Several of D4vd‘s notable collaborations have been removed from streaming services.
His songs with Holly Humberstone (“Superbloodmoon”), Laufey (“This Is How It Feels”), Kali Uchis (“Crashing”) and Damiano David have all been scrubbed, with Damiano replacing his D4vd-assisted “Tangerine” with a solo version. While news of D4vd’s arrest on first degree murder charges broke last week, it’s unclear when each song was pulled from streamers.
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Back in September of last year, Uchis told fans on Instagram that she and her team were working to get their song “Crashing” removed after news broke that the body of 14-year-old Celeste Rivas was found in the trunk of a Tesla registered to D4vd. “Not my friend i did a song with him which is currently in the process of being taken down given today’s disturbing news,” she told the fan that attempted to call her out about her connection to the singer. Also in September, figure-skating champion Alysa Liu announced that she was removing the Laufey/D4vd collab “This Is How It Feels” from her short form routine following the news of Rivas’ body being discovered.
D4vd’s song “What Are You Waiting For” was also reportedly deleted from the Madden 26 soundtrack, and he was dropped by his label Darkroom/Interscope last year as well.
The only collaboration that appears to still be available on streaming services at press time is a song with The Kid Laroi called “The Line” from Laroi’s 2023 album The First Time.
D4vd (real name: David Anthony Burke) was taken into custody last week and charged with the first degree murder of Rivas, with authorities alleging that the teen threatened to expose their inappropriate sexual relationship just as his music career was starting to take off.
“When she threatened to expose his criminal conduct and devastate his musical career, Burke allegedly murdered her, cut up her body and stuffed her body in two bags that were placed in the front trunk of his car,” Los Angeles County District Attorney Nathan Hochman said in a press release. “This horrific and gruesome murder committed by the charged sexual predator is shocking and appalling. To Celeste’s loved ones, we will get the justice you seek and deserve.”
The Rivas family shared a statement of their own saying that they want justice.
Billboard has reached out to D4vd’s team for comment.
D4vd, the 21-year-old pop singer made famous by his 2022 hit “Romantic Homicide,” is facing first-degree murder charges for allegedly killing and dismembering the body of 14-year-old Celeste Rivas Hernandez. Prosecutors claim the musician, born David Anthony Burke, was having an illegal sexual relationship with the teenager and murdered her after she “threatened to expose his criminal conduct and devastate his musical career.”
The Los Angeles District Attorney’s Office alleges the murder occurred on April 23, 2025 — just two days before the release of D4vd’s debut album, Withered, which opened at No. 13 on the Billboard 200. Months later, police discovered Rivas’ decomposed and dismembered body in an impounded Tesla registered to D4vd.
D4vd has pleaded not guilty to all charges, and his attorneys say they will “vigorously defend” him in court. “Let us be clear,” said the singer’s lawyers in a statement following his arrest, “the actual evidence in this case will show that David Burke did not murder Celeste Rivas Hernandez and he was not the cause of her death.”
The case has already had swift consequences for D4vd’s career. After Rivas’ body was discovered, his headlining Withered tour was cut short, and a deluxe version of the album got shelved. He was then dropped by Darkroom/Interscope Records, Sony Music Publishing and The·Team (formerly Wasserman).
Billboard has put together a timeline of D4vd’s legal case, and we’ll keep you up to date with new developments as it moves forward. (For more details about D4vd’s music career, check out our separate story on his trajectory in the industry.)
KCON LA 2026 just got even more epic.
Last month, entertainment company CJ ENM announced that KCON will return to Los Angeles this summer, Aug. 14-16, as well as its lineup. To continue building excitement, the annual convention celebrating Korean music, beauty, food and culture announced Wednesday (April 22) a new set of artists joining the slate. Five new performers will hit the stage across the three-day convention.
