Son las cestas ideales para ordenar nuestras casas. Yo he dado con mis opciones favoritas en estas dos firmas, que son por cierto, de mis favoritas.
Los nombres vascos tienen mucho tirón en España y fuera de nuestro país: son cortos, potentes y originales. ¿Quieres elegir un nombre de niño vasco para tu bebé? Aquí tienes nuestros preferidos.
La cotizada actriz turca ha trabajado anteriormente con otros grandes nombres como Can Yaman, Ibrahim Çelikkol o Engin Akyürek, mientras que él es uno de los actores más reconocidos de Turquía.
El Château Miraval, la propiedad vinícola vinculada a Brad Pitt y Angelina Jolie, permanece bajo vigilancia por el avance de un incendio forestal en el sureste de Francia. Hasta ahora, la finca no habría sufrido daños, pero la cercanía de las llamas ha puesto nuevamente el foco sobre un lugar que durante años ha estado relacionado con la historia de la expareja y que, desde 2022, también es el centro de una disputa judicial.
Fotografías aéreas obtenidas por TMZ el viernes 31 de julio muestran columnas de humo sobre los viñedos y terrenos del dominio. Los equipos de emergencia han utilizado helicópteros y camiones cisterna para combatir el fuego, además de extraer agua del lago privado de la propiedad.
Según TMZ, las llamas han sido contenidas por ahora y el Château Miraval permanece intacto, aunque la proximidad del incendio mantiene la zona bajo vigilancia.
Foto: TMZ
La disputa por el Château Miraval
El conflicto judicial comenzó en febrero de 2022, cuando Brad Pitt demandó a Angelina Jolie por la venta de su participación en el viñedo. El actor sostuvo que la operación se realizó sin su consentimiento y en contra de un acuerdo previo entre ambos, según el cual ninguno podía vender su parte sin la aprobación del otro.
Pitt reclamó 35 millones de dólares en daños y perjuicios. Jolie respondió con una contrademanda en la que acusó a su exesposo de haber emprendido “una guerra vengativa” contra ella después de que solicitara el divorcio en 2016.
Aunque ambos alcanzaron un acuerdo de divorcio en diciembre de 2024, el litigio relacionado con el Château Miraval continúa activo. La propiedad tiene además un significado personal para los actores, pues allí celebraron su boda en 2014.
Nuevos movimientos en los tribunales
En junio de 2026, un tribunal superior de California permitió que Pitt interrogara bajo juramento a integrantes del Stoli Group, compañía vinculada a la operación mediante la cual la participación de Jolie terminó en manos de ese grupo.
Los abogados del actor argumentaron que los miembros de la compañía podían aportar información relevante sobre la transacción de 2021 debido a su conocimiento directo de la operación.
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Ese mismo mes surgió otra disputa relacionada con los documentos financieros de Jolie. Según una presentación judicial del 26 de junio ante el Tribunal Superior de Los Ángeles, sus abogados se opusieron a entregar declaraciones de impuestos y otros registros económicos correspondientes a varios años desde 2017.
La solicitud había sido defendida por el equipo legal de Pitt, que consideró relevante conocer la situación financiera de Jolie debido a los argumentos utilizados para explicar la venta de su participación.
En un escrito presentado el 18 de junio, citado por People, los abogados de Pitt señalaron que Jolie había hecho relevante su situación económica al sostener que necesitaba “independencia financiera” y que había “concluido que necesitaba vender su participación en el Château Miraval”.
Los abogados de la actriz rechazaron esa interpretación y plantearon en el documento judicial:
“El problema no es si Jolie necesitaba el dinero; el problema es que intentaba desligar su vida y sus finanzas de su exmarido, que era controlador y abusivo”.
Pitt respondió que la situación económica de Jolie se había convertido en un elemento central de su posición dentro del litigio. Según el documento citado, sostuvo que “Jolie ha convertido su supuesta vulnerabilidad financiera en el eje central de su caso”.
El viñedo permanece bajo vigilancia
Mientras el proceso judicial continúa, el Château Miraval enfrenta una amenaza distinta por el incendio que afecta esta zona de Francia. Las imágenes difundidas por TMZ muestran el humo sobre los terrenos de la propiedad, donde los organismos de emergencia siguen trabajando para mantener el fuego bajo control.
Por el momento, no se reportan daños en la finca y las llamas permanecen contenidas. Sin embargo, la cercanía del incendio mantiene el dominio bajo observación.
El Château Miraval continúa siendo así uno de los principales puntos de la disputa entre Pitt y Jolie, incluso después de que su divorcio quedara formalizado en 2024. El proceso por la venta de la participación de la actriz sigue avanzando en California, mientras la propiedad que alguna vez compartieron permanece intacta frente al incendio que amenaza sus alrededores.
