“¿Psicópata es bueno?“. La pregunta se la hizo Tomás, el hijo mayor de Mario Pergolini, cuando era chico y se encontró con una de las históricas tapas de Rolling Stone Argentina protagonizadas por su padre. La anécdota la contó el propio Mario en una charla con La Nación en la que el conductor repasó las cuatro portadas que hizo para la revista y reflexionó sobre las distintas etapas de su vida y su carrera.
El conductor del ciclo, José Del Río, le mostró al invitado las cuatro tapas juntas. La primera correspondía al número 2 de Rolling Stone Argentina, publicado en 1998, y lo devolvió a los años en los que comenzaba a consolidarse Cuatro Cabezas mientras atravesaba uno de sus mejores momentos en radio y televisión.
“Era una buena etapa de mi vida. Ya habíamos empezado Cuatro Cabezas con Diego y con Gebel. Me iba muy bien en radio y había dado el paso a la televisión con La TV Ataca y Hacelo por mí“, recordó.
Luego apareció una de las tapas más recordadas de la revista: la que llevaba el título “Anatomía de un psicópata”. Pergolini contó que esa misma imagen también fue utilizada para la tapa de un libro recopilatorio de Rolling Stone y recordó la reacción de su hijo cuando visitaron una muestra dedicada a la revista.
“Me acuerdo de que fuimos a ver la muestra, que había que entrar por mi boca. Tomás era chico y me preguntó: ‘¿Psicópata es bueno?’. Le dije: ‘Sí, es bueno’“, contó entre risas.
Las otras dos tapas funcionaron como disparadores para hablar de momentos decisivos de su trayectoria. Una de ellas remite a su apuesta temprana por Internet y el streaming, cuando todavía eran tecnologías incipientes.
“Le dije a la gente de Rock & Pop que había una nueva tecnología que podíamos usar para hacer contenido diferente. No creían mucho en eso, así que dije: ‘Bueno, me hago cargo yo’. Hicimos el primer programa que se hacía vía streaming a nivel mundial. Hasta desarrollamos tecnología para hacerlo“, aseguró.
La última portada, en cambio, representa uno de los momentos más difíciles de su carrera: su salida de Rock & Pop después de casi dos décadas. “Yo sentía que el juego de los medios estaba cambiando. Ellos no lo veían y también les doy la derecha porque era muy difícil imaginarlo en ese momento”, explicó.
Al ver las cuatro tapas reunidas, Pergolini encontró un hilo conductor entre todas ellas. “Nosotros fuimos un bardo organizado. Éramos los que no le iban a dar voz. Representamos muy bien esa generación del rock, esa cultura, porque éramos eso. Las tapas de Rolling Stone representan quién era. Ahora que las vi a las cuatro juntas se ve una evolución”, reflexionó.
Sobre el final de la charla, José Del Río bromeó con la posibilidad de una nueva portada. “Le podemos sumar la quinta ahora“, le dijo. “La quinta es yo en silla de ruedas“, remató Pergolini.
Mirá la entrevista completa:
The post “¿Psicópata es bueno?”, la pregunta del hijo de Mario Pergolini al ver una histórica tapa de Rolling Stone appeared first on Rolling Stone en Español.
Nada es para siempre. “Celebrating Life Through Death” es la gira internacional con la que Sepultura celebra sus más de 40 años de trayectoria y marca su despedida definitiva de los escenarios. La banda brasileña hará escala en Buenos Aires el próximo 6 de octubre para ofrecer un concierto en el complejo C Art Media, en el barrio porteño de Chacarita.
Durante la presentación, la agrupación repasará las canciones de los discos más significativos de su carrera, como Beneath the Remains (1989), Arise (1991), Chaos A.D. (1993) y el icónico Roots (1996), producciones que posicionaron al metal brasileño en el ámbito internacional e influyeron en el desarrollo del género a nivel global.
