka no Door / Stay With Me” / Miki Matsubara

7. “HYPNOTIZE” / XG

8. “Bling-Bang-Bang-Born” / Creepy Nuts

9. “On The Way” / AiNA THE END

10. “Otonoke” / Creepy Nuts