Harry Coombs, Veteran Philadelphia International Records Executive, Dies at 85

Veteran music industry executive Harry J. Coombs died on Sept. 3, Billboard has learned. Coombs, 85, passed away of pulmonary fibrosis/acute pulmonary hypertension in Myrtle Beach, South Carolina.

Coombs, born Sept. 19, 1935 in Washington, D.C., was best known for his 30-year tenure at Philadelphia International Records. He joined PIR — then distributed by CBS Records (now Sony Music) — as a national promotion manager in 1972. He earned his first gold record that year for The O’Jays hit “Backstabbers.” Promoted to PIR’s executive vp internal operations and promotion in 1974, Coombs continued to play an integral role in building the label’s iconic “Philly Sound” legacy as he oversaw projects released by hit-making acts such as The Stylistics, Teddy Pendergrass, Lou Rawls, Harold Melvin & the Blue Notes, Billy Paul and Phyllis Hyman in addition to The O’Jays.

In a joint statement, PIR co-founders and songwriting-production duo Kenny Gamble and Leon Huff said, “Harry started with our organization from the beginning, and he was a tremendous asset in working with CBS on our behalf in sales and marketing efforts. Harry not only was a wonderful team player but also a great friend to us over the years. He truly will be missed. We send our sincere prayers and condolences to his dear wife and family.”

Coombs was also instrumental in the careers of R&B vocal group LeVert and singer Gerald Levert. LeVert’s first album, I Get Hot, was released on Coombs’ Tempre label in 1985. “I’m Still,” the album’s first single, drew the attention of Atlantic Records which later signed the group.

Coombs launched his music career at the legendary Waxie Maxie record store chain in Washington, D.C. and later worked at various music labels including CBS Records and Capitol Records prior to PIR, which he left in 2002.

An alumnus of the Modern School of Music in Washington, D.C. and an Army veteran, Coombs was presented with the Living Legends Foundation Award in 1999. After PIR, he relocated to Myrtle Beach in 2007. Coombs is survived by his wife Sandy Coombs, daughter Ashley Coombs-Cox (Malik), stepson Edward Shields (Lisa), granddaughters Peyton, Cora and Sofia, and siblings Francis Coombs and Patricia Coombs-Coleman.

Funeral arrangements are pending.

Nicki Minaj’s Husband Pleads Guilty for Failing to Register as a Sex Offender

Nicki Minaj’s husband Kenneth Petty has pleaded guilty for failure to register as a sex offender in the state of California after being convicted of attempted rape.

In new court documents filed Thursday in the U.S. District Court in Central District of California and obtained by Billboard, Petty withdrew his initial not guilty plea to the single-count indictment and changed his plea to guilty.

Petty was charged after he was arrested at a traffic stop in Beverly Hills in 2019 and police discovered he had not registered as a sex offender in the state when he moved there from New York three years prior. The filing also notes that Petty acknowledged in documents he signed that he was required to notify New York of a change of address if and when he moved to another state and it was his responsibility to follow all laws regarding registration as a sex offender.

In March 2020, the 43-year-old Petty registered with the California Megan’s Law database, which tracks local sex offenders in California, where he and Minaj currently live with their infant son, and had his charges dropped by the Los Angeles District Attorney’s office. But he still faced federal charges from the Department of Justice — which this plea deal addresses. Petty is now scheduled for sentencing on Jan. 24, 2022.

The New York State department labels Petty as a level-two sex offender, which deems him of having a moderate risk of a repeat offense, after he was convicted of attempted rape in the first degree in 1994.

United States attorney Tracy L. Wilkison and assistant U.S. attorney Sarah E. Gerdes represented the U.S. Attorney’s Office for the Central District of California, while Michael A. Goldstein, Hagop Kuyumjian and Meghan A. Blanco were the attorneys for Petty.

Last month, Jennifer Hough, the woman who accused Petty of rape in 1994, filed a lawsuit against Minaj and Petty, accusing the couple of “witness intimidation, intentional infliction of emotional distress, negligent infliction of emotional distress, harassment, assault, battery, sexual assault, and sexual harassment.”

Minaj announced on Thursday that she was pulling out from performing at the 2021 MTV Video Music Awards. “I just pulled out. I’ll explain why another day. But I love those guys at MTV. thank you Bruce. I love you so much. Next year we there baby,” she tweeted in response to an inquiring fan.