El repertorio promete para recorrer toda su historia musical, incluyendo temas emblemáticos como “Refuse/Resist”, “Roots Bloody Roots”, “Territory” y “Ratamahatta”, en lo que será su último encuentro en vivo con el público argentino.
Mientras recorre el mundo con su gira de despedida “Celebrating Life Through Death”, Sepultura decidió inmortalizar su último capítulo creativo con The Cloud of Unknowing, un EP que marca la despedida discográfica de la banda. Grabado junto al baterista estadounidense Greyson Nekrutman, incorporado en 2024, el trabajo nació de manera espontánea durante diez días en los históricos Criteria Studios de Miami, donde el grupo dio forma a nuevas composiciones sin una planificación previa, guiado únicamente por la química surgida entre sus integrantes.
El resultado son cuatro canciones que reflejan tanto la intensidad como la diversidad que caracterizaron a Sepultura a lo largo de su carrera. Desde la potencia de “All Souls Rising” hasta la introspectiva “Beyond the Dream”, el EP combina la agresividad del metal con nuevas exploraciones sonoras y una fuerte carga emocional, abordando temas como la transformación personal, la unión frente a las divisiones sociales y la búsqueda de identidad.
The post Sepultura se despide de Buenos Aires: dónde tocan, cuándo es el show y cómo conseguir las entradas appeared first on Rolling Stone en Español.
Jay-Z spent the weekend blowing fans’ minds during his epic three-show run at New York’s Yankee Stadium. But after night one brought cameos from wife Beyoncé, daughter Blue Ivy, Nas and Alicia Keys and night two dialed up an even wilder lineup featuring Eminem, Slick Rick and Pharrell, Sunday’s (July 12) show hit a snag.
Following a three-hour delay in kicking off last night’s final gig, Jay addressed the delay after taking the stage, telling fans that the start of the show was pushed back due to security concerns caused by a large crowd gathered outside the venue.
“Let me explain the delay to you guys. It was like 10,000 people outside, and we closed all the doors, and somebody rushed the door,” Jay said after finally taking the stage after midnight ET on Monday morning (July 13), according to a video posted by XXL. “They closed the door for you guys’ safety and everyone’s safety outside. There’s 10,000 people outside; I don’t want to start the music and people get trampled. I’m really sorry for the inconvenience, but I had to make sure everyone was OK. I appreciate your patience.”
Jigga then promised his faithful that he had plenty more surprises in store for the epic Extra Innings finale of his Yankee Stadium run, which started nearly three hours later than the previous editions on Friday and Saturday night and was not constrained by the album anniversary-focused nature of the first two night’s shows.
The faithful who stuck around until nearly three in the morning were treated to a rare live appearance from Rihanna, who joined in on “Run This Town” before taking a solo turn with her 2015 Billboard Hot 100 No. 15 trap anthem “Bitch Better Have My Money,” as well as another cameo from Beyoncé on “Drunk in Love” and a cameo from multi-hyphenate Teyana Taylor, who joined Jay to sing the Mary J. Blige hook on “Can’t Knock the Hustle.”
Usher also popped-in for “Heart of the City (Ain’t No Love)” and “Throwback,” while Pharrell came out again for a medley run that included “Love U (Give It 2 Me)” and “Frontin’,” and The-Dream subbed in for Frank Ocean on “No Church in the Wild” from Jay and Ye’s 2011 joint Watch the Throne album. Other guests included Jermaine Dupri, Fat Joe and Jadakiss, the Clipse, Jeezy and Swizz Beatz.
The weekend run was a celebration of, respectively, the 25th anniversary of Jay’s The Blueprint and the 30th anniversary of his seminal 1996 debut, Reasonable Doubt. Jay’s first significant run of shows since his 2017 4:44 tour will include a Sept. 4 show at Tottenham Hotspur Stadium in London, a Sept. 10 gig at Stade de France in Paris and an Oct.23 date at SoFi Stadium in Inglewood, Calif.
