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Broadridge Financial Solutions Stock: Analyst Estimates & RatingsNEW DELHI: Indian billionaire Gautam Adani’s feverish push to expand his global energy and infrastructure empire has been knocked by US bribery charges, but analysts believe the tycoon will bounce back. The bombshell indictment in New York on Wednesday accusing Adani and his associates of paying more than $250 million in bribes to secure lucrative government contracts sparked a frenzied sale of stocks. Within hours, India’s opposition leader Rahul Gandhi demanded Adani’s arrest and Kenyan President William Ruto scrapped airport and electricity deals worth about $2.5 billion. The Adani Group dismissed the bribery charge as “baseless” but Shriram Subramanian, founder of corporate governance advisory firm, InGovern Research Services, said it has “huge” implications. “They will defend themselves by appealing, or go for a settlement,” Subramanian told AFP from Bengaluru. “It is a big blow to their reputation and corporate governance practices,” he added. The meteoric rise of Adani, once the world’s second-richest man, has been dogged with controversies — and allegations he benefited from his close ties to Prime Minister Narendra Modi. The conglomerate weathered previous allegations of impropriety that wiped $150 billion from its market value in 2023, after a report by US short-seller Hindenburg Research accused it of “brazen” corporate fraud. “Given Adani’s clout, his resources, and his access, he has the capacity to bounce back, (and) we saw that the last time around,” Michael Kugelman, South Asia Institute Director at The Wilson Center told AFP. Adani’s empire spanning coal, airports, cement, and media has interests in countries ranging from Australia to Bangladesh, Bhutan, Israel, Sri Lanka, Tanzania and Nepal. But Kugelman warned that this time the challenge is “unprecedented”. “If you’re indicted by the US justice system, the seriousness and the scale is altogether different”, Kugelman said. “Hindenburg pales in comparison to what he is facing right now”. The bribery charges are a huge hurdle for key investors, and sparking grassroots demands for greater scrutiny of major projects. In neighboring Sri Lanka, activists opposing a $442 million wind power project by Adani Green Energy have demanded the deal be stalled. “The tolerance for risk among the investors who stuck with him during Hindenburg would be much lower,” Kugelman said. Adani is India’s largest private port operator, and operates key airports including in the financial capital Mumbai and Ahmedabad, the biggest city in Modi’s home state of Gujarat. The group is also involved in vast coal and renewable energy projects across the world’s fifth-largest economy. In October, Gautam’s nephew and board member Sagar Adani—also named in the indictment—told AFP there was “no political connection” between Adani Group and Modi’s government. Hemindra Hazari, a Mumbai-based markets research analyst, said that the conglomerate, a relatively new player in key infrastructure sectors, was backed by large investors who would otherwise have been cautious because it “was considered to be close to the ruling dispensation”. “Most of them invested despite the group’s limited managerial bandwidth and experience... precisely because... it was seen to be getting highly remunerative terms... which, in any normal market-based economy, would not have been possible,” he told AFP. A “significant component” of Adani debt was raised from foreign sources, including banks and institutional investors, he said, and “everything will slow down for them for now”. India’s government is yet to comment. Opposition leader Rahul Gandhi however was swift to demand Adani be arrested—but telling reporters he knew that would not happen, alleging that “Modi is protecting him”. Modi’s Bharatiya Janata Party (BJP) hit back saying the alleged bribery was linked to Indian states led by opposition parties. Subramanian believes it is just “a dent” to Adani’s reputation and that they will “continue to seek out and win projects across India and rest of the world”. But Kugelman warned the “reputational blows”, not only to the Adani Group but to India, were “severe”. As for the future, how the charges will influence incoming US president Donald Trump remains an “unknown”, Kugelman said. “I don’t think it’d really affect the broader India-US relationship”, he said. But he noted that Trump may eye a wily businessman like Adani “favourably”, or “leverage it for more favorable policies on tariffs”. — AFP

