Benny Blanco Net Worth 2026: The $50M Hitmaker Fortune

Benny Blanco‘s net worth is estimated at $50 million as of November 2026. The producer behind 29 number-one songs built that fortune without ever becoming a front-page pop star himself: a 2019 sale of 93 songs to Hipgnosis Songs Fund turned a decade of hits into a single large payday, and the royalties that kept flowing from the songs he did not sell, plus two Interscope label imprints, his own artist career, a bestselling cookbook, and a string of Los Angeles and New York property deals, did the rest.

Early Life and Background

Benjamin Joseph Levin was born on March 8, 1988, in Reston, Virginia, and grew up there in a Jewish household. The detail that explains his whole career comes from his childhood bedroom: at six years old, in 1994, he heard Nas’s “The World Is Yours” and All-4-One’s “I Swear” on cassette, and he started making hip-hop instrumentals on his own equipment and recording his own vocals over them. He was not a kid who dreamed of the stage in the abstract. He was a kid with a boombox, layering sounds, learning by trial how a beat holds a voice.

That bedroom habit turned into something visible while he was still a teenager. His rapping caught the attention of The Source magazine and executives at Columbia Records — early, serious industry attention for a teenager from suburban Virginia with no family connection to the music business on record. He spent many childhood summers at Camp Airy in Thurmont, Maryland, where he performed and hosted a radio show under the name “Ebba Ebba,” a small detail that already shows the two threads that would run through his adult career: making music and performing a persona around it.

The move that mattered most in those early years was geographic. Blanco made repeated trips from Virginia to New York City to meet labels and producers, and those trips led to an apprenticeship with producer Disco D. Apprenticeship is the right word for how Blanco learned the trade. He did not arrive in pop through a television contest or a viral clip. He arrived by sitting near people who knew how records were built, absorbing session craft, and then getting a break that put him in rooms with writers and artists who already had hits.

Reston itself is part of the story in a quieter way. It is a planned community outside Washington, D.C., far from Los Angeles studios and New York label offices, and Blanco’s early career is a story of commuting toward the industry rather than growing up inside it. That distance may explain why his public image, even after two decades of hits, still reads as an outsider who got in through the work rather than through the scene. The money story starts here too: a producer’s fortune is built song by song, credit by credit, and Blanco was stacking credits years before the public knew his name.

Education

There is no public record of Blanco completing a university degree, and no college appears in his published biographies. His education, as far as the record shows, was the apprenticeship route: Camp Airy performances as a child, bedroom production as a teenager, the Disco D apprenticeship in New York, and then several years of mentorship under producer Dr. Luke, who signed him to the production company Kasz Money Productions. Readers looking for a school name will not find a reliable one, and we do not invent one.

That absence is itself informative about how producer wealth works. Blanco’s credential was a catalog, not a diploma. By the time he was in his early twenties he had co-written and co-produced songs that were already earning at a scale no entry-level job could match, and each credit taught him the next part of the business: how publishing splits work, how a producer point is negotiated, how a song keeps paying years after its chart run ends. The formal classroom version of that curriculum does not exist in the same form, and Blanco’s career is evidence that the industry still rewards the apprenticeship path for producers who can deliver hits on demand.

It is worth stating plainly what this means for the net worth figure. Blanco’s fortune was not seeded by family wealth reported anywhere, nor by an early investment windfall. It was earned inside the music business, credit by credit, which is why the Hipgnosis sale in 2019 is such a clean dividing line in his financial story: it converted roughly a decade of accumulated credits into cash at once, and everything after it sits on top of that base.

Career Journey

Blanco’s professional career starts in 2007, when he teamed with Baltimore rapper Spank Rock on the collaborative EP “Spank Rock and Benny Blanco Are… Bangers & Cash,” built on 2 Live Crew samples. The record caught industry attention and connected him to collaborators including Amanda Blank and Santigold. It was a calling card, not a commercial breakthrough, but calling cards are how producers get their next session, and Blanco’s next sessions changed his life.

