Rawayana reaches new heights as “Inglés en Miami,” with Manuel Turizo, hits No. 1 on Billboard’s Latin Airplay chart (dated May 23). As the song ascends 4-1, it earns the Venezuelan group its first chart-topper on the overall Latin radio ranking, and becomes Turizo’s 10th champ.

“This achievement belongs to our people, so we dedicate it to all our fans around the world,” Rawayana’s Beto Montenegro tells Billboard. “Seeing ‘Inglés en Miami’ reach No. 1 on the overall Latin Airplay chart is something really special for us, and it wouldn’t be possible without the love and support we’ve received everywhere we go. Thank you for making this journey part of your lives and thank you to Manuel Turizo for being part of this song with us.”

“Inglés en Miami” ascends to No. 1 on the Latin Airplay chart following a 22% surge in audience impressions, to 7.5 million in the United States, during the tracking week of May 8-14, according to Luminate. This marks a significant milestone for Rawayana, whose previous chart peak was No. 42 with “La Culpa,” a 2025 collaboration with Kany García.

Turizo secures his 10th career No. 1 on the overall Latin Airplay chart—and his first alongside a group. The Colombian singer last topped the chart nearly a year ago through “En Privado,” with Xavi (June 2025).

“Happy, super happy that people have connected with and felt the same vibe with which we created the song, the same vibe with which we sat down to enjoy, to connect, and to create something beautiful and unique for everyone,” Turizo tells Billboard. “That they enjoyed it seems amazing to me, it’s incredible. I am grateful. A shoutout to all the guys at Rawa; what a hit we made!”

Beyond its Latin Airplay coronation, “Inglés en Miami” holds steady for a second week atop Latin Rhythm Airplay. The track also marks a career win for Rawayana and Turizo, who earn their first top 10 on Hot Latin Rhythm Songs, as it rises 13-8 in just its second week.

Elsewhere, the song reaches a new peak on the Hot Latin Songs chart, climbing 28-21. The chart combines airplay, digital sales and streaming data into its formula.

When people ask me about the state of jazz, I always tell them that from where I live in New Orleans, the view is great, thank you. N’Awlins isn’t a museum to jazz but a living, breathing gumbo of jazz, blues and everything else besides. And that’s what attracts musicians like me to experience a music scene that’s generous in encouraging young players to “sit in” with those who’ve been doing it for a lifetime. 

Given that New Orleans is the birthplace of jazz, work is plentiful in this tiny city overflowing with legacy. But it also vibrates with the new. It looks back whilst moving forward, and that’s what keeps America’s greatest art form vital.

Growing up in London, I was introduced to joyful, blues-based jazz — the pop music of its day — by my father, opera singer Handel Owen. In particular, he played the smile-enduring music of my first female idols: the unapologetically badass ladies of the ‘40s and ‘50s. They were killers at the piano: audacious, unafraid band leaders and self-styled performers who wrote, played and entertained with a wicked glint in their eyes. 

Nellie Lutcher was the first. She blew my tiny mind on “Fine Brown Frame,” with lyrics I couldn’t yet understand at age five but whose infectious and percussive piano/singing style exploded out of the speakers. (I once read that Alicia Keys had the same epiphany with another great: Hazel Scott.)

Next was Julia Lee, the Kansas City queen of double entendre, and writer of “My Man Stands Out” and “King Sized Papa.” Lutcher played with the Southern Rhythm Band. Lee had Her Boyfriends backing her. Both had hits; both are all but forgotten. These jazz pioneers were out front and in control in the very male-dominated world of jazz; at a time when women were kept in their place. Both artists made me dream of being my boldest, bravest self.

So during COVID, full of fear and end-of-the-world anxiety, I looked back to move forward. Like many artists, I took the opportunity to fulfill a back-burner dream. I needed to smile, so I celebrated these badass women who’d lifted my spirits when the clouds of depression came. And wouldn’t you know, it was the fork in the road for this late bloomer!  

Luxuriating in the glow of those delicious songs and the sexy grease of my band, The Gentlemen Callers, I moved front and center into the spotlight and became the entertainer those ladies made me want to be. I returned to the piano and my self-penned songs with a newfound abandon and flare.

COVID has been replaced by new chaos, and I’ve never felt more compelled to put a smile on my audiences’ faces — we all need it. I’m out on the road loving every moment on- and off-stage with these incredible musicians who utterly respect my artistry and laugh at my expense. I’m the boss and one of guys. My father always told me, “It’s the least glamorous job in the world, so you’d better love it!” He also reminded me that looks are a bonus, but talent is forever — a smart man.