Essential Tracks on Natalia Jiménez’s ‘México de Mi Corazón, Vol. 2′: Staff Picks

Two years since her México de Mi Corazón (Mexico of My Heart) album, Spanish singer-songwriter Natalia Jiménez has released a second volume, equally packed with tangible emotions as Jiménez takes on some Mexico’s most treasured regional Mexican anthems.

“I put all my effort and affection into making this record for Mexico, which is the country of my artistic birth,” the chart-topping artist said in a statement. “I hope my audiences embrace this album as much as they did the first volume, and that they enjoy it a lot at home. It’s a really lovely and moving album.”

Home to 15 tracks, the set is wide-ranging as Jiménez dabbles in regional Mexican styles such as mariachi, banda and ranchera. Out of the 15 songs — which feature collabs with artists such as Ana Bárbara and Joss Favela — four are original songs including the ultra melancholic ballad “La Pena,” which she co-wrote with Claudia Brant and Julio Reyes Copello.

Jiménez’s 2019 México de Mi Corazón peaked at No. 16 on the Billboard’s Latin Pop Albums chart (dated Sept. 13, 2019). Vol. 2 is her first album since signing a new management and booking deal with LM Events, helmed by Banda MS’ manager and founder Sergio Lizárraga. The partnership marked the first time in recent memory that a prominent pop act entered a management agreement with a company that specializes in the regional Mexican market.

“This is a new and fascinating direction for me, particularly because regional Mexican music is the genre I’m most enjoying right now,” Jiménez, who launched her solo career in 2011 and has since landed three top 10 albums on Top Latin Albums and six songs on Hot Latin Songs, previously told Billboard.

Below, check out essential tracks from Jiménez’s México de Mi Corazón, Vol. 2 as recommended by the Billboard Latin staff:


“No Me Amenaces” with Ana Bárbara

Hearing one of José Alfredo Jiménez’s heartbreak anthem sung by two commanding female voices will give everyone goosebumps. Both Jiménez and Ana Bárbara deliver an emotional and evocative cover of a song that allows them to be vulnerable and determined at the same time. “Don’t threaten me,” they warn. “Whenever you are ready to start a new life, just get up and leave.” About her powerful duet with Ana Bárbara, Jiménez said, “I invited Ana Bárbara on this song because she is a really strong and independent woman, and there is no other women in regional Mexican right now that could sing this song with me.” 

“Te Quedo Grande la Yegua” 

With her powerful vocals and accompanied by an equally powerful mariachi, Jimenez effortlessly did justice to Regional Mexican songstress Alicia Villarreal on her version of “Te Quedo Grande la Yegua.” A timeless staple in Mexican music — and a karaoke favorite — “Te Quedo” is about a woman who knows her worth and reminds her good-for-nothing partner that she’s too much of a woman for them. “This one is dedicated to all the women,” Jimenez emphasized in a statement. The original track was released in 2001 and formed part of Villarreal’s Soy lo Prohibido album.

“Que Bueno Es Tenerte” with Banda MS

Jiménez teams up with Banda MS to bless fans with a second collaboration after recording a reimagined version of Banda MS’ “El Color de Tus Ojos” two years ago. This romantic banda ballad sings to a beautiful love and the beauty of finding it: “How good is to have you and be reciprocated. Our love is getting stronger, and I have decided, I’m not going to let you go because you are what I like most about myself.” The track was penned by Omar Angulo Robles and produced by Sergio Lizárraga, Banda MS and Jiménez’s manager.

“Me Nace del Corazón” 

Jiménez pays homage to legacy act Juan Gabriel throughout the album with heartfelt renditions of some of his most memorable tracks. Known for his melancholic heartbreak ballads, Jiménez takes on one of JuanGa’s most jubilant anthems that, at its core, is a celebration of being in love. “[‘Me Nace Del Corazón’ is] one of the hardest songs to sing in the album,” Jiménez said. “Especially in one take because it’s a fast song and I like to sing it fast. It’s a pretty and difficult song at the same time.”

“Fue Un Placer Conocerte”

One of Juan Gabriel’s most memorable songs, this classic ranchera was meant to be sung by powerful vocals, just like Jimenez’s throaty voice. The song’s deep feelings are perfectly transmitted by a melancholic mariachi that help narrate a goodbye story. “It’s been a pleasure to meet you and to have loved you for a couple of months, even tho those months were the beginning and the end,” she confesses.