The night before Confessions II officially became Madonna’s 10th No. 1 album on the Billboard 200, the Queen of Pop transformed Queens’ Knockdown Center into the New York City edition of Club Confessions on Saturday (July 11) night to celebrate her latest album.
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Despite being nowhere near a subway stop (or much else, unless you’re in the market for a chandelier), Knockdown Center plays host to some of the hottest dance music tickets in town, so it’s not a surprise to see big crowds outside the sizable venue. Even so, the lines for Madonna were beyond the norm, extending several blocks down the street. But for a free (yes, free) party boasting Madonna, Stuart Price (who co-produced Confessions II and 2005’s Confessions on a Dance Floor), Honey Dijon (a frequent Madge remixer who contributed to the Confessions II: Afterhours Edition release), Fcukers, Junior Sanchez and Sam-E, what the hell do you expect?
As on Club Confession’s previous London stop, entrance to the affair involved walking through a giant inflatable of a woman’s lower torso, legs spread, with speakers subbing in for the NSFW anatomy. After that, you strolled through a green laser-laden forest, evocative of the “Good for the Soul” portion of Madonna’s Confessions II short film (directed by TORSO), both of which served up TikTok/Instagram fodder for attendees.
A fantastic Fcukers set had the fashion-forward crowd (which, over the course of the night, included Kim Petras, Pabllo Vittar, Sky Ferreira, Christian Sirano, Julio Torres, Bob the Drag Queen and Plane Jane) moving, but when Stuart Price took the boards to usher in the entrance everyone was waiting for, the temperature in the room shifted. Madonna hit the stage at 1:10 a.m. (fairly early, considering the doors didn’t even open until 10 p.m.) with a declaration and a challenge: “New York, I love you so much – but are you ready?!”
Fans, many of whom stood in line for an hour, responded with a roar of love and a sea of cellphones. “It’s mother” intoned a deep voice over a thumping beat. Between Price’s deft ability to keep a crowd moving and Madonna’s larger-than-life aura, school was indeed in session at Club Confessions thanks to the seasoned dance club faculty on stage — including Honey Dijon, who took the decks toward the end of Madonna’s appearance.
Confessions II songs occupied most of the setlist, with “Get Together” from the O.G. Confessions and a few choice vintage cuts (“Thief of Hearts” from Erotica and “Physical Attraction” from her self-titled debut) making appearances. Highlights included hundreds of people singing (and feeling) the chorus of “I Feel So Free”; Madonna head-banging next to Honey Dijon during a “Love Sensation” remix; and the Queen of Pop gyrating her hips and mouthing along to the 1983 throwback “Physical Attraction.” But “Danceteria” was the standout cut. Even though the album has been out just over a week, it seemed like everyone at Club Confessions knew the lyrics to “Danceteria,” right down to the pointed pauses (“He’s the DJ / hide the cocaine”) and her laundry list of early ‘80s scenesters. Beyond that, the experience of listening to the autobiographical “Danceteria” while dancing in front of Madonna herself was a surreal treat.
After Madonna and Price left the stage, Dijon delivered a phenomenal set that led the room through ecstatic release – sure, Madonna was the main attraction, but when she left the building, so did just enough people that you could truly dance on the dance floor. (As opposed to body bumping — not that there’s anything wrong with a little body bumpin’.)
Less than 12 hours after Club Confessions New York City closed up, Billboard reported that Madonna’s Confessions II had debuted atop the Billboard 200, marking her 10th No. 1 on the chart and her biggest streaming week ever. That win also puts the Club Confessions host in an exclusive club of artists with 10 or more albums to their name – something only 11 acts, Madonna included, can boast.