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Girl group H//PE Princess and debut members from PRODUCE 101 JAPAN SHINSEKAI will perform on Friday, joining the previously announced NCT 127, KickFlip, &Team and more. The next day, seven-piece boy band MODYSSEY will join acts like ZEROBASEONE, ILLIT and izna. Finally, EVAN — the K-pop solo artist formerly known as Heeseung and previously of ENHYPEN — and Korean and Japanese boy band NEXZ will take to the stage on Sunday alongside TOMORROW x TOGETHER and Allday Project.
KCON LA 2026 wil be EVAN’s first North American solo performance and H//PE Princess, MODYSSEY, NEXZ and PRODUCE 101 JAPAN SHINSEKAI’s first time at the convention. They all join a lineage of incredible KCON LA performers, including SEVENTEEN, RIIZE and aespa.
Since its 2012 debut, KCON has grown into the world’s largest K-pop fan and artist convention. KCON LA 2025 saw more than 100,000 fans for its three days of festivities. KCON LA 2026 will be held in Downtown Los Angeles’ Crypto.com arena and will feature showcases and interactive booths highlighting Korean culture.
Fans can buy tickets for KCON LA here.
UPDATE: On Wednesday (April 22), Taylor Momsen shared on update on Instagram, confirming that the spider that bit her on tour last week was a brown recluse. “NYC … So happy to be home for a minute…need a good book while my leg continues to heal…a week or two and I should be fine,” Momsen said in the caption of a photo taken outside New York’s Strand Bookstore. “Thanks to everyone for your concerns. Brown Recluse bites are no joke.”
PREVIOUSLY (April 15): Taylor Momsen knows the show must go on, even when dangerous spider venom is wreaking havoc on your body. The Pretty Reckless singer and Gossip Girl alum gave fans a health update on Tuesday (April 14) in the wake of the nasty arachnid bite she recently suffered while on tour opening for AC/DC in South America.
“Hospital today, show tomorrow,” Momsen, 32, wrote in an Instagram post in which she included a selfie showing off her mottled right leg and a close-up of the aftermath of the nip from an unspecified creature, which left her with angry red splotches up and down her shin and a nasty-looking bite mark just above her ankle.
“But the show must go on, see you tomorrow Mexico City!” she added along with three Mexican flag emoji and a pair of lightning bolts. The singer followed up on Wednesday morning (April 15) with a pair of hospital snaps in which she looked worse for the wear, after having to stay overnight for treatment. “Or I spend the night in the hospital,” she wrote alongside a picture of her wearing a black surgical mask and a white hospital gown while laying on a gurney and holding a bag of ice to her forehead. “Thank you to the amazing doctors who, well, they know [three heart emoji].” She signed off with three spider and three thumbs down emoji.
In an accompanying video, Momsen filmed herself being rolled through the unnamed hospital’s corridors with surgical booties on her feet and her rashy leg outlined in blue surgical marker.
The seeming turn for the worse came after Momsen said she was doing “f–king fine” in a backstage video before her band’s opening slot for AC/DC at Estadio GNP Seguros stadium in Mexico City on Saturday (April 11), laughing at the nod to lyrics from the recent Pretty Reckless single “When I Wake Up”.
“When I wake up … with a spider in the bed,” she said with a smile in a video to a post titled “AC/DC TONIGHT! I’M DOING FINE!” She followed up with a clip of the band on stage at the weekend show, writing, “MEXICO CITY NIGHT 2 Can’t wait for Wednesday!“
The bite that landed Momsen in the hospital took place more than a week ago, with the singer keeping up her graveyard humor at the time, writing, “When do my superpowers kick in? That’s what I want to know,” alongside an image of a doctor cleaning the wound while another member of the medical team gave her a shot in her left arm. To date, Momsen has not shared what kind of spider bit her.
In the caption to that post, Momsen noted that this isn’t her first time getting bitten whole on tour with AC/DC. “🕷️🕷️🕷️ So it wouldn’t be an AC/DC tour if I didn’t get bit,” she wrote. “This time a massive spider decided to take a chunk out of me and its venom did a number on my system so had to have the wonderful doctors in Mexico come and deliver quite the shot before the show last night…add it to the list!”