Under Dr. Luke’s mentorship at Kasz Money Productions, Blanco was credited on productions from 2008 into the mid-2010s, a run that reads like a playlist of late-2000s and early-2010s pop: Katy Perry’s “I Kissed a Girl” and “Hot N Cold,” Kesha’s “Tik Tok,” and Britney Spears’ “Circus,” which reached number three on the Billboard Hot 100. Working beside an established hitmaker taught him the discipline of writing to a brief — a song for a specific artist, a specific radio format, a specific moment — and the credits stacked fast.

By 2011 Blanco was taking the lead on production and writing for some of the year’s most recognizable hits, from Maroon 5’s “Moves Like Jagger” to Gym Class Heroes’ work, and the decade that followed barely slowed. His credits spread across genres and generations: Rihanna’s “Diamonds,” Justin Bieber’s “Love Yourself,” Ed Sheeran’s “Castle on the Hill,” Shawn Mendes and Camila Cabello’s “Señorita,” Major Lazer’s “Cold Water,” Sia, the Weeknd, Kanye West, BTS, Eminem, Ariana Grande, SZA, Juice Wrld, Kali Uchis, and J Balvin. Music Business Worldwide and the Hipgnosis announcement both note the scale of the result: songs he contributed to have sold a cumulative 500 million album-equivalent units worldwide.

The second act of his career began in 2014, when he founded two labels as imprints of Interscope Records — Mad Love Records and Friends Keep Secrets — and started signing and developing other artists, including Tory Lanez, Jessie Ware, and Cashmere Cat. A producer who owns a label imprint earns twice from a record: once as a writer-producer, once as a label participant. That structural change matters for the fortune, because it moved Blanco from a fee-and-royalty worker to a person with equity in other people’s records.

The third act began in July 2018, when Blanco released his debut single as a lead artist, “Eastside” with Halsey and Khalid. The song peaked at number nine on the Billboard Hot 100 — his 27th top-ten song as a writer at that point, including seven number-one singles on that chart — and led his debut album “Friends Keep Secrets,” released in December 2018, which peaked at number 41 on the Billboard 200. A follow-up, “Friends Keep Secrets 2,” carried his collaboration with Justin Bieber, “Lonely,” into the top 40. As a lead artist, Blanco kept a much larger share of streaming and performance income than he did as a behind-the-scenes writer, and “Eastside” alone has generated years of royalties.

Outside music, Blanco built a second public identity as a cook. On March 9, 2020, he and chef Matty Matheson debuted the collaborative cooking show “Matty and Benny Eat Out America” on his YouTube channel, and in April 2020 he made his television debut playing a fictionalized version of himself. In 2024 he published his first cookbook, “Open Wide: A Cookbook for Friends,” which became a New York Times bestseller. The cookbook is not a footnote to the fortune: it opened a new income line, new television and brand opportunities, and a public persona that made him recognizable to people who had never read a songwriting credit.

The most recent chapters moved fast. Blanco and Selena Gomez released the collaborative album “I Said I Love You First” on March 21, 2025, through SMG Music, Friends Keep Secrets, and Interscope Records. It debuted at number two on the Billboard 200 with 120,000 album units in its first week, including 71,000 pure sales — the best sales week of either artist’s career — and topped the Top Album Sales and Vinyl Albums charts. In October 2025, after a short stint as a manager at A&M Records, he left the role and was replaced by former Elektra Records co-president Gregg Nadel. In July 2026 he launched the campaign for his next solo album, “Hermoso,” with a new single. And on November 7, 2025, he received a Grammy nomination for Best Dance Pop Recording for “Bluest Flame” with Gomez.

