Sara Bareilles (Photo Credit: Shervin Lainez)
Heredera de una de las dinastías más importantes del cine, Oona Chaplin ha construido una carrera propia lejos del peso evidente de su apellido. Nieta de Charlie Chaplin e hija de la actriz Geraldine Chaplin, su trabajo se ha caracterizado por elegir personajes complejos, atravesados por tensiones internas y zonas grises. En Avatar: Fuego y cenizas, bajo la dirección de James Cameron, Chaplin entra en uno de los universos más ambiciosos del cine contemporáneo. En esta conversación, la actriz habla en perfecto español sobre su proceso actoral, la tecnología como medio y la relación entre arte, identidad y herencia.
Antes de hablar de la película, quiero empezar por algo muy simple: tu nombre. Es muy bello. ¿De dónde viene?
Es el nombre de mi abuela. Es un nombre irlandés, bastante común en Irlanda, aunque suene peculiar en otros lugares.
Tus personajes suelen estar marcados por conflictos internos o por cierta marginalidad. ¿Qué te atrae de esos espacios emocionales?
Creo que cualquier buen personaje tiene conflicto interno, porque eso es la condición humana. Lo interesante es hasta qué punto puedes explorar eso, sacarle jugo. A mí me gusta trabajar desde ahí porque es donde ejercito la compasión, la imaginación. Es casi terapéutico, una forma de entender los límites de esos conflictos y, de alguna manera, también entenderme a mí misma.
Avatar opera en un espacio donde la actuación pasa por la tecnología. ¿Cómo preservas la autenticidad emocional cuando tu cuerpo se convierte en algo digital?
Esa es una pregunta para el equipo técnico. Yo solo me preocupo por traer lo mejor de mí a cada momento. En el set, el ambiente es muy puro, casi como un ensayo de teatro. Estamos en una situación de mucha confianza, concentración e imaginación. Ahí trabajamos la verdad en su forma más esencial. Luego, otros se encargan de traducir eso al mundo digital. Para mí, eso es magia.
Tus interpretaciones suelen apoyarse en gestos mínimos, miradas y silencios. ¿Es algo consciente?
No realmente. No soy muy técnica, soy más visceral. Muchas veces no recuerdo esos momentos de los que la gente habla. Simplemente ocurren.
Trabajar con James Cameron implica entrar en un sistema muy preciso. ¿Eso limita o potencia tu intuición como actriz?
Es curioso, porque aunque es una producción extremadamente técnica, el trabajo actoral es muy libre. Es como si desaparecieran las restricciones habituales del cine. No tienes que preocuparte por la cámara, porque hay miles de cámaras. Lo único importante es llenar cada momento con tu verdad.
Lo que Cameron exige no es control, sino rigor. No porque lo imponga, sino porque lo inspira. Él trabaja desde la excelencia y eso empuja a todos a dar lo mejor.
La saga Avatar también tiene un subtexto muy claro sobre desplazamiento y pérdida del territorio. ¿Cómo conecta eso contigo?
Mucho. Soy hija y nieta de exiliados, yo misma soy inmigrante. El desarraigo forma parte de mi historia, casi de mi memoria genética. Pero también creo en la responsabilidad de vincularnos con el lugar donde estamos, con el entorno, con la naturaleza.
Esa es una de las preguntas que plantea Avatar: cómo nos relacionamos con el territorio. Incluso cuando los personajes están en su propio mundo, ya no lo reconocen porque ha sido transformado o destruido. Y, sin embargo, los Na’vi mantienen una conexión auténtica con su entorno. Eso es muy inspirador.
Tu personaje Varang puede leerse como un antagonista, pero también genera empatía. ¿Cómo lo abordas?
Nada justifica la crueldad, pero sí podemos entenderla, tener compasión. Los personajes de Cameron son complejos, tienen luces y sombras. Eso permite que podamos identificarnos con ellos de alguna manera. Para mí, era importante tener siempre presente el sufrimiento del personaje, su trauma. Pero sin justificar sus actos.
Pensando en esa complejidad, ¿crees que tu personaje podría tener una redención, como ocurre en otras sagas?
No lo sé. Y no sé si esa es la pregunta correcta. Creo que lo interesante es esa tensión entre los dos lados: el que destruye y el que protege. Es una pregunta más grande: ¿hasta qué punto podemos resistir sin convertirnos en aquello que estamos combatiendo?
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Vienes de una familia profundamente ligada al cine. ¿Cómo ha influido eso en tu relación con la actuación?