Momsen and Pretty Reckless last toured with the Australian hard rock legends in 2024, when she was bitten by a bat while on the road in Spain during a performance of “Witches Burn” from her band’s 2021 Death By Rock and Roll album. In a clip from the time, a bat landed on the singer’s thigh and she didn’t notice it at first. But after spotting some fans pointing at her she looked down and said, “There’s a f–king flying bat on my leg right now … I must really be a witch!”
A crew member removed the bat, but not before it had already bitten Momsen, which sent her to a hospital for treatment and two weeks of follow-up rabies shots.
While she had a good attitude about both bites — writing “Spider woman? Batgirl? 🕷️🕷️🕷️🦇🦇🦇 WTF 😬” last week — a spokesperson for the band had not returned Billboard‘s request for comment at press time on whether Momsen’s hospitalization would impact the band’s planned opening slot for AC/DC at Estadio GNP Seguros in Mexico City on Wednesday night.
After tonight’s gig, Pretty Reckless will take some time off before launching a European swing beginning with a June 5 show at the Rock Im Park festival in Nuremberg, Germany, then teaming up with AC/DC again in Charlotte, N.C. on July 11 for a North American summer stadium run in-between their own club shows.
Enrique Bunbury has once again embraced roots music and Latin American folklore in his latest album, De Un Siglo Anterior (From a Century Ago), with which the Spanish musician closes an exploratory phase before returning to rock, the genre that has elevated him as one of the greatest figures in the Spanish-speaking world.
“This is my most folk-inspired and traditional phase,” Bunbury tells Billboard Español in Mexico City, where he discussed the new LP, released on digital platforms last week.
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Released under Warner Music Spain, the album continues the exploration of traditional Latin American rhythms like bolero and tango, which he introduced a year earlier Cuentas Pendientes. This time, however, the lyrics take on a more introspective tone, delving into the changes happening in the world in this new century, in the age of social media.
“These two albums are part of a joint era or phase,” he explains. “I think keeping these traditional genres alive, which are timeless in themselves, is something beautiful when you look at the already existing songbook.”
Recorded at Desierto Casa/Estudio in the Desierto de los Leones in Mexico City, De Un Siglo Anterior features ten songs where Bunbury brings folklore into different forms, such as zamba, ranchera, tango, son and Peruvian rhythms. Tracks include “Un Brindis al Sol,” “La Voz,” “La Cima,” “Peor Que Como Estamos – Es Difícil Ya Que Estemos” and the title track, “De Un Siglo Anterior.”
For the musician, one of the most symbolic songs on the LP is “La Voz,” a jazzy bolero where the former leader of the now-disbanded group Héroes del Silencio reflects on the vocal cord issues he faced in 2022, caused by an intolerance to glycol, the main component of artificial smoke used in concerts. “I thought I would no longer be able to sing,” he recalls. “This song, on one hand, references that moment, the loss of that power of communication, and it also speaks indirectly about lost friends.”
In the same introspective vein, the song “De Un Siglo Anterior” nostalgically examines how “sometimes we miss the past and what we consider to be a loss when it comes to the technological evolution of the times. Where this new century and millennium are taking us, and what things we might recover from the previous century.” Other tracks on the album include “En El Arcén,” “Zamba Para Olvidar” and “La Cima,” where Bunbury compares fame and success to Everest and other great mountains.
For this project, the artist reunited the same team from Cuentas Pendientes, including the band of musicians with Mexicans Luri Molina and percussionist Johnny Molina, the technical crew and even the cook. “We really enjoyed the human experience of being together, recording, getting to know one another, and talking,” the singer-songwriter and producer says. “So when I finished the last album, I thought, ‘I’d like to find another project to work on with this team.’ I started writing some songs for this album, and everything came together very quickly.”
With this new LP in hand, Bunbury will embark on a tour across Latin America, the U.S. and Spain. Titled Nuevas Mutaciones (New Mutations), it will kick off in Puebla de Zaragoza, Mexico, on Oct. 10, and conclude in his hometown of Zaragoza, Spain, on Dec. 12. In Mexico City, the tour will mark his return to the iconic Auditorio Nacional after nearly a decade, with shows scheduled for Oct. 12, 15, 17 and 19.