Rise to Fame

Blanco’s rise to fame is unusual because it happened in two stages separated by a decade. The first stage was invisible to the public: by the early 2010s he was one of the most successful songwriters in pop, but his name lived in liner notes and chart-credit roundups, not on magazine covers. Songs like “Teenage Dream” and “California Gurls” for Katy Perry, “Dynamite” for Taio Cruz, and “Moves Like Jagger” for Maroon 5 made him rich and in demand long before they made him famous.

The second stage began with “Eastside” in 2018. Putting his own name first on a record, with two stars singing on it, changed how the industry and the public priced him. A songwriter-producer is hired; an artist is marketed. Blanco became both, and the artist income — streaming shares, sync licenses, performance royalties, and the bargaining power that comes with a hit under your own name — layered on top of the writer income he already had.

The third stage was the Gomez relationship. Blanco and Gomez began dating in June 2023, announced their engagement in December 2024 — Gomez shared the news on December 11, 2024, with photographs of the ring, revealing that Blanco had proposed during a Taco Bell picnic — and married on September 27, 2025, in California, in front of around 170 guests. The relationship put Blanco in celebrity news cycles every week, and the joint album turned that attention into sales. It also changed the public arithmetic around his wealth: coverage of the couple routinely pairs his $50 million estimate with Gomez’s estimated $700 million to $1.3 billion fortune, driven largely by her Rare Beauty stake, and the contrast makes his figure look small. It is not small. It is simply a producer’s fortune next to a beauty-founder fortune, and the two were built in entirely different businesses.

What competitors often miss about this rise is the timing. Blanco’s fame arrived after his fortune, not before it. The Hipgnosis sale closed in 2019, a year after “Eastside” and five years before the Gomez engagement made him a tabloid regular. By the time most readers learned his name, the largest single payday of his career was already banked.

Main Sources of Income

Blanco’s income arrives through channels that compound rather than replace each other. Songwriting and production royalties are the engine: every radio play, stream, sale, film placement, and commercial use of a song he co-wrote or co-produced generates mechanical royalties, performance royalties collected through organizations such as ASCAP and BMI, and synchronization fees. With hundreds of credits, including 29 number-one songs, that engine runs whether or not he releases anything new in a given year.

Production fees are the second channel. Industry reporting consistently puts top-tier producer fees in the range of $50,000 to $150,000 per track, with some reports stretching the range to $30,000 to $200,000 depending on the artist and the producer’s involvement. Blanco’s accumulated fees across two decades of A-list sessions represent a substantial sum on their own, separate from any royalty. The third channel is producer points — a percentage of record royalties negotiated per project — which pays when a record sells and streams, and which scales with the size of the hit rather than the size of the fee.

Artist income is the fourth channel, and it changed the math after 2018. As the lead artist on “Eastside,” “Lonely,” and the Gomez album, Blanco earns performer royalties and a larger streaming share than a writer alone receives. The Gomez album’s first week — 120,000 units, 71,000 pure sales, 21,000 of those on vinyl, the biggest vinyl week for either artist — shows how that channel pays at the top end: physical sales, especially vinyl, carry margins that streaming alone does not.

Label income is the fifth channel. Mad Love Records and Friends Keep Secrets, both Interscope imprints founded in 2014, give Blanco a share of the records his signed acts release. Label economics are slower than hit royalties — an imprint earns as its roster develops — but they diversify his income away from his own writing output, which is exactly what a producer in his late thirties needs as his session pace changes.

The sixth channel is the catalog sale itself, covered in detail below, and the seventh is everything outside music: cookbook sales and advances for “Open Wide,” television and YouTube cooking work, and brand and appearance income tied to his cooking persona. None of those lines individually rivals the music royalties, but together they explain why his public earning power kept growing after his busiest hitmaking years.

Real estate is not income in the monthly sense, but it is part of the fortune’s structure. Blanco bought, held, and sold properties in Los Angeles and New York over more than a decade, and the documented transactions — a $9.2 million West Hollywood purchase in 2019, a $2.13 million West Hollywood compound bought in 2015, a Chelsea condo bought for $3.45 million in 2011 and sold for $3.6 million in April 2025, and a joint $35 million Beverly Hills purchase with Gomez in December 2024 — show a portfolio managed actively rather than a single house held passively.