Crecí en sets, viendo trabajar a mi madre, viendo el legado de mi abuelo. Contar historias forma parte de mi cultura. Pero también me enseñaron a no caer en la trampa del glamur. Lo más importante que heredé es la ética de trabajo. Para mí esto es un oficio, un trabajo serio.
Para cerrar: si tu abuelo estuviera hoy frente a esta tecnología, ¿crees que la abrazaría?
No lo sé. Era muy purista, pero también fue un pionero. Tanto él como James Cameron comparten eso: el interés por empujar los límites técnicos, pero siempre al servicio de la historia. La tecnología puede ser una herramienta increíble, pero sin el corazón humano no significa nada.
The post Oona Chaplin: “La tecnología sin el corazón humano está vacía” appeared first on Rolling Stone en Español.
En un festival del tamaño de Tecate Pa’l Norte, donde todo compite por atención: escenarios simultáneos, estímulos constantes, rutas infinitas por recorrer, destacar no es simplemente cuestión de visibilidad, sino de conexión. Durante tres días, ZYN no solo logró insertarse en esa dinámica, sino alterar su flujo. El espacio funcionó como un punto de atracción dentro del festival.
Desde que abrían las puertas, el movimiento hacia el stand era evidente. No había que descubrirlo por accidente: la gente llegaba con intención. Las filas comenzaban temprano y se mantenían vivas a lo largo del día, sin depender de horarios específicos o picos de programación en los escenarios principales.
La experiencia comenzaba desde lo básico, pero rápidamente adquiría otra dimensión. Más allá del primer acercamiento, el espacio estaba diseñado para activar. El juego de reflejos se convirtió en el núcleo de esa interacción: una dinámica sencilla en apariencia, pero profundamente efectiva en ejecución. Luces que se encendían en secuencia impredecible, botones que exigían precisión inmediata y un objetivo que parecía cercano, pero que requería concentración real: alcanzar los 75 puntos.
El sombrero clásico de estética regia no era solo un premio, era un símbolo. Pero lo que realmente lo elevó fue la posibilidad de intervenirlo en el momento. Grabados con nombres, combinaciones de plumas, decisiones estéticas tomadas en tiempo real. Cada pieza terminaba siendo única, y eso le dio una dimensión adicional dentro del festival. A medida que avanzaban los días, estos sombreros comenzaron a multiplicarse por todo el recinto, funcionando casi como una señal silenciosa entre asistentes: un código compartido que identificaba a quienes habían vivido la experiencia ZYN Live.
Ese tipo de apropiación es difícil de construir y aún más difícil de sostener. Pero ZYN lo logró porque entendió algo fundamental sobre la cultura actual de los festivales: la gente ya no quiere solo observar, quiere participar activamente en lo que está pasando. Quiere intervenir, decidir, llevarse algo que tenga una historia detrás. No se trata únicamente de presencia, sino de memoria.
Y ahí es donde la propuesta conecta de forma directa con el tipo de público que hoy define el presente musical.
ZYN Live se integró de forma natural a esa lógica. No interrumpía la experiencia, la acompañaba. No exigía salir del ritmo del festival, sino reinterpretarlo desde otro lugar. En ese contexto, ZYN se posiciona como una alternativa que dialoga con ese mismo espíritu: sin humo, sin pausas forzadas, sin romper la continuidad del momento. Una forma distinta de habitar el consumo dentro de una experiencia que ya no se detiene.
Al final, lo que dejó ZYN Live en Tecate Pa’l Norte 2026 no se mide únicamente en interacción o alcance, sino en relevancia cultural dentro del contexto del festival. En un entorno saturado de estímulos, logró convertirse en un punto de encuentro auténtico. Un espacio donde la experiencia no se consumía, sino que se construía.
Porque si algo quedó claro durante el fin de semana, es que hoy los festivales no se definen solo por lo que pasa en el escenario. También se construyen en esos lugares donde la gente decide quedarse un poco más. Donde algo, aunque sea por unos minutos, logra sentirse propio.
Y ahí es donde ZYN Live entendió el momento mejor que nadie.
Estos productos no están libres de riesgo y contienen nicotina, una sustancia que es adictiva. Su venta es exclusiva para mayores de edad.
The post ZYN Live en Tecate Pa’l Norte 2026: donde la experiencia se volvió el verdadero headliner appeared first on Rolling Stone en Español.
Today (April 8) Joan Sebastian, the Mexican music icon whose hits remain benchmarks not just for the genre but for Latin music in general, would have turned 75.
