Canada joins U.S. and Allies in Beijing Olympics boycott.

By Rob Gillies, Associated Press

TORONTO (AP) — Canada will join the United States, the United Kingdom and Australia in a diplomatic boycott of the Beijing Winter Olympics over human rights concerns, Prime Minister Justin Trudeau said Wednesday.

The announcement came after the White House, the Australian government and the UK government confirmed diplomatic boycotts of the Winter Games in February to protest Chinese human rights abuses. China has vowed to react with “firm countermeasures.”

Trudeau said his government has been talks with allies about it in recent months.

“We are extremely concerned by the repeated human rights violations by the Chinese government,” Trudeau said. 

“They should not be surprised we will not be sending any diplomatic representation.

The diplomatic moves by Canada, the U.S., Britain and Australia do not affect their athletes’ ability to compete in the games.

Rights groups have called for a fullblown boycott of the Beijing Winter Games, citing Chinese human rights abuses against its Uyghur minority in the northwest Xinjiang province, which some have called genocide. They also point to Beijing’s suppression of democratic protests in Hong Kong and a sweeping crackdown on dissent in the semiautonomous territory.

The White House confirmed Monday that it was staging a diplomatic boycott of the upcoming games and Australia followed suit Wednesday, with Prime Minister Scott Morrison saying it was “in Australia’s national interest.”

Relations between Canada and China have been poor since China arrested two Canadians in China in Dec. 2018, shortly after Canada arrested Meng Wanzhou, Huawei Technologies’ chief financial officer and the daughter of the company’s founder, on a U.S. extradition request. Many countries labeled China’s action “hostage politics, while China has described the charges against Huawei and Meng as a politically motivated attempt to hold back China’s economic and technological development.

China, the U.S. and Canada essentially completed a highstakes prisoner swap earlier this year but the reputation of the Chinese government has been severely tarnished in Canada. 

“Concerns around arbitrary detention are real and shared by many countries around the world,” Trudeau said. 

Canadian Foreign Minister Mélanie Joly said more countries need to take similar action.

“It is important to send a strong signal to China, Joly said. “Human rights violations are not acceptable.”


Vanessa Bryant, her mother’s lawsuit and the value of childcare

By Ashitha Nagesh, BBC News

Vanessa Bryant, wife of the late basketball star Kobe Bryant, has found herself at the centre of a torrid domestic drama, within a year of the death of her husband and daughter.

She is being sued by her mother.

In the lawsuit Sofia Laine argues that she should be paid $5 million in back-pay for, as she puts it, being her daughter’s “longtime personal assistant and nanny” to her grandchildren. She also claims Kobe Bryant promised to financially take care of her indefinitely.

“Unfortunately, Kobe Bryant’s promise did not see the light of day as he is now deceased and Vanessa Bryant took each and every step she could to void and cancel all of Kobe’s promises,” she alleges in the 48-page lawsuit.

Ms Laine’s legal action attracted a swift and significant backlash, not least for coming just 11 months after the death of Bryant’s husband and teenage daughter Gianna in a helicopter crash. One well-known journalist called the lawsuit “repulsive”, for example, in a tweet that at the time of writing has been “liked” more than 28,000 times.

The strongest response has come from Bryant herself. In a statement, she denied her mother’s claims that she was a nanny and assistant, and instead accused her of attempting to “extort a financial windfall” from her. “This lawsuit is frivolous, disgraceful, and unimaginably hurtful,” she added.

With both sides contradicting each other, there is little way of wading through the right and wrongs of what is a messy, complicated and – ultimately – deeply personal family affair.

Regardless of the individual merits of this case, Ms Laine’s basic argument is not without precedent. Usually for much smaller amounts and in entirely different circumstances, the question of whether parents and grandparents should receive a wage for childcare within the family has been asked repeatedly for at least half a century.

Whether grandparents should be paid for babysitting frequently comes up on online forums. Last year two separate scenarios, posted on Mumsnet and the (unrelated) Netmums respectively, posed the same question from two different perspectives.

On Mumsnet, an anonymous mother wrote that her parents had asked for £50 a week to look after her young children when she returned to work after maternity leave. In the Netmums post, a grandmother said she was looking after her young grandchildren for around 10 hours a day; she and her daughter had agreed on a fee of £40 a week, she said, but she had “somehow ended up doing it for nothing”.

