From ‘Rompe’ To ‘Con Calma,’ Here Are Daddy Yankee’s Longest-Leading Latin Airplay Hits

Daddy Yankee recently made Billboard history, becoming the artist with the most top 10s on the Latin Airplay chart since its inception in 1994.

The Puerto Rican star broke out of a tie with Enrique Iglesias after his Marc Anthony-assisted “De Vuelta Pa’ La Vuelta” hit No. 8 on the chart dated Jan. 16, 2021.

In total, DY has 41 top 10s on Latin Airplay, 22 of which hit No. 1, including “Despacito” with Luis Fonsi and Justin Bieber, which spent a total of 19 weeks at the top. In celebration of his new milestone, Billboard highlights Yankee’s Latin Airplay hits that have spent at least two weeks or more at No. 1.

Check them out below:

“Rompe”
On the chart: “Rompe” peaked at No. 1 on Dec. 10, 2005, where it reigned for 15 weeks.

Before “Despacito,” Daddy Yankee crowned the chart for more than three months, holding steady at No. 1 with his 2005 hit “Rompe.” Along with “Gasolina,” the catchy reggaeton hit about being the best in his lane ultimately put Daddy Yankee, reggaeton and Latin hip-hop on the international map.

“Nota de Amor”
On the chart: “Nota de Amor” (Wisin & Carlos Vives feat. Daddy Yankee) peaked at No. 1 on April 25, 2015, where it reigned for two weeks.

Teaming up with Wisin and Carlos Vives, Daddy Yankee flaunts his romantic side on “Nota de Amor.” The feel-good track is an urban-tropipop hit that perfectly fuses Vives’ vallenato sound with Yankee’s quick-paced rap verses.

“Despacito”
On the chart: “Despacito” (Luis Fonsi & Daddy Yankee feat. Justin Bieber) peaked at No. 1 on March 11, 2017, where it reigned for 19 weeks.

Luis Fonsi and DY recruited Justin Bieber for an iconic bilingual remix that made history across the world, racking up more than 7 billion views on YouTube. “Yankee gave it that energy,” Fonsi told Billboard. “I don’t have that in my voice. He’s a hype man. He has that ability to get you out of your seat.”

“Dura”
On the chart: “Dura” peaked at No. 1 on March 17, 2018, where it reigned for five weeks.

On the heels of the massive success of “Despacito,” Daddy Yankee released “Dura,” a vibrant uptempo reggaeton hit that had music fans on their feet. The repetitive “Dura” is about a girl who’s all that. Yankee recruited Becky G, Natti Natasha and Bad Bunny for a remix.

“Con Calma”
On the chart: “Con Calma” (Daddy Yankee & Katy Perry feat. Snow) peaked at No. 1 on March 16, 2019, where it reigned for eight weeks.

“To transcend different cultures singing in my language and representing it has been a core mission since the beginning of my career,” the reggaeton singer expressed on Instagram of “Con Calma,” his energetic, bilingual remake of Snow’s 1992 hit “Informer.”

“Soltera”
On the chart: “Soltera” (Lunay, Daddy Yankee & Bad Bunny) peaked at No. 1 on July 13, 2019, where it reigned for two weeks.

Daddy Yankee teamed up with Bad Bunny and Lunay on the “Soltera” remix, an anthem for the single ladies. In the clip, the three Puerto Rican artists crash a bachelorette party, dance on top of a giant cake, cozy up to the group of beautiful women and pop bottles of champagne.

“China”
On the chart: “China” (Anuel AA, Daddy Yankee, Karol G, Ozuna & J Balvin) peaked at No. 1 on Sept. 21, 2019, where it reigned for two weeks.

“China” is a fun Latin urban-meets-EDM track that revives Shaggy’s timeless single “It Wasn’t Me.” Similar to Shaggy’s hit, the song talks about infidelity and getting caught red-handed. In “China,” Anuel AA, Karol G, Ozuna, Daddy Yankee and J Balvin all sing about meeting someone at the club, having a good time and forgetting about their significant other.

“Que Tire Pa’ Lante”
On the chart: “Que Tire Pa’ Lante” peaked at No. 1 on Dec. 21, 2019, where it reigned for three weeks.