Although he has played on major stages in Mexico — including the Zócalo during an event supporting victims of the 2017 earthquake that struck central Mexico — Bunbury hasn’t given up hope of returning to that iconic and majestic venue for his own show. “I’d like to do one solo and for it to be free,” he expressed. “That would be amazing.”
Milk & Honey Music + Sports, M3 Music and ONErpm have teamed up to launch INVERSA, a record label dedicated to bridging Latin America’s growing electronic music scene with the global dance community. Announced on Wednesday (April 22), the venture aims to discover, develop and elevate electronic artists from the Latin community, leveraging the expertise and reach of these industry leaders to amplify their presence internationally.
Milk & Honey Music + Sports will contribute its expertise in global artist and repertoire, marketing and promotional services, while M3 Music will bring regional insight, localized A&R and catalog development for remixes and covers. ONErpm will serve as the label’s distribution partner.
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The first artist scheduled to drop new music on INVERSA is Colombian music producer 19Clouds, with his release set to arrive on Tuesday (April 28).
“Having experienced firsthand the challenges of building an artist project within the Latin dance ecosystem, I’m excited to be part of an initiative focused on creating a solid foundation for artists locally while connecting them to the larger dance community,” said 19Clouds in a press release. “This represents an opportunity to not only empower local talent, but to also help contribute to the long-term growth of the region’s larger creative ecosystem.”
“We’re incredibly excited to help build the foundation for the rapidly expanding electronic industry across Latin America by bridging the gap between regional artists and the larger global electronic community,” said Max Geistfeld, manager at Milk & Honey.
Daniel Zawadzki, partner and head of management at M3 Music, added: “We entered this venture because we believe that the electronic music industry in Latin America is growing tremendously with its own identity. The idea of this venture is to have a record label for those artists from Latin America to the world.”
“We’re proud to partner with Milk & Honey and M3 Music as we continue expanding our global dance and electronic footprint,” Eddie Blackmon, vp of A&R ONErpm, said in a statement. “INVERSA is a key step in connecting Latin talent with the worldwide electronic market.”
Get in, girls. We’re going on a trip with Zara Larsson — who just announced that Shakira, PinkPantheress, Robyn and more leading ladies of pop will be featured on the upcoming deluxe edition of her breakout album Midnight Sun.
On Wednesday (April 22), just a few days after revealing that she’d be dropping Midnight Sun: Girls Trip this May, the Swedish pop star shared a video unveiling the names who will be joining her on the expanded project. In addition to her “Stateside” collaborator and the other previously mentioned names, “She Did It Again” duet partner Tyla, Kehlani, JT, Madison Beer, BAMBII, Margo XS, Emilia, Malibu, Eli and Helena Gao will also appear on the lengthened track list.
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The clip shows Larsson walking into a gas station and picking out an assortment of kitschy keychains, each reading a name from her list of Girls Trip collaborators. “I’m so so so so so honored and excited for this,” she captioned the video. “And you know what’s crazy? This is just the beginning of girls trip!!! Like HELLO This summer is gonna be madness.”
Midnight Sun: Girls Trip will arrive May 1, building on the success Larsson has found in recent months with her fifth studio album and the success of its title track. She recently earned her first-ever top 10 hit on the Billboard Hot 100 by guesting on PinkPantheress’ “Stateside,” which peaked at No. 6 in March.
On April 29, Larsson will accept this year’s Breakthrough Award at Billboard Women in Music. In a recent interview with Billboard about the honor, the singer said, “For the first time in a long time, I’m on the Billboard charts. I’m reaching so many new heights 10 years into my career, which is exciting and a testament to never giving up.”
See Larsson’s post below.
In a career that spanned almost all 50 years of his life, Michael Jackson became a mainstay on the Billboard charts, evolving from a child star into a global phenomenon and an undisputed legend.
