CEO of Rancho Humilde, Jimmy Humilde moderates a discussion about the new music business deals happening the industry with the head of music at Zumba, Atella, the managing director of artist and label strategy of GM Latin Virgin group, Cris Falcão and the VP of A&R Sony Music U.S. Latin, Txema Rosique tell us what works at Billboard’s Latin Music Week 2024.
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00:00I started in this business as an artist.
00:02I was signed with Sakony Universal Music as an artist
00:06with a DJ duo called Atela Gali for many years
00:10and I had a transition from knowing part of the business
00:13to being involved in the background.
00:16How curious that, right?
00:19That many of us who are behind the executive work of music
00:26we wanted to be artists, right?
00:28But I wanted to be a singer, but as you can see, I'm an executive here.
00:32That part of being a singer didn't work,
00:35but many of us had that dream of being a singer,
00:40or a dancer, or a musician in the artistic world
00:44and sometimes the other job works better.
00:47And that's very important to talk about in any business.
00:51What I see is that many people, many artists, many executives
00:56they just want to go to one position
00:59and they want to get to that position no matter what.
01:02But for me it's more important to look for where you fall.
01:07We are like the water.
01:15Hello, hello!
01:17Good morning! Are you up or still sleeping?
01:22Ok, here we are to explain a little bit about
01:25the new Latin business, right?
01:28Or how do we say it?
01:31Let's see, Chris, what does this title mean to you?
01:46Something curious, we were talking about
01:49what does it mean to Latin music?
01:51I think it's just world music, right?
01:55That's how you should put it instead of Latin music.
01:59I think it should be Billboard World Music Week, right?
02:04Because we are dominating the world, the Latinos, right?
02:07Let's see, let's talk about ownership.
02:09It's less common now that the label owns the master.
02:14Or is it a perception?
02:17Chris?
02:18Can I speak in English?
02:20Yes, English.
02:22Well, first of all, I'm Chris Falcone.
02:25I work for Virgin Music Group, an independent division of UMG.
02:29I mean, it depends on the moment of the artist
02:33and the deal in general.
02:35Because ownership is ownership.
02:38I mean, I want to be the owner of my content, my asset.
02:41But can I be? I'm prepared for that.
02:44I'm like in charge of building the whole structure
02:47or I need someone to share the cake and get there.
02:50So I guess it's more depending on...
02:52It still exists and it keeps existing.
02:55But it's more about the momentum of the artist
02:57than the label and the project then decided.
03:00Because it's ownership and or not ownership.
03:05Okay, let's see.
03:07I agree, 100%.
03:10What don't artists of today's label understand?
03:15Let's see, one of you who wants to answer.
03:18Well, first of all, I'm Chema Rosique.
03:20I'm in the Artistic Department of Sony U.S. Latin.
03:23Thank you very much for being here.
03:25So...
03:29Basically, our challenge...
03:31It's the first time I hear someone applauding you.
03:35We've known each other for a long time.
03:38I think it's a very important challenge for all the labels
03:42to try to make the new artists understand,
03:45the ones who know more about the business,
03:47but they don't know everything.
03:49So try to explain to them the possibilities
03:51that a big label has and what it can give them
03:53and what it can offer them.
03:55At Sony, we have the best professionals in AR,
03:58in marketing, brand content, business development.
04:04And it's important for the artists to know
04:06that they can make use of all those services.
04:08And that's going to determine a lot
04:10the relationship they have throughout the year,
04:12the amount of involvement they want to give
04:14our team about their team.
04:16So I think that's the challenge we have as a label.
04:21What do you think?
04:23I think there's also...
04:24Well, first of all, I'm Atela.
04:26Good morning.
04:29There's something important,
04:30and it's that...
04:32Something very important about a label
04:33is also to give them the perception
04:35of what the label is willing to do for the artist.
04:38There are many artists...
04:39Well, I think it's not enough nowadays.