“Que Tire Pa’ Lante” is an uptempo reggaeton and dancehall song about a girl who is a great dancer who Daddy Yankee compliments by saying “que tire pa’ lante?,” asking her to flaunt more of her dance moves. People of all ages and cultures have danced to the infectious beat.

Martin Luther King Jr. Was Assassinated 4 Days Before the 1968 Oscars: The Show Did Not Go On

Rev. Martin Luther King Jr., whose birthday we celebrate on Monday (Jan. 18), was assassinated on April 4, 1968 — just four days before the 40th annual Academy Awards were scheduled to take place at the Santa Monica (Calif.) Civic Auditorium.

President Lyndon Johnson declared a national day of mourning for the civil rights leader on Sunday, April 7, but his funeral wouldn’t take place until Tuesday, April 9 — the day after the Oscars.

All four of the African-American stars who were scheduled to play a key role in the ceremony — Sidney Poitier, Diahann Carroll, Sammy Davis Jr. and Louis Armstrong — announced they were withdrawing out of respect for Dr. King. (Poitier was set to present best actress; Carroll to co-present two awards for short subjects; and Davis and Armstrong to perform nominated songs.)

The Oscars initially planned to go forward as scheduled, but it became increasingly apparent that the show simply couldn’t go on. The show was pushed back two days, to April 10, the day after the funeral. With that, these four stars agreed to appear on the show in these roles.

The Oscar telecast opened, appropriately, on a serious note. Gregory Peck, president of the Academy of Motion Picture Arts & Sciences at the time, offered some sober remarks. “This has been a fateful week in the history of our nation. We join with fellow members of our profession and men of goodwill everywhere in paying our profound respects to the memory of Dr. Martin Luther King Jr.

“Society has always been reflected in its art and one measure of Dr. King’s influence on the society we live in is that of the five films nominated for best picture of the year, two dealt with the subject of understanding between the races. It was his work and his dedication that brought about the increasing awareness of all men that we must unite in compassion in order to survive. The lasting memorial that we of the motion picture community can built to Dr. King is to continue making films that celebrate the dignity of man, whatever his race or color or creed.”

Peck was alluding to best picture nominees Guess Who’s Coming to Dinner and In the Heat of the Night. (The latter film wound up winning the award.)

Peck was the perfect choice to make these remarks. He won an Oscar five years previously for To Kill a Mockingbird (one of the first major films to deal seriously with the subject of race). And he had a gravitas and sense of decency that made him widely admired. He was for his era what Tom Hanks is today.

When Peck finished his remarks, Bob Hope, host of the show for the fourth consecutive year, took the stage. Hope’s monologue included some ill-advised (and not especially funny) wisecracks about delay: “I just want to say about the delay of two days, it didn’t affect me, but it’s been tough on the nominees. How would you like to spend two days in a crouch? We also voted a special honor for valor to the ABC programming department. They just committed mass hara-kiri. Any delay really snarls up programming and the sponsor Eastman Kodak was afraid it would hurt their image — a show that took three days to develop.”

The New York Times’ review of the telecast labeled Hope’s jokes about the delay “tasteless.”

There were several allusions to Dr. King and the theme of his work during the show. When Peck received the Jean Hersholt Humanitarian Award, the Academy’s top philanthropic honor, he said, “It’s a humbling experience to hear oneself described as a humanitarian at any time, but especially this week. I’ll try to be deserving and, if I may, I would suggest that those of us who would like to help the humanitarian efforts of the Southern Christian Leadership Conference with its nonviolent approach to our most pressing problems may do so by sending contributions — large or small — to the Martin Luther King Jr. Fund, Atlanta, Georgia. Thank you very much.”

When Rod Steiger won best actor for In the Heat of the Night, for playing a small-town Mississippi police chief who must work with a Black police detective from Philadelphia played by Poitier, he said, “I’d like to thank Mr. Sidney Poitier for the pleasure of his friendship, which gave me the knowledge and understanding of prejudice in order to enhance my performance. Thank you, and we shall overcome.”

When producer Walter Mirisch accepted the best picture award for that same film, he said, “We are all very grateful for your recognition of our efforts and for your recognition of the lesson of In the Heat of the Night.”