Rihanna has made a habit of returning home to Barbados during carnival season for the annual Crop Over festival. This year’s event took place from July 4-Aug. 3, culminating with the Grand Kadooment Day Parade on Monday (Aug. 3).
That’s where you would have found Rihanna, who once again stunned in a wildly colorful, elaborate costume covered in jewels, sparkles and peacock-colored feathers. The singer, 38, walked, and danced, in the parade, blowing kisses to fans along the way and then swapped out her towering headpiece for a more manageable one before boarding a float to enjoy the festivities at a remove while she waved to fans.
According to Glamour, the costume was by celebrated Barbadian designer Lauren Astin and featured “crystal embellishments, bold jewel tones, dramatic feather detailing and a statement headpiece worthy of a carnival queen.” The outfit also had a number of bold cut-outs on the bodice — mostly cut-outs, honestly, as the eye-popping piece strategically covered bits of RihRih’s body with jewels, leaving not much to the imagination.
Crop Over is Barbados’ biggest and most vibrant carnival celebration, with roots in the 1700s as a party marking the end of the island’s sugar cane harvest. The contemporary version features weeks of music-driven parties and cultural events leading up to Monday’s Grand Kadooment Day, the massive carnival parade where thousands of citizens don their finest masks and sparkling costumes to dance through the streets of Barbados.
Though fans are still holding out for the singer’s ninth studio album, the long-awaited follow-up to 2016’s ANTI, Rih gave them a tease recently when she was a surprise guest at the final gig in Jay-Z’s run of Yankee Stadium shows, popping out at the Extra Innings Concert on July 12. She popped out to perform “Run This Town” and B–ch Better Have My Money” at the gig, her first public performance since Super Bowl LVII three years ago.
Daniel Caesar has expanded his Son of Spergy Tour with Australian and Latin American dates, extending what is both his biggest global run to date and his first-ever headline arena tour.
The Australian leg opens Thursday, Nov. 5 at Afterpay Arena in Sydney — the venue formerly known as Qudos Bank Arena — followed by Melbourne’s Rod Laver Arena on Sunday, Nov. 8 and Brisbane Entertainment Centre on Thursday, Nov. 12. Caesar then heads to Latin America for shows in Bogotá, São Paulo, Buenos Aires and Lima, closing the global run Thursday, Dec. 10 at Movistar Arena in Santiago, Chile.
Australian tickets go on general sale Friday, Aug. 7 at 2 p.m. local time via livenation.com.au, with Mastercard, Vodafone and Live Nation presales starting Wednesday, Aug. 5. VIP packages including premium tickets, pre-show soundcheck access and early entry will also be available.
The tour launched in May with a run across Asia and is currently working through North America, where Caesar played a second sold-out hometown show at Toronto’s Scotiabank Arena. Remaining North American dates — with support from 070 Shake — include Ottawa, Montreal, Winnipeg, Edmonton, Calgary, Vancouver, Portland, San Francisco and Anaheim, before the tour moves to the U.K. and Europe with stops at London’s All Points East and The O2, Manchester’s Co-op Live, Amsterdam’s Ziggo Dome, Brussels, Paris and Cologne.
The run supports Caesar’s fourth studio album, Son of Spergy, which arrived Oct. 24, 2025 and became his commercial high-water mark. The album debuted at No. 1 on both Top R&B Albums and Top R&B/Hip-Hop Albums — his first leader on each — while launching at No. 4 on the Billboard 200 for his first top 10 on the all-genre chart. It opened with 43,000 equivalent album units, including 34.1 million official streams, and also reached No. 4 on Top Album Sales and No. 11 on Top Streaming Albums.
The album marked a steady escalation across Caesar’s catalog. His 2017 breakthrough Freudian peaked at No. 16 on Top R&B/Hip-Hop Albums, followed by 2019’s Case Study 01 at No. 10 and 2023’s Never Enough at No. 6. Son of Spergy also sent 10 tracks onto Hot R&B/Hip-Hop Songs, led by “Who Knows” at No. 23 — his best showing as a lead artist. He has twice topped the Hot 100 in featured roles, on Justin Bieber‘s “Peaches” and Tyler, The Creator‘s “St. Chroma.”
Recorded largely in Jamaica and built around themes of reconciliation with his father, the album features Sampha, Bon Iver, Blood Orange, Yebba and Caesar’s father, gospel singer Norwill Simmonds.
“I have a lot of respect for my dad, and I hold him in high regard. The album is about me realizing that I am exactly like him,” Caesar said of the record. “In that sense, it’s about having patience, respect, and admiration for myself.”
Caesar also took the International Achievement Award at the 2026 JUNOs, along with wins for contemporary R&B recording of the year and songwriter of the year.
