From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

Feid Launches Sixdo Collection

On Thursday (Jan. 23), Feid hosted the first pop-up for his brand “Sixdo” in Miami. A fan experience, the one-day event featured a room that resembles the artist’s personal closet. Fans also had the opportunity to sit down with Ferxxo for a roundtable discussion, where they could ask him questions. The pop-up showcased the initial development of his clothing brand “Sixdo,” which included a closet with green neon lights and a painting that represented his sold-out shows in Latin America, among other elements. Ferxxo has been hinting at the clothing brand during his concerts, in music videos, and even on album covers (starting with FERXXO Vol. 1 M.O.R.), leading up to the grand reveal this week. The goal is to continue developing this brand throughout 2025.

A Wholesome Moment with Shak

Shakira surprised a young fan named Zoe, who’s currently undergoing cancer treatment. Dance studio Hip Hop Kidz and Sunrise Day Camp shared the wholesome moment on Instagram, capturing the moment the Colombian artist and her sweet fan met for the first time, opened presents, and even did the “Waka Waka (This Time For Africa)” dance together. 

“Despite the tough battle she’s been facing, Zoe’s spirits soared when the international star took time out of her busy schedule to spend time with her,” read the post’s caption. “Shakira, known for her charitable work and deep empathy, shared some quality time with Zoe, encouraging her to stay strong and never give up.”

Billboard’s Latin Artists to Watch 2025

This week, Billboard unveiled its carefully curated Latin Artists to Watch list, highlighting 22 acts who caught our attention in 2024, and who we believe will go on to have a breakout year. The list includes artists who cracked the Billboard charts in 2024, such as Tito Double P, who earned his first No. 1 on Top Latin Albums with his debut set. Artists who’ve been showered with critical acclaim, like Latin Grammy winner Ela Taubert, and those newcomers who first built a fandom on social media before kicking off a music career – like reggaetón mexa pioneer Bellakath, who quickly went from viral sensation to bona fide hitmaker. See the complete list, here.

Celebrating una Reina

A children’s book celebrating Selena’s legacy is officially available this week. Selena: A Little Golden Book Biography, by Maria Correa and illustrated by Paula Zamudio, chronicles the Queen of Tejano’s journey to superstardom and illustrates her timeless impact on music, fashion, and beauty. “Nearly 30 years after her death, Selena’s influence endures, and her accomplishments continue to inspire legions of fans to follow their dreams. This is an inspiring read-aloud for young children and the perfect gift for fans of all ages,” read a press statement. The book can be purchased here, and a Spanish-language version will be published on February 4. 

BAND-MAID kicked off 2025 with a new digital single called “Zen,” released Jan. 13. The track is being featured as the opening theme song for ZENSHU, an original TV anime series produced by MAPPA. The collaboration between the all-women rock band and animation studio hailing from Japan with fans around the world is poised to gain a wide global audience suitable to celebrate the start of a new year.

The five members of BAND-MAID chatted with Billboard Japan about the production process of the new single, the tracks on Epic Narratives, their first studio album in three and a half years, and their outlook for what is already looking to be a super-busy 2025 for the group.

“Zen,” your new single, has a different flavor from the songs on the Epic Narratives album. Did you start working on it after you finished the album?

Miku Kobato (Guitar/Vocals): It was around the same time. We were asked to write it when we were still working on the album. KANAMI started off by coming up with a number that fit the requirements for the tie-in while also having a different feel from the album.

KANAMI (Guitar/Vocals): I was given the script for the main story and received quite specific requests regarding the music, so I simplified the image I had in mind to create the track.

MISA (Bass/Vocals): When I listened to the demo, I thought that this song had a strong melody, so I made the bass line feel solid to bring it out. I usually tend to play bass lines that move around a lot, but this time I tried to really focus on the melody and held back on being too technical. 

AKANE (Drums/Percussion): I was also very aware of making a melody-oriented beat. Since many of BAND-MAID’s songs have fast BPM, this one might sound a bit mid-tempo, but I tried to avoid making it sound simply like a chilled-out mid-tempo track by adding little details, like creating beats with fills, that would become the hook. Basically, though, I wanted people to listen to the vocals throughout the song, so it’s a simple beat that supports the vocals.

It might be a little simple for BAND-MAID, but when you compare it to songs by other rock bands, it’s not laid back at all.

AKANE: Right. [Laughs] When the melody line is extended like this and the drums are keeping a simple eighth-note groove, it sounds mid-tempo when our band does it. But I didn’t want to erase its speedy feeling, so was conscious of creating a beat that wouldn’t get boring. In terms of the anime, it’s like being reincarnated in another world. I added a furious drum fill before the final chorus, and had these two themes of another world and the real world in my mind when I recorded it.