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The Alberta government gave its citizens an Australian sack of “modern” coal for Christmas as well as a load of misinformation accompanied by a mountain of disingenuousness. Announcements, Events & more from Tyee and select partners As Billionaire Overlords Cheer Journalism’s Death, Fight Back Support the reporting you want to see in the world. Join our Tyee Builder drive and sign up by Dec. 31. In an abrupt news conference held Friday, Energy Minister Brian Jean and Environment Minister Rebecca Schulz declared that the government was changing mining policy for Alberta because the world needed more metallurgical coal. “It’s a big day,” said Jean, who has been lobbied relentlessly by the Coal Association of Canada and Australian billionaire and mining magnate Gina Rinehart to support coal mining in the Rockies. The Alberta Coal Modernization Initiative, or CIMI, said Jean, would not only develop new rules for coal mining in the eastern slopes but increase coal royalties which currently stand at one per cent. He added that “air, water and land would not be sacrificed” even though, in addition to opening the door for new underground coal mining projects, he openly embraced support for what the government classifies as a cancelled project : the Grassy Mountain open-pit coal mining development, owned by Rinehart. Yet Jean’s claims defy the geographical realities of coal mining and its environmental risks . Surface-coal mining has a long record of creating toxic dust, destroying mountains and polluting watersheds for decades. For that very reason, Alberta and federal regulators previously rejected Grassy Mountain as “uneconomic” and a significant threat to water quality and quantity in 2021. But Jean has described the project as an “advanced coal project” which supposedly makes it exempt from a current moratorium on coal mining. (The courts are challenging the minister’s interpretation .) He also said Grassy Mountain would be exempt from any new rules. A shift most Albertans oppose During the conference, neither Jean nor Schulz made any reference to what the public really wants. Repeated surveys have consistently shown that most Albertans don’t support coal mining of any kind in the eastern slopes of the Rockies. In fact, most believe the government’s only priority should be the protection of critical watersheds. Jean admitted Friday that coal development in the past had been “bad,” but that something called “responsible resource development” — a catchphrase for every speculative project in Alberta — would prevent selenium pollution, a multi-billion-dollar bane of metallurgical coal mining in neighbouring B.C. and many parts of Alberta. No viable technology has currently solved this environmental problem. “If the technology doesn’t exist, it won’t happen,” Jean responded to a media question. “But we do understand it does exist.” The news conference was so abbreviated that it is not clear what type of surface or underground mining will soon be dotting the eastern slopes in the years ahead, only that more is coming. Queries from The Tyee to the energy minister went unanswered. Reaction to the rushed announcement just five days before Christmas was swift and angry from a variety of Albertans, including former civil servants and environmental experts. Corb Lund, a popular musician who lives in southern Alberta, described the government press conference as “an Orwellian word salad meant to calm the public right before Xmas.” RELATED STORIES When Is Mountaintop Removal Not Mountaintop Removal? In Alberta, of Course! An Australian Coal Baron Subverts Alberta’s Democracy Alberta’s Coal Fight Heats Up He concluded: “Grassy Mountain is a go and we'll say anything to make it happen then let even more mines into the Rockies in after that.” Charges of ‘greenwashing’ Dr. Bill Donahue, the former chief monitoring officer and executive director of science in Alberta’s environmental monitoring branch and now an independent scientist in B.C., was equally blunt. “It is all greenwashing bullshit,” Donahue told The Tyee. “It is a way to push the UCP’s original 2020 plan to open up the eastern slopes of the Rocky Mountains to coal mining, and now we’ll make a case for it again.” He called the announcement “a farce.” Contrary to claims made by Jean that one unspecified coal mining generated revenues as high as $200 million, Donahue said the industry acted as a minor economic player with extreme environmental costs in the province. “For most years in recent history the total provincial coal royalties average around $10 million a year. It is not even a rounding error in terms of provincial budgets.” In his view, claims the government would strengthen regulation