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El último tour del mundo

EL ÚLTIMO TOUR DEL MUNDO

“For a moment, it seemed like it was the end of the world,” Bad Bunny tells Apple Music about the inspiration behind his new album. Conceived during the 2020 quarantine, EL ÚLTIMO TOUR DEL MUNDO is hardly the swan song its grandiose title suggests. Instead, this visionary record from El Conejo Malo draws upon lockdown fantasies about what an album of his from the future might sound like. In true dystopian fashion, he imagined what his last concert tour would look like, or rather what the last shows ever in the world would look like. “It’s as if I spent my final tour of 2032 advancing the word from 2020.” With any lingering retirement concerns quashed, EL ÚLTIMO TOUR DEL MUNDO instead invites listeners deep into the creative genius mind of Bad Bunny. Even before he dropped 2018’s eclectic X 100PRE by surprise, there were plenty of clues in his slew of singles that alluded to his diverse influences, musical or otherwise. Arriving mere months after YHLQMDLG, a tear-stained love letter to reggaetón past and present, this album pushes beyond genre and presents an opportunity to rethink everything we thought we knew about Bad Bunny. “I already had intended to come with something very different, because that’s what I am passionate about,” he says. “It’s about taking risks and fulfilling my wishes and dreams.” While the previously released hit single “Dakiti” hinted at what was to come, EL ÚLTIMO TOUR DEL MUNDO broadens the extent of his Latin trap dominion on cuts like “EL MUNDO ES MÍO” and “HOY COBRÉ”. He unleashes his rock and indie passions on the alt anthem “YO VISTO ASÍ” and the nostalgic New Wave revival “MALDITA POBREZA”. On “BOOKER T”, he spits with the edge of his earliest singles over a serpentine groove, while he bares his sensitive side on the balladic “TRELLAS”. Unlike on the guest-centric YHLQMDLG, Bad Bunny limits the vocal artists included here, a decision that makes the handful of features feel like statements. “I understand that in this business, everyone lives for collaborating on albums,” he says. “I thought it was time to demonstrate versatility and bring something fresh to the fans.” In particular, the surprisingly muted “LA NOCHE DE ANOCHE” with ROSALÍA fulfils the long-held dream of their respective and shared fans. On the Tainy-produced “SORRY PAPI”, he introduces R&B singer ABRA to the wide audience that her talents clearly warrant. Above all, with its surprise twists and inventive turns, EL ÚLTIMO TOUR DEL MUNDO is truly the album Bad Bunny was destined to make. “Music has no limits. That is what it is about.”

27 November 2020 16 Songs, 47 minutes ℗ 2020 Rimas Entertainment LLC

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Close out Latin Heritage Month with “Dakiti.”

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Africa, Middle East, and India

• Côte d’Ivoire
• Congo, The Democratic Republic Of The
• Guinea-Bissau
• Niger (English)
• Congo, Republic of
• Saudi Arabia
• Sierra Leone
• South Africa
• Tanzania, United Republic Of
• Turkmenistan
• United Arab Emirates

Asia Pacific

• Indonesia (English)
• Lao People's Democratic Republic
• Malaysia (English)
• Micronesia, Federated States of
• New Zealand
• Papua New Guinea
• Philippines
• Solomon Islands
• Bosnia and Herzegovina
• France (Français)
• Deutschland
• Luxembourg (English)
• Moldova, Republic Of
• North Macedonia
• Portugal (Português)
• Türkiye (English)
• United Kingdom

Latin America and the Caribbean

• Antigua and Barbuda
• Argentina (Español)
• Bolivia (Español)
• Virgin Islands, British
• Cayman Islands
• Chile (Español)
• Colombia (Español)
• Costa Rica (Español)
• República Dominicana
• Ecuador (Español)
• El Salvador (Español)
• Guatemala (Español)
• Honduras (Español)
• Nicaragua (Español)
• Paraguay (Español)
• St. Kitts and Nevis
• Saint Lucia
• St. Vincent and The Grenadines
• Trinidad and Tobago
• Turks and Caicos
• Uruguay (English)
• Venezuela (Español)

The United States and Canada

• Canada (English)
• Canada (Français)
• United States
• Estados Unidos (Español México)
• الولايات المتحدة
• États-Unis (Français France)
• Estados Unidos (Português Brasil)
• 美國 (繁體中文台灣)

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El Último Tour del Mundo

Rap / Pop/R&B

December 8, 2020

From the first moments of his latest LP, El Último Tour Del Mundo , Bad Bunny declares the world his. “Yo hago lo que me dé la gana,” he reminds us of his growing influence. “¿Quién dijo que no?” It’s a hard assertion to dispute: During a pandemic that decimated large swaths of the music industry, his star has only risen. YHLQMDLG , released in March, flirted with the top of the pops and dominated the Latin charts; he’s graced awards-show stages and the covers of Western media’s storied publications; he’s evolved into a vocal ally of marginalized communities, with a willingness to acknowledge and rectify his mistakes; and with the release of El Último Tour Del Mundo , he’s made history with the first-ever No. 1 Spanish-language album on Billboard’s album chart. No other artist had more Spotify streams in 2020.