His dominance on the Billboard Hot 100 reflects his record-breaking career: As a solo artist, 13 of his singles reached No. 1 – tied with Drake for the most by a male artist in history – and an additional four songs by the Jackson 5, with Michael on lead vocals, topped the chart.
Jackson first gained major recognition as the lead singer of family band the Jackson 5 with his siblings Jackie, Jermaine, Marlon and Tito, who notched massive hits for Motown off the bat. By age 12, the earliest instance of Jackson’s record-shattering capabilities emerged: The Jackson 5 became the first act to have their first four Hot 100 entries all reach No. 1. Parallel to his siblings’ success, Michael scored solo hits – including Hot 100 champ “Ben” – through the 1970s.
Although 1979’s Quincy Jones-produced Off the Wall was his fifth album, its bold creative direction positioned a then-21-year-old Michael as a fully-formed artist who would soon claim the King of Pop crown. The follow-up, 1982’s Thriller, is widely considered the best-selling album of all time and spent an astonishing 37 weeks atop the Billboard 200 – a record for an album by a single artist. In another first, th album’s seven singles all reached the top 10 of the Billboard Hot 100, with two, the immortal “Billie Jean” and “Beat It,” topping the chart.
While Thriller showed Jackson at unprecedented commercial heights, the superstar continued to make Hot 100 history with subsequent projects. 1987’s Bad produced a record five No. 1 singles, a mark unmatched by any album until 2011, and “You Are Not Alone” in 1995, became the first song to ever debut at No. 1 on the Hot 100. Though his chart power had waned at the time of his death in 2009, posthumous releases with his musical descendants still generate buzz collaborations: 2014’s “Love Never Felt So Good (with Justin Timberlake) and a featured credit on Drake’s 2018 track “Don’t Matter to Me,” which samples an unreleased Jackson song, both reached No. 9.
To review Jackson’s nearly half-century of Hot 100 impact, here’s a review of the late icon’s 50 biggest hits on the Hot 100. The list comprises his solo catalog as well as material by the Jackson 5 and The Jacksons.
Michael Jackson’s Biggest Hot 100 Hits ranking is based on weekly performance on the Hot 100 (from its inception on Aug. 4, 1958, through April 28, 2026). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
El cine, antes de ser un arte, fue una forma de registro. Ese poder de capturar un espacio, un momento o una experiencia a través de la mirada humana se lleva a su estado más puro en esta película, filmada de manera clandestina en distintos penales de la provincia de Buenos Aires. Marcos está preso […]
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El rodaje de la serie Sin senos sí hay paraíso en el centro de Bogotá se transformó en una escena de horror el pasado 18 de abril, cuando a las afueras del set de grabación un sujeto con arma blanca atacó a varios miembros de la producción, dejando dos personas fallecidas y un integrante del equipo gravemente herido. Lo que inicialmente fue confusión y versiones cruzadas ha ido tomando forma con el avance de las investigaciones, que hoy permiten reconstruir con mayor claridad lo ocurrido y perfilar a los implicados en una tragedia que sacudió a la industria audiovisual colombiana.
Los hechos ocurrieron en el sector de Los Laches, en la localidad de Santa Fe. Según los reportes recopilados por las autoridades y confirmados por distintos medios, el atacante llegó caminando al lugar y, sin mediar palabra, se abalanzó contra miembros de la producción. El primer ataque tomó por sorpresa a quienes estaban en el set, desatando una reacción inmediata de pánico. En medio del caos, varios integrantes del equipo intentaron intervenir para detener al agresor, lo que derivó en un forcejeo que terminó siendo fatal.
El responsable fue identificado como Josué Cubillos García, de 24 años, quien, de acuerdo con la información recopilada por las autoridades, presentaba antecedentes de problemas de salud mental, entre ellos episodios de psicosis y esquizofrenia. También se investiga la posible influencia de sustancias psicoactivas en su comportamiento. Las indagaciones han establecido que el joven ya había estado en el sector un día antes del ataque, protagonizando episodios de alteración, lo que hoy forma parte de las líneas de investigación para entender cómo logró acercarse nuevamente al equipo de grabación sin que se activaran alertas previas.