in consultation with industry were bogus. “The existing regulations ensured that Grassy Mountain project was rejected by regulators in 2021. If you create a new regime that advocates and approves a project like Grassy as the current government is now doing, then you are weakening standards, not strengthening them.” What Alberta environment monitoring and research has consistently shown, from the McLeod River headwaters to the Crowsnest Pass, added Donahue, is that coal mining pollutes the air with toxic coal dust and contaminates distant waterways with selenium and other heavy metals (arsenic and cadmium) for decades, including long after Alberta's nominal regulatory reclamation has been completed. Moreover, the type of contaminants leaching from coal mines “significantly reduces the quality of water and its suitability for irrigation.” The fact that the Alberta government can look across the Rockies and see what is happening in Elk Valley — where mining has created a multi-billion-dollar selenium problem, complete with lawsuits — and still support coal mining here is just galling, added Donahue. Why is coal mining being supported by the UCP government “when Albertans will benefit so little from it?” he asked. David Luff, the former deputy environment minister who helped craft the 1976 Coal Policy that protected the eastern slopes, characterized Jean’s promise to guard water quality with modernized rules for coal mining as both dishonest and incorrect. “If this were true, the government would not permit any new coal mining in the eastern slopes and require that all lands disturbed by coal exploration and development be reclaimed within the next three years,” Luff told The Tyee. Jean had offered in his news conference that an approach called highwall mining would prevent wider environmental harm. Luff said, “There are currently no coal mines operating anywhere in the world — even those using high-wall mining technologies that prevent 100 per cent of the selenium produced at the mine site from entering watersheds downstream.” Luff added that Northback has already calculated that its proposed mining project will leach 10 micrograms per litre of selenium concentration into downstream waterways — a target 10 times higher than the Government of Alberta guideline for the pollutant. “This information alone should be enough evidence to stop Northback in its tracks,” he told The Tyee. The Alberta’s government new scheme to revive coal mining in the Rockies also failed to include the overwhelming democratic wishes and interests of its citizens, Luff said. “The Government must undertake extensive consultation and engagement regarding the public's vision for the eastern slopes and a set of guiding principles that both the government and the Alberta Energy Regulator would follow to achieve the public's vision,” he said. “The discussion doesn't begin with the development of a new modernized coal policy. The discussion begins with a new modernized eastern slopes policy.” ‘The government hasn’t listened’ Laura Laing and her husband’s ranch is in the municipal district of Ranchland, whose inhabitants overwhelmingly oppose coal mining in the headwaters of the Old Man River as a dramatic threat to water quality. She called Jean’s comments totally disingenuous. “The government hasn’t listened. Saying no open-pit or mountain-top removal does not say no surface coal mining, or no new coal development in this landscape. Albertans aren’t falling for it.” Open-pit mining underway in Elk Valley, BC, on the west side of the Rockies across from the proposed Grassy Mountain project. Photo by Callum Gunn. In 2020, former premier Jason Kenney opened the Rockies to Australian coal speculators when he abruptly cancelled the 1976 Coal Policy that effectively banned open-pit mining in the Rockies. He justified the gutting of protections as needed modernization. And he did so just before a public holiday. But unprecedented public protests forced the Kenney government to backtrack and restore the Coal Policy in 2021. Ever since, the UCP government of Danielle Smith has actively sought ways to support the Australian coal lobby and whittle away at protections for the eastern slopes. Rinehart’s company claims the massive project will right historic wrongs by reclaiming pits and gouges on the mountain left by previous miners. “Wow, that’s smart,” said Jean. “They are looking at something that wasn’t reclaimed properly, they are going to require the company to reclaim it properly, and at the same time they are going to do it economically and not cause environmental problems. That’s a great solution.” The facts speak otherwise. Katie