For El Último Tour Del Mundo , Bad Bunny transports himself a decade into the future, imagining the music he’d play on his final world tour in 2030. It’s not his best record, but that’s almost beside the point. You’ll still find vestiges of his particular nuevo reggaetón sound on tracks like “Te Mudaste” and “Dákiti,” even if the latter is one of its weakest examples, pummeling the dembow riddim into submission with a thumping four-on-the-floor that’s devoid of any actual flavor. But by track four he takes a sharp left turn from the rap and perreo that defined previous LPs in favor of a morose, introspective vibe that pulls from British post-punk and the rock en español of Central and South America as much as it does the hip-hop and R&B of the American South.

For better or worse, El Ultimó Tour Del Mundo ’s rock sound leans heavily on producer Marco “MAG” Borrero (and, to a lesser extent, Borrero’s human riff machine Mick Coogan), best known for crafting pop hits for the likes of Flo Rida, Bebe Rexha, and Selena Gomez. The collaboration doesn’t always work; tracks like “Te Deseo Lo Mejor” and “Antes Que Se Acabe” suffer from a saccharine sound that’s generic enough to blend in with Top 40 radio. But when it does, it’s sublime. “Yo Visto Así” and “La Droga” inhabit the same universe of distorted emo rap as the late Lil Peep and Juice WRLD , with grunge guitars ringing out over rumbling trap beats. And “Maldita Pobreza,” a poor man’s lament that effortlessly bounces between buoyant new-wave riffs and booming 808s, evokes Café Tacvba, New Order, and modern-day traperos in equal measure, offering a glimpse of the brilliance that can result from Benito’s experimentation.

These rock tendencies don’t come completely out of left field. Bad Bunny has previously dabbled in pop-punk (“Tenemos Que Hablar”) and metalcore (“Hablamos Mañana”), and even recruited Los Enanitos Verdes’ Marciano Cantero for his and J Balvin ’s interpolation of the Argentinian rock band’s classic “Lamento Boliviano.” Each record served to expand the boundaries of urbano , Latin America’s catch-all for the myriad genres in “urban” (i.e. Black) music, eventually stretching it so thin as to render it transparently irrelevant. The new urbano—or el movimiento , as some have taken to calling it—is inclusive, a tent big enough for fans of Soda Stereo and strip-club beats, Pisces Iscariot and pro wrestling, Daddy Yankee and drag queens. Plenty of artists have tried to seamlessly integrate an international aesthetic, treating their tracklists like grocery lists and collecting sounds from around the world without a genuine connection to the music. Bad Bunny succeeds where they have failed because those influences come from within. He didn’t pull the Puerto Rican holiday song “Cantares de Navidad” from a spreadsheet of Google trends; it’s the music of his life. When it’s real, you can feel it.

In that sense, El Último Tour Del Mundo gets at the core of what makes Bad Bunny so appealing. “Maldita Pobreza” isn’t just a trap-rock fusion experiment, it’s a reminder that Benito is less than half a decade removed from bagging groceries in Arecibo, daydreaming of exotic Italian sports cars. He toes the line between rap braggadocio and vulnerable everyman with relative ease—even while crooning about alien sex . Standing on top of the world, with access to abundant fame, wealth, and critical success, he appears free of any pressure to conform, even to previous versions of himself. He’s a beacon of light in barrios around the world, an example for kids with secret skirts or Smashing Pumpkins CDs of what being yourself can look and sound like. When he says he does whatever he wants, we believe him. Maybe we can, too.

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Perdió el "encanto" por el tenis, se cansó de viajar por el mundo y a los 30 años cuelga la raqueta

• ESPNtenis.com

El mundo del tenis afronta un nuevo retiro: Alison Van Uytvanck anunció que cuelga su raqueta luego de más de una década como profesional. La tenista belga se despide del deporte a los 30 años con un balance de 393 partidos ganados y 271 perdidos, cinco títulos y habiendo sido Top 40 del mundo. El motivo detrás de su decisión.

"Me gustaría contarles que tomé la decisión de retirarme del tenis profesional" , comenzó Alison Van Uytvanck en una extensa carta compartida en sus redes sociales.

"Ha sido extremadamente difícil. Durante las últimas semanas no he sentido la misma chispa que me lleva a darlo todo en cada punto y a viajar por el mundo" , siguió la nacida en Vilvoorde, quien también levantó dos trofeos en dobles femenino, ambos en Luxemburgo, en 2018 y 2021, junto a su compatriota Greet Minnen.

" He luchado mucho durante la temporada pasada, tanto física como mentalmente , para regresar luego de una dura lesión. Pero ahora me enfocaré en mí y en las oportunidades que me dé la vida más allá del tenis", explicó la cuartofinalista en Roland Garros 2015.

Este año había retomado la competencia iniciando la temporada como la 706ª del ranking y, con el paso de los meses, escaló casi 500 posiciones gracias a los dos títulos que ganó en el ITF Women's World Tennis Tour. Sin embargo, la pérdida de "encanto" y motivación para seguir con el ritmo de la alta competencia hicieron que tome la decisión.

"Quiero agradecer a quienes me ayudaron a conseguir mis objetivos y a quienes creyeron a mí desde los inicios. Gracias a mi familia, que me dio la oportunidad de jugar este hermoso deporte desde los 5 años y me apoyó hasta llegar a lo más alto de mi carrera como la número 37 del mundo".

"Ha sido un camino de altibajos. Empecé siendo una niña llena de sueños y llegué a competir en varios Grand Slams, alcanzando los cuartos de final en Roland Garros, cuarta ronda en Wimbledon y ganando 5 títulos WTA. Eso es mucho más que un sueño cumplido", cerró la campeona en Quebec 2017, Budapest 2018 y 2019, Tashkent 2019 y Nur-Sultán 2021.