Salary and Earnings

Blanco does not draw a salary in the ordinary sense, and no employer has ever published his pay. What can be stated with confidence is the structure of his earnings and the one large transaction that anchors them. The structure is: upfront production fees per track, songwriter shares of mechanical and performance royalties, producer points on records, label-imprint participation, artist royalties on his own releases, and book and television income. The transaction is the Hipgnosis deal.

In August 2019, Hipgnosis Songs Fund acquired 100 percent of Blanco’s copyright ownership in a catalog of 93 songs, all released since 2015, that had been streamed more than 10 billion times and held 65 number-one positions and 183 chart positions globally. Music Business Worldwide’s report on the deal names the songs inside it: Blanco’s shares of “Love Yourself” by Justin Bieber, “Cold Water” by Major Lazer featuring Bieber and MØ, “Fire and the Flood” by Vance Joy, “Same Old Love” by Selena Gomez, “Luv” by Tory Lanez, “Don’t Wanna Know” by Maroon 5 featuring Kendrick Lamar, “Freaky Friday” by Lil Dicky, “Castle on the Hill” by Ed Sheeran, “2002” by Anne-Marie, and “Lonely Together” by Avicii. The London Stock Exchange regulatory notice for the deal repeats the same scope and the same stream count.

The price was never disclosed. That single fact is the most important correction in this article, because much of the net worth coverage around Blanco treats a $40–50 million figure for the sale as if it were reported. It was not. Outlets citing comparable catalog sales at the time put the range at $40–50 million, and that range has been copied from site to site until it reads like a fact. It is informed speculation built on comparables, not a disclosed price, and we label it that way. What the deal certainly did was convert the post-2015 slice of his catalog into a lump sum in 2019, at the peak of the catalog-buying boom, when Hipgnosis had raised $185 million in April 2019 to keep buying and had already spent roughly £120 million on 12 catalogs in the prior ten months.

The deal’s fine print is a second correction competitors usually skip. Hipgnosis bought only songs released since 2015. Blanco kept his pre-2015 copyrights — the Katy Perry, Kesha, and Britney Spears era that made his name — and he kept everything he has written since. That means the sale did not end his royalty income. It sold one slice of it at a high price and left the rest paying, which is why his post-2019 income lines (the Gomez album, “Hermoso,” new sessions) still matter to the total. A writer who sold everything would be living off a lump sum. Blanco sold a tranche and kept writing.

Annual earnings estimates for Blanco circulate widely — some sites claim $3–5 million a year in mechanical royalties and $2–4 million in performance royalties — but no outlet with access to his royalty statements has published those splits, and we do not present them as reported figures. The honest statement is narrower: a catalog of this size, with 29 number-one songs and hundreds of credits still earning, generates substantial recurring royalty income every year, and the exact annual split between mechanical, performance, sync, and artist royalties is private.

One more earnings angle deserves attention because it separates Blanco from most producers: his artist-era releases pay him at two levels at once. On “I Said I Love You First,” he is a writer, a producer, a label owner through Friends Keep Secrets, and a co-lead artist. Four income lines from one record is rare, and it is why a joint album with his wife was worth more to him financially than a standard production credit on someone else’s album would have been.

Businesses and Investments

Mad Love Records and Friends Keep Secrets are the core businesses. Founded in 2014 as Interscope imprints, they let Blanco sign acts — Tory Lanez, Jessie Ware, and Cashmere Cat are the names most often cited — and participate in their records. Interscope provides distribution and scale; Blanco provides A&R judgment and production. The imprint model is common for hit producers, but few producers run two imprints simultaneously for a decade, and the longevity itself is a financial fact: an imprint that survives ten years has a catalog of its own, and catalogs keep paying.