In truth I’m not a jazz purist, having always blurred the lines as a singer-songwriter between jazz, blues, pop, rock and classical. I’ve learned that whatever the genre when you hit gold on a label, you’ll be expected to repeat the formula over and over again. It makes business sense, but that was never for me.

Happily, these days we’re seeing more exceptions to the rule. Think Jon Batiste’s Americana Grammy win. It’s exciting to do what you want, how you want; love it or leave it. New Orleans artists and bands are renowned for mixing traditional jazz with contemporary genres like funk, hip-hop and rock. There’s a renaissance of artists here blurring the lines like Batiste. 

Trombone Shorty, hip-hop jazzers Trumpet Mafia and buskers extraordinaire Tuba Skinney are just a few who are keeping it fresh. And if you’re talking young jazz voices, then there’s none more vital than 16-year-old piano prodigy River Eckert, who’s carrying New Orleans music into the future. Elsewhere, next-gen voices like Samara Joy and Laufey are sounding off as well through their unique creative perspectives.

And wouldn’t you know: Being authentic and mixing it up resonates with audiences. I’m thrilled to report that mine are getting younger and younger, especially among women. There are two post-show comments that I’m regularly hearing from new fans confirming that: (1) “I didn’t know I liked jazz” and (2) from young women, “I want to be fearless like you!” The latter makes me teary-eyed; a reminder of myself first hearing Nellie.

Both comments assure me that I’m passing the baton to eager up-and-comers — and that jazz is far from dead. From where I stand, I’d say it’s flourishing.

Judith Owen’s latest album is Suit Yourself. Recorded at New Orleans’ Esplanade Studios and newly released via her label Twanky Records. the set brims with a vibrant fusion of jazz, big band and blues. Owen and The Gentlemen Callers let loose on the project’s first single, her self-penned “That’s Why I Love My Baby,” and “Today I Sing the Blues,” a stirring duet with Crescent City star Davell Crawford. Owen also reimagines the Dinah Washington classic “Evil Gal Blues.” Additional information about Suit Yourself and Owen’s upcoming tour dates is available on her website.

For over 15 years, Drake’s reign has been characterized by — and often maligned for — his versatility. Few rappers have ever ventured into so many genres and subgenres, pushing listeners past their boundaries and turning initial critics into those who have to spin back and say, “I didn’t get (insert song/album) at first, but I love it now.” 

What began as him baring his soul on R&B records, expressing emotions that many men would normally hide, turned into legitimate pop and house smash records as time went on. His 2020s have taken him further into new territory, starting with the full dance album Honestly, Nevermind, and continuing on collaborations with Spanish-language artists on records like “Gently” and “Meet Your Padre,” and, this past weekend, with his club-ready 14-track album MAID OF HONOUR. 

A key piece of these musical journeys has been one of his go-to producers this decade, GORDO, formerly known as Carnage. The Nicaraguan-American DJ has his hands all over the 6 God’s most exploratory (and often polarizing) songs of the last half-decade: “Sticky,” “Massive,” “Calling My Name,” and “Rich Baby Daddy,” just to name a few. 

Now, having placed nine tracks on MAID — plus “WNBA” from HABIBTI — the 35-year-old producer has over 20 songs with The Boy. With songs like “Hoe Phase,” “Outside Tweaking” and “New Bestie” on their collective resume, the producer could rightfully compare his collaborative relationship with Drake to any of the strongest dynamic duos of the 2020s. 

“I grew up as a Drake fan my entire life,” he told Billboard. “You have to give him so much props because he stayed relevant this long, during so many changes in pop culture. That’s the crazy part about it. We’re not talking about a niche rapper… he adapts, and he stays on the ball.”

Read Billboard‘s discussion with GORDO below about witnessing Drake continue to break barriers, why he worked so hard on every record they released together, and what is next for his career.

You told me two years ago that you didn’t think you could make a better album than DIAMANTE and I think you might have outdone yourself. Obviously, MAID isn’t your album in the same way DIAMANTE was, but you have nine out of 14 tracks. What’s your response to that?

Technically speaking, on DIAMANTE, I had a say on everything. On this album, I didn’t have a say on everything, but I was a small tool to this guy’s genius plan. And the best thing about all this was this was about him. It wasn’t about me. I worked so hard on this album because I was rooting so hard for him. I was like, “I want to do everything I can to help and send positive energy toward this legend.”

How do you define your collaborative relationship with him, on top of the fact that you’re such good friends as well?

