Selena Quintanilla is undoubtedly one of the pinnacles of Latin music. At this year’s Billboard Latin Music Week in Miami, Selena’s sister, Suzette joined director, Isabel Castro to give attendees an exclusive look at their upcoming Netflix documentary, during the “Selena y Los Dinos” Panel. Not only did Suzette, who serves as an executive producer on the film, share memories of being a band, she showed home videos from the family’s personal archive, which can be seen for the first time when the Netflix documentary premiers on November 17, 2025. 

Billboard’s assistant editor Latin, Jessica Roiz, moderated the conversation which explored Selena’s meteoric rise to fame, her dreams for the future, and the impact of family on her and her career. They kicked off the panel by showing the trailer for the film. It’s full of inspiring words from Selena herself, interviews with the Quintanilla family and bandmates, and a ton of home movies. They granted Castro unprecedented access to their personal media collection and sat down for in-depth interviews in the documentary to show viewers a side of the Queen of Tejano Music which only those closest to her would know. 

Suzette explained what it was like welcoming Castro into their world. “I gave her a key to what we call ‘The Vault’.” The director went on to describe The Vault as “a medium sized room and there are floor to ceiling bookcases with hundreds if not thousands of VHS tapes, Betacams, CDs, flash drives.” The first step in making the documentary was digitizing all of the personal footage and stringing it out before even interviewing the family.

Suzette shared why this was the first documentary their family wanted to participate in and why Isabel was the perfect director for this monumental film. Four to five years ago, Suzette asked her lawyer to find someone that could help the Quintanilla family finally tell their own story. He found Castro’s 2022 award-winning documentary “Mija” and was inspired to set up a meeting between the two, over Zoom. Suzette said, “Instantly, I knew that she was going to be the person that was able to tell this story for us.” The two bonded over being big sisters and now call each other friends.

Fans will see Selena as a sister, daughter, and wife in “Selena y Los Dinos” through never-before-seen footage and first-hand accounts from her parents, sister, brother, husband and bandmates. In one clip shared with attendees, the family describes how they saw the joy that Cumbia music brought their community and how the entire family was essential in developing that sound. By seeing what happened behind the scenes, Castro was moved to show the importance of family in what Selena would become. She said, “I was a Selena fan, but I didn’t totally understand the extent of it until I made this project. As I was discovering that, it was really important to me that that was a main focus of the film. And that’s why it’s called ‘Selena y Los Dinos’” Suzette reaffirmed what Isabel felt while making the film saying “Yes, Selena was the star, and she will continue to be that, but there was another element that made Selena as well. And that was our family and our family band.” 

Suzette, Isabel, and Jessica ended their conversation by discussing what they hope viewers take away from the film. For Suzette, she said “What I would love for them to take away is that we’re a normal family that started a band that became global.” For Isabel, she wants to celebrate bi-cultural identities, saying “I want people to see this and how much joy and pride there can be in not being from here or there but being from a mixture of two places. I just think that’s so beautiful.” And that diversity is seen and appreciated within Selena’s fandom. Suzette described the pride she feels for the more than two generations of fans her sister has. “Selena is not just a Latin artist. She is global. She is a global artist, and it doesn’t matter what nationality you are, you listen to her music and you’re a fan. And for that I am grateful.” 
  
There is no denying the impact Selena Quintanilla has had on the Latin music world and pop culture at large. We’ve seen the talent and charisma which made her a top tier artist and performer. Soon, you can see what made Selena a superstar at home in the eyes of her family when “Selena y Los Dinos” premieres on November 17, 2025, only on Netflix. 

To celebrate the release of her debut solo studio album, Halle Bailey gets strikingly honest in the latest episode of Billboard’s Takes Us Out video series.

The six-time Grammy-nominated singer-songwriter took Billboard’s Tetris Kelly out to H.O.P.E. (Healthy Organic Positive Eating) in Studio City, Calif., where the pair dug into a spread of some of Halle’s favorite vegan bites. While conversing over spring rolls and green curry dumplings, the pair discussed The Little Mermaid, accepting the Billboard Women in Music Rising Star Award in 2020, her first love, working with Mariah the Scientist and GloRilla, and Beyoncé‘s reaction to her debut solo album, Love?… Or Something Like It.

Released on Friday (Oct. 24) via Parkwood Entertainment and Columbia Records, Halle’s new LP features collaborations with Chlöe, Mariah the Scientist, GloRilla and H.E.R., as well as the previously released singles “Angel,” “Because I Love You,” “In Your Hands,” “Braveface” and “Back and Forth.” Notable cowriters and producers include RAYE, D. Phelps, Freaky Rob, Sevyn Streeter, BongoByTheWay, and, of course, Bailey herself.

“I hear my sister on so many songs, I think it’s the way my brain is wired,” she tells Billboard. “I hear her, I hear what she can add, like, ‘She would be good on this; she would be good on that!’ When it came to our song ‘Feel Again,’ I was like, ‘I cannot do this song without Chlöe, I need to hear her on this.’ My sister is a freakin’ cool musical genius; she travels with her equipment. She can record wherever she is because she brings all her s—t with her.”

And if there’s been one constant in Halle’s life as she navigates the music industry — outside of her sister — it’s Beyoncé, the music icon who mentored the sibling duo and signed them to her Parkwood label.

“I played this one for [Beyoncé] too,” Halle reveals. “And she was obsessed with hearing our voices again together.”