“La Pena”

On this ultra-corta venas, co-penned by Jimenez, Claudia Bryant, and Julio Reyes Copello, Natalia vividly describes her heart being torn to pieces with a sharp knife because that’s how disappointed she is with love. “This pain is killing me / I am dying of love / how do I explain to oblivion that to forget you I am the worst?” she hopelessly chants over a somber ranchera melody with enchanting violins. “This is a precious ballad with some spectacular musical arrangements,” Jimenez expressed in an official statement.

First Stream Latin: New Music From Bomba Estereo, Kany Garcia, Sofia Reyes & More

First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.

Bomba Estereo, Deja (Sony Music Latin)

Bomba Estereo’s first album in four years, Deja, is divided conceptually into four sections that correspond to the four elements: water, air, earth and fire. The Colombian electro-folkloric band describes the album as the connection and disconnection of the human beings — from the planet, from one’s own self, lead singer Li explained in a statement. Their recent single “Conexión Total” is a collaboration with Nigerian superstar Yemi Alade that mixes African drums, marimbas and indigenous flutes. On “Como Lo Pedi,” they reel in iconic Mexican songwriter Leonel Garcia to give life to these super profound lyrics in combination with electronic beats and an acoustic guitar. On the chorus, Garcia’s high tones harmonize perfectly with Li’s rap verses. The lyrics show the power of manifestation: “As I asked, your love came to me / That the sea can illuminate me at night / As I asked, everything was forgotten / And in the end, I left behind all the reproaches / As I asked, but without speaking / As I asked, I can rest and heal by hugging you.” The title track is one of the more moving ones on the album. “Deja” talks about depression and tells people that you must get out of it somehow by singing, dancing, even crying. “If this song works of one person, then mission accomplished,” she said. The album was self-produced by the band with a couple of invited guest producers in a constructed makeshift studio in Li’s home in Santa Marta and was mixed by Damian Taylor. — INGRID FAJARDO

Sofia Reyes, Becky G, “Mal de Amores” (Warner Music Latina)

If by any chance you need a new girl’s anthem for your playlist, it’s this one. In “Mal de Amores,” Sofia Reyes and Becky G are bonding over their bad luck in love; nonetheless, they have the secret to healing a broken heart: tequila with music. “I’m not going to suffer for him, I swear, I’m not going to suffer,” the chorus goes. The two artists also pay homage to their Mexican roots, bringing to life a saucy cumbia sonidera fused with urban beats at the helm of award-winning producers Andres Torres and Mauricio Rengifo. The vibrant music video, filmed by the Nicaraguan-Vietnamese director Mike Ho, gives us major Ana Gabriel and Vikki Carr in “Cosas del Amor” vibes. — JESSICA ROIZ 

Kany Garcia, “DPM (De Pxta Madre)” (Sony Music Latin)

Her first single in 15 months, Kany García has released “DPM,” an empowering flamenco-tinged pop track that makes walking away from a toxic relationship feel as liberating as ever. Penned by the Puerto Rican artist, along with Servando Primera and Yasmil Marrufo, García’s new track has a clear message: I’m better off alone. “Now I am dancing, smiling, whistling, no one is bothering me … I’m singing while showering, there is no fall or winter, it’s spring all year,” she sings. The music video released with the song is really a celebration of independence featuring a group of people eating, drinking and dancing on the beach. “DPM” coincides with García’s 2021 tour, which officially kicked off Wednesday in Atlanta. — GRISELDA FLORES

Trueno, “Feel Me??” (NEUEN)

Declaring his career will reach the top, Argentine rapper Trueno presents “Feel Me??” an innovative trap song where he only manifests success throughout the lyrics. He even dedicates a few words to his biggest supporter, his mom. “Mama raised a champion / Tus besos son mis premio,” he chants in the bilingual song. Produced by Tatool and Bryan Taylor, the beat has strong mainstream rap influences laced with a jazzy saxophone melody. In the music video, we see scenes of Trueno climbing to the top and other behind-the-scenes clips of his everyday life at the studio and concerts in Argentina. — J.R. 