In both cases, the responses were split pretty evenly between those who believed it was the grandparents’ right to insist on payment, and those who felt that grandparents should help their children out without expecting to be compensated.

“In reality, she only occasionally babysat my older girls when they were toddlers,” Vanessa Bryant has claimed in response to her mother’s lawsuit. She points out that she herself was a stay-at-home mother who looked after her own children.

Her mother counters: “She is using my grandchildren to punish me for exercising my rights.” The language marries up her rights and her grandchildren. It’s not an unfamiliar argument, historically.

The history of wanting wages for housework

In the early 1970s, a global coalition of radical feminists launched the Wages for Housework campaign, which argued for families’ primary caretakers – predominantly women – to be paid regular wages for doing the household and childcare duties that were expected of them.

In its manifesto released at the time, the campaign wrote of women’s “life sentence of housework at home and outside, servicing men, children and other women, in order to produce and reproduce the working class. For this work we are never paid a wage”.

“Our destiny and the roots of our exploitation — our wageless work in the home — are the same in every country of the world, and so is our struggle against it.”

The coalition held demonstrations around the world, such as this one in Boston in 1977

But the campaign’s motivation was to highlight the value of housework in a language that the majority of the public would understand.

Their ideas came from the radical left theories of Friedrich Engels who in 1884 argued that while men were in charge of the “means of production”, by producing goods, women were responsible for the “means of reproduction” – which referred to child-rearing.

This idea of the “means of reproduction” being an equally valid form of work directly influenced the Wages for Housework campaign and others like it.

Where are we now?

According to a 2016 report from the Overseas Development Institute (ODI), women are still overwhelmingly tasked with unwaged work in the home – which, the organisation adds, is “holding back women and girls from advancing in other areas of their lives”.

On average, it adds, women spend 45 minutes more than men per day on paid and unpaid work, or about 5.7 weeks more per year. In the most unequal countries, this goes up to two hours a day.

Margaret Prescod, co-founder of Black Women for Wages for Housework, leading a demonstration in LA in the mid-1970s

But the housework gender gap has been brought to the fore in 2020. According to the European Institute for Gender Equality (EIGE), women in the EU already spent 13 hours more than men per week on unpaid care and housework before the pandemic – which only went up when schools in multiple countries were closed, and older relatives fell ill.

According to Selma James, one of the co-founders of the Wages for Housework movement, little has changed.

Writing in the Independent earlier this year, Ms James said that in 1972 she campaigned specifically for child benefits in the UK – then known as “family allowance” – to be retained. Women, she said, told her at the time that this small payment was “the only money I can call my own”, and was more liberating for women than encouraging them to take on low-wage work.

With an estimated worth of $600m, Vanessa Bryant – and even her own mother – aren’t the primary concern of these campaigns.

But within this family drama – regardless of its rights and wrongs – is the familiar language of rights and compensation when it come to childcare.

Instagram model Joselyn Cano ‘dies aged 29 after a botched butt-lift surgery’ in Colombia

By Lydia Catling, Mailonline

An Instagram model, dubbed the Mexican Kim Kardashian, is reported to have died at the age of 29 after a botched butt-lift surgery in Colombia. 

Joselyn Cano from Newport Beach, California, is claimed to have died on December 7 and a livestream of what is believed to be her funeral was shared on Youtube this week.

Influencer Lira Mercer broke the news of the model’s death on Twitter yesterday, writing: ‘Omg Joselyn Cano died in Colombia getting surgery. That’s wild.’

Cano’s death is yet to be confirmed by her family but people have been taking to social media to share their condolences.  

Joselyn Cano is reported to have died after a botched Brazilian butt-lift procedure in Colombia on December 7. Pictured: The model’s last Instagram post on December 7

The death of the 29 year old model (pictured) from Newport Beach, California, was shared on social media by fellow influencer Lira Mercer

A three-hour livestream of what is believed to be her funeral was shown on Youtube, which saw loved ones paying their respects to Joselyn Cano.

Cano (pictured on November 9) poses in a bikini in the bathroom. Her Instagram page, which is typically updated at least once a week has not been updated since December 7

Cano was a model, social media influencer, building a following of more than 12million, and a fashion designer. Her LinkedIn profile also states she studied Microbiology at San Diego State University.   

A three-hour livestream of what is believed to be her funeral was shown on Youtube, which saw loved ones paying their respects to the young woman in a casket beside a large picture of her. 

