MediaCo's EstrellaTV Announces the Return of the Iconic Musical Reality Series and Competition Objetivo Fama for 2025
As part of this exclusive U.S. deal, Objetivo Fama will be available on EstrellaTV's national broadcast network, on its EstrellaTV FAST (free ad-supported streaming television) channel and live and on-demand through the EstrellaTV app. EstrellaTV will also amplify the series across its social media platforms.
'Objetivo Fama is more than just a music show. It's a journey that transforms lives,' said Albert Rodriquez, CEO, MediaCo. 'We are thrilled to bring incredible live musical storytelling and competition show to our viewers and advertisers.'
Objetivo Fama introduces a reimagined format that blends high-stakes musical performance with an immersive reality experience. Twenty aspiring artists will live together and train in a custom-built House Studio, where their personal and artistic transformations will unfold before viewers' eyes — filmed 24/7.
' Objetivo Fama returns with a bold new vision that goes far beyond a music competition. We've created a format where discipline, creativity, and personal transformation unfold in real time, allowing audiences to truly connect with each artist's journey. This new chapter honors the show's legacy while speaking directly to a new generation of dreamers,' said Soraya Sánchez, Executive Producer of Objetivo Fama.
First launched in 2004, Objetivo Fama became a cultural phenomenon and a launching pad for some of Latin music's most beloved stars. The 2025 revival honors its legacy while introducing a bold, modernized vision for a new generation of fans.
For more information on Objetivo Fama and EstrellaTV programming, visit www.estrellatv.com or Follow EstrellaTV on Social Media:
ABOUT MEDIACO
MediaCo Holding Inc. (Nasdaq: MDIA) is a diverse-owned, diverse-targeted media business. MediaCo stands at the forefront of entertainment and news, uniquely positioned as a leader in reaching multicultural audiences. Through its diverse portfolio of digital, television and radio properties including EstrellaTV, Estrella News, Hot 97, WBLS and Que Buena LA, MediaCo engages over 20 million people every month, delivering a dynamic mix of free, ad-supported streaming and terrestrial entertainment, music, and news across all major media platforms and on all devices. More info at mediacoholding.com or press@mediacoholding.com.
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Los Angeles Times
8 hours ago
- Los Angeles Times
Latin Grammys 2025 predictions: Bad Bunny, Natalia Lafourcade and Rauw Alejandro among the frontrunners
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De Los assistant editor Suzy Exposito and contributing writer Ernesto Lechner discuss their predictions on the songs and albums that are most likely to be nominated. The following conversation has been edited for length. Ernesto Lechner: This seems to be an easy year in terms of the two obvious candidates for Latin Gammy history. Bad Bunny's 'Debí Tirar Más Fotos' is the kind of album that defines not only the year it came out — 2025 — but also the entire decade. And Natalia Lafourcade's mystically tinged 'Cancionera' finds the perennial Grammy favorite at the apex of her craft. Going back to Benito's masterpiece, its conceptual gravitas is almost grander than the songs themselves. Suzy Exposito: I'm really gunning for Album of the Year for this one. The amount of thought and intention that he placed on this record. The cultural significance of the songs, not just in terms of the history of Puerto Rico, but the way in which he directly engages with the Caribbean diaspora at large through salsa. E.L.: I love how lovingly he delves beyond salsa to also include plena. He goes back to Rafael Cortijo — the roots, the very essence of boricua culture. And the album has this Beatles-like quality where it's incredibly commercial — a No. 1 record, the album that everybody is listening to — but there's no compromise on the artistic front. It's an ambitious, fully realized statement. S.E.: Is any album by Benito just another Bad Bunny album? I don't think he dabbles in filler the way other artists do. E.L.: The photo of the plastic chairs on the cover could have been taken in the suburbs of Lima, or San Salvador, or Medellín. Benito makes such an inclusive, pan-Latin statement. Which brings me to nominate the title track, 'Debí Tirar Mas Fotos,' as a perfect contender for Song of the Year. S.E.: When I first heard it, I started to cry. It's a very sentimental song. I was recently in Puerto Rico and went to a plena jam session. It was happening in the street, and you could see people of all ages playing