Beatriz Luengo, Darell, “Chanteito Pa’ un Ex” (Sony Music Latin)

Spanish singer-songwriter Beatriz Luengo delivered a Paquita la del Barrio-approved female empowerment anthem titled “Chanteíto Pa’ Un Ex,” which translates to a song for your ex. The rhythmic-pop tune, powered by a sparse acoustic guitar, is not your typical heartbreak song. The track finds a fired-up Beatriz Luengo who — after getting a pep talk from Paquita, who’s known for her feminist anthems — declares her independence. “I wanted to write you a love song, but I’m not feeling inspired. I’d like to call you ‘my love’ but ‘cabron’ is what comes to mind,” she sings defiantly. For the track, Luengo teams up with urbano act Darell, the bad guy in the story, who, in the music video, tries to get her back by serenading her with a mariachi in tow. To see how the story ends, watch the Fernando Lugo-directed clip below. — G.F.

Samantha Sanchez, “Reconciliados” (Rebeleon Entertainment)

From futuristic trap to dance-pop to a retro love ballad, Samantha Sanchez — with the help of producers Orlando Vitto and Renzo Braco — now dives into a feel-good punk song with a hip-hop twist. In “Reconciliados,” co-penned by Sanchez, Vitto, Bravo, Samantha Cámara, and Daniel Rondón, the Cuban-Spanish singer tells the story of two people who always get back together when they break up. “We are so alike that sometimes we crash but we’re a perfect defect,” she kicks off the track. For Sanchez, the track hits home, saying in a statement: “Since I was very little, my grandmother always told me: ‘You and your dad are so alike that’s why you always argue. Now, when I think about my relationships with friends and family, I come to the conclusion that as we have more things in common and we live with someone 24 hours a day, there will always be some fights. I wonder why do we fight if, in the end, we love each other?” — J.R.

Jennifer Lopez & Ben Affleck Return to the Red Carpet Together for the First Time in 18 Years: Pics

Jennifer Lopez and Ben Affleck are back and better than ever. After a summer filled with multiple vacations and PDA photos, the couple just marked another big moment in their rekindled relationship. On Friday (Sept. 10), Lopez and Affleck attend the Venice International Film Festival together for the premiere of Affleck’s new movie, The Last Duel. The high-profile appearance marks Lopez and Affleck’s first red carpet appearance as a couple in 18 years.

The “In the Morning” singer stunned in an all white gown — designed by Georges Hobeika — with a plunging neckline, and accessorized her look with Cartier jewelry adorned in yellow diamonds. Affleck went classic with his attire, appearing alongside the singer in a sharp black tuxedo, matching bow tie and black patent leather shoes.

The pair looked cozy on the carpet, walking with their arms around each other, snuggling, and gazing adoringly at each other. They were also snapped sharing kisses.

Lopez and Affleck last attended a red carpet event together in 2003 for the premiere of Gigli. The pair — who starred in the film — were engaged at the time, but announced their split to the world in January 2004. Before confirming their split, Lopez and Affleck told People in a statement they were postponing their wedding due to “excessive media attention.”

The pair has yet to any make direct comments about their reunion, but went Instagram official on July 24. In a mini gallery of photos in which she was celebrating her 52nd birthday, the superstar saved the best for last: The final image was one of her and Affleck passionately locking lips.

Lopez famously called out paparazzi following her and Affleck’s relationship in the video for her 2002 hit, “Jenny From the Block.” The song, a now-iconic staple of Lopez’s catalogue, spent 20 weeks on the Billboard Hot 100 and landed in the No. 3 spot on the chart in December 2002.

See some of the photos from their return to the red carpet together below:

Mariah Carey’s ‘Glitter’ at 20: How It Sparkled to Life After Nearly Two Decades

When Mariah Carey kicked off her Caution world tour in February 2019, the most rapturous response from The Lambily wasn’t reserved for any of the setlist’s Hot 100 chart-toppers. Or for the handful of tracks from her most acclaimed album in years. A No No, many Mimi fans saved their loudest cheers for a medley of deep cuts synonymous with a period that nearly destroyed their idol’s career.

Carey’s performance of “Never Too Far”/”Last Night a DJ Saved My Life”/”Loverboy”/”Didn’t Mean to Turn You On” was the acknowledgment many Lambs had been wanting ever since Glitter – both the film and accompanying soundtrack – had curtailed the star’s imperial phase in troubling fashion. In fact, it was a campaign driven by such fans that helped Carey to embrace her annus horribilis nearly two decades on.