Morrison, executive director for the Southern Alberta chapter of CPAWS, noted that “the previous mine disturbance is 12 per cent of the proposed new project footprint, with an additional eight per cent disturbance by roads and oil and gas developments. It is nonsensical to justify such a massive increase in disturbance and associated long-term and potentially unresolvable risks to air and water quality, species at risk, health, Treaty rights, and many others, in the name of reclamation.” She and other critics don’t understand why Jean calls the destruction of an intact mountain just to reclaim 12 per cent of old mining damages “smart.” Morrison added that Jean’s announcement clearly put the interests of the coal industry ahead of the public interest in the province. She also called the conference a bad case of déjà vu: “The government was highly criticized in May 2020 for quietly rescinding the 1976 Coal Policy on the Friday of a long weekend, without any prior consultation with Albertans.” And now they’ve done the same thing again. A selective referendum Jean’s coal modernization announcement comes on the heels of a fraudulent referendum on the future of coal mining held in the Crowsnest Pass. Fossil fuel lobbyists and the Smith government openly supported the referendum in an attempt to manufacture an illusory social licence for the Grassy Mountain project. When Is Mountaintop Removal Not Mountaintop Removal? In Alberta, of Course! read more Referendums can be blunt instruments. They typically offer a false choice: jobs and prosperity or unemployment and despair. Research has shown they can seduce voters with promises based on corporate or government propaganda with no accountability. As a consequence, they often produce decisions based on limited and biased information or the overstated benefits of some development. That’s exactly what the Grassy Mountain referendum did. It deceptively asked Crowsnest Pass residents if they supported Rinehart’s coal project without mentioning an inconvenient fact: the proposed project is located in the municipal district of Ranchland where almost all residents are opposed to the scheme. An Australian Coal Baron Subverts Alberta’s Democracy read more Asking residents of one geographic location to make judgements on a foreign-owned project actually located in another jurisdiction completely undermines the spirit of democracy. (Incredibly, UCP supporters and the local council for Crowsnest Pass now want to annex part of Ranchland where the mine will be located.) The referendum also excluded a quarter of the tax-paying property owners in the Pass because they did not live there full-time and would have voted no to a mine. Alberta’s Coal Fight Heats Up read more Furthermore, the municipality of Crowsnest Pass also did not disclose its own conflict of interest in sponsoring a referendum. In 2021 the council signed a secret agreement drafted by Rinehart’s company to provide water from the York River water license for the Grassy project. The agreement doesn’t expire until 2028. In a slick corporate campaign, Rinehart’s company spent millions on trying to buy local support and even drove citizens to the polls. It won the referendum by promising jobs and prosperity even though foreign-owned coal mines have a poor track record of delivering either jobs or prosperity. The CEO of Rinehart’s Northback Holdings, Mike Young, has called the recent “yes” vote in the municipality of Crowsnest Pass “a mandate for responsible development.” Young also explained the explicit reason for UCP government intervention on Rinehart’s behalf: “Premier Smith requested a local referendum and voters have given a clear message. The decisive victory shifts the focus to the next steps by the premier and the need to provide clarity on regulatory processes and to provide certainty for resource investment in general.” And that’s what Jean’s modernization announcement was all about. But the so-called modernization policy has cruelly ignored the economic interests of people who depend on fresh water from the mountains in southern Alberta. In particular the framing of the referendum directly disenfranchised more than 200,000 Albertans who live downstream of the mining project, and whose water quality and quantity would be dramatically affected by a mine located in the headwaters of the Old Man River watershed. That was the blunt conclusion of a 2021 regulatory decision that Brian Jean and his government now seek to openly overturn by providing exemptions for billionaire lobbyists, along with deceitful rhetoric about “modernization.” Read more: Alberta