Daniel Caesar’s Son of Spergy Tour Australian and Latin American dates:
Thursday, Nov. 5 — Afterpay Arena, Sydney
Sunday, Nov. 8 — Rod Laver Arena, Melbourne
Thursday, Nov. 12 — Brisbane Entertainment Centre, Brisbane
Sunday, Nov. 29 — Vive Claro Music Hall, Bogotá, Colombia
Wednesday, Dec. 2 — Suhai Music Hall, São Paulo, Brazil
Saturday, Dec. 5 — Estadio Obras, Buenos Aires, Argentina
Tuesday, Dec. 8 — Costa 21 Duomo, Lima, Peru
Thursday, Dec. 10 — Movistar Arena, Santiago, Chile
Vicki Wickham, the pioneering British television producer, music executive and artist manager who worked on the television series Ready, Steady, Go!, died Aug. 1 in New York City following an extended illness. She was 87.
Wickham played a defining role in promoting the acts behind the British beat explosion. As talent booker and later producer of ITV’s Ready, Steady, Go!, a live pop performance show, from 1963 to 1966, she helped introduce a generation of artists – including The Beatles, The Rolling Stones, The Who, The Kinks, The Yardbirds and Cilla Black – to millions of viewers at home.
The Beatles appeared on Ready, Steady, Go! three times in 1963 and 1964 as Beatlemania spread around the globe, while Wickham was pivotal in showcasing Motown to British audiences. Wickham booked The Supremes, Stevie Wonder, Marvin Gaye, Smokey Robinson & the Miracles and The Temptations, among others, for the programme.
Wickham also produced an hour-long live television special devoted to James Brown. She later brought in performers such as Ike & Tina Turner, Otis Redding, Sam & Dave, Patti LaBelle and Berry Gordy for subsequent specials.
Quoted in Andy Neill’s 2020 book, Ready, Steady, Go!: The Weekend Starts Here, Gordy recalled: “The wonderful Vicki Wickham had convinced her boss to do a one-hour TV special. The Sound of Motown was a big moment for us because it brought our music and our artists to the U.K.’s national television audience for the first time. We will always remember and appreciate the love and the loyalty of the British people and the part Ready, Steady, Go! played in our success around the world.”
Born in Newbury, Berkshire, England, Wickham began her career at London publisher Cassell & Co. before joining BBC Radio’s Light Entertainment Department, where she worked on audio documentaries. A chance introduction to producer Elkan Allan led to her involvement with Ready, Steady, Go! just as the first wave of British pop music was starting to take off.
She went on to manage Labelle and Dusty Springfield, guiding the latter’s career through the late 1980s and bringing Springfield together with Pet Shop Boys for the 1987 hit “What Have I Done to Deserve This?”. Wickham later co-authored Springfield’s biography, Dancing With Demons, with Penny Valentine.
Wickham received the Music Industry Woman of the Year Lifetime Achievement Award in 1999, and in 2013 was appointed an Officer of the Order of the British Empire (OBE) for services to music, receiving the honour from then-Prince Charles.
Wickham is survived by her wife, singer-songwriter Nona Hendryx. The couple first met in the 1960s when Hendryx performed with Labelle and married in 2011. Private family gatherings will be held in New York City and London, with a larger public celebration of Wickham’s life to be announced at a later date.
Ariana Grande kicked off her Eternal Sunshine Tour nearly two months ago — and boy, a lot has changed since.
She’s famously tweaked a key lyric in “Thank U, Next” (changing: “wrote some songs about Ricky/ now I listen and laugh” to: “wrote some songs about Ricky/ we always find our way back”) to reflect their alleged rekindled relationship; she released her eighth studio album, petal, adding songs from the project into her setlist; and, most recently, a rep announced Grande’s upcoming break from the public, including recasting her role in the West End revival of Sunday in the Park with George.
As a result of so much change, The Eternal Sunshine Tour has become this ever-evolving, real-time commentary on Grande’s life straight from the source. And at a time when so many have so much to say about her — with social media aflame over everything from her actions to her appearance — Grande did something refreshing. She commented on that, too.
On Sunday (Aug. 3), a representative for Grande shared with People: “Ariana will be taking a step back from visibility after she completes the Eternal Sunshine Tour. She looks forward to finishing the tour and ending it on a high note, both healthily and happily, and then taking a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny. This tour has been a beautiful experience for her. She loves her fans and has loved every minute of this tour so much.”
Grande confirmed the last bit herself, beginning Act II of her set with a near five-minute speech. “Is it okay if I talk to you guys for a little bit?” she asked instead of diving right into “eternal sunshine” as per usual. “First of all, I just want to say I love you so much and I’m so happy to be here with you. There’s nowhere else I’d rather be.”