You can’t blame Carey for wanting to put the events of 2001 firmly behind her. In the April of that year, she’d signed one of the record industry’s last blockbuster deals – a reported $100 million contract with Virgin intended to produce five albums. Within just nine months, the same label had severed all ties after just one.

The reason for such a dramatic turnabout is well-documented. That ice cream cart ‘gate-crashing’ of Total Request Live which saw host Carson Daly declare that his impromptu guest had “lost her mind.” A hospitalization, which Carey later explained resulted in her bipolar diagnosis. In a much less forgiving era, these mental health struggles were shamefully treated by the media with more derision than empathy. The singer would later argue that she was used as a punching bag to distract from the horrors of 9/11.

By the time Glitter finally made it into stores (on the darkest day in modern American history), Carey’s stock was at an all-time low. First-week sales of 116,000 and a No. 7 Billboard 200 peak (compared to the 323,000 first-week numbers and No. 2 debut Rainbow managed in 1999) was considered nothing short of a disaster. And although lead single “Loverboy” was only kept off the top spot by Destiny’s Child’s “Bootylicious” and became the year’s best-selling single, all three follow-ups failed to make the Hot 100, a once-inconceivable run for such a dominant chart force.

Of course, it didn’t help that the album was tied into the most notorious box office bomb since Showgirls. The movie, in which Carey takes center stage as a club dancer-turned-R&B diva named Billie Frank, saw its leading lady pick up a dreaded Razzie, clawed back less than a quarter of its $23 million budget and almost made love interest Max Beesley weep with shame on his first viewing.

Carey quickly distanced herself from the whole project, claiming just a year later that behind-the-scenes interference meant that a “concept with substance… ended up being geared to ten-year-olds.” During a 2013 appearance on Watch What Happens Live, she admitted to banning anyone in her camp from using the word “Glitter” lest it bring back painful memories. It’s one diva demand even her biggest detractors would accept is entirely understandable.

However, Carey’s attitude toward Glitters music has softened over the years. In 2005 she told Swiss newspaper SonntagsZeitung that the soundtrack’s wave of nostalgia was simply too ahead of its time, a point she also reiterated in her aforementioned interview with Andy Cohen. By 2016, she’d even reintroduced “Loverboy” into her setlists.

But it was in 2018, when a French fan named Kenny began sharing his chronological listening schedule on Twitter in the run-up to Caution’s launch, that the narrative surrounding the Glitter OST truly began to shift. Jumping on the bandwagon, the MariahTrends account then advised their fellow Lambs to buy the album (then unavailable to stream) digitally alongside the hashtag #JusticeforGlitter.

As many of the account’s 10,000 followers did just that, Glitter started to climb up the iTunes chart. After breaking into the top 10, Carey herself acknowledged the grassroots campaign. Within 24 hours of Mimi tweeting the hashtag, a 17-year-old album slated by AllMusic as “the pop equivalent of Chernobyl” had replaced Imagine Dragons’ brand-new LP Origins at the top spot. You had to go as far back as January 2002 for the last time it sold as many copies in one week. And it translated into Billboard success, too, re-entering the Soundtracks chart at No. 14 and taking pole position on the R&B/Hip-Hop Catalog Albums.

Proving once and for all that the G-word was now safe to utter in her presence, Carey tweeted her appreciation to all the fans who’d forked out $4.99 to give Glitter some belated justice. In a subsequent chat with Cohen, she thanked them again for having “lifted this huge burden of having to feel, like, ‘I can’t do stuff from Glitter ’cause nobody knows it, or whatever.'”

Carey subsequently delivered on her promise to incorporate a medley into her live shows. Yet that wasn’t the end of the matter for one of pop’s most organized fanbases. Having set up a Change.org petition to get the record onto streaming services, the Lambily were able to celebrate again in 2020 when Glitter finally hit the likes of Spotify; Carey even changed her Twitter handle to Billie Frank to mark the occasion.

No doubt several listening parties will be staged to honor the album’s 20th anniversary this month. So, does it hold up as something of a lost classic? Well, Carey’s assertion that Glitter’s retro sound was actually forward-thinking now rings truer than ever: Both The Weeknd and Dua Lipa have banked recent hits by embracing the sounds of the decade that came before they were born.