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Over 40 years ago, in an era where the television was the cornerstone of every living room, there existed a now-iconic channel that served music videos around the clock (you guessed it — Music Video Television, or MTV). Fast forward to 2024, and the medium has evolved, but its power to captivate and provoke remains undiminished. Today, Billboard Latin and Billboard Español editors reveal our curated list of the best Latin music videos in 2024. From evocative narratives that shine a light on family and personal cultural heritage ( Becky G’s “GOMEZX4′′) to audacious visual experiments that redefine our perceptions ( Anitta and The Weekend’s “São Paulo”); otherworldly depictions of horror and fantasy (Javiera Mena’s “Volver a Llorar”) to deep explorations of religious iconography (Judeline’s “INRI”); oh, and a beautiful illustration that captures feminine power (Elsa y Elmar’s “Entre las Piernas”), this year’s roundup is a vibrant showcase of great visuals we saw this year. The allure of music videos remains endlessly fascinating, bridging eras and styles. Jhayco’s ’90s-leaning “Vida Rockstar” captivates with its analog film approach, while the futuristic “El Polvo de Tu Vida” by J Balvin and Chencho Corleone dazzles with its sci-fi elements, showcasing how music videos continue to push the envelope of visual innovation. As emphasized by Mexican artist Jay de la Cueva’s video “Perdóname,” borrowing the words of Russian composer and conductor, Igor Stravinsky: “It’s not enough to hear music; you also have to see it.” So without further ado, here are 18 of our favorite music videos of 2024. Director: Ramón Kicking off our list of top 18 music videos, Jay de La Cueva dazzles in the stunning visual for “Perdóname.” The video evokes the dramatic essence of a Black Swan ballet, showcasing the Mexican artist playing a grand piano in an empty theater, and dazzling glam-rock sparkly boots. The video for the tender power ballad transitions to a mountainous landscape, where Jay’s cool charisma complements the dancers’ synchronized movements, creating a visually captivating experience. — ISABELA RAYGOZA Director: Freeka Tet Anitta not only brings Brazilian baile funk to the forefront in this collaboration with The Weeknd, but she also showcases just how unconventional she’s willing to be in every project she’s attached to. Shot in New York City and filmed with an iPhone, the music video is cryptic and jarring, opening with a very pregnant Anitta wearing a Jason Voorhees-like mask and dressed as Serleena from Men in Black II , as she walks down the streets at night. Then, the video takes a very dark turn as it seems like she’s about to give birth — but, instead, a singing face emerges in her belly. Anitta’s baby bump is an animatronic machine puppeteered remotely by the director. The video is twisted, but it was a perfect release that dropped just in time for Halloween this year. — GRISELDA FLORES Channeling a Lords of Dogtown vibe, “Vida Rockstar” captures Jhayco’s skater punk essence. Filmed with an analog camera, the video sees him lounging in a graffiti-covered skate park surrounded by a crew of skateboarders performing tricks and sipping from red cups. Decked out in classic Converse sneakers and box braids, the Puerto Rican artist embodies the quintessential rock star skateboarder, perfectly complementing the track’s rebellious spirit. — I.R. Director: Malu Boruchowicz This music video is almost a contradiction to what Tini is singing about in the euphoric “el cielo,” which in theory is a breakup song. “I wish I was still in love with you,” Tini sings. “It was nice while it lasted. And I don’t regret it, even though there’s nothing left.” But in the three-minute clip, Tini is as free as ever dancing under the rain surrounded by her friends, expressing an almost infectious joy. The visual perfectly captures that transition from heartbreak to self-liberation. In this music video, “Tini reflects her autonomy and the importance of achieving peace and acceptance for a fulfilling life,” according to a press release. — G.F. Director: Nono + Rodrigo Infused with religious symbolism, Spanish artist Judeline — born Lara Fernández — is depicted wearing a thorny crown reminiscent of Jesus Christ, while also donning a white Romani gown and later a stark black lace outfit. Filmed in Andalucía, Spain, the visual weaves in striking shots of historical landmarks such as the Mezquita, the Arab Baths and the Aljibe within the Alcázar walls, alongside the Arabic-style courtyard of Colegio Montaigne. These folkloric Andalusian elements with pop combine to enrich the video with a deep cultural heritage, making it a compelling