together, singing traditional songs, drinks in hand. There was something really beautiful and timeless about that communal experience. E.L.: A similar passion for music permeates Lafourcade's 'Cancionera.' Recorded live on analog tape, it has a pristine, wooden-floor kind of warmth. She embodies this mystical character, the cancionera, and it's a very mature album. I love 'Cocos en la Playa' — a frisky, beautiful tropical song that's so lovely and authentic. For my money, it's going to be a battle between those two albums in all the major categories. S.E.: I feel that Natalia Lafourcade is the conservative choice at the Latin Gammys, and it feels bizarre to say it. This is a woman who was making pop-rock in the 2000s. She is a virtuosa, and a master of her craft, but her nomination is predictable because now she represents the gold standard for the Latin Academy. E.L.: She's definitely the safest choice between the two. Besides Benito and Natalia, there are a few albums that could very well appear in the major categories, and one of them is Cazzu's 'Latinaje.' S.E.: That album is such a statement piece. I loved seeing Cazzu break away from the Latin trap sound that she defined and blending it with other things. She's a great songwriter, and her transformation is fascinating. I think this is the year when many young people are going back to their roots, and then making something new out of it. E.L.: I had a conversation with Cazzu a few months ago and told her that 'Latinaje' made me feel vindicated. As a fellow Argentine, I've always felt that we're an integral part of Latin America. She proved it with this beautiful love letter to so many essential genres. There's salsa, merengue, South American folk, and 'Dolce,' a gorgeous corrido tumbado about that infamous red dress that went viral. And she did it all so genuinely. S.E.: It may be hard for her, because she came up as an MC. I wonder if the Latin Academy will know in what categories to place her, since this is such a multi-genre album. I mean, she's an international girl. E.L.: And of course, Rubén Blades has a new album out, and it's beautiful as always. 'Fotografías' is another sumptuous, big band salsa session. It combines new compositions with songs that Rubén had given to fellow Fania artists in the '70s, and now recorded them himself. S.E.: That's a great move on his part. 'Hey, remember those songs? Yeah — I wrote them!' It sounds ridiculous to say that Rubén is another safe choice, but I can see him in all the big categories. Which brings me to another artist who made a salsa-influenced album: Rauw Alejandro and 'Cosa Nuestra.' E.L.: I love the Afro-Caribbean vibe on 'Cosa Nuestra' and the silky duet with bachata star Romeo Santos on 'Khé?' I feel this one has been overshadowed a little by Benito's 'Debí Tirar Más Fotos.' My favorite Rauw Alejandro album remains 2021's 'Vice Versa' with the awesome, '80s influenced mega-hit 'Todo De Ti.' S.E.: My favorite song on 'Cosa Nuestra' is 'Se Fue,' the duet with Laura Pausini, which is also like a moody '80s song. Raúl has made it a point to polish up his nostalgia for old forms of music. Michael Jackson is one of his most influential artists. By the way, we should mention Fuerza Regida and their ninth studio album, '111XPANTIA.' They have never been nominated for a Latin Grammy, so I'm rooting for them because they have experimented in a really bold way. Their lead singer, Jesús Ortiz Paz, has shown a lot of intention behind his creative decisions beyond making the same corridos or mining from the same old '90s rappers. Their music is cheeky; sonically, it pushes boundaries. E.L.: You're never gonna have a bad time with this new wave of música Mexicana stars, considering the staggering melodic richness of their songs and the immediacy of the lyrics. S.E.: On that note, I think it's time for Ivan Cornejo to get a Latin Grammy nod for 'Mirada' — the production has this ethereal quality that sounds so mature and progressive for the genre. I also want to applaud DannyLux for his ambitious 'Leyenda,' which is a psychedelic take on sierreño music, à la George Harrison. E.L.: What about Becky G? Last year I was asked to write about 'Encuentros,' and I just had to surrender to the elegance of this pristine música Mexicana session. Her voice sounds huge on this record. S.E.: I really hope they don't silo her in the música Mexicana categories, because this is a very mature album for her. She grew up singing mariachi music with her family, so it's a beautiful full circle moment for her. 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Yahoo
12 hours ago
- Yahoo
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Time Business News