Born in 1951 in Juliantla, Guerrero, the “Poet of the People,” as he was also known, dedicated five decades of his life to music, blending his campirano-style love and heartbreak lyrics with Sinaloan banda, mariachi and even pop, leaving a remarkable legacy behind.
During his prolific career, Joan Sebastian — whose real name was José Manuel Figueroa — appeared 43 times on Billboard‘s Hot Latin Songs chart, with 11 songs reaching the top 10, including “Te Irá Mejor Sin Mí,” “Un Idiota” and “Más Allá del Sol.” On Top Latin Albums, he achieved 35 entries, 19 of which landed in the top 10, while three reached No. 1: En Vivo: Desde La Plaza El Progreso De Guadalajara (2001), Celebrando El 13 (2013) and Personalidad (2015) — the latter released shortly before his death on July 13, 2015, after a tough battle with cancer.
Over the years, artists from various musical genres have paid tribute to him in their performances and even recorded versions of his songs, each infusing their own style without altering the essence he brought to his work.
From the rock of Moderatto and the ska of Panteón Rococó to the regional Mexican sounds of Valentín Elizalde and Edén Muñoz, or the bolero stylings of Charlie Zaa — here are 10 of the best covers to celebrate the life and work of Joan Sebastian, presented in chronological order based on their original release.
Chinese-American alt-pop singer-songwriter Emei signed with Atlantic Records in partnership with Ricky Reed‘s Nice Life Recording Company. The first release under the deal is the single “Night at the Opera,” the first offering from her upcoming Night at the Opera EP set for release on June 12.
“After the first time I saw Emei perform to a sold out, sweaty club in San Francisco, I went to introduce myself and her first words were, ‘Do you have any notes on the show?’ Now, a year later, her ambition to execute at the highest level continues,” said Reed, founder and CEO of Nice Life, in a statement. “That, paired with a deep vulnerability in her art, a scrappy DIY ethos, and a limitless love for her army of outsiders, is why we’re so excited to welcome her into the family that is Nice Life and Atlantic Records.”
CAA signed singer, songwriter and actor Sara Bareilles. According to the agency, Bareilles has sold more than 3 million albums and 15 million singles in the U.S., while her songs have been streamed more than 3.5 billion times globally. The multi-hyphenate also composed the music and lyrics for the Broadway musical Waitress, along with starring in the lead role on Broadway and the West End. She was nominated for a Tony for her performance as “The Baker’s Wife” in Into the Woods.
On screen, Bareilles starred in the Emmy-nominated musical comedy series GIRLS5EVA for three seasons. She additionally executive-produced and wrote original music for the J.J. Abrams-produced Apple musical drama series Little Voice.
Bareilles is managed by Izvor Zivkovic at Split Second and John Meneilly, Will Hubbard and Marissa Lesch at Left / Right. Her legal reps are Michael Guido at Carroll Guido & Groffman and Nancy Rose at Schreck Rose Dapello Adams Berlin & Dunham.
Read about more recent signings below.
They were born to express themselves. And over the course of a yearslong feud with one another, Lady Gaga and Madonna did exactly that.
In 2011, a disagreement between two of pop’s biggest stars began when Gaga released her LGBTQ+ anthem “Born This Way.” Madonna fans were quick to point out the track’s melodic and lyrical similarities to Madonna’s 1989 classic “Express Yourself.” It didn’t take long for Madge herself to join in on the conversation, with the Queen of Pop going on public record the next year and calling “Born This Way” “reductive.”
And thus, years of public rivalry between the two was ignited.
But everything is not what it seems — not even clear and publicly made digs lobbed at one another. In the years following the OG disagreement, Lady Gaga and Madonna have gone on to both throw a few verbal punches at one another and extend olive branches to their rival. Like most petty disagreements —especially ones clearly stoked by the drama-driven celebrity gossip machine — the feud between the two artists eventually calmed down. Seven years after it began, the drama was officially declared dead when the stars posed for a pic together at Madonna’s exclusive Oscars afterparty in 2018.
Now, 15 years after the initial dispute, Lady Gaga and Madonna are rumored to be collaborating on a new song for the Devil Wears Prada 2 soundtrack. While we don’t know the truth yet, we do know that Gaga (with Doechii) is featured on the soundtrack with the original song “Runway” and Madonna’s 1990 smash “Vogue” appeared in the original movie and has soundtracked much of the sequel’s pre-release promo.
