Qué está pasando en ‘La Promesa’: Pía confía a Ricardo que, cuando Curro y Ángela se casen, les revelará la verdad sobre la muerte de Jana y la implicación de Leocadia.
La película adapta una de las novelas de suspense más leídas de los últimos años y convierte una historia de pérdida, miedo y secretos en un thriller oscuro que está triunfando en Netflix
Ya está aquí la vuelta del cole y no me deja de llamar la atención cómo el estilo escolar se ha apoderado también de nuestros hogares.
Bad Bunny obtuvo un resultado favorable en una extensa disputa por derechos de autor relacionada con uno de los patrones rítmicos asociados al dembow. Un juez federal de Estados Unidos decidió desestimar buena parte de las reclamaciones presentadas contra el cantante y otros artistas del género urbano.
La decisión fue tomada el martes 1 de septiembre por el juez André Birotte Jr., quien reconsideró un fallo emitido en julio y concluyó que los demandantes no habían identificado una obra específica que reuniera los elementos musicales cuya protección pretendían reclamar.
El proceso comenzó en 2021 por iniciativa de Cleveland “Clevie” Browne y los herederos de Wycliffe “Steely” Johnson, integrantes del dúo jamaicano Steely & Clevie. Los demandantes sostienen que su canción ‘Fish Market’, de 1989, está en el origen de determinados componentes rítmicos que posteriormente fueron utilizados ampliamente en el reguetón.
La demanda incluyó a más de 150 artistas y cerca de 2.000 canciones. Entre los nombres mencionados aparecen Bad Bunny, Karol G, Daddy Yankee, Drake, Luis Fonsi, Pitbull y Justin Bieber.
¿Por qué cambió de opinión el juez?
El centro de la controversia estaba en el patrón conocido como “boom-ch-boom-chick”, relacionado con el dembow y presente en numerosas producciones de reguetón.
En julio, Birotte había considerado que un jurado debía determinar si la combinación de elementos musicales podía recibir protección bajo las leyes estadounidenses de derechos de autor. Sin embargo, tras revisar nuevamente el expediente y los argumentos presentados por la defensa de Bad Bunny, el magistrado modificó esa determinación.
El juez concluyó que los demandantes no habían señalado una sola composición protegida que contuviera todos los elementos que buscaban reclamar. Para el tribunal, no era jurídicamente suficiente reunir características tomadas de diferentes canciones y utilizarlas como base para establecer una obra protegible.
“Tras una revisión adicional de los registros, el tribunal concluye que los demandantes no han identificado claramente qué obra con derechos de autor contiene la selección y el arreglo supuestamente protegibles que buscan hacer valer”, escribió Birotte.
Con ese argumento, el juez determinó que los demandantes no podían continuar con esa teoría de infracción, lo que llevó a la desestimación de una parte sustancial del proceso.
Esto le podría interesar: ¡La noche se salió de control! WestCol se llevó tremendo susto tras jugar con la ouija en un campamento
La defensa de Bad Bunny celebró el fallo
La decisión fue recibida favorablemente por los representantes legales del artista. Kenneth D. Freundlich, abogado de Bad Bunny, destacó que el tribunal rechazara la posibilidad de construir el elemento reclamado a partir de diferentes composiciones.
“No se puede registrar un ritmo como derecho de autor reconstruyéndolo a partir de tres canciones diferentes una vez que ya estás en juicio”, dijo Freundlich. “El derecho de autor protege lo que un artista realmente creó, no un collage ensamblado durante el litigio. Eso es lo que el tribunal rechazó hoy”.
La defensa de los artistas había cuestionado previamente el alcance de la demanda y advertido que reconocer los argumentos de los demandantes podría darles un control demasiado amplio sobre elementos utilizados en la música urbana.
Según informó Billboard, los abogados de Bad Bunny habían planteado precisamente que los demandantes estaban utilizando componentes de distintas canciones para sustentar su reclamación.
El caso todavía no termina
Aunque el nuevo fallo representa una victoria para Bad Bunny y los demás artistas afectados por las reclamaciones desestimadas, el litigio no quedó completamente cerrado.