14 hours ago
- Time Business News
AEGROR: A Dark Force in Atmospheric Black Meta
Among the multitude of artists and bands that are associated with extreme metal, the place of AEGROR underlines the feeling of darkness, despair, and conceptuality. AEGROR consists of members, hailing from Kerken, Germany, and was formed back in 2009. and has established a unique profile in the underground metal scene. The name of this band, based on the Latin translation of the word disease, is a door into their thematic world- the world which is focused on the issues of inner struggles, insanity, and horrors of metaphysics. AEGROR harmonizes the primitive ferocity of the black and death metal genres with melody and atmospheric influences, thus becoming an interesting force in the field of Atmospheric Black Metal and even Post Black Metal. The band expands beyond its experimentation with sounds to philosophical and psychological connotations found in the discography, which has earned the band credence. The Concept Behind AEGROR: Plaguebreeder and Beyond The music of AEGROR is extremely conceptually based on a fictional character called Plaguebreeder, which is an interdimensional beast that wants to breach the human world. Although it is fictitious, Plaguebreeder represents extremely real fears: pandemics, the mess of society, and mental breakdowns. Such levels of storytelling provide AEGROR with a screen-like advantage, with each album being a chapter of a horror epic. What is unique about AEGROR is that they employed this character to extract metaphors out of what happens in real life. Whether it is the psychological effect of isolation, a disorder called global health crisis, or internal struggles of the human psyche, AEGROR changes abstract fears into beautiful musical worlds. The Early Years: De Morbis and Forgotten Tales AEGROR had its official release in 2010 with the album De Morbis. Strongly influenced by black/death music of the 90s, this release paved the way to their characteristic sound: violent but intelligent, anarchic, and organized. Raw in its recordings but sophisticated in its mood and theme, the album put the band on the map as a group of serious artists right away. In the next year they released Forgotten Tales EP that demonstrated more progressive and emotional approach taken by them. This EP served to draw a bridge between their older violent music and the more mature one, more melodic. It was also the breakthrough of the transition, and AEGROR began to invest even more deep into the Atmospheric Black Metal aesthetics, attempting to frame the play with layering soundscapes, non-heavy guitar passages, and depressing themes. The Turning Point: Dead Man's Diary Their sound had grown a lot of growing at the time when AEGROR launched Dead Man Diary in 2017. The improved production, enhanced songwriting, and more definite conceptual path saw the positive reception of both underground collectors and critics alike. But there were also in-team conflicts within the band. Creative differences and line-up issues took AEGROR to the brink of breaking up. They nevertheless did not give up the project, with founding member and vocalist Narthaas leaving together with guitarist Abyssus. Rather, to enable them to have a higher degree of freedom and creativity, they rearranged AEGROR as a duet. It was this decision that would precondition their most significant work ever. Rebirth and Recognition: Reign of Disease (2025) Later, AEGROR reappeared on May 16, 2025, with a third studio album, Reign of Disease. The album became an independent release, an action that showed how much confidence they had in the material. 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Coming to a scene where brute force and speed can easily be the main idea, AEGROR brings a certain complexity, feeling, and contemplation. Being in the Atmospheric Black Metal and Post Black Metal scenes, they became one of the torchbearers of a genre that favors mood and message above all. Their songs encourage people to face their fear not only of death or illness, but of what they hold. Conclusion: The Future of AEGROR Having published three major releases, having a devoted fan base, and having a brand-new partnership with a well-established label, AEGROR is now ready to leave its mark on the sphere of European extreme metal. They may have the potential to evolve but still adhere to their dark sources, which means that their future is guaranteed to be relevant, influential, and unfazed in their artistic ways. To the listeners of heavy, emotionally-charged, concept-driven metal music, there is more to AEGROR than a band. TIME BUSINESS NEWS