El ataque dejó un saldo de tres personas fallecidas, incluido el propio agresor. Las víctimas fueron Henry Alberto Benavides Cárdenas, quien se desempeñaba como conductor de la producción, y Nicolás Francisco Perdomo Corrales, asistente del equipo. Ambos murieron como consecuencia directa de las heridas ocasionadas durante la agresión y en medio del intento por contener al atacante. Cubillos, por su parte, falleció durante el mismo episodio, luego de ser reducido por integrantes del equipo que reaccionaron para evitar que continuara el ataque.
Además de las víctimas mortales, una persona resultó gravemente herida y fue trasladada a un centro asistencial, donde permanece bajo atención médica especializada. Aunque su identidad no ha sido ampliamente divulgada, desde la producción y el entorno del equipo se han hecho llamados públicos a la solidaridad y a acompañar su recuperación, lo que da cuenta de la gravedad de las lesiones sufridas.
En un primer momento, las autoridades capturaron a dos trabajadores del equipo de producción, Jorge Alexander Correa, de 19 años, y Nelson Alfonso Sanabria, de 29, quienes hacían parte del componente logístico de la serie. Ambos fueron detenidos por su presunta participación en los hechos y enfrentaron señalamientos por homicidio; sin embargo, durante las audiencias no aceptaron los cargos y alegaron haber actuado en legítima defensa. Con base en los primeros elementos de prueba —incluidos videos y testimonios—, un juez ordenó su libertad mientras avanza la investigación, por lo que continuarán vinculados al proceso. Este giro permitió descartar la hipótesis de un ataque coordinado y reforzó la tesis de que se trató de una reacción del equipo para contener al agresor.
La Policía Metropolitana de Bogotá ha insistido en que todo apunta a un hecho aislado, perpetrado por un solo individuo y sin motivaciones relacionadas con robo, sicariato o estructuras criminales. La principal línea de investigación se centra en el estado mental del agresor y en las circunstancias que permitieron que llegara hasta el lugar del rodaje. En paralelo, las autoridades revisan cámaras de seguridad y recopilan testimonios para reconstruir minuto a minuto la secuencia del ataque.
Desde la producción de la serie se emitió un comunicado en el que se calificó el hecho como un episodio imprevisible, ocurrido en un espacio abierto donde, pese a contar con medidas de seguridad, no fue posible anticipar una agresión de esta naturaleza. También se informó que se activaron los protocolos de emergencia tras el incidente y que se está brindando acompañamiento a las familias de las víctimas, al tiempo que se colabora plenamente con las autoridades en el desarrollo de la investigación. Las grabaciones fueron suspendidas de manera indefinida mientras se evalúan las condiciones para retomar el proyecto.
El impacto del caso ha trascendido el ámbito judicial y ha generado una profunda conmoción en el gremio audiovisual colombiano. Actores, técnicos y productores han expresado su dolor y solidaridad, al tiempo que han hecho llamados urgentes para revisar y reforzar los protocolos de seguridad en rodajes, especialmente aquellos que se realizan en espacios públicos. La tragedia ha reabierto el debate sobre las condiciones laborales del personal técnico, la exposición a riesgos y la necesidad de una mayor articulación con las autoridades locales para garantizar entornos seguros durante las producciones.
Mientras avanzan las investigaciones, el ataque en el rodaje de Sin senos sí hay paraíso deja no solo un saldo trágico de vidas perdidas, sino también una serie de interrogantes sobre la prevención, la seguridad y la responsabilidad en este tipo de escenarios. En una industria acostumbrada a recrear la violencia frente a las cámaras, lo ocurrido en Bogotá recordó de forma brutal que, fuera del guion, los riesgos pueden ser tan reales como devastadores.
The post “Silencio en el set”: Tragedia en la grabación de <i>Sin senos sí hay paraíso</i> sacude el sector audiovisual colombiano appeared first on Rolling Stone en Español.