04:42There's a lot of information out there,
04:43but they come with the idea
04:44that the label is going to do everything for them too.
04:48And I also feel that it's important to know
04:51that the artist has to give 100%.
04:53He can't stay at home waiting
04:55for the team to do everything for him.
04:59It's a battle on both sides.
05:01So I think that mentality is very important
05:04for the artist to maintain it.
05:06For example, I started in this business as an artist.
05:09I was signed with Universal Music as an artist
05:12with a DJ duo called Atela Gali for many years.
05:16And I had a transition from knowing part of the business
05:19to being involved in the background.
05:23That's curious.
05:24It's true that many of us
05:27who are behind the executive work of music
05:32wanted to be artists.
05:34Or you were an artist, but I wanted to be a singer.
05:36But as you can see, I'm an executive here.
05:39That part of being a singer didn't work.
05:42But many of us had the dream
05:45of being a singer or a dancer,
05:49a musician in the artistic world.
05:51And sometimes the other work works better.
05:54And that's very important to talk about
05:56in any business.
05:58What I see is that many people,
06:00many artists, many executives,
06:03want to go to one position only.
06:05And they want to get to that position no matter what.
06:09But for me, it's more important
06:11to look for where you fall.
06:13We're like water.
06:16We're like water.
06:17We have to look for where we're going to get into.
06:21So, for many people who are starting a new business
06:26or are entering a new business,
06:29not looking for a position,
06:31I'll tell you, I'm going to get to that position
06:33and I want to be someone's assistant.
06:36What if you're the executive you want to be?
06:39Or you're the production manager of the company.
06:45Or you're the office manager.
06:47I don't know, but we should see that.
06:50Because there's a very different path in music
06:55and to take that path to get to the position
06:57where we have to be.
07:01Let's start with...
07:02Let's see, Chris.
07:03What is the biggest change that each of you have made?
07:07How much?
07:08How do you face the business?
07:16So, what is the biggest change you've done?
07:19Or that you have confronted while you're building the...
07:25Well, I came from a completely different world.
07:27I mean, I graduated in economics.
07:29I worked for banks and consulting companies.
07:32So, when I joined the music biz,
07:34I joined from the publishing side.
07:36So, I guess to get here and the type of deal that we do now
07:42and how we are changing and moving the business,
07:44I studied a lot.
07:46I went deeply trying to understand the needs,
07:49the pain of our partners, our artists and our projects
07:54as we were discussing on the backstage.
07:56The importance of knowing the whole thing,
07:59what we need to get there
08:01and how can we help our partners to get there.
08:03So, each project, each artist, each label is unique.
08:07So, there is no cake receipt for that.
08:09It's more about understanding the whole structure
08:11and what we want to get there.
08:15And every artist is different, right?
08:17Yeah, 100%.
08:18So...
08:20Chema?
08:21Well, in my case, I think that all the time I've been working,
08:25I've had the opportunity to work in marketing, AR,
08:28in publishing as well.
08:31But I've always been more into records and AR.
08:34But well, what I can tell you is what hasn't changed,
08:38which is the passion for this, for the desire to learn,
08:40to listen to new music.
08:41It's a business that's going to change.
08:42There are always going to be small details, new models,
08:44new ways of working.
08:45But if you don't feel it as something that every day you wake up,
08:48you want to listen to, discover and learn.
08:50Because there are always new generations
08:53that teach you new ways of understanding culture,
08:56of understanding how they communicate, etc.
08:58So, changing...
08:59Many things are going to keep changing and we have to be the fastest.
09:02But to be the fastest possible in change,
09:04you have to have that passion,
09:05that desire to listen and learn constantly.
09:08You know it, Jimmy, that for me, being Spanish,
09:10Mexican music was a challenge.
09:12For me, learning something new
09:14is what motivated me to get into the business.
09:16And that was very interesting,
09:19when Chema and I started communicating,
09:21I want to work in Mexican music.