narrative. — I.R. Director: Elias López Mexican artists Bruses and HUMBE immerse viewers in a realm that teeters between dark fantasy and surrealism. It opens in a mystic, rocky landscape shrouded in darkness and imbued with a brooding atmosphere. A costume change later shifts the scene to a fiery red vista, where unnerving branches protrude ominously around them. A standout moment occurs when the artists’ heads, captured in profile, mirror their own, somehow evoking Billy Idol’s “Eyes Without a Face” video. It culminates in a mesmerizing scene framed by heavenly, cloudy and rosy hues, leaving a lasting impression of ethereal beauty wrapped in mystery. — I.R. Two of Mexico’s most enigmatic singers, Porter’s Juan Son and Enjambre’s Luis Humberto Navejas, have collaborated to release a mystifying song and music video titled “Laberinto.” Set against a vintage red backdrop, the very DIY video portrays them as pied pipers donning feathered caps and embodying a playful demeanor. The whimsical video features portraits of brick castles and horses, and as it progresses, the scene shifts to them jubilantly sipping coconut water and wine beneath the moonlight before the visuals turn kaleidoscopic. It’s weird and psychedelic, both visually and audibly, but wildly intriguing. — I.R. Director: Hermann Neudert This trippy video serves as a preview to a short film, and it’s effective because it leaves you wanting more. In “Esta Noche,” you’re introduced to two people (one played by Kaarl) who are really hurting after what seems to be a messy breakup. It’s unclear how they got to this moment where both are so broken they are almost wandering aimlessly. Here’s to hoping the other two music videos that make up this trilogy of visuals give us more context to this relationship. According to a press release, “Each video will serve as a piece of a cinematic puzzle, with interconnected storylines that invite audiences to discover hidden connections throughout each release.” — G.F. Director: Facundo Ballve Emilia’s music video commemorates the Y2K era, merging her modern pop flair with retro elements. Filmed against a setting that evokes a Blockbuster store, this Argentine pop sensation — who in a scene wears Gwen Stafani’s iconic starry eyebrows look — is enveloped by quintessential late-‘90s artifacts, including a fuzzy pink notebook, teen magazines, a lime green iMac and an iPod stocked with her favored “playlists.” This release spearheads her “MPEG” phase following her “MP3” themed tracks, while she “taps into a shared cultural nostalgia, suggesting that love and sensuality transcend time,” according to the press release. — I.R. Director: Patricia Alfonso J Balvin and Chencho Corleone join forces on the sensual perreo “Polvo de tu Vida,” produced by Jeremy Ayala. While the lyrics refer to being the “best sex” anyone has had, the sci-fi music video — directed by Patricia Alfonso — immediately grabs your attention, with its eccentric tones and the futuristic visuals that allude to a dystopian theme. Filmed at Dubai’s Museum of The Future, Balvin and Chencho are seen exploring different rooms, where robots are being constructed and tested — but they have their eyes set on one special one. The Colombian and Puerto Rican urban stars became the first artists to shoot a music video at the coveted museum. — JESSICA ROIZ Director: Daniel Eguren More often than not, music videos for regional Mexican songs can feel trite and raunchy, portraying the typical lavish lifestyle that includes luxurious cars and women seemingly at their disposal. So Peso Pluma and Tito Double P’s “Los Cuadros” was striking (and stood out immediately) for its cinematography, aside from its deep storytelling. The music video captures the innocence of two young boys — who could easily represent real-life cousins Peso and Tito — who run free in the woods, letting their imaginations run wild. The black-and-white video, which adds to the element of nostalgia, follows the boys, who embark on an adventurous journey, sharing laughs and stories along the way. While the story takes an unexpected turn at the end of the video, it does a great job of underscoring the song’s theme of trust, creating an emotional experience. — G.F. Director: Pedro Artola Karol G traveled to the Dominican Republic to capture the perfect background to her summer-friendly merengue smash “Si Antes Te Hubiera Conocido.” In the music video, directed by Pedro Artola and produced by WeOwnTheCity, the Colombian artist works at a local beach bar, where the crowd is unimpressed with the town’s karaoke singers. She then saves the day by performing her feel-good tropical bop, starting a party at the tiki bar