As we impatiently await to see if a collaboration is real or just another rumor added to all the gossip surrounding these two pop legends, Billboard is taking a looking back at the timeline of Lady Gaga and Madonna’s relationship.
Looks like Journey almost went their separate ways two years ago.
In a new statement posted to Facebook on Monday, Journey co-founder and lead guitarist Neal Schon seemingly replied to frontman Arnel Pineda‘s claims that he was prohibited from quitting the band twice.
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“There’s been some recent press and speculation that doesn’t reflect the full picture,” Schon writes.
Though he does not specify what recent press he’s referring to, his statement comes days after a March 31 Rolling Stone feature on his band that quotes Pineda sharing that he almost didn’t join Journey on their current farewell tour. Pineda claims that in 2024, he asked his bandmates to confer with him if they decide to do farewell shows and discuss the schedule with him. He cites age and “personal problems” as major factors in his decision to tour or not. He then alleges that the band went ahead and scheduled the 60-date tour without consulting him.
“It is what it is now…. But then, I was really not happy with how they scheduled this tour,” Pineda says in the article. He then claims that he sent an unhappy email to his bandmates to which they didn’t reply. In response to the silence, Pineda says he told the other Journey members not once but twice that he wanted to leave the group and retire. Again, they did not respond, Pineda alleges.
The article then shares that both Schon and Pineda recognized that quitting the band is not as simple as it seems. They both say that their contract with live entertainment giant AEG prohibits the band from touring without Pineda. It’s a sentiment that is also echoed in Schon’s Facebook statement.
“Touring at this level involves many moving parts, and decisions are made collectively with our team, including management, agents, and promoters,” Schon writes before acknowledging that with any band that’s been around for a long time, different members may feel different pressures in different ways. He then says that he personally did not prohibit anyone from leaving the band. “For clarity, no one was ever prevented by me from making their own personal decisions.”
Schon continues by citing the same AEG contract that was brought up in the Rolling Stone feature: “At the same time, we were all advised by our representatives that there are contractual obligations tied to touring that need to be honored.”
The guitarist concludes by saying his focus is on providing fans with “the best possible experience and keeping the music alive.”
Journey’s Final Frontier Tour is set to continue into August with dates across the U.S. and a stop in Vancouver.
Following Pershing Square’s bid to acquire Universal Music Group (UMG) on Tuesday (April 7), the music giant has confirmed that its board of directors received the “unsolicited and non-binding proposal” in a brief press release in which it expressed “complete confidence in” the company’s strategy under chairman and CEO Lucian Grainge.
“The Board of Directors, together with its advisors, will review the proposal in accordance with its fiduciary duties and analyze its implications for shareholders, employees, artists, songwriters and other stakeholders,” the release reads.
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It adds, “The Board of Directors has complete confidence in UMG’s strategy and the leadership of Sir Lucian Grainge and the Company’s management team. UMG will have no further comment on the proposal until the Board of Directors completes its review.”
The offer from the Bill Ackman-founded investment firm values UMG at more than $60 billion. The proposed deal, which would entail a 9.4 billion euros ($10.85 billion) total cash or 5.05 euros per share ($5.82) offer to shareholders, would result in UMG merging with Pershing Square SPARC Holdings and would move the new entity’s headquarters from the Netherlands to Nevada, while its stock would move from the Euronext Amsterdam to the New York Stock Exchange.
“While business performance has been strong, UMG’s share price has languished,” Ackman wrote in a Tuesday letter to UMG’s board of directors that mentioned uncertainty over UMG investor Bolloré Group’s 18% stake in the company, its decision to delay a U.S. stock offering and the under-utilization of the music company’s balance sheet as reasons for the stock’s overall downward trajectory since its closing price on the first day of trading. “Notably, none of the above issues relate to the company’s execution of its music business, and importantly, all of the above issues can be addressed in a merger transaction.”
Ackman, who held a call to address analysts’ and shareholders’ questions about the proposed deal earlier on Tuesday, wrote that he expects the deal to close by the end of the year.
Miles Gersh was promoted to executive vp of A&R at Warner Records, the label announced on Tuesday (April 7).
Gersh, who joined the company in 2019 and was most recently vp of A&R, introduced Zach Bryan to Warner Records Group CEO & co-chairman Aaron Bay-Schuck in 2020 based on the success of his independent releases. Bryan signed to Warner Records the following year and has since scored five top 10 albums on the Billboard 200, including two No. 1s: 2023’s self-titled set and this year’s With Heaven on Top. He’s also notched three top 10s on the Billboard Hot 100, including the No. 1 smash “I Remember Everything” featuring Kacey Musgraves.