Sometimes when I’m DJing, I wish I could go and watch myself, to understand it, and also learn. In the same way with music, I wish I could be you guys. I grew up as a Drake fan my entire life. When I was 14, 16 years old, I was listening to this guy. So 20 years later, this guy is over here – every single quarter, he does something that’s like, “Whoa, what is this?” Then, over the years, he keeps doing it, and now people are just like, “Oh no, I don’t like this,” or “This is weird.” 

That’s their new response, yet these songs continue to do great for years and years and years. They love to just talk. That’s the place we’re in. You have to give him so much props because he stayed relevant this long during so many changes in pop culture. That’s the crazy part about it. We’re not talking about a niche rapper. He stays and adapts. He always does something new and inventive. It’s like, “Yo, it’s mind-blowing.” So it’s just kind of insane that he can do that.

Were you able to be in the studio with him to record any of these? If so, what was it like seeing him put together a song like “Road Trips” or “Stuck”?

It’s mind-blowing that we’re getting Drake doing a song with an electro-EDM-trap drop on the second half of “BBW.” Like, what? What are we even talking about right now? He’s entered his “I don’t give a f–k what anyone thinks” era. And we’re talking about a guy that’s really good at making music. That’s the thing; he’s the GOAT because he’s always been able to stay relevant and do things that are culturally relevant. 

And he’s still young as f–k. He’s almost 10 years younger than Kanye. My boy said something yesterday. He was like, “Yo, Drake’s only like getting to the middle of his whole career.” It had me think, “Oh sh-t. That’s actually possible.” We already off rip know we have another 10 years of Drake. That’s kind of insane to think about.

I was listening to Popcast this weekend, and I agreed with their take that MAID OF HONOUR is going to have the most legs in terms of its experimentation. It said a lot that he promoted the album as “I had to make ICEMAN so I could make these other two projects.” 

I appreciate that… The thing is, I feel pride every day getting to work with Drake. He’s allowed me to push the barriers sonically and create music that we believe is timeless. I was shocked too when he was really f–king with this stuff. I think it’s a testament to the fact that there’s more GORDO and Drake to come, if he hopefully decides to keep making music with me. 

And, to be honest, there’s something I want to be super vocal about. A lot of this music couldn’t have been made without ZECCA, my brother from Argentina, and Johan and Richard. Literally, we would link up every couple of months or weeks in random locations, and just cook up. We’d make five to seven different versions of songs. I went to Colombia with Zeka a couple of months ago. Me and him cooked up for a couple of days. Literally, I would leave my computer on and go to sleep. When I would wake up, he’d have made like nine different versions of a song. 

A lot of the music came from these guys, too, so everyone had equal input. You know when you think of guys who are, like, super-geniuses on the computer? That’s them. That’s why the album sounds so good. We need some more light on the producers. 

Seeing all of the directions you’ve been able to go with him, combining your vast tastes in music, what’s next for you? What’s the next mountain for you, or some sounds that you want to explore musically? What’s the next milestone?

I’m working on the next album right now. It’s the new album, and I’m building on TARAKA, my party that I’m doing. I’m doing a crazy show in Chile on June 13. I built a metal coliseum to put inside this venue. Basically, there’s going to be different floors and people around this big circle. We’re going to hang stuff. It’s this crazy concept I’ve been working on for a couple of months. That’s going to be one of my favorite things of the year. 

And then, also my Ibiza residency. I finally got my residency in Ibiza. That’s really one of my most important things that I’m working on right now just because I’ve never had the position to be in a place where I’m “one of the ones” in Ibiza.” That’s very, very rare, especially at a high-level club. Pacha, that’s the best club in the world. 

Do you have your eye on any artists that you’d like to collaborate with in the future, especially with an album in the works?

I hate to say this, but my life has been so “GORDO and Drake, GORDO and Drake, GORDO and Drake,” that I haven’t even had time to think about any of that. I’ve just been so focused on that, on top of touring and DJing. 10-hour set here, 12-hour set there. I don’t even know how I’m functioning, to be honest with you. 

As you said, you’re constantly traveling, on the road, DJing, and partying. When do you get time to rest? What’s GORDO doing in his downtime to get away from all of the craziness?

I am in Thailand resting, recovering. I take health very seriously, so I do a lot of sauna and cold plunges. A lot of cardio. Basically, just getting my life in order and being relaxed. I’m not trying to overly push it. Staying focused. I just want to stay alive. I’m on the peptide swag. 