Kobato: I’ve felt that there are surprisingly few songs with a simple feel recently, so I’m thinking of playing the guitar parts in our live shows [the band calls its concerts “Okyuji,” meaning “to serve”] in a way that would complement the catchy melody, po. SAIKI sings in a way that really brings out the story, so I tried to sing the chorus in a way that would support her from behind, changing the nuances and singing with a lot of range. The chorus work is rich, so I tried to sing it with that in mind, po.

SAIKI, when you wrote the lyrics, what did you focus on in the work it accompanies?

SAIKI (Lead vocals): The title “Zen” was there from the demo stage, and the ZENSHU team were like, “Perfect, that’s great,” so we kept it. I was able to really get into the work by watching all the episodes as moving images, and picked out words from the story and incorporated them into the lyrics. ZENSHU taught me all kinds of things about being an animator, the profession of the protagonist, and thought it’d be nice to convey how creators like that feel. I think musicians and animators are the same in that we both create, so there were lots of parts I could relate to as a musician, and the lyrics in the chorus also reflect how we feel as BAND-MAID.

When (an anime) is based on a work that exists, you might already like it and be able to get into it right away, but since ZENSHU is an anime by MAPPA with an original story, I imagine it must have been difficult to grasp its worldview and reflect that in the lyrics.

SAIKI: It was. [Laughs] But I went over the plot and script and everything many times and worked on it after becoming a fan before anyone else. I felt that the song was “kayou [vintage Japanese pop music] rock.” We don’t often do songs in that style, and because of that, I figured my lyrics would reach people without sounding off, so I did pretty much what I pleased. As a vocalist, I recall recording it in a simpler way. In the first verse, I did simple chorus work, and from the second verse I tried to show off my own quirks, and added more and more harmonies to each chorus.

In terms of the performance, the descending part at the end of the chorus is memorable. What was the inspiration for that arrangement?

KANAMI: I wanted to create a kind of conclusion to the song. I also considered ending all together with the members, but since the work is about reincarnation, I wanted to include a fantasy-like image.

Your guitar solo, on the other hand, has an ascending, chaotic nuance that’s cool.

KANAMI: Thank you, I like it myself. It’s quite difficult technically, but I always want to play melodies that stick in your ears, and I think I’ve created a guitar solo that leaves a strong impression.

On the Zepp tour last year, you also performed songs off your new album Epic Narratives. How do you feel about the album now?

Kobato: After we “served” them live, we were like, “This album is really good after all,” and our masters and princesses [fans] have told us that that they felt the album was even more wonderful after hearing it live, so that made me happy, po.

SAIKI: It really struck me once again how much we love performing live, and felt that our music is something that is completed by “serving” it to the audience.

The music video for the song “Memorable” off your new album features scenery from overseas. It’s a song you feel strongly about, isn’t it?

Kobato: Yes, po. After COVID restrictions were lifted and we were finally able to go on another overseas tour, we thought it’d be a good idea to write a song about how we felt then, so KANAMI wrote the chorus during the tour. From there, we filled the song with memories of our U.S. tour, like including the English phrases we spoke on the stage and making it so that the people who came to see us at the time could envision the scenery when they listened to the song. The song turned out like that because we decided to write a straightforward ballad with a tempo we’ve never done before as BAND-MAID, po.

Lastly, please say a few words as a New Year’s greeting to your to your masters and princesses.

KANAMI: Happy New Year! I’m really looking forward to 2025, especially because we’ll be able to “serve” [play live] in lots of different places. I’ll write more songs this year and work hard so that we can entertain everyone. Thanks in advance.

SAIKI: This year we’ll be releasing not only the new single “Zen” but also an EP, and there’s more good news to come. I hope you’ll all stay healthy and look forward to it!

AKANE: Last year we were able to perform with some bands we respect, like Incubus and The Warning, and our dreams are steadily coming true. I hope we can continue to make the dreams of BAND-MAID as a whole come true again this year.

MISA: I think we’ll be able to “serve” a lot this year, so I plan on cherishing each show. I want to grow personally and grow as a group and make it a fun year.

Kobato: We’ll be “serving” in lots of different places this year, and there are also lots of things we haven’t announced yet, so I think the year will really pass faster than the last, po. I’m really excited about it, and think that 2025 will bring joy, surprise and all sorts of other feelings to our masters and princesses, so I hope you look forward to it, po. One of our strengths is that we work both in Japan and abroad, so we’d like to continue doing projects that our masters and princesses overseas can enjoy too. I’m looking forward to meeting lots of masters and princesses in 2025, po.