Then, in a rare move for anyone let alone a pop star at her level, she shared thoughts she had typed down in direct response to the comments and headlines about her that had reached a boiling point over the last 24 hours. And yes, of course, some will surely find fault with what she shared — or didn’t. But the placement of this speech within the set was entirely intentional. Once she was down with what she had to say, she immediately created an echo chamber via pedal loop of her own voice repeating in harmony: “I don’t care what people say is true.”
And during her first Chicago show, that sentiment stayed top of mind; Grande very well may care what people say, but when it comes to the truth, she is the only one who can discern that for herself.
From her speech to the live debut of petal songs added to the setlist, read below for all that changed in Grande’s first show since the album — and the headlines — dropped last weekend.
Live Nation Entertainment is building its first venue in São Paulo, partnering with Brazilian urban development group Cidade Center Norte on a 21,000-capacity arena slated to open in 2028.
The project will be developed through a Live Nation-led joint venture with Cidade Center Norte, and will sit within the company’s planned urban living district in the city’s North Zone.
Live Nation says São Paulo Arena will be Brazil’s first purpose-built, world-class arena and the largest indoor live entertainment venue in South America. Construction is expected to begin in the second half of 2026.
The economics are substantial. According to projections from Oxford Economics cited by Live Nation, the arena is expected to generate roughly US$159.9 million in direct attendee spending and more than US$311.2 million in total annual economic impact across Brazil by its fifth year of operation, while supporting approximately 1,800 jobs annually. Once operational, the venue is projected to host more than 200 concerts and sporting events a year and draw over 2 million attendees annually.
“São Paulo deserves an arena that reflects the energy, passion and cultural influence of one of the world’s great cities,” Live Nation president/CEO Michael Rapino said in a statement. “São Paulo Arena will be the new home for Brazilian and international artists and the fans who make this city one of the most exciting live entertainment markets.”
Cidade Center Norte CEO Flavio Fernandes called the venue “a dream project coming to life,” framing it as an extension of the company’s commitment to the city’s North Zone alongside its existing malls, exhibition space, hospitality, residential and commercial holdings.
The arena is being designed by Blueprint Studio, Live Nation’s in-house design and development arm, whose credits include Austin’s Moody Center and New York’s Barclays Center. Plans call for three seating levels, a dedicated VIP suite tier, climate control and acoustics engineered to limit noise impact on surrounding neighborhoods, plus a 2,000-space parking garage, rideshare and taxi zones and direct links to major roadways and public transit.
The investment deepens Live Nation’s already significant Brazilian footprint. The company promotes tours in the market for artists including Madonna, Coldplay, Bruno Mars, Shakira and The Weeknd, alongside Brazilian acts such as Caetano Veloso, Maria Bethânia and Djavan. It also holds a majority stake in Rock World, the Brazilian company behind Rock in Rio and The Town and the producer of Lollapalooza Brasil.
Ariana Grande addressed her decision to step back from public life directly to fans during her Eternal Sunshine Tour stop in Chicago on Monday night (Aug. 3), pushing back on the idea that outside criticism had driven the choice.
The speech followed a statement issued by a representative for Grande on Sunday (Aug. 2), first reported by People, confirming she will take a break from public-facing work once the tour wraps Sept. 1 — and that she has withdrawn from a planned West End revival of Stephen Sondheim’s Sunday in the Park With George, in which she was set to star opposite her Wicked co-star Jonathan Bailey.
Onstage, Grande told the crowd she wanted to speak for herself. “Sometimes when a story comes out that’s not directly from me, things can get a little blown out of proportion,” she said. “So I just wanted to speak to my fans directly tonight because I love you so much.”
She was explicit that the decision predated the recent commentary. “The announcement that was made yesterday was not a reactive or impulsive thing,” she said. “It is something that I had decided. It’s a plan that I had quietly made a long time ago, and it’s a decision that was made from a thoughtful and empowered place.”
Grande also directly countered the suggestion that negativity had soured her experience. “I heard that my fans were worried that negativity was ruining things for me, but I just have to say that could not be more the f–k opposite,” she said. “Nothing has been ruined. Multiple things can be true at the same time. Boundaries can need to be set. Human beings can need a break sometimes. And also, this can be and will continue to be the greatest experience of my professional and creative life.”
She closed by framing the tour and her new album as the parts she intends to keep. “The rest of that s–t is not mine to carry, so I don’t carry it,” she said, calling the run “the most healing, beautiful, corrective, magnificent, special experience of my life, and so has putting out Petal.”
The remarks land days after Petal arrived July 31. The album’s lead single, “Hate That I Made You Love Me,” debuted at No. 1 on the Billboard Hot 100 — her 10th career leader, tying her for the 10th-most No. 1s in the chart’s history. Its title track followed as the second single, arriving with a short-film music video in which Grande takes a chainsaw to critics echoing real-world commentary about her appearance.
Grande has three more Chicago dates before a 