A short message on the stream read: ‘Joselyn entered this life on Wednesday, March 14, 1990. She entered into Eternal Life on Monday, December 07, 2020.’

For Brazilian butt lift procedures, fat is taken from various parts of the body and put with the buttocks

Cano was a model, social media influencer, building a following of more than 12million, and a fashion designer Pictured: Joselyn poses in New York last year

She studied Microbiology at San Diego State University. Pictured: Cano shares a candid selfie

While reports of her death still remain unconfirmed, her Instagram page, which is typically updated at least once a week has not been updated since December 7.  

Taking to Twitter after the news of her death, one person wrote: ‘Rip Joselyn Cano so young and so beautiful.’

Another said: ‘What the f**k? Joselyn cano died from getting a [Brazilian butt lift]? That s**t is crazy.’

Funeral of Instagram model who died after botched butt-lift surgery

Through her Instagram modelling Cano (pictured) gained a following of more than 12million

During the livestream of what is believed to Cano’s funeral people approach her casket which sits next to a picture of her

For Brazilian butt lift procedures, fat is taken from various parts of the body and put with the buttocks.

It has grown increasingly popular in the United States, becoming the fastest-growing type of plastic surgery, according to 2015 statistics from the American Society of Plastic Surgeons.

The rate of buttock lift procedures rose 252 percent from 2000 to 2015. The total went from 1,356 to 4,767 procedures over the course of that time.

Injecting fat into the butt can lead to problems if done improperly, including fat embolism – which is when fat enters the bloodstream and blocks a blood vessel.

The estimated death rate for BBL is 1 in 3000, according to 

What’s Next For Entertainment Marketing

By Paul Talbot, Forbes

At the Nashville-based entertainment marketing agency FlyteVu, cofounder Laura Hutfless has a box seat for the shift from physical to digital campaign execution. I recently asked her to share her thoughts on these changes.

Paul Talbot: What sort of significant entertainment marketing innovations has the pandemic triggered?

Laura Hutfless: Simply put, the pandemic accelerated the industry’s journey to digital and innovative tech solutions. The industry has quickly adopted livestreaming, augmented reality, virtual reality, virtual meet and greets and more. The shift was always inevitable, but Covid has officially transported the industry to a digital-first economy.

 Can we gauge to what extent the Covid pandemic has put the brakes on entertainment marketing?

Traditional forms of marketing are not delivering the same results due to shifts in content consumption and the obstacles presented by experiential marketing. Brands are looking for innovative ways to reach consumers. The Covid pandemic has poured gasoline on entertainment marketing, as brands are turning to it as a solution. 

The entertainment industry has quickly shifted to virtual offerings that reach millions upon millions of fans who are passionate and loyal. Brands have recognized this opportunity, and forward-focused brands are shifting spends to align with relevant voices (talent, artists, influencers) who have engaged followings.

 Activation challenges aside, has the pandemic altered the basic value proposition of a relationship between brands, music and entertainment?

 Artists, talent and more importantly, brands, are willing to take risks, try new technology platforms and engage with innovative partners who have the capabilities and following to help them reach consumers/fans in a new way.  

Artists have lost revenue from touring due to the pandemic and are looking for opportunities to stay relevant and use their creative talents.  We’ve found that the cost/fee structure has now shifted to a value-trade. Brands who create experiences, stream content, or distribute content like Fortnite, Twitch and TikTok are able to align with creators and entertainers by providing value and tools for them to reach new fans.  

The artists who recognize the need to engage on these platforms and invest the time to develop followings while they are off the road are the ones who will find the most success in the long run.

 With venues shuttered and artists embracing new ways of connecting with their audiences, how are the brands which value entertainment marketing making similar adjustments?

All brands are turning to virtual solutions. For our philanthropic clients, we’ve hosted virtual galas with performances by A-list stars to continue fundraising efforts.

For Carter’s, a children’s and baby apparel brand, we hosted a virtual baby shower hosted by Kelly Clarkson for moms who missed their showers due to Covid. Bumble promoted virtual dating and chat functions, connecting celebrities with consumers. A brand first needs to understand the needs of their consumers during this unprecedented time and fill that need. Stop selling products; start selling solutions. 

 When we look back on the year 2020 and are able to put changes into perspective, what do you think some of the noteworthy observations will be?