Todavía permanecen algunos reclamos relacionados con el supuesto uso directo de grabaciones de Steely & Clevie. Estas acusaciones son más específicas y no dependen de la misma teoría sobre la protección del patrón rítmico que el juez rechazó en su reciente decisión.
Por ahora, la resolución reduce de manera considerable el alcance de una demanda que llegó a involucrar miles de canciones y a buena parte de los principales nombres de la música urbana.
El fallo también establece un límite importante frente a la pretensión de obtener protección sobre una combinación de elementos musicales que, según el tribunal, no está contenida como tal en una única obra protegida.
Lo que comenzó como una noche de camping entre amigos terminó con WestCol y otros creadores abandonando el lugar antes de lo previsto, luego de varias situaciones que generaron temor durante una transmisión en vivo.
El creador de contenido decidió realizar un stream desde una zona boscosa, acompañado por El Muñe y Shanty, con quienes buscaba compartir una experiencia diferente. La jornada transcurrió entre conversaciones y anécdotas relacionadas con situaciones paranormales, hasta que apareció una tabla ouija, elemento que terminó generando tensión entre los participantes.
Una noche que tomó otro rumbo
Durante el campamento, los participantes hablaron sobre experiencias relacionadas con fenómenos paranormales, incluyendo temas como espíritus y brujería.
En medio de la conversación, uno de los acompañantes de WestCol sacó de su equipaje una tabla ouija y propuso utilizarla durante la transmisión.
Aunque inicialmente el streamer mostró resistencia, finalmente participaron en la actividad. Poco después comenzaron a escucharse sonidos en los alrededores de la carpa, sin que quienes estaban allí lograran determinar su origen.
La situación aumentó la tensión dentro del grupo. WestCol incluso compartió su ubicación con Luisa Castro y otras personas de su equipo, según se relató durante la transmisión.
Un ruido en el exterior generó el mayor susto
El momento de mayor tensión ocurrió cuando, mientras permanecían dentro de la carpa, se escucharon golpes provenientes del exterior.
Esto le podría interesar: ¡Tremendo gesto! Netflix donará $600 millones para apoyar al sector audiovisual tras el terremoto
Los integrantes del grupo salieron para comprobar qué estaba ocurriendo. En ese momento también se registraban lluvia y movimiento de las hojas alrededor de la carpa, por lo que no se estableció públicamente cuál habría sido el origen de los sonidos.
Ante lo ocurrido, los creadores decidieron terminar la actividad y abandonar el lugar, poniendo fin al campamento y a la transmisión.
@patricioclips_2 #westcol #chanty #elmuñe ♬ sonido original – Jay Wheler
WestCol ya había hablado de experiencias paranormales
Durante el stream, WestCol también contó una experiencia que, según su relato, habría estado relacionada con una presunta situación de brujería.
De acuerdo con lo contado por el creador, habría recurrido a un experto después de experimentar situaciones que le generaban preocupación. Según su relato, posteriormente le habrían dicho que una persona había pagado ocho millones de pesos para causarle daño.
La transmisión terminó con tensión entre los participantes
Después del episodio en el exterior de la carpa, los creadores decidieron retirarse del sitio. Los últimos momentos del stream estuvieron marcados por una discusión entre los integrantes del grupo, relacionada con la decisión de encontrarse en ese lugar durante la madrugada y las condiciones en las que se desarrollaba el campamento.
Finalmente, la actividad llegó a su fin y los participantes abandonaron la zona.
Hasta el momento, no existe una explicación confirmada sobre los sonidos y golpes que provocaron el temor durante la transmisión. Lo ocurrido quedó registrado parcialmente en el contenido compartido por los creadores y generó reacciones entre los usuarios que siguieron el stream.
SOCAN is taking legal action against Suno.
The Canadian music rights organization has filed a legal claim against the AI music generation app, claiming that it has unlawfully infringed on its members’ work. SOCAN is asking the court to “require Suno to comply with copyright law, stop making infringing outputs available” and “respect the rights of music creators and publishers whenever their works are used.”