The A&M Records chapter was brief and is often misreported as a long executive tenure. Blanco took a manager role at A&M, and in October 2025 he left after a short stint, replaced by former Elektra co-president Gregg Nadel. Short executive stints are normal in the label business, and the episode matters less for its salary — never disclosed — than for what it signals: Blanco was being courted for executive roles as well as sessions, and he chose to leave rather than stay in a job that did not fit his artist and label work.

The cookbook business is the most visible non-music venture. “Open Wide: A Cookbook for Friends,” published in 2024, became a New York Times bestseller, and it sits alongside the “Matty and Benny Eat Out America” YouTube series with Matty Matheson, which debuted on March 9, 2020. Cookbook economics — advance, royalties, and the television and appearance work a bestselling food book generates — are smaller than music catalog economics, but they diversify Blanco’s public brand in a way that protects his earning power if his session pace slows. A producer known only for hits is hired for hits. A producer known for hits and for a bestselling cookbook is booked for both.

Beyond music and food, no verified investment portfolio exists in public reporting. Blanco has not disclosed stock holdings, startup stakes, or fund investments, and we do not attribute any to him. The documented investment story is real estate plus catalog equity: the two asset classes where his money is visible in public records.

Brand Deals and Sponsorships

Blanco has never built his fortune on endorsement deals the way a pop star does, and the record reflects that. There is no long list of sneaker contracts, fragrance lines, or fashion houses attached to his name, and no disclosed endorsement fee has ever been published for him. His brand income is quieter and more recent: cooking-related appearances and partnerships that followed “Open Wide” and the Matheson series, plus the promotional ecosystem around the Gomez album, where the couple’s joint appearances doubled as marketing for the record itself.

That restraint is consistent with his career shape. A behind-the-scenes producer’s brand value lives in his credits, not his face, and for most of his career his face was not the product. The cooking persona changed that calculation after 2020, and the Gomez relationship changed it again after 2023, but neither turned him into a serial endorser. Readers should treat any site that assigns him a large endorsement total with skepticism: the money is in the songs, the labels, and the property, and the brand work is a supporting line, not a pillar.

One related point needs a clear statement because it confuses net worth coverage of celebrity couples. Gomez’s fortune — estimated between $700 million and $1.3 billion, driven by her majority stake in Rare Beauty — is not Blanco’s fortune. The couple’s joint $35 million Beverly Hills purchase is a shared asset, and how they split its ownership is private, but Blanco’s $50 million estimate stands on his own catalog and career, not on his wife’s company. Reports of a prenuptial agreement before their September 2025 marriage, noted in 2026 coverage, reinforce that their finances are structured separately, though the terms of any such agreement are not public and we do not speculate on them.

Houses, Cars and Other Assets

Blanco’s property history is unusually well documented, because Los Angeles and New York sales leave public traces that royalty statements do not. The earliest purchase on record is a sleek West Hollywood compound bought in April 2015 for $2.13 million: a 2,750-square-foot, four-bedroom, three-bath main house with a private guesthouse. It was a working producer’s house, not a trophy purchase, and it fits the timeline — bought in the middle of his peak hitmaking run, before the catalog sale.

The showpiece purchase came in November 2019, months after the Hipgnosis deal, when Blanco bought an ivy-clad West Hollywood estate from Tinder co-founder Sean Rad for $9.2 million. The 5,600-square-foot, five-bedroom, six-bath house was renovated with BonVivant Interiors and designer Keefe Butler of Studio BAD, and Blanco showed the result to Architectural Digest: an alfresco dining space surrounded by greenery, a dressing room inspired by Mariah Carey, and a guesthouse converted into a movie theater with velvet-tufted walls, plus a formal dining room, an all-white chef’s kitchen, and a large primary suite. The timing is the story. The catalog money landed in 2019, and the $9.2 million house followed the same year.