 When we look back on 2020, we’ll recognize that it was a pivotal year that separated the industry’s innovators from the coasters. 

This year has made way for new, innovative and optimistic leaders to rise who will carry this industry forward over the next decade, who aren’t afraid to take risks, fail fast, learn and grow.

Power shifted from major industry giants to the small, innovative teams who could route a new course and adapt quickly.

 Any other insights on entertainment marketing you’d like to share?

 Brands are no longer resigned to the role of a passenger on the culture bus, they have an opportunity to step into the driver’s seat and affect change. There is a unique opportunity to unite pop culture, advocacy/philanthropy and brand and we’re seeing that come together now more than ever. 

Consumers buy from brands who align with their beliefs and values. Brands who stand for integrity and trust will be more effective in reaching consumers and will earn respect in the long game.

 or LinkedIn. Check out my website. 

Minus strategy marketing staggers. I am a somewhat reformed ex-media business executive, with tours of duty at AOL, CBS Radio, and Nationwide Communications. I’m a fan

Billy Porter to join New Year’s Eve show from Times Square

Associated Press – Last New Year’s Eve, Billy Porter was working in New Orleans. This year he’ll still be working — but in New York City.

The “Pose” star will join Ryan Seacrest and Lucy Hale on ABC in Times Square on Dec. 31 for Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest 2020.” The broadcast is closed to the public due to the pandemic.

“2020 has been a trying year for the world and I’m thrilled to have Billy and Lucy join me in ushering in a new year with fresh beginnings,” said Seacrest in a statement. “We look forward to making sure it’s a night for everyone to remember.”

Porter made his debut on the program last year, taking over from Hale as co-host in New Orleans and performing several songs. As with last year, Ciara will once again oversee the Los Angeles festivities.

Last year, Porter became the first openly gay man to win an Emmy Award for best actor in a drama series for his role in “Pose.” He also has a Grammy and a Tony for his work on the musical “Kinky Boots.”

Lin-Manuel Miranda will write the music for Disney’s ‘Encanto’

(CNN) — Lin-Manuel Miranda has signed on to write the music for Walt Disney Animation Studios’ new animated feature “Encanto.”

“Encanto takes you to Colombia, where a magical family live in a magical home,” Disney announced on Twitter.

The story centers on young girl whose family possesses special powers but she does not.

The musical will feature songs in both Spanish and English and will be released in theaters in November 2021. It will be Walt Disney Animation Studios’ 60th animated film.

“Encanto” is the latest collaboration from “Zootopia” directors Byron Howard and Jared Bush, co-written and co-directed by Charise Castro Smith.

Miranda last worked with Disney for 2019’s “Marry Poppins Returns.” The “Hamilton” creator and Broadway superstar also wrote the hit songs for “Moana,” and won an Oscar for the song “How Far I’ll Go.”

Director Spike Lee changes direction with musical about Viagra

FILE PHOTO: Director Spike Lee, wearing a coat with the number 24 in memory of NBA player Kobe Bryant, poses on the red carpet during the Oscars arrivals at the 92nd Academy Awards in Hollywood, Los Angeles, California, U.S., February 9, 2020. REUTERS/Mike Blake

by Jill Serjeant; Editing by Sonya Hepinstall

LOS ANGELES (Reuters) – Director Spike Lee, best known for making movies about the experience of being Black in America, is switching course with a musical – on the subject of Viagra.

Lee will direct the as-yet-untitled film from a screenplay he has co-written about the discovery and launch of the erectile dysfunction drug. It is based on a 2018 article in Esquire magazine called “All Rise,” producers said on Tuesday.

Original songs and music will be written by the duo behind the 2008 Tony-award winning rock musical “Passing Strange,” about a Black artist’s journey of self discovery.

The 63-year-old Brooklyn native said in a statement that he had grown up hating musicals despite the efforts of his mother. “Finally Going Into My 4th Decade As A Filmmaker I Will Be Directing A DANCIN’, ALL SINGIN’ MUSICAL,” he added.

Lee also directed a movie musical in 1988 called “School Daze.”

Pfizer Inc’s Viagra, first marketed in 1998, was originally developed as a potential treatment for heart-related chest pain.

Lee won his first Oscar in 2019 for the screenplay of Ku Klux Klan satire “BlacKkKlansman.” His more than 50 movies and documentaries include classics such as “Do the Right Thing,” “Malcolm X” and this year’s Vietnam War survivor drama “Da 5 Bloods.”