09:23Hey, do you know who Vicente Fernandez is?
09:24Yes.
09:25Do you know who Chalino Sánchez is?
09:26Juan Graviel?
09:27Las Jiguerías?
09:28I'm going after Mexican music
09:30because if you want to get into a job,
09:32you have to learn from the back, right?
09:35And that's smooth.
09:36Atela, what do you think?
09:38Yes, I think that, as I mentioned earlier,
09:41there are many executives, many artists
09:44who today have the information they didn't have before.
09:47Right?
09:48I think that has made the business change completely
09:51because today an engineer, an artist, a manager
09:54has information that maybe 10 years ago
09:57only a lawyer had.
09:59So, I think that has made all business models
10:02transform in a very specific way.
10:07It's like a tailor-made for the artists.
10:11And I think that a very drastic change
10:14that I've felt in the last few years in this business
10:17is the flexibility that we have today in the business
10:21compared to before.
10:22Before it was, you know, this is your percentage,
10:25this is like this, like that.
10:26Today, I think there is a communication
10:28and an understanding that the business
10:30has evolved in a more global way,
10:37more like a kind of camaraderie.
10:44Yeah, I agree.
10:47Chris, I'll say it in Spanish, you'll do it in English.
10:51Virgin has many types of deals,
10:54from catalogs to individual artists.
10:57Do you look for established artists
10:59or what type of artist does Virgin look for?
11:02Well, we are now celebrating one year
11:06as this Virgin Music Group structure.
11:09So, of course, we are merging three different entities
11:12and there are plenty of different types of deals.
11:15But our main focus, I mean, are into label deals
11:19and artist deals, we try to get some more established ones
11:24because we are not a record label.
11:26So, the type of service we offer,
11:28we need the structure on the other side as well.
11:31So, me to main artists are the ones we are more focused on.
11:36It doesn't mean that we don't sign like emerging artists,
11:39but we do a kind of curator to understand
11:43if we are able to help these artists to get there.
11:47Is it more like a distribution deal or...?
11:51Yeah, I mean, we don't call us distributors anymore
11:55and there's an interesting article from our CEOs
11:58trying to explain about this
12:00because everyone can put the content live.
12:02That's the answer I was looking for.
12:04So, we are not like just a truck with the boxes and the stores.
12:08So, we try to offer something else for these partners,
12:12all types of service depending on their needs.
12:15So, from marketing, product management, commercial, of course.
12:19So, it's more like tailor-made for each project, each artist.
12:24Do you think that artists now
12:26are more looking into a distribution deal
12:31instead of a record deal?
12:36It's not something like a real on the rock.
12:39I mean, it depends also on the size of these artists.
12:43If you are like a super small artist,
12:45you are trying to get something to do it yourself,
12:47you may try to find a distributor to help you,
12:50but it depends on the size.
12:52I mean, the artist that sometimes wants to be like
12:55the owner of the contents and are ready for that,
12:58I mean, investments and whatever,
13:00they can look for some partner as more in service than only distro.
13:06I think, Jimmy, I just wanted to add here
13:08that it's true that each artist is a different world.
13:12Each person has different needs,
13:14has different goals,
13:16has different moments in their career.
13:18So, at least from our side,
13:20what we understand is that
13:22the possibility of being able to offer many services
13:24is going to help the one they choose.
13:26I mean, not to fit in.
13:28But it is important,
13:30as it happens to you with your label or with Tela.
13:33I mean, really, we all have a lot to offer.
13:36In the case of Sony, the experience of many years
13:38of giving many services in many countries.
13:41So, the variety is great
13:43and, above all, the offer is very big for the artist
13:45and the number of businesses we can offer.
13:52What is being looked at a lot by the massive companies,
13:55as it has been with the ones you work with or represent,
14:04many artists say,
14:05no, I don't want a record deal no more.
14:08I want a distribution deal.
14:10But you still offer the same services as a record deal
14:14instead of a distro deal, right?