Related
SOCAN has put forward a subset of 150 AI outputs generated by Suno that largely or fully infringe on material from its member rightsholders, dating back to Suno’s introduction to the Canadian market in 2023.
“Suno launched its service in Canada [in December 2023] without having contacted us, without seeking consent from SOCAN, and any discussions we’ve had after that launch have not proved fruitful,” Andrea Kokonis, chief legal officer and general counsel of SOCAN, tells Billboard Canada. “We want to ensure that our members are paid when their songs are used, and we do want to send a clear signal to AI services that there are consequences when they use music without permission.”
Along with the lawsuit, SOCAN has launched a special website showcasing a number of Suno outputs side-by-side with the songs they are allegedly infringing on. Those include major hits like Tom Cochrane’s “Life is a Highway,” Avril Lavigne’s “Sk8er Boi” and even post-hardcore band Alexisonfire’s “Passing Out In America.” Listen here.
“Creators were never asked, never informed, and never given the chance to say no,” the site reads.
Kokonis explains that the lawsuit’s goal is to double down on existing copyright protection, showing that the laws that protect songwriters, composers, and music publishers apply equally in the AI era as they have before. She adds that given the direct competition between outputs generated by Suno and the music created by human artists, it is important for songwriters to be fairly compensated.
Related
“SOCAN has a responsibility to act when the rights of music creators and publishers are put at risk. The evidence shows that the Suno platform has generated and streamed outputs that copy works in our repertoire, and that cannot go unchallenged,” says Jennifer Brown, CEO of SOCAN. “Innovation can’t come at the expense of human creativity. The future of music must belong to the people who make it.”
SOCAN has continuously voiced its defense of copyrighted work and artists’ intellectual property during the rise of AI, notably by leading a nationwide campaign against unlicensed AI music, which was supported by artists like Sarah McLachlan and Mac DeMarco, and speaking at the House of Commons to highlight the importance of defending copyrighted human material. Simultaneously, the company has embraced AI as a tool, recently partnering with Musical AI as a technology partner to help identify AI-generated outputs and properly attribute credit to songwriters and composers when their work is used by AI.
“We do want the message to be clear, songwriters and composers are not afraid of AI,” Kokonis explains. “In fact, music creators are often early adopters of any new technology. In the case of songwriters and composers, many are already using AI as a creative tool and exploring its possibilities, but they need to be paid when their songs are used.”
Suno is under legal fire by numerous labels and companies around the world, a snowball effect that has picked up over the past week. On Monday (Aug. 31), Mexican music label and publisher Gerencia 360 Music sued Suno for also allegedly ripping off songs from its own database to make AI-generated songs, followed by a group of artists led by acclaimed singer-songwriter Jason Isbell, who sued on Tuesday (Sept. 1). American publishing company Round Hill Music is also seeking up to $1 billion in damages from Suno and Anthropic in a new lawsuit filed last week on similar claims, while Universal and Sony were granted permission to add allegations of stream ripping to their blockbuster lawsuit.
The landmark lawsuit in Canada follows major legal action from labels in the U.S., as well as SOCAN’s sister societies overseas. In late 2025, Suno signed a licensing deal with Warner Music Group (WMG) after initially being sued by the label in late 2024 as part of a $500 million joint copyright lawsuit with Universal Music Group (UMG) and Sony, who are still battling Suno in court. Last month, the German court ruled in favour of the rights representation society GEMA, which sued Suno for directly infringing on the copyrights of recorded material within its database, including hits like “Rasputin” by Boney M.
This story was originally published by Billboard Canada.
Colin Kaepernick has finally responded to Jay-Z bringing him up during a freestyle on the first night of his Yankee Stadium residency back in July.
During a sit-down on Dateline NBC’s Before & After With Lester Holt airing Sept. 7, the former NFL quarterback spoke on his initial reaction to being name-dropped by the legendary rapper. “First and foremost, what it speaks to is power of people,” Kaepernick told Holt. “The backlash that [Jay-Z] received for partnering with the NFL and going counter to people’s interests in 2019 was a major problem for him, so much so that he’s still bringing it up in 2026.”