The new record arrives as Halle’s first full-length solo offering since her sister duo of Chloe x Halle took a hiatus following the release of 2020’s breakthrough Ungodly Hour album. As her older sister embarked on a career that has yielded two solo albums and buzzy music videos, Halle focused on bringing Princess Ariel to life in the 2023 live-action remake of The Little Mermaid, securing safety and stability for her son Halo (whom she shares with ex DDG), and figuring out her solo sound.

Watch the latest episode of Takes Us Out above.

Bryan Andrews’ vitriol is going viral. The up-and-coming country artist’s song, “The Older I Get,” contains lyrics in its verses that take on big pharma, corporate greed and un-Christ-like Christians. But it’s the bridge that has drawn the most attention, as he makes references to the Jeffrey Epstein files (“Raise your right hand / plead the Fifth / Tryna cover up names on a list / lie and say that it doesn’t exist”), ICE (“Heaven help you if you’ve got brown skin”) and the Israeli/Palestinian conflict (“Watch ‘em starve on Gaza Strip”).

“The Older I Get” originally came out in June. But in mid-October, a tirade Andrews delivered on social media propelled the song into virality: this week, it debuts at No. 3 on Billboard’s Country Digital Song Sales and No. 8 on the overall Digital Song Sales chart while Andrews debuts at No. 16 on the Emerging Artists chart.

His outburst, which he titled “Crash Out,” features a camo-wearing Andrews seated in his truck, ranting about ICE agents “carting them off in the back of U-Hauls…and the worst part is I have to watch some of you cheering it on like you’re watching a f-cking football game,” saving his ire for people who call themselves Christians who applaud these actions. “I started writing songs about this sh-t because I’m not oblivious to the platform I have,” the Carrollton, Missouri native continues, adding he knows it’s risky for his career to be so outspoken, especially in the often conservative country community, but he feels he has no choice but show “what side of history he’s on.” The reel has garnered more than 7.5 million views on Instagram alone, and proved an effective — if unintended — marketing tactic for the song. And that success earns Andrews’ manager, 10 and 8 Management owner Nicholas Mishko, the title of Billboard’s Executive of the Week.

Here, Mishko, who began managing Andrews almost two years ago after one of the former pipe welder’s songs popped up in his TikTok feed, discusses the song’s success, and gives some context to Andrews’ rise and his signing with Disruptor/Sony five months ago. “Bryan has been creating music for about five years,” Mishko says. “TikTok proved to be a pivotal moment in his career, allowing his music to reach a national audience, open new doors and pursue music full time.” A number of high-profile music executives liked Andrews’ post, which Mishko says, “has opened doors for conversations and opportunities that weren’t possible before.”

The song originally came out in June, but exploded around two weeks ago after Andrews’ “Crash Out” social media post. How were you building the song the past four months until then?

We were building the song through TikTok and Instagram, steadily gaining momentum with each viral moment. We also shared the track with key influencers early on, which helped generate press and expand its reach.

How has it helped spread the word given the celebrities like Mark Ruffalo have liked and commented on Andrews’ post? How are you tying that back to the music?

The attention from high-profile celebrities has helped bring Bryan’s music to audiences who might not have discovered it otherwise. Each repost, share, like or comment generates conversation and drives new listeners to the song and his other work.

It’s not until two-thirds through “The Older I Get” that Andrews gets overtly political with the bridge that alludes to the Epstein list, “brown skin” and Gaza. Was there any thought to making a version without those references?

The song was largely complete before Bryan wrote that bridge. He added those verses after seeing current events unfold. Those experiences inspired him to address issues and bring awareness.

Andrews posted that people were upset by “Crash Out,” “especially in the country music space.” Was it mainly country music fans or did you hear from people in the country music industry?

The backlash mostly came from fans who felt the song challenged their expectations of country music. We also heard from a few people within the industry, though it was never overwhelming. Overall, the reaction showed that the song was sparking conversation and engaging people with the issues Bryan wanted to highlight.

Andrews signed with Disruptor/Sony in April and you led with “Blue,” which was a much more traditional, though biting, country song about a broken heart, as opposed to something political. Why?

The song highlights Bryan’s songwriting and storytelling, making it a strong introduction for a wider audience. Disruptor’s team, especially Adam Alpert and Julie Leff, has been fantastic to work with, emphasizing from day one that their artists should feel in control of their art. They were fully on board with this first release.

What are your radio plans for “The Older I Get?”

Right now, our focus is on building strong momentum online, letting Bryan’s songs gain traction with fans and influencers. From there, we’ll evaluate whether and how to approach radio, using the buzz as a foundation for any future push.

On YouTube, so many of the comments are from people who say they hate country music, but they love this song. How are you capitalizing on those new fans?

One of the top comments we’ve seen across platforms is, “I don’t listen to country, but I do now because of you.” We are engaging those new fans by highlighting the song across social platforms and encouraging them to explore more of Bryan’s music. By sharing behind-the-scenes content, stories about the songs and interactive posts, we’re turning casual listeners into loyal fans. It’s exciting to see new fans coming into country music and discovering a side of the genre they haven’t experienced before.

Does he follow “The Older I Get” with another political song or something more traditional?

Bryan has been country his entire life. I have been to his hometown and seen the small-town, blue-collar farming community he grew up in. He is living that life, and with this next song, he is showing listeners that he truly is a country artist and that his authenticity is undeniable.

Are you waiting for the White House to take notice and comment, as they have on Zach Bryan’s song, “Bad News?”

I’m always curious to see who is commenting and what they’re saying, and it’s clear the song has sparked meaningful conversation across a wide audience.