14:17Now, what do you think,
14:19why is that happening now?
14:22I'll start with you, Atela.
14:24Why do you think that is happening?
14:26You understand me, right?
14:27Yes.
14:29I think that a super key factor
14:31is that, again, the information.
14:34And the artist, it is clear that his heritage,
14:39his music, his masters.
14:43So, I think that, of course,
14:45we see more and more artists
14:48who are clear about how much to give to the company
14:53and what not to give.
14:55And, obviously, that depends a lot
14:58on the commitment of both parties.
15:01Because it is like if you were in a restaurant
15:04and you are looking for a partner.
15:06If you tell the partner,
15:07look, I'm just going to give you this little bit for you.
15:11Obviously, you are going to wait for that little bit from the partner.
15:15Let's be clear.
15:16So, the more commitment there is in the record part,
15:21I think that more engagement and more results
15:27you can have with that artist.
15:29I think that this is a business of relationships, you know?
15:32And a business where both parties are happy.
15:35You can't have a depressed artist,
15:39because he also needs to be happy with his team,
15:42with his work, with the business he did.
15:44So, I think that's a big part of what...
15:47Okay.
15:49Let's see, Chema.
15:50This is a...
15:51It's in a multinational, Sony.
15:55They have changed the way they set up the deals.
15:58What are they looking for in an artist or in a deal?
16:02Well, we really...
16:03I go back to what I mentioned before.
16:06We really don't think that we have to choose a deal.
16:12We do know...
16:14The example of the restaurant.
16:16If you offer me a full...
16:19I mean, many dishes and the tasting menu and everything,
16:23it's not the same as offering only, I don't know, a starter, right?
16:28So, what we believe is that we should make the artist happy
16:34and serve him.
16:35I mean, we're a company that accompanies the career of an artist's success.
16:39We help make it bigger.
16:42So, we have, let's say,
16:45a wide range to be able to draw that relationship,
16:48to be able to work together, right?
16:50So, there are many changes.
16:53We will continue to change.
16:55All of us here have constant changes,
16:57but it's true that we always have to be realistic
17:00with the situation of the other party
17:02so that both parties benefit.
17:04So, that's what the deal will dictate.
17:06Okay.
17:07Let's see, this is for the three of you.
17:09What do you think of the single track deals?
17:12Which I love them.
17:13I like them.
17:14And why?
17:15Because...
17:16In fact, we were also talking about that in backstage.
17:19It's like...
17:20Let's see, if you're going out with a girl
17:23or you're going out with a boy,
17:25you're not going to ask for marriage on the first date, right?
17:29You're going to want to go out a few times
17:31and then you're going to say,
17:33you know what?
17:34I mean, even for both parties.
17:36I mean,
17:37I'm sorry I didn't introduce myself at the beginning,
17:40but I handle everything that has to do with music
17:43in a company called Zumba,
17:45which is a fitness company,
17:46but we also release music on a commercial level.
17:49I don't want to get into a business with someone I don't know,
17:52with an artist who has a team
17:54that's going to be a headache for us either.
17:57So those single deals make us able to get to know each other
18:01and be able to do other things later on.
18:27So, I like.
18:29But I'm not supposed to say that.
18:31Let's see, Chema.
18:32Well, we're in a song business,
18:35so what we play to are the songs, right?
18:39So,
18:40you don't have to say no to anything new.
18:43But again, it depends on the type of...
18:45I don't know if Atela is more like Tinder or more like going out.
18:48I mean, each one has a different type of relationship with the artist,
18:52but of course, the songs are the ones that run the business.
18:54I want to add something important to this question,
18:57and that is that
18:59there's also another mentality of the artist.
19:02Here, it's also about being honest.
19:04Because if the company does a single deal with you
19:09and does a great job for you,
19:11right?
19:12Then,
19:13another person comes along
19:15and takes that project,
19:17and that's not fair either.