He added, “People are now realizing, ‘Why are you so comfortable stepping into these positions that are counter to the positions that people on the ground actually want?’ And to me, I view that as speaking to a guilty conscience and trying to reposition or reframe the conversation.”
Jay used the freestyle in question to address critics of his exclusive Reasonable Doubt vinyl partnership with Target, as civil rights groups have been boycotting the store over lack of DEI initiatives.
“They run out of characters, had to bring back up Kap again,” the legendary rapper spit in regards to the backlash he’s received online. “Buddy took a check, I ain’t even mad at him, but along with that check you gotta sign a non-disparagement. I’m the one they can’t control, y’all better be glad it’s him. Half a billion back to the community, that’s just good math for him. I don’t listen to Twitter activists, they type and I laugh at them. It’s really no comparison, y’all check my stats again. I’m bringin’ folks back to they family, laws get passed ’cause him.”
NBC is also reporting that Kaepernick’s upcoming memoir The Perilous Fight will not be sold at Target stores.
Billboard has reached out to Jay-Z’s reps for comment.
UMusic Hospitality & Lifestyle (UMHL) and Outernet London are partnering to expand hospitality and entertainment experiences across Denmark Street, central London, the companies announced Wednesday (Sept. 2).
The partnership will see UMHL open UMusic Hotel Denmark Street, the company’s first hotel in the U.K. and its second in Europe, following the opening of UMusic Hotel Madrid in 2022. The hotel is set to open in Q4 of 2026.
The hotel will sit within Outernet’s entertainment district, which includes live music venues Outernet Live and The Lower Third. UMHL will also develop new food concepts and lounge spaces as part of the broader collaboration and will also take over programming and operations at The Lower Third, a 200-capacity basement venue, working with Universal Music Group across its labels and creative partners.
In a statement, Jordi Solé, president of UMHL, said: “Denmark Street holds a special place in music history. For decades, it has been a place where artists found their voice, creativity flourished, and music culture took shape.
“We are incredibly proud to be part of its next chapter. Together with Outernet, we have the opportunity to honour that legacy by creating hospitality and cultural experiences that inspire discovery, support emerging artists, and ensure this remarkable destination continues to shape the future of music for generations to come.”
Philip O’Ferrall, CEO of Outernet, added: “Music has always been a driving force for Outernet, and we are in a place rooted in musical history. Connecting that heritage with a platform that can reach mass audiences both physically and through our immersive screens and audio technology is what makes this partnership so special. I’m very proud to be working with UMusic Hospitality & Lifestyle, and I know what they will bring to Outernet will be spectacular, transforming the experience of both artists and fans.”
Denmark Street, located in Soho near Tottenham Court Road station, has long been recognized as a key part of London’s musical history. It has hosted a number of guitar and instrument retailers since the 1950s, and was previously home to a number of recording studios and music publishers that were visited by artists including The Rolling Stones and Elton John. The street’s former 12 Bar Club also welcomed performers including Adele and the late Jeff Buckley.
In June, Outernet London unveiled a new identity for its 2,000-capacity venue Outernet Live, which was previously known as HERE. The space sits next to the Outernet District’s flagship The Now Building and its four-story, 360-degree screens, which have been used for immersive events with Oasis and The BRIT Awards and as per an early 2026 report from Outernet, reach approximately 1.5 million people each week.
A.B. Quintanilla III, brother of the late Tejano star Selena, said on Instagram Tuesday (Sept. 1) that he’s involved in a legal matter concerning his sister, Suzette Quintanilla Arriaga, and circumstances related to their late father, Abraham Quintanilla Jr., who died in December. In a subsequent Instagram post Wednesday (Sept. 2), he said Suzette was “notified of a lawsuit” against her. This follow-up post included a heavily redacted screenshot of what appears to be a cease-and-desist letter — distinct from a lawsuit — which mentions Suzette’s “utter disregard for her fiduciary duties to the Estate’s beneficiaries.”