In New York, Blanco owned a loft-style condo in Chelsea’s Chelsea Mercantile building, bought in October 2011 for $3.45 million. He sold it in April 2025 for $3.6 million, after nearly a year on the market and slightly under his asking price. The arithmetic is striking: about $150,000 of headline appreciation over nearly fourteen years, before transaction costs, taxes, maintenance, and carrying costs. It is a useful corrective to the assumption that every celebrity property deal is a windfall. Some are simply a place to live that roughly holds its value.

The joint purchase with Gomez is the largest single property transaction in either of their recent histories. In December 2024, the couple bought a Spanish Colonial estate in Beverly Hills for $35 million, in the same week they announced their engagement. The property, designed by Wallace Neff in 1929 (some reports date the design to 1928), sits on nearly an acre in the Beverly Hills Flats and spans four structures: a main house plus guesthouses, one with a studio and another with a home theater, along with a pool and spa, a fitness solarium, and landscaped gardens. Reports variously put the house at 7,000 or 14,000 square feet and seven bedrooms with twelve bathrooms; the spread reflects different counts of the main house versus the full compound. Realtor.com’s reporting anchors the $35 million price and the December 2024 timing, and the previous owner was reported to be “Joker” director Todd Phillips. The purchase ranked among 2024’s most expensive residential deals.

Gomez’s own Encino house, bought in 2020 for $4.895 million from the estate of Tom Petty (who had it custom-built in 1989), is sometimes folded into Blanco’s portfolio by careless coverage. It was her purchase, made three years before they began dating, and she sold it on September 8, 2026, for $5.399 million after listing it in May 2026 for about $6.495 million. It belongs in this article only as context: the couple consolidated into the Beverly Hills house, and the Encino sale followed.

Cars are the thinnest part of the record. No verified car collection, purchase price, or fleet list exists in reliable reporting for Blanco, and we do not pad this section with one. His public image leans toward studio gear, kitchens, and houses rather than automobiles, and the absence of a documented collection is itself a data point: unlike many celebrities whose wealth is displayed through cars, Blanco’s visible assets are property and catalog.

Awards and Achievements

Blanco’s awards shelf is deep, and it explains why his per-track price stayed high for two decades. He received the Hal David Starlight Award from the Songwriters Hall of Fame in 2013, an honor given to young songwriters with a proven run of hits. He has won five BMI Songwriter of the Year Awards, an unusually high count that reflects not one hot year but repeated years at the top of BMI’s songwriter rankings. In 2017 he won the iHeartRadio Producer of the Year Award. And he has received eleven Grammy Award nominations across his career, with the most recent — Best Dance Pop Recording for “Bluest Flame” with Gomez, announced November 7, 2025 — arriving nearly two decades after his first major credits.

The chart achievements behind those awards are the real credential. Twenty-nine number-one songs, more than 30 Billboard Hot 100 top-ten songs, and contributions to records that sold a cumulative 500 million album-equivalent units worldwide. “Eastside” gave him a number-nine Hot 100 peak as a lead artist; “I Said I Love You First” gave him his first Billboard 200 top ten as an artist, debuting at number two, and his first number one on the Top Album Sales and Vinyl Albums charts. The cookbook added a different kind of chart: New York Times bestseller status in a field where he had no prior publishing record.

It is worth noting what Blanco has not won, because award coverage sometimes inflates it. He has not won a Grammy as of this writing, despite eleven nominations, and no outlet has published a dedicated Forbes wealth profile of him. Those gaps do not reduce the fortune — Grammy wins and Forbes profiles do not pay royalties — but they keep the record honest. His achievement is commercial and durable: songs that still earn, a catalog that a major fund paid to own, and a second career as an artist and author built on top of the first.