19:19So, that's also why record companies say,
19:21you know what?
19:22I want a long term.
19:24But then, it's more than anything
19:26about getting to know each other.
19:27I say that there's a problem with HR
19:30in independent and large companies
19:34because it's really about getting to know the personalities of the people.
19:38And based on that,
19:39you determine the business you want to do.
19:41Totally.
19:42Let's see.
19:43I like that question.
19:47There's still the traditional recording deal,
19:50where the label stays with the master.
19:53Is that still valid for you?
19:55Or is there a change?
19:59Me first.
20:01Okay.
20:02Look, yes, it exists.
20:03Of course it exists.
20:05But again,
20:06there are things that are flexible.
20:12And it will continue to exist.
20:14I don't think it will disappear either.
20:16But I also think that,
20:17just as that exists,
20:18there are other palettes of colors
20:22that can also be done within that type of business
20:25where the artist also has an important benefit
20:28and also the record label.
20:30I'm sure there are also many independent record labels here
20:34that are listening to what we're talking about.
20:37And it's important that they know that
20:41the important thing is variety
20:43and knowing what kind of business you're going to offer your client.
20:45That's all.
20:46Yes.
20:47I'll give you back the question.
20:48What do you think?
20:49You sign all kinds of deals, right?
20:51I can imagine.
20:52Well, I...
20:54To be honest,
20:55at the moment,
20:57I don't just sign a single type of deal.
21:00I feel more with the artist,
21:02which is what you're looking for,
21:04with whom you feel comfortable.
21:06It's something where,
21:07in the very near future,
21:09I think the artist will be doing their own deals.
21:14That's what's coming, really.
21:16Their own deals with record labels.
21:18So,
21:19the managers,
21:20the lawyers,
21:21the artist is getting more involved.
21:23He's learning more about the business.
21:25And, to be honest,
21:27we're open
21:29to taking any type of deal
21:31that comes our way.
21:33But,
21:34another question
21:36that comes close to that
21:38is,
21:40what type of artist is it convenient for?
21:42Chris,
21:43what type of artist
21:45is it good for them
21:47to have a traditional deal
21:48or not a traditional deal?
21:51Again,
21:52it depends on the artist
21:54and the whole structure behind it.
21:57I think
21:58the most change I see
22:00from when I joined this industry 20 years ago
22:03is information.
22:05In the past,
22:06the old model,
22:07nobody was reading contracts,
22:09whatever,
22:10and just signing something,
22:11believing that the major ones
22:13were the big thing.
22:14I think now
22:15there are plenty of options.
22:16So,
22:17the artist can just
22:19ask,
22:20get the information he needs
22:22to understand if this is the right partner.
22:24I mean,
22:25if he signs with the label for 20 years,
22:28or if he signs with me for one track
22:30or one project.
22:31I mean,
22:32depends on what the artist wants,
22:34what the label wants.
22:35I mean,
22:36the most important thing for me
22:37is transparency,
22:38ethic,
22:39and information.
22:40When you have all this on both sides,
22:42you can sign whatever you think is important.
22:45For example me,
22:46I make sure that the artists that I talk to
22:49learn how to read a contract,
22:51and not just their lawyer reading it for them.
22:54And I've been seeing a lot
22:56where a lot of the artists
22:58read the contract,
22:59do the negotiation,
23:01and then bring in the lawyers.
23:03Are you guys experiencing that too?
23:06Yeah.
23:07I think that
23:08what we've said here
23:10is that you have to demystify
23:12one contract against another,
23:14or whatever.
23:15I mean,
23:16in the end,
23:17the important thing is that it's understood.
23:19Like you said,
23:20that you sit down with the artist,
23:22that you understand what he wants to do,
23:24how far he wants to go,
23:25and then offer him
23:27the appropriate business model
23:29to be able to go further,
23:31and that both sides are happy.