Sam Fender’s show at the London Stadium in June 2025 remains momentous for many reasons. It was the midway point of the rollout of his Mercury Prize-winning LP People Watching, and also his largest-ever headline show. But perhaps the most consequential moment from it came midway through the set, album deep cut “Rein Me In” got an airing, with the show’s support act Olivia Dean, then a rising star, joining on vocals for a new verse. Now their careers – and that song – appear unstoppable.
“Rein Me In” is into record-breaking territory on the U.K.’s Official Singles Chart. The track has earned 16 weeks at No. 1, and become the longest-running No. 1 single of the 2020s so far — surpassing Alex Warren’s “Ordinary,” which notched 13 weeks last year. It is now tied with Drake’s “One Dance” as the longest-running No. 1 in the 21st century, and surpassed Wet Wet Wet’s “Love is All Around,” written by Reg Presley, as the longest-running British No. 1 of all time.
In February, it earned the BRIT Awards’ publicly-voted song of the year prize, with Dean and Fender on hand to collect the prize in Manchester. Amidst chart dominance in early May, Dean returned the favour by inviting Fender to give the song a rare live outing at her headline performances at London’s O2 Arena. Both are now leading the way for British acts on the global stage, capping off a remarkable turnaround for the scene.
This is the story of how a fan favorite became one of the biggest U.K. chart successes of all time.
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The Love Island USA villa is preparing to close its doors for another summer, with just six couples still in the running for the $100,000 grand prize.
Hosted by Vanderpump Rules star Ariana Madix, the hit Peacock dating series returned in early June with a new group of singles hoping to find love. Weeks of bombshell arrivals, dramatic re-couplings and the show’s signature Casa Amor twist have reshaped the competition, leaving only a handful of Islanders standing ahead of the season 8 finale.
Watch Love Island USA Season 8 Finale Online, at a Glance:
- Date & Time: Sunday, July 12, at 9 p.m. ET/6 p.m. PT
- Stream: Peacock
Before America crowns its favorite couple, one more round of eliminations will narrow the field from six couples to four. Those finalists will be revealed during tonight’s episode before heading into the final weekend of the season.
The Love Island USA season 8 finale on Sunday, July 12, at 9 p.m. ET/6 p.m. PT, when viewers will finally learn which couple walks away with the title and the $100,000 prize. The reality dating show streams on Peacock.
How to Watch Love Island USA Season 8 Online
Peacock exclusively streams Love Island USA. For Peacock subscribers, you can tune-in to the live event at no extra cost. Just log into your account once the event begins, and you’ll have access.
The streaming platform doesn’t offer a free trial, but does come with a couple of affordable plans starting at $10.99 per month. In addition, you can get 30 days of access to Peacock for as low as $1 with Walmart+, as one of the service’s benefits and perks. Learn more about Walmart+ and Peacock here.
There are two different plans offered on Peacock: The Premium Plan for $10.99 per month or the Premium Plus Plan for $16.99 per month. If you’re looking to save, you can save 17% off when you do the annual plan for $109.99 per year or $169.99 per year. With the Premium Plan, it’s ad-supported and you’ll receive access to a wide range of movies, TV shows, originals, live sports from NBC Sports and live news from NBC News.
Peacock’s Premium Plus plan comes with everything in the Premium plan, no ads, your local NBC channel live and the ability to download and stream offline.
Alongside Love Island USA, you’ll have access to the entire Peacock library, including Wicked: For Good, Yellowstone, Five Nights At Freddy’s, The Real Housewives of Beverly Hills, Poker Face, Saturday Night Live and others.
The streaming service also offers a number of music documentaries and specials, such as Toby Keith: An American Icon, Bowie: The Man Who Changed The World, Bob Dylan: The Folk Years, Stevie Nicks: Through The Looking Glass, Katy Perry: Main Square, Welcome To The A: 50 Years of Hip-Hop in Atlanta and more.
Meanwhile, those who want to watch internationally can access the streaming service with a VPN, such as ExpressVPN with prices starting at $2.79 per month for 28 months, paired with Peacock.