that has people of all ages on their feet. The clip then transitions from the beach to the town, where Karol is surrounded by the island’s colorful houses and people. — J.R. Director: Joseph Ros In this stunning black-and-white visual, Chilean singer/songwriter Javiera Mena injects vampiric allure into the timeless Nosferatu narrative. As the film’s fanged protagonist, Mena weaves a dark romance with a striking tattooed woman, framed by evocative symbols like crosses, roses, coffins and the looming walls of a medieval castle. The chilling scenery contrasts with Mena’s melodious voice as she sings, “ Renacer y morir es volver a vivir ” (Rebirth and death is to live again), capturing the cycle of existence and reincarnation. The narrative deepens as the woman inks a teardrop of blood onto Mena’s cheekbone, enriching the gothic theme with a modern twist. This cinematically rich video revives the otherworldly charm of classic horror while beautifully melding it with contemporary visuals. — I.R. Director: Ricky Alvarez This song alone is quite emotional. Becky G sings about the deep love she has for her three siblings, with heartfelt lyrics like “We are the true meaning of real love” and “for you, I would do things I wouldn’t dare to do.” So watching the song’s official video just adds another layer to the emotional aspect. Tugging at your heartstrings, Becky’s “GOMEZX4′′ displays homemade videos that capture the four siblings as kids, just how close they are, and how much they care for each other. From dance parties to car rides, Becky G showcases the unique bond she has with her brothers and sister in this beautiful tribute. She ends the video with a poignant message: “Our parents leave us too early, and our kids and partners come later, but our siblings are forever.” — G.F. Director: Felipe Mejía In the heat of the 2024 Copa América, where Colombia and Argentina went to finals, Ryan Castro released “El Ritmo Que Nos Une” with the special participation of two of the national team’s players: Luis Díaz and Juan Fernando Quintero, who rap some verses. Directed by Felipe Mejía, the vibrant music video perfectly embodies Colombian culture, love for soccer, and its passionate community as Castro and soccer star James Rodriguez play a friendly tournament at a block party. — J.R. Director: Frederick Venet Elsa y Elmar’s video illustration is a potent narrative about femininity and the societal stigmas surrounding menstruation. With Colombian art decor throughout the video, it boldly challenges taboos associated with womanhood, while simultaneously celebrating cultural heritage with vivid colors. It further addresses themes of insecurity through its portrayal of a woman who grapples with the idealized images on Instagram. It’s somewhat reminiscent of the surreal imagery of Pink Floyd’s 1979 “What Shall We Do Now” visual (notably the scene of a lotus flower and tulip in a sexual encounter). Overall, Elsa y Elmar’s video entertains and ignites meaningful discourse on feminine power and self-perception. — I.R. Director: Stillz With thumping house beats blended with traditional Afro-Puerto Rican plena, “EL CLúB” encapsulates “the longing for a life chapter that still holds a special place in memory,” according to a press statement. The music video, directed by Bad Bunny’s longtime director Stillz, vividly captures the sentiment, showing the Puerto Rican artist as he enters an elevator en route to “the club,” surrounded by psychedelic imagery amid a large crowd. It culminates with him carrying a box that appears to contain the ashes of a burned house, which he solemnly buries and marks with the Puerto Rican flag, echoing the theme of his previous single “Una Velita.” — J.R. Director: René Pérez Joglar An introspective journey through mourning and reflection, “313” is an orchestral tribute to the importance of living in the present — it’s also a personal ode to his late friend and close collaborator, Valentina Gasparini. The meaningful, deeply cinematographic music video, directed by the Puerto Rican artist himself (real name: René Pérez Joglar) and produced by Carolina Wold, stars Penélope Cruz and features Catalan artist, Silvia Cruz. Set in an enchanting autumn garden in Spain, the clip also showcases a mesmerizing group of lyrical dancers floating in the air. “I started to make the music and I was writing the ideas, adjusting to the weather conditions,” Residente previously said to Billboard Español. “It was quite difficult to shoot in November in Madrid, there was not much light. It snowed, it rained, everything happened during the shoot.” “313” won best short-form music video at the 2024 Latin Grammys. — J.R.