Then there’s the “Loverboy” sample of Candy’s “Cameo,” famously changed at the last minute after some rumored skullduggery from ex-husband Tommy Mottola involving Jennifer “I don’t know her” Lopez. Few artists have plundered the ’80s post-disco scene as effectively as Carey – just ask Beyoncé who interpolated the same track on her rendition of Maze’s “Before I Let Go” for 2019’s triumphant Homecoming.

Carey’s choice of old-school producers and references help to recapture the film’s 1983 setting, too. Jam and Lewis hark back to the Minneapolis sound they helped popularize on a playful cover of Cherelle’s “I Didn’t Mean to Turn You On,” while funk maestro Rick James lives up to his horndog reputation by giving Carey one of her most sexual bedroom jams, “All My Life.” And although Mystikal essentially just reprises his “Shake Ya Ass” shtick for his contribution, the Tom Browne-sampling “Don’t Stop (Funkin’ 4 Jamaica)” has that same joyous breezy quality as “Fantasy” and “Heartbreaker.”

Glitter was heavily criticized at the time for overloading its ten tracks with guest rappers. DJ Clue, Busta Rhymes and Fabolous essentially relegate Carey to supporting player on a perfunctory cover of Indeep’s club classic “Last Night A DJ Saved My Life,” while Nate Dogg and Ja Rule compete for attention on the anachronistic turn-of-the-century hip-pop of “If We.” Yet look at any given top 10 from the last decade and you could argue Carey was simply foreshadowing a time when every other hit has a featuring, vs or x credit.

If you prefer Carey in power balladeer mode, then Glitter doesn’t disappoint, either. Performed at Madison Square Garden during the movie’s climactic scene, “Never Too Far” is the kind of showboater she built her career on. And “Lead the Way,” which placed second on Billboard’s list of underappreciated Mariah tracks, boasts her longest sustained vocal run (21 notes and 18 seconds, to be exact).

Of course, the Glitter soundtrack will always be guilty by association. Unlike many box office turkeys, the film hasn’t been reappraised as a misunderstood gem, nor is it ever likely to be. But both Carey and her Lambs can now take pride from the fact they’ve at least given it a chance to sparkle.

‘Touring In a Post-Covid World’ Panel Set for 2021 Latin Music Week

The “Touring In a Post-Covid World” panel is set to take place at Billboard’s Latin Music Week, which returns to Miami with a weeklong (Sept. 20-25) event that unites the top Latin hitmakers, influencers and industry leaders, and features live performances and conversations with superstars.

Moderated by Bruno Del Granado, agent and head CAA’s Miami office, the in-depth conversation — with panelists Pablo Mejia and David Escobar of Piso 21Alfredo Alonso (Bizarro Live Entertainment) and Nelson Albareda (Loud and Live) — will explore the Latin touring landscape post pandemic as every Latin artist, so it seems, is either touring or about to go on tour.

Recently announced panels include the “Mano a Mano” with Rauw Alejandro and Myke Towers, during which both chart-topping artists will discuss new projects, upcoming tours and the challenges and advantages for the new wave of reggaetón artists; “Making the Hit, Live” masterclass with Lunay and his longtime producers Chris Jedi and Gaby Music; and the “Coming Out Latin” panel with Raymix, Esteman, Erika Vidrio and Jhonny Caz of Grupo Firme for an insightful and heartfelt conversation on the challenges and rewards of coming out as a Latin music act. 

The star-studded 2021 Latin Music Week lineup — headlined by Daddy Yankee, Karol G and Nicky Jam — also includes participation by Anitta, Elena Rose, Natti Natasha, Jhay Cortez, Kany García and Tainy, with more to be announced in the coming weeks.

Under the slogan “The Beat of Latin Music,” making its mark as the longest running and biggest Latin music industry gathering in the world, this year’s event will continue through the end of the week as Billboard launches its En Vivo concert series in partnership with Samsung, Amazon Music and Bacardí.

The 2021 Latin Music Week will take place from Sept. 20 to 25 at the Faena Forum in Miami and coincides with the 2021 Billboard Latin Music Awards broadcasting live via Telemundo on Sept. 23. See the list of finalists here.

To register and for more information, visit BillboardLatinMusicWeek.com.