What to Expect From the Love Island USA Season 8 Finale
Filmed at a private luxury villa in Fiji’s Mamanuca Islands, the finale gives the remaining couples one last chance to celebrate their relationships before returning to the real world.
As in previous seasons, the finalists will head out on romantic final dates, which have included scenic boat rides, candlelit dinners and intimate picnics. The dates often give Islanders the opportunity to discuss what life outside the villa could look like and whether their connections can survive beyond the show.
Afterward, the couples will dress for the season’s final ceremony, where Ariana Madix will reveal America’s vote and crown the winning couple. Following weeks of dramatic challenges, unexpected romances and emotional twists, the finale will determine which pair formed the strongest connection and earns the $100,000 prize.
From couples who have stayed together since the beginning to Islanders who found love after Casa Amor shook up the villa, season 8 has delivered plenty of memorable moments. Now, only one couple will leave Fiji as this summer’s Love Island USA champions.
Love Island USA Season 8 Cast
The cast of Love Island USA season 8 features the brother of Charlie Georgiou from season 7, the daughter of a retired-NBA player and others. However, cast member Vasana Montgomery was removed from season 8 due to a scandal over the use of a racial slur. See the list of the cast participating in the new season below.
- Aniya Harvey, 23
- Beatriz Hatz, 25
- Bryce Dettloff, 29
- Gabriel Vasconcelos, 26
- KC Chandler, 23
- Kenzie Annis, 24
- Melanie Moreno, 24
- Sean Reifel, 29
- Sincere Rhea, 25
- Trinity Tatum, 23
- Zach Georgiou, 26
In the meantime, watch a Love Island USA first look at the conclusion below.
As Madonna‘s CONFESSIONS II debuts at No. 1 on the latest Billboard 200 albums chart (dated July 18), the Queen of Pop secures her 10th chart-topper. In doing so, she becomes only the 11th act, and third woman, with at least 10 No. 1 albums. Madonna scored her first No. 1 album in 1985 with Like a Virgin.
CONFESSIONS II is the sequel to the 2005 No. 1 Confessions on a Dance Floor, and reunites Madonna with her main collaborator from that project, DJ/writer/producer Stuart Price. The new album was announced on April 15, released on July 3 and marks Madonna’s first studio album since 2019’s No. 1 Madame X.
Take a look at the list of every act with at least 10 No. 1 albums on the Billboard 200 — since the chart began publishing on a regular, weekly basis in March 1956 — below.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 18, 2026-dated chart will be posted in full on Billboard‘s website on July 14. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
As Madonna’s new studio album, CONFESSIONS II, debuts at No. 1 on the Billboard 200 (dated July 18), the Queen of Pop joins the King of Pop, Michael Jackson, in the top 10. Jackson’s former 1983-84 No. 1 Thriller falls 7-8 on the latest chart. Perhaps surprisingly, this is only the second time that the pair has appeared in the top 10 at the same time, and it last happened nearly 25 years ago. (All July 18-dated charts will refresh to Billboard’s website on Tuesday, July 14.)
Madonna and Jackson previously shared space in the top 10 on the Dec. 1, 2001-dated chart. That week, Jackson’s chart-topping Invincible fell 3-4 in its third week on the list, while Madonna’s compilation GHV2: Greatest Hits Volume 2 debuted at No. 7. The next week both albums dropped out of the top 10 – although they remained in the top 15 together.
The two icons almost met up in the top 10 in the 1980s — when they spent a combined 57 weeks at No. 1 — but missed one another by a single week. On the Sept. 19, 1987-dated chart, the Madonna-led Who’s That Girl film soundtrack spent its third and final week in the top 10, at No. 7. The following week Who’s That Girl fell to No. 11, while Michael Jackson’s Bad debuted at No. 1. Then, on the Oct. 3-dated chart, Who’s That Girl remained at No. 11, while Bad held at No. 1.