Drake Bell Is Apparently A Pop Star In Mexico & Absolutely No One Knew

By Jordyn Tilchen, Bustle

In what is likely the most bizarre news you’ve heard all week, we’re here to report that Drake & Josh star Drake Bell has apparently changed his name, moved to Mexico, and is now releasing Spanish-language music. Fans of the nostalgic Nickelodeon series flooded Twitter after a visit to Bell’s social accounts revealed a total rebrand. He’s now “Drake Campana,” and if you’re wondering, “Campana” does translate to “Bell.”

While his social media handles remain @drakebell at the moment, his display names on both Twitter and Instagram do not. And all of his recent photos on IG? Well, they almost exclusively promote his new music — most of which is in Spanish. Of course, fans on Twitter are shocked that Bell has seemingly decided to pack it up, move to another country, and give his music career another shot. However, he’s actually been posting about Mexico on Instagram for roughly a year now.

In addition to sharing memes about leaving the United States behind for our southern neighbor, Bell shared what appeared to be his Mexican ID on the photo-sharing app last November. The document shows his photo, his correct birthday, and his month and year of registration, which seems to be May 2019.

While it’s unclear why Bell decided to start anew somewhere else, people on Twitter certainly have some ideas. “I still can’t stop laughing over the fact that Drake Bell changed his name [to] Drake Campana, moved to Mexico, and now produces Spanish music all because he is more popular in Mexico than he was in the US,” one person tweeted. Several others echoed that sentiment, suggesting that Bell has a larger fan base in Latin America than he does in the States. Bell even memed his interest in Mexico on Instagram in November 2019:

Other people, however, aren’t fully convinced that Bell’s move was for career growth. In August 2020, the actor was reportedly accused of verbal and physical abuse by ex-girlfriend Melissa Lingafelt. According to People, Lingafelt made the accusations on TikTok, but Bell refuted her claims. “[I] never abused my ex-girlfriend or did so many of the other things Melissa falsely claimed on her TikTok video,” he told the magazine. Per the outlet, the two began dating in 2006 and the relationship lasted for two years.

Regardless of why he’s seemingly changed his identity and decided to plant new roots elsewhere, what’s clear is that people on the internet are in absolute disbelief over the news.

TL;DR, we don’t quite know what prompted Bell to try his hand at becoming a pop star in Latin America, but after this year’s Four Seasons Total Landscaping debacle, absolutely nothing is shocking. We have reached out to Bell’s rep for comment and will provide an update if we hear back.

Sia, after being criticized for ableism, defends portrayal of autism in new film


Sia has been promoted from mother to grandmother a year after adopting two sons.

During her Apple Music interview with Zane Lowe, the “Chandelier” songstress revealed she is already a grandma after adopting two 18-year-old boys who were aging out of the foster care system last year.

“My youngest son just had two babies,” Sia said in the interview Tuesday. “I’m a (expletive) grandma! I know, right?”

Sia, who is 44, confirmed she adopted two children in 2019 during a Sirius XM interview in May.

“I’m just immediately horrified,” the singer continued to Lowe. “No, I’m cool. They call me ‘Nana.’ I’m trying to get them to call me ‘Lovey,’ like Kris Kardashian. I’m like, ‘Call me Lovey.’ “

Sia also opened up about becoming “a little bit jaded” after learning more about the foster care system.

“It’s completely corrupt. It’s failing us,” she said, adding that her sons have “been in 18 different locations in their 18 years.”

According to the singer, becoming a mom to these two young men has been “a pretty massive roller-coaster.”

“I just kept really strong boundaries,” she said. “And I would say, ‘You could do this, or you could go back to where you came from, which is not a nice life. It’s not a good life,’ and I’d say, ‘I’m doing this because I’m your mother. I love you. I have no other agenda other than the fact that I love you.’ “

Sia confirms she adopted two teenage sons that were ‘aging out of the foster care system’

She added that both of her sons have been through trauma programs since she adopted them.

“The youngest right now is in trauma processing,” she said, “and I really pray that he can manage, because it took me until I was 41, I think, to deal with my early developmental trauma. And I don’t want that for them, but you can’t force anyone. Trauma has to come out when you’re in a safe environment, when you’re ready, psychologically ready. So, I’m just trying to do my best for them.”