Net Worth Growth Over the Years

The table below is an illustrative trajectory built from the consensus $50 million endpoint and the dated milestones in Blanco’s career. Only the 2019 Hipgnosis sale and the 2026 consensus estimate are anchored in reporting; the earlier years are estimates showing the shape of the growth, not figures any outlet has published for those specific years.

The shape matters more than any single row. Blanco’s wealth grew in steps, not smoothly: a long accumulation phase from 2008 to 2018, a step change in 2019 when a decade of songs became cash, and then slower growth as royalties and new projects compounded on top of that base. That shape is typical of catalog sellers and atypical of pop stars, whose wealth often spikes with a tour or a brand deal and then falls. Blanco’s curve bends upward and stays bent, because songs do not stop earning when their chart run ends.

The range question deserves a final word here. Most trackers land on $50 million. A few put the figure at $50–60 million, one at $50–70 million, and one outlier at $100 million. Our range of $50 million to $70 million reflects the credible spread: the $50 million consensus at the bottom, the higher-end tracker estimates at the top, and the $100 million claim set aside because the site publishing it offers no sourcing, no transaction, and no methodology that would explain doubling the consensus. If a future catalog sale, property filing, or label transaction gives a firmer number, this article will be corrected to it.

Social Media Presence

Blanco’s social presence is large but secondary to his music income, and the follower counts in circulation are stale enough to require care. His Instagram account, @itsbennyblanco, is variously reported at 1.2 million, 2.1 million, and 3.4 million followers depending on the year and the tracker, and his TikTok and YouTube followings are reported in the low millions as well. The spread is a reminder that social counts age fast: a 2021 figure of 826,000 Instagram followers is still copied by some sites, and it is years out of date.

What is stable is how he uses the accounts. Instagram and TikTok carry the cooking persona — kitchen clips, collaborations with Matheson, and the domestic comedy of the Gomez household — alongside studio content, and YouTube hosts the “Matty and Benny Eat Out America” series. The cooking content is not a side hobby for social purposes; it is the marketing engine for the cookbook and the television work, and it reaches an audience that does not follow songwriting credits. That audience is commercially useful: it is why a producer can sell a cookbook at all.

Social income itself — sponsored posts and platform revenue — is not disclosed and is almost certainly a minor line next to royalties. Blanco’s social value is indirect: it keeps him visible between releases, it sells books, and it turns a joint album campaign into a cultural event rather than a release-week story. The Gomez album’s first-week vinyl record, for example, was driven in part by the couple’s social promotion of multiple variants, nine of which went on sale in the iTunes Store in the same week.

Personal Life

Blanco was born Benjamin Joseph Levin and performs under the stylized lowercase name benny blanco. He is Jewish, and his family background is not a matter of extensive public reporting; his parents and siblings have stayed out of the celebrity press, and we do not publish private details about them. His height is most commonly listed at 5 feet 9 inches (175 cm), though some profiles list 5 feet 8 inches or 5 feet 10 inches — a small spread that has generated a surprising amount of social media debate, mostly in jokes about photographs with Gomez, who is listed at 5 feet 5 inches.

His relationship with Selena Gomez is the best-documented part of his personal life. They began dating in June 2023, though they had worked together years earlier — Blanco co-wrote and produced on Gomez’s music, including “Same Old Love,” long before the relationship. They announced their engagement in December 2024, married on September 27, 2025, in California, and bought the Beverly Hills estate together in December 2024. In 2026 interviews Blanco has spoken openly about wanting children with Gomez, a subject both have discussed publicly without announcing any specific plans.

Before Gomez, Blanco’s dating history was kept largely private, and no prior marriage is on record. The cooking life is the other stable thread: friends, food, and the kitchen as a social space are the subject of “Open Wide,” and the book’s premise — recipes for feeding people you care about — matches the public persona he has built since 2020. It is a persona with commercial value, but it also reads as the genuine center of his off-duty life: the studio and the kitchen, in that order.

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Published on November 1, 2026. Last reviewed November 2026. Found an error? See our corrections policy.