Who’s That Girl and Bad may have never shared time in the top 10, but they did both appear in the top 15 of the chart for four straight weeks (Sept. 26 – Oct. 17, 1987 charts).
Madonna and Jackson had another close encounter on the Jan. 23, 1988-dated Billboard 200, when they were both in the top 15. Madonna’s remix album You Can Dance climbed 17-14 (to its peak), while Bad held at No. 4.
Considering Madonna and Jackson’s potent chart histories, how is it that they have barely crossed paths in the top 10, especially in the ‘80s when they spent a combined 57 weeks at No. 1 (16 and 41, respectively)? Madonna hit the top 10 for the first time on the Oct. 6, 1984-dated chart, with her self-titled debut. By that point, Jackson’s mega-hit Thriller had already departed the top 10 (where it had been lodged from January 1983 through June 1984).
Following Thriller, Jackson would chart four more top 10s before his death in 2009. After his passing, he notched another four top 10s. Meanwhile, Madonna was much more prolific in her output, as her self-titled set was her first of 24 top 10s, through CONFESSIONS II.
Also factoring into the pair missing each other through the years: their major new albums were often not released in close proximity to one another. Scrolling back in time, there were only four instances in which Madonna and Jackson released top 10-charting albums within six months of each other. It happened in 1987 with Who’s That Girl and Bad; in 1995 with Madonna’s ballads compilation Something To Remember and Jackson’s half-studio album/half-hits set HIStory; in 2001 with GHV2 and Invincible; and in 2009 with Madonna’s best-of Celebration and the posthumous Michael Jackson’s This Is It film soundtrack.
Foreign Tongues, The Rolling Stones‘ new album — their 25th full-length studio release — tops this week’s new music poll.
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Listeners voted in a poll published Friday (July 10) on Billboard, choosing the classic rock stars’ just-released set as their favorite new music.
Foreign Tongues rose above new releases from artists including YEONJUN, Beyoncé and Feid. At the poll’s closing time on Sunday, the new album from The Stones landed 42% of the vote.
Foreign Tongues is a landmark 25th studio album delivering 14 fresh tracks recorded by The Rolling Stones — 12 new originals, plus two covers (they take on Amy Winehouse’s “You Know I’m No Good” and Chuck Berry’s “Beautiful Delilah”).
The rock ‘n’ roll vets recorded the project with Hackney Diamonds producer Andrew Watt at Metropolis Studios in West London, which welcomed quite an impressive crowd: Steve Winwood, Paul McCartney, The Cure’s Robert Smith and Chad Smith of the Red Hot Chili Peppers all contributed, as well as longtime collaborators Darryl Jones, Matt Clifford and Steve Jordan. Drums played by the late Charlie Watts, recorded during one of his final studio sessions before his 2021 death, are heard on “Hit Me in the Head.”
Singles “In the Stars” and “Jealous Lover” preceded the full album’s unveiling.
“It was a very intense few weeks recording Foreign Tongues,” Mick Jagger recounted upon the album’s release. “We had 14 great tracks and we went as fast as we could. I like the room there as it’s not too big so you can feel the passion from everyone.”
Ronnie Wood described the room’s vibe as “so creative,” with the full band “on top form throughout the whole process. Very often we nailed it on the first take.”
Trailing behind Foreign Tongues on the poll are YEONJUN’s No Labels: Part 02, with 36% of the vote; Beyoncé’s “Morning Dew (Donk),” with nearly 8% of the vote, and Feid’s A Xon De Que, with more than 7% of the vote.
See the final results of this week’s poll below.
David Bowie y John Lennon no tenían la misma búsqueda musical. Mientras The Beatles significó una ruptura definitiva en el paso del rock and roll al rock moderno, Bowie comenzó a hacer música cuando esa transformación ya estaba en marcha, y pudo transgredir aún más en términos escénicos, de géneros musicales y de propuesta artística. […]
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