You were previously Carnage. When do you feel like GORDO really established himself as separate from Carnage and really made his stamp on the game? Or do you feel there’s more to do?

It’s taken time to prove that, but that’s just the journey that we’re on. It’s going really well. It’s a great time to be alive. There are so many blessings happening. So many good things are happening. The best part about it is that there’s so much good music happening.

“The show must go on” might be an oft-repeated adage in showbiz, but when it comes to children’s theater, the curtain rising is not the top priority. “The safety of children is the number one thing,” Ryan French, who has served as managing director at Minneapolis’ Children’s Theatre Company (CTC) for the last year, tells Billboard.

To that end, even before the U.S. Immigration and Customs Enforcement’s controversial Operation Metro Surge hit Minnesota in early 2026, the theater “had been preparing for what could be some form of immigration enforcement” in Minneapolis. “We had all our protocols in place on how to read warrants and deal with anyone that would have come specifically to the theater,” explains French, who oversees administrative and operational duties at the CTC.

In January, however, the situation escalated far beyond what anyone expected. Seventeen days after Renée Good was shot and killed by an ICE agent a mile away from the theater, another Minnesotan, Alex Pretti, was shot and killed by ICE agents just two blocks from the children’s theater – despite, like Good before him, seeming to pose no threat to ICE agents.

“That’s when it became very, very real,” says French. With children inside the theater for Saturday classes when Pretti was killed, “we made the decision to continue with the shows where the kids were safest in the building. Then when their parents came to pick them up, we canceled the rest of the day.” Sunday’s slate of programming was scuttled, too. “The National Guard was coming in to basically cordon off the neighborhood so we couldn’t have had a show if we wanted to.”

All in all, six performances of Go, Dog. Go! • Ve Perro ¡Ve! — a bilingual show based on a popular children’s book — were canceled outright, but the incident’s impact persisted well beyond the days the theater went dark. With ICE still swarming the streets of the Twin Cities (Minneapolis and St. Paul, Minnesota) after killing two U.S. citizens in broad daylight, attendance plummeted. “People canceled, school groups chose not to come,” French explains. “Most people just said, ‘We’re not coming downtown.’”

The drop in ticket sales continued into March, affecting the theater’s next production, Dinosaur World Live, as well. “We saw dramatic decreases in both shows,” French says. “We expect between 65 to 85% of a house filled for our shows at that time of year, and we saw numbers around 40%, almost half of what we would expect.”

Initial estimates placed the CTC’s loss at $230,000 for the period of January and February, but the theater’s estimated loss has soared to $430,000 since then. While French acknowledges you “can’t attribute all of that to necessarily a single incident or single presence,” he points out that Go, Dog. Go! • Ve Perro ¡Ve! had been on track to earn its financial goals until Pretti was killed two blocks from the theater, causing an immediate drop in attendance.

Aside from lost income for the six-decade-old children’s theater, which serves the second-largest theater-company-per-capita market after New York City, French bemoans the lost experiences. “For a school matinee, that second grader, that might be their first time seeing live theater,” muses the father of two, surrounded by children’s drawings and a “Hi Dad!” message from one of his kids on a whiteboard.

The CTC is hoping to overperform economically with its current production of The Wizard of Oz, which is on stage through June 14 and closes out the current season. But French is well aware that, ruby slipper miracles notwithstanding, it is “mathematically impossible for us to remake all $430,000 of earlier missed goals.”

Still, the CTC is pursuing “aggressive goals” for the show, a glitzy, crowd-pleasing production directed by CTC artistic director Rick Dildine—and luckily, they are on track to hit their revenue goals for it. Naturally, it helps that The Wizard of Oz is a production with built-in nostalgia and cross-generational name recognition.

“You enter the theater, and your heart is already filled with anticipation, and then it just bursts. It’s so beautiful and well done,” French says. Plus, The Wizard of Oz is hitting the stage in the wake of not one but two blockbuster films based on the Broadway smash Wicked. “For some kids, they don’t even know that there was a show before Wicked,” he laughs. “You’ll hear parents say, ‘This is where that one reference in Wicked comes from.’”

With its emphasis on self-discovery, supporting other people’s dreams and the importance of home, The Wizard of Oz arrives as a fitting finale for the theater’s exceptionally difficult season. “I do think there’s an interesting and heartfelt parallel to what Minnesotans discovered about themselves, the strong internal drive that came out when they needed to get together to take care of their neighbors,” French says when asked of the connection. “We need a little more humanity and fewer screens and isolation. I can’t think of a better way than live theater to have that happen.”