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In addition to Bryan, Gersh has helped develop emerging talent including bunii, IShowSpeed, Maddox Batson, CJ and Veeze. Prior to Warner, Gersh worked at Doug Morris‘ 12Tone Music. He has been recognized on Billboard‘s 40 Under 40 and Country Power Players lists.
“Miles understands that true artist development starts with a deep respect for the creator’s voice,” said Bay-Schuck in a statement. “The partnership he’s built with Zach and his other outstanding artists reflects his commitment to authenticity and his drive to help our talent win on their own terms. Miles is a vital part of the future of Warner Records, and this promotion is a testament to the key role he’s played in elevating our music, our teams, and our culture.”
Gersh added, “I’m deeply grateful to Aaron and [Warner Records executive vp & head of A&R] Karen [Kwak] for their mentorship and for their belief in me as I take on this new role. They’ve championed a culture I’m proud to be a part of — one that consistently puts the artist first. We have a remarkable roster, backed by the incredible Warner team, and I’m excited to build on our momentum to help take our artists to the next level while bringing game-changing new talent into the fold.”
A warrant is out for the arrest of a 55-year-old woman who allegedly stalked and threatened Lindsey Buckingham for years before physically attacking the Fleetwood Mac frontman last month.
Michelle Dick was hit with felony charges that carry potential prison time in a Friday (April 3) criminal complaint brought by the Los Angeles County District Attorney’s Office and obtained by Billboard. A judge signed a warrant for Dick’s arrest, ordering that she be held on $300,000 bail if apprehended.
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Prosecutors claim Dick has stalked and repeatedly threatened Buckingham with violence since 2021. The harassment allegedly escalated to physical violence last month, when Dick is accused of hitting Buckingham with her car and dousing the musician with an unknown substance in Santa Monica.
Dick is charged with seven total counts of stalking, making criminal threats, assault with a deadly weapon, battery and vandalism. In addition to targeting Buckingham, she’s also accused of stalking another individual referred to in court filings as “Stephanie N.”
Buckingham previously won a restraining order in 2024 requiring Dick to stay away from his family and cease all contact. In court filings from that time, the singer and guitarist said Dick began calling him and his family members in 2021, claiming to be Buckingham’s child and threatening to kill them.
The restraining order petition also claimed Dick had called in threats to venues where Buckingham was performing in 2022. She then went away for a couple of years but allegedly returned in 2024, showing up at the family’s Los Angeles home and making more threatening phone calls.
“She is clearly mentally unfit and harbors delusions, which makes her scary to me and unpredictable,” wrote Buckingham in a court declaration.
Reps for Buckingham did not immediately return a request for comment on the criminal complaint on Tuesday (April 7). Dick could not be located.
Cardi B doesn’t play when it comes to her money, and she noticed a couple of suspicious charges on her American Express card, which led her to reveal she was the victim of credit card fraud.
Even though she’s in the midst of the madness of life on tour, Cardi is still keeping tabs on her expenses. The Bronx native hopped on Instagram Live on Monday (April 6) to detail how she found out that four people had her credit card and went on a little shopping spree for $60,000 at Saks and Apple within an hour.
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“I got clear pictures. As soon as I saw that notification, I was like, ‘Saks $40,000, what the f—?’ Then, when I saw that Apple sh–, because like who the f— is spending $20,000 at Apple? If I get your address before the people doing this investigation, because they got pictures of y’all, I’mma get y’all beat the f— up,” she said. “Word to my mother, I’m gonna get my n—as to spank the sh– outta y’all.”
Cardi continued: “Y’all went to Chase, y’all went to Saks, y’all went to Apple. B—h, y’all going to jail… I got clear pictures of motherf—–s trying to get money out of a Chase… Y’all tried it. I got clear pictures of y’all in Saks and I got clear pictures of y’all in Apple. One thing about me, I don’t play about my f—–g money.”
It’s still unclear how they obtained her AMEX card numbers. The Grammy-winning rapper then described the looks of the alleged thieves that she claims to have photo evidence of. “One of you is bald-headed, with a very thick beard,” she asserted, before again promising that the culprits will be going to jail.
Cardi is in the home stretch of her Little Miss Drama Tour, which will be making stops this week in Philly, Washington, D.C., Charlotte and Raleigh, North Carolina.