Hope returned to close the show with scripted comments in which the Academy sought to find meaning amid the turbulence of the times. Some of his comments were probably written beforehand simply to mark the Oscars’ 40th anniversary, but they were amended when King was killed.

“Films today more accurately reflect the human condition. No longer do we portray the world as we wish it was. Today, we show the world as it is. Perhaps tomorrow we will depict the world as it could be … The men who began our industry had at least one thing in common with the man from Atlanta [King] — they had a dream. It has taken time, but the dream of the merchants and the martyr have [begun] to merge, if not out of idealism, then out of necessity.”

Appropriately, the Governor’s Ball was canceled.

Although Poitier starred in two of the best picture nominees, In the Heat of the Night and Guess Who’s Coming to Dinner (as well as a third hit film that was released that year, To Sir, With Love), he was passed over for an Oscar nomination. That was widely seen as a snub, but it may have simply been a case of his support being divided between multiple films.

There were just three Black nominees that year. Beah Richards, who played Mrs. Prentice, the mother of Poitier’s character, in Guess Who’s Coming to Dinner, was nominated for best supporting actress. Quincy Jones was a double nominee for best original score (In Cold Blood) and best original song (“The Eyes of Love” from Banning). Bob Russell, who collaborated with Jones on “The Eyes of Love,” was also nominated for that song.

This wasn’t the last time the Oscars were postponed due to the shooting of a national leader. Just 13 years later, the 53rd Academy Awards, originally scheduled for Monday March 30, 1981, were delayed a day following the assassination attempt on President Ronald Reagan on March 30.

Johnny Carson, hosting the show for the third consecutive year, said at the top of the show: “The Academy, ABC-TV and all of us connected with the show felt that, because of the uncertain outcome as of this time yesterday, it would have been inappropriate to stage a celebration. But the news today is very good. As you know, the president is in excellent condition at last reports [hearty applause]. He’s been conducting business and he happens to be in very good spirits.”

If only Hope could have started the 1968 show with a similar upbeat progress report about Dr. King’s improving condition.

Martin Luther King Jr.’s History With the Grammy Awards

Rev. Martin Luther King Jr., whose birthday we celebrate on Monday (Jan. 18), received the Nobel Peace Prize for 1964 and was Time’s man of the year for 1963. It’s not as widely known, but he was also a (posthumous) Grammy winner for best spoken word recording.

King received three Grammy nominations in that category: one in his lifetime and two after his assassination on April 4, 1968.

We Shall Overcome (The March on Washington…August 28, 1963), containing his landmark “I Have a Dream” speech, received a 1963 nod in that category, then called best documentary, spoken word or drama recording (other than comedy). It lost to an original-cast recording of the Broadway play Who’s Afraid of Virginia Woolf?

An album titled I Have a Dream received a 1968 nod. Surprisingly, even though the voting was conducted less than a year after King’s death, it lost to an album, Lonesome Cities, by poet Rod McKuen.

King won in the category on his third try for a 1970 album, Why I Oppose the War in Vietnam. The award was announced on March 16, 1971, nearly three years after his death.

The “I Have a Dream” speech is of course one of the most famous and consequential speeches ever delivered. It is considered a landmark among spoken word recordings. It was among the initial group of recordings inducted into the National Recording Registry in 2002. It was voted into the Grammy Hall of Fame in 2012.

Music Companies Among Those Backing Away From Republicans Who Voted Against Election Certification

For the past week, a growing number of major corporations have been announcing that they will no longer donate to the Republican legislators who voted against certifying the results of the presidential election on Jan. 6. The major labels and the industry’s two most important trade organizations have joined them: The Recording Industry Association of America (RIAA), which represents the major labels, announced on Jan. 11 that it would not be “contributing to those who voted against the peaceful transition of power,” and National Music Publishers’ Association followed on Jan. 15.

“NMPA’s political action committee donates to those Members of Congress who support songwriters and the music publishers who represent them,” NMPA president and CEO David Israelite said in a statement released Monday (Jan. 18). “However, more importantly, we are committed to the rule of law and our democratic institutions. In light of the attack on the U.S. Capitol, we will be suspending indefinitely contributions to those who voted against the lawful certification of the Electoral College.”