23:33If a contract isn't realistic,
23:34I think that's where the problem is,
23:36when it's something that doesn't correspond
23:38with reality or expectations,
23:40to put it that way.
23:42Sure.
23:43Let's see, Atela,
23:44you're leading the new Zumba selloff.
23:47What's your goal,
23:49and why launch it today?
23:53Well,
23:54I think that
23:56Zumba is a fitness company,
23:58it's an exercise company,
24:00it's a company that...
24:01I did it once.
24:02Yeah?
24:03And how was it?
24:04I won't do it again.
24:06I've done it a couple of times,
24:08and to be honest,
24:09I don't...
24:10But,
24:11look,
24:12I tell you that
24:13as a fitness company,
24:15one of the important things is that
24:18music is
24:20happy music,
24:22it's dance music,
24:23it's healthy music,
24:26it's music that adds.
24:28So I think that one of the goals is,
24:31well,
24:32during those last 24 years
24:33that the company has existed,
24:35a lot of songs have been created,
24:38an immense repertoire,
24:39that is not out in the street either.
24:42And our message, obviously,
24:44is to be able to bring that music
24:46and that same energy
24:47that is behind those songs
24:49and behind those classes
24:51to the market,
24:54and at the same time
24:56capture new artists
24:58and artists that are already
25:00consecrated,
25:02where we do the singles deals,
25:05and we provide that service
25:07for this record company.
25:12Nice.
25:13This is a personal question for you.
25:18Where do you see Latin music
25:21in the next five years?
25:23I don't want to go too far,
25:25but I want to say,
25:26in the next five years,
25:27where do you see it?
25:28I'm going to start with Chris.
25:29What is Virgin doing?
25:30In the world.
25:31What are you doing?
25:32In the world.
25:33In the world.
25:34I mean,
25:35we are seeing this momentum
25:37of the Latin thing,
25:38but I think this is the type of sonority
25:40that it's forever.
25:41I mean,
25:42it's just a matter of,
25:43the world is now understanding
25:45the Latin content
25:47and how we can use the songs
25:49in super different ways.
25:51But I go back to a point
25:53that I have been studying a lot
25:55that is more about localization
25:57and how people are now consuming
25:59its own content,
26:00that for us,
26:01in Brazil,
26:02it's very common.
26:03I mean,
26:04forever.
26:05We consume our local content
26:06more than everything.
26:07And Mexico also.
26:09But we are seeing more countries
26:11consuming its own content.
26:13And it's interesting,
26:15at the same moment,
26:17the Latin song is spreading the word.
26:19So it's a big momentum
26:21and we should take advantage of that
26:23and expand and expand
26:24because the song and the sonority
26:25is forever.
26:27Let's see, Chava.
26:29Well, I think that
26:31the future is,
26:32I don't know,
26:33it can be,
26:34we just lived a revolution
26:35that was reggaeton
26:36that conquered the world.
26:37I think that now
26:38there will be many more genres
26:39that thanks to the tools
26:40that we have,
26:41that the artists are more and more
26:43sufficient,
26:44that they have the support,
26:45many supports,
26:46I think that these new genres
26:48can be created.
26:50I recently heard an interview
26:52that I think it was Rob Stringer
26:54who said that tropical music
26:56with Argentine music
26:58can be mixed
27:00and create that new explosion
27:02like reggaeton.
27:04We've been working for a long time
27:06that the same thing happens
27:07with Mexican music.
27:08We think it's something
27:09that can create a global phenomenon.
27:11So the strength that the Latin market
27:13has in particular
27:14to generate these movements
27:15that are global
27:16is huge.
27:17And I think we're going to see
27:18several of these on the way
27:20in the next five years
27:21and they're going to surprise us
27:22and, above all,
27:23they're going to make us enjoy
27:24the business a lot.
27:25Martelo.
27:26You know, I see it in Zumba.
27:29We're in 180 countries
27:31and we see how a person
27:33in Singapore,
27:34in the Philippines,
27:36in India,
27:38can be worth a salsa,
27:40a merengue.