Related
A.B.’s second post appeared to be a response to a statement posted to Suzette’s Instagram earlier in the day, in which both Suzette and their mother, Marcella Quintanilla, said “no court-filed complaint, summons, petition or other legal pleading” has been served, nor could they locate a public case matching his description. In his subsequent post, A.B. wrote, “I don’t lie,” alleging that Suzette and her lawyers had been notified by certified mail and email with “the corresponding documents.” He said Suzette responded but did not provide the “contracts, documentation and financial information” that were requested.
Billboard independently found no publicly available U.S. court filing in searches of Los Angeles, New York, Delaware and federal court records, or in Nueces County, Tex., where the Quintanilla family is based and where Abraham’s probate case was docketed.
According to A.B.’s initial Instagram post, he decided to make the dispute public after receiving “numerous calls and inquiries,” writing, “Yes, there is a lawsuit related to Suzette Arriaga, as well as to facts and circumstances related to my father, Abraham Quintanilla.”
A.B. described the dispute as a process that began months ago but stemmed from “years of accumulated situations, decisions and circumstances” within the family. “There are facts,” he wrote. “There is evidence. There are circumstances. And there is much that is still unknown.” He said he would not give interviews or discuss further details while the process unfolds, but that his lawyer would speak on Friday (Sept. 4), when “many things will be made clear.”
Responding to what they called A.B.’s “insinuations,” Suzette and Marcella wrote that there “was no theft by Suzette,” adding that she “has not stolen, misappropriated, or improperly taken money or property belonging to A.B., Abraham, Marcella, Chris, Selena’s estate, or any family-owned or jointly owned business.” They also said Suzette is “not selling, and has no intention of selling, Selena’s personal belongings.”
While A.B.’s public statements leave the subject of the alleged dispute largely unclear, there have been various legal battles related to Selena’s estate over the years. Notably, in 2016, Abraham sued Selena’s widower, Chris Pérez, over a proposed TV adaptation of Pérez’s memoir To Selena, With Love, claiming it was an “unauthorized exploitation” of Selena’s image. (The parties resolved the case in 2021, according to the Corpus Christi Caller Times and KSAT12.)
Billboard has reached out to representatives for A.B. and Suzette for further comment and clarification.
The Warning will perform for the first time at Estadio GNP Seguros in Mexico City on Feb. 5, 2027, becoming the first all-female Mexican band to take the stage at the iconic stadium. The concert will be part of their Everything’s Falling World Tour.
“OUR FIRST STADIUM!!! We’ve dreamed and worked so hard to reach this moment, we still can’t believe it’s finally happening,” wrote the rock band made up of sisters Daniela, Paulina and Alejandra Villarreal in a social media post, in Spanish. “See you at Estadio GNP Seguros on February 5, 2027!”
Related
According to promoter OCESA, ticket presales for the concert will be available through Ticketmaster Mexico on Sept. 9 and 10 for HSBC bank customers, with general sales beginning on Sept. 11.
The announcement of their performance at the emblematic venue (previously known as Foro Sol) comes just one day after The Warning was revealed as the headlining act for the halftime show of this year’s NFL game in Mexico City between the Minnesota Vikings and the San Francisco 49ers. The news also follows the release of their fifth album, Everything’s Falling, last Friday (Aug. 28).
Among the band’s recent achievements, they became the first Mexican group and the first all-female band to top Billboard’s Mainstream Rock Airplay chart with their song “Kerosene,” which leads the ranking dated Sept. 5.
The Warning’s repertoire is predominantly in English, their second language. The group hails from Monterrey, a city in northern Mexico near the U.S. border.
This year, the powerful trio continues their global rise with performances in the U.S. after touring Europe, Asia and South America. They’ve also made appearances at major festivals worldwide and held their own headlining shows.
Among their latest releases is a duet with regional Mexican superstar Carín León titled “Love To Be Loved” that blends country music and hard rock.