Anything else you want to add as a message to your masters and princesses outside of Japan?

Kobato: We’ve received lots of passionate requests from overseas for us to come and “serve” them, and we also really want to meet lots of people everywhere. We hope masters and princesses from outside Japan can come see us “serve” at Billboard Live this year, and we’ll be “serving” on many other occasions as well, so we’d love for you to plan a trip to Japan and come and see us, po!

—This interview by Takayuki Okamoto first appeared on Billboard Japan

DJ Unk, the Atlanta rapper behind the 2006 snap smash “Walk It Out,” has died at age 43, his family shared on social media Friday (Jan. 24).

The cause of death has not been publicly revealed. His wife Sherkita Long-Platt wrote on Facebook, “Please respect me and my family. I just lost my husband and my kids just lost their father. Our life will never be the same. I LOVE YOU ANTHONY FOREVER.”

Korey “Big Oomp” Roberson, who signed DJ Unk to his first label deal 25 years ago, confirmed his passing in a statement to The Atlanta Journal-Constitution. “DJ Unk was not just a legendary DJ, rapper, and producer, but a true cornerstone of our label, and the imprint that he left globally will be cherished forever,” he wrote, which was also shared on Big Oomp Records’ Instagram account. “Hit songs such as ‘Walk It Out’ and ‘2 Step’ have left an indelible mark on the industry, and his legacy will continue to inspire artists, DJs, and fans alike for years to come. His energy, creativity, and commitment to the craft will never be forgotten.”

Born Anthony Leonard Platt, he joined the DJ crew, the Southern Style DJs, before signing to Big Oomp Records in 2000. DJ Unk released his debut single “Walk It Out” in August 2006, months ahead of his debut album Beat’n Down Yo Block! that reached No. 21 on Top R&B/Hip-Hop Albums. “Walk It Out” hit No. 10 on the Billboard Hot 100 and No. 2 on Hot Rap Songs and Hot R&B/Hip-Hop Songs.

“I’m glad that it’s good energy and good vibes in the song ’cause they use it as far as work out dances, they use it in church, they use it for anything,” he told Billboard while on the red carpet of the 2023 BET Awards. He also praised André 3000’s verse on the “Walk It Out” remix, featuring OutKast and Jim Jones. “I still can’t believe that to this day,” he said. “I never dreamed that he would get on a record like that because he’s so powerful as far as hip-hop and music and everything, so it’s a blessing. That was a dream come true. It was like doing a song with Michael Jackson.”

“2Step,” the second single from Beat’n Down Yo Block!, reached No. 24 on the Hot 100 and hit the top 10 of Hot Rap Songs and Hot R&B/Hip-Hop Songs. These songs solidified DJ Unk as a leader of the snap subgenre of Southern hip-hop. He released his sophomore album 2econd Season in 2008, which peaked at No. 15 on Top R&B/Hip-Hop Albums.

GloRilla’s “Hollon” single from her 2024 debut album Glorious samples DJ Unk’s “Hold On Ho” from Beat’n Down Yo Block!.

Brad Pitt had dreams of portraying Jeff Buckley on the silver screen, the late musician’s mother has revealed.

Buckley, who passed away in 1997 at the age of 30, was the focus of many artistic endeavors in the wake of his death, though his story has not yet been made into a dramatized film. However, according to Buckley’s mother, Mary Guibert, Pitt had grand ideas for her son’s iconic tale.

On Friday (Jan. 24), a new documentary called It’s Never Over, Jeff Buckley will premiere at Sundance. However, as Variety reports, its origins can be traced back to some plans that Pitt first floated in 2000. According to Guibert, Pitt initiated a friendship with her, ultimately requesting permission to turn Buckley’s story into a biopic. Though she was receptive to the notion at first, it soon left her feeling skeptical.

“We’re going to dye your hair, put brown contact lenses on those baby blues, and you’re going to open your mouth and Jeff’s voice is going to come out?” Guibert says she asked Pitt.

Despite the initial bump in the road, Pitt wasn’t the only film-minded individual to desire seeing Buckley’s story on the big screen. Director Amy Berg – who received an Oscar nomination for the 2006 documentary Deliver Us from Evil – later sought to move from nonfiction features to a narrative project, with Buckley as her first focus. Guibert, however, was reticent to “being in a someone’s-learning-on-the-job situation”.

More ideas soon swelled, and when Berg was granted given access to Buckley’s archive, she decided instead to turn the late musician’s story into a documentary. With Pitt joining as executive producer and helping to digitize and preserve Buckley’s belongings, the final product now arrives on Jan. 24 as It’s Never Over, Jeff Buckley.