Ladies’ night at Latin Grammys: Lafourcade, Rosalía win big

By MESFIN FEKADU, Associated Press

NEW YORK (AP) — A year after Rosalía made history by becoming the first solo female performer in 13 years to win the top prize at the Latin Grammys, Natalia Lafourcade followed in her footsteps with a big win at the 2020 show.

The Mexican singer won album of the year — a category dominated by male acts — on Thursday night with “Un Canto Por México, Vol. 1.” Lafourcade won three awards at the show, tying Rosalía and Carlos Vives for most wins.

Lafourcade didn’t attend the Latin Grammys, which aired live on Univision and featured a number of performances, most of them pre-taped due to the coronavirus pandemic. The show did not have a live audience or a red carpet, and some of the performances featured band members and dancers sporting masks as they entertained onstage.

Lafourcade’s wins included best alternative song for “En Cantos,” her collaboration with iLe, and best regional song for “Mi Religión.” Rosalía won her awards during the pre-telecast, including best urban song and best urban fusion performance for the hit “Yo X Ti, Tu X Mi,” sharing both wins with her song’s co-star, Ozuna. She also won best short form music video for “TKN,” which features Travis Scott and helped the rapper win a Latin Grammy before winning a traditional Grammy.

Before Rosalía’s win for album of the year, Shakira was the last solo female to win the prize in 2006 with “Fijación Oral Vol. 1.”

Residente — the most decorated act in the history of the Latin Grammys — continued his winning streak by taking home song of the year for “René” and best rap/hip-hop song for “Antes Que El Mundo Se Acabe.” Fito Páez was also a double winner Thursday.

But the acts poised to make history after receiving 13 and nine nominations each — J Balvin and Bad Bunny — both walked away with just one win. Bad Bunny won best reggaeton performance for “Yo Perreo Sola” and Balvin picked up best urban music album for “Colores.”

Despite his 13 nominations, Balvin only had a chance of winning eight honors since he competed against himself in multiple categories. Bad Bunny had a similar issue at the show.

Balvin was a winner onstage, though.

Before his performance, footage of current events such as the Black Lives Matter protests – including an image of George Floyd — and more appeared onscreen. Balvin began performing his song “Rojo” (“Red”) under two large praying hands in a white suit, ending the song with fake blood running down his hands and clothes.

Pitbull also moved the needle with his performance, where he was joined by frontline workers onstage – some playing guitar, some singing background, one on drums. Together, they performed “I Believe That We Will Win” (World Anthem),” an upbeat song Pitbull released earlier this year during the pandemic to inspire others.

“They dreamed of being rock stars playing full stadiums, they represent a large group of individuals all around the world who day after day sacrifice their lives for a safer world,” Pitbull said. “We gonna live it tonight.”

“WE WILL WIN” appeared onscreen behind the performers at the end of the song as Pitbull saluted the musicians.

Karol G — who was nominated for four awards but walked away empty handed — performed alongside classical musicians to give a new edge to her global hit “Tusa,” which features Nicki Minaj rapping in Spanish and English. Karol G shout-outed the rapper during the performance.

Karol G’s fiance, Puerto Rican rapper-singer Anuel AA, had seven nominations but didn’t win a single award. He lost best new artist to Colombian singer Mike Bahía.

Grammy, Emmy and Tony winner Lin-Manuel Miranda kicked off the Latin Grammys with a strong message about Latin music. Speaking in Spanish and English, he said Latin music “unites all of us and makes us human.”

“This is our night,” he added.

That was followed by an all-star performance featuring Ricardo Montaner, Victor Manuelle, Jesús Navarro, Ivy Queen, Rauw Alejandro and Sergio George.

Other winners Thursday included Alejandro Sanz, who won record of the year for a second consecutive time thanks to “Contigo,” his tribute song to Joaquín Sabina; Ricky Martin won best pop vocal album for “Pausa”; and Chiquis — the daughter of late singer Jenni Rivera — won best banda album with “Playlist.”

The Latin Grammys was hosted by Oscar-nominated actor Yalitza Aparicio, actor-singer Ana Brenda Contreras and salsa singer Victor Manuelle, who replaced singer Carlos Rivera after he said he was exposed to the coronavirus.


Associated Press Writer Sigal Ratner-Arias contributed to this report.