All three major labels — Universal Music Group, Sony Music and Warner Music Group — told Billboard they would also no longer donate to the eight Republican senators and 139 Republican members of the House of Representatives who voted against certifying the election results. Other companies have said the same, both in technology and entertainment (Comcast, Disney, and AT&T) and in a variety of other businesses (American Express, Dow Chemical, and Walmart). Although the music business lobbies for its interests in Washington, its political influence is dwarfed by that of other industries — especially the online platforms that oppose it on copyright issues.

Although the entertainment business is generally identified with progressive causes, its companies and trade associations tend to donate to politicians from both parties, as most big companies do. In fact, over the past two decades, as Congress has grown increasingly divided, copyright has become one of the few bipartisan issues that draws support on both sides of the aisle. The Music Modernization Act was introduced by Hakeem Jeffries (D-N.Y.), a progressive congressman who represents parts of Brooklyn and Queens, and Doug Collins (R-Ga.), a staunch conservative allied with President Trump, and eventually passed with bipartisan support. (Rep. Collins, who unsuccessfully ran for Senate, supported Trump’s efforts to undermine the presidential election in Georgia.)

It is unclear how long these policies will last — for any of the companies that have announced them.

The music business will still have connections on both sides of the aisle. Sen. Marsha Blackburn (R-Tenn.), a supporter of music creators who has been a close ally of President Trump and said that she intended to vote against certification of the election, changed her mind after the Jan. 6 insurrection at the Capitol. Sen. Thom Tillis (R-N.C.), who is now leading a copyright reform effort that could be important to the music business, announced early Jan. 6 that he would vote to certify the results of the election.

The Weeknd, Harry Styles, Tame Impala Light up Australia’s 2020 Year-End Charts

While Australians were in lockdown in 2020, ruing the year when all travel was grounded and the live circuit went quiet, they were mostly listening to The Weeknd’s “Blinding Lights.”

That’s just one of many takeaways from ARIA’s recently-published year-end charts, which break-out the biggest songs, albums, homegrown recordings, alongside genre surveys across dance, hip-hop, country releases and more.

Abel Tesfaye, the Canadian R&B star better known as The Weeknd, bagged a No. 1 album in Australia with his fourth studio set After Hours, and its hit single “Blinding Lights” comes in at No. 1 on the 2020 ARIA Singles Top 10, ahead of SAINt JHN’s “Roses,” Dua Lipa’s “Don’t Start Now” and Tones And I’s “Dance Monkey,” the highest-ranked Aussie track.

Released in November 2019, “Blinding Lights” ruled the weekly ARIA Singles Chart for a full 10 weeks in 2020, longer than any other record during the year, earning him an ARIA Award nomination for best international act.

When Aussies were keen to extend the mood, their album of choice was Harry StylesFine Line, which rules the 2020 ARIA Albums Top 10.

The former One Direction star’s sophomore album spent just one week atop the weekly ARIA Albums Chart during the year, but critically, it had staying power. By year’s end, the LP had logged 48 weeks in the Top Ten, and Styles took out fan-voted best international act at the 2020 ARIA Awards.

Aussies also loved Taylor Swift’s folklore, the No. 2 ranked album of the year, while collections from Billie Eilish (When We All Fall Asleep, Where Do We Go?), AC/DC (Power Up) and Luke Combs (What You See Is What You Get) round out the Top 5, respectively.

Also during the past year, there was a real rush to snag a copy of Tame Impala’s The Slow Rush on wax. Kevin Parker’s multiple-ARIA Award winning psychedelic rock act tops the inaugural 2020 Vinyl Albums Top 10, with Powderfinger coming in at No. 2 with the 20th anniversary edition of Odyssey Number Five.

If local content is king, then Tones And I was the queen of Australia’s music scene in 2020. The busker-turned-international star snags the top two spots on ARIA’s 2020 Australian Artists Singles Top 10 with “Dance Monkey” and “Never Seen The Rain,” respectively, and four of the Top 10.

Check out the ARIA Annual Charts here.