“Once I started listening to his voicemail messages and his DAP player and demos and reading his journals, I just couldn’t imagine it being anything but a documentary,” explained Berg. “And I just didn’t know how you could kind of replicate Jeff in that scripted sense.”

In 2021, however, Guibert was announced as the co-producer of Everybody Here Wants You, a planned biopic which would see Reeve Carney portraying Buckley. “This will be the only official dramatisation of Jeff’s story which I can promise his fans will be true to him and to his legacy,” Guibert said at the time. No updates have been provided since.

Born to Guibert and late folk musician Tim Buckley, Jeff began his career as a session musician before gaining a following throughout venues in Manhattan’s East Village.

After signing to Columbia in 1994, he released his debut album, Grace, which initially received mixed reviews and reached No. 149 on the Billboard 200. Retrospective evaluations have since seen the album considered one of the greatest records of the ’90s, and among the best of all time.

Buckley would pass away in 1997, drowning in Memphis during a spontaneous swim. Though he never completed a second record, Guibert would later compile his demo recordings as 1998’s Sketches for My Sweetheart the Drunk, which would reach No. 64 on the Billboard 200, and receive a Grammy nomination for Best Male Rock Vocal Performance for the single “Everybody Here Wants You”.

Heidi Montag and Spencer Pratt have joined more than 20 other property owners in suing the City of Los Angeles and the L.A. Department of Water and Power, claiming the city’s decision to “drain” a local reservoir left firefighters without enough water to fight the devastating Palisades Fire that destroyed their home.

In the complaint, which was filed Tuesday (Jan. 21), Pratt, Montag and their co-plaintiffs accuse L.A.’s Department of Water and Power (LADWP) of making “the conscious decision to operate the water supply system with the reservoir drained and unusable as a ‘cost-saving’ measure,” leading hydrants in the Pacific Palisades to “fail…within a span of 12 hours” because the tanks that fed them were not replenished by water from the “empty” Santa Ynez Reservoir.

The lawsuit cites multiple public officials, including Los Angeles County Public Works director Mark Pestrella, for allegedly acknowledging the failures that led to the fire’s uncontrolled spread through a heavily populated area. It claims that “Defendants also designed the water system for public use such that it would not have enough water pressure to fight an urban fire” despite knowing the region was prone to destructive blazes.

“LADWP and City of Los Angeles had a duty to properly construct, inspect, maintain and operate its water supply system,” reads the complaint, filed by attorneys Peter McNulty, Brett Rosenthal and E. Kirk Wood. “The Palisades Fire was an inescapable and unavoidable consequence of the water supply system operated by LADWP and City of Los Angeles as it was planned and constructed. The system necessarily failed, and this failure was a substantial factor in causing Plaintiffs to suffer the losses alleged in this Complaint.”

A key reason for the city and the LADWP’s failure, according to the suit, was its stated decision to leave the reservoir “empty for nearly a year” in order “to seek contractor bids rather than using in-house personnel to repair” it.

“This stated public purpose was far outweighed by the substantial risk posed to Pacific Palisades by wildfires,” the complaint continues. “The degree of damage that resulted from the Palisades Fire far outweighed any benefit that could have been realized by outsourcing and delaying repairs to the Santa Ynez Reservoir.”

Montag, Pratt and their co-plaintiffs are seeking damages including “costs of repair, depreciation, and/or replacement of damaged, destroyed, and/or lost personal and/or real property” and “loss of wages, earning capacity, and/or business profits or proceeds and/or any related business interruption losses and displacement expenses,” among other relief.

The City of Los Angeles and the LADWP did not immediately respond to Billboard‘s requests for comment.

Pratt became a ubiquitous presence on TikTok earlier this month after his and Montag’s home was destroyed in the massive Palisades Fire, with the reality star encouraging fans to stream Montag’s 2010 album Superficial to help them recover from their losses. Thanks to those efforts, Superficial and its songs have appeared on multiple Billboard charts. This week, the album notched a No. 54 debut on the Billboard 200 with more than 15,000 equivalent album units in the U.S. the week ending Jan. 16, according to Luminate, with more than 3.5 million on-demand official streams in the tracking week and 12,000 downloads sold.

Since breaking out on Jan. 7, the ongoing Palisades Fire has burned more than 23,000 acres, destroyed more than 6,000 structures and killed 11 people. It is now 72% contained. A second blaze, the Eaton Fire in Altadena, has burned more than 14,000 acres, destroyed more than 9,000 structures and killed 17. That fire is now at 95% containment.