27:41And I think that definitely
27:43there are still regions,
27:46at least in the Arabic part,
27:50all that region,
27:51all the virgin seat
27:53for our market too.
27:55And I feel that those fusions
27:57of what is Latin music
27:59merging with Arabic music,
28:02with Japanese music,
28:03with Indian music,
28:04I mean, all that kind of music,
28:06I think we're going to reach
28:08other regions where
28:09we think we're strong today
28:11but we still have a long way to go.
28:14And I think one of the important keys
28:16for those of us who are here
28:18is that we always think of fusion.
28:22Fusion is what makes
28:23all this evolve.
28:25And I think in five years
28:26we're going to be making music
28:28very different from what we do today.
28:30Wow.
28:31What do you think about
28:33everything that's happening
28:34right now in Latin music,
28:36that there's a lot of collaboration
28:38between many different Latin genres
28:40that I imagine you've never seen
28:43but you haven't seen
28:45how it is right now.
28:46I mean, there's a Brazilian
28:48with an Argentine,
28:49then there's a Chilean
28:51with a Mexican,
28:53then a Puerto Rican
28:54with an American.
28:56How do you see that change
28:58that's happening right now?
29:00Man, I think we've been living
29:02collaborations for a long time
29:03quite intensely.
29:04What happens is that now,
29:05let's say,
29:06locally,
29:07it's mixing more.
29:08Before, it was collaborations
29:09between artists of the same genre,
29:11which is what we've been living
29:12for a long time
29:13in an intense way.
29:14And now I think
29:15the same thing is happening
29:16but each artist is manifesting
29:18with their own,
29:19more local,
29:20genre.
29:21So, it's surprising,
29:22but I agree with Atela,
29:24that fusion is a path,
29:26above all,
29:27having the power
29:28of the platform
29:29that has the language
29:30in Spanish,
29:31Latin music.
29:33Fusing all the genres
29:35so rich in Latin culture
29:37and Latin music
29:38is fundamental
29:39to be able to keep growing.
29:41So, nothing,
29:42wonderful.
29:44What do you think, Cris?
29:45Yeah, I think,
29:46I mean, it's...
29:48The Latin is the word,
29:49you know, so...
29:51And I see that
29:52the diaspora helps a lot
29:54mainly for the Spanish-speaking countries.
29:57For example,
29:58for Brazil,
29:59it's a little bit hard
30:00for us to spread,
30:01but at the same time,
30:02we have like Pablo Vittar
30:03with a super top song
30:05singing in three languages.
30:06So, there is,
30:07in my opinion,
30:08there is no barrier
30:09for the language anymore.
30:10It's more about
30:11who you find
30:12to collect,
30:13to collab and connect
30:14is key.
30:17Yeah.
30:18This is being seen
30:19everywhere
30:20and
30:21Latin music
30:22is dominating
30:23a lot of charts
30:24nowadays
30:25and
30:26thanks to
30:27people like you
30:28who are
30:29in the newspaper
30:30of the day
30:31working and
30:32making an effort
30:33so that
30:34there are more opportunities
30:35for artists,
30:36there are more opportunities
30:37for managers,
30:38for label companies
30:39and
30:40one of my favorite things
30:41is that the major labels
30:42companies
30:43are giving
30:44the
30:45the
30:46the door
30:47open
30:48for the independents.
30:49And congratulations
30:50to everybody.
30:51Thank you, Chema.
30:52Thank you, Chris.
30:53Thank you, Atela.
30:54We were in this
30:55great panel
30:56of
30:57The New Music
30:58and
30:59The New Business
31:00of Music
31:01here in Latin
31:02Billboard Week
31:03and
31:04the truth is
31:05thanks to all of you
31:06who
31:07joined us
31:08today.
31:09But,
31:10a round of applause
31:11for these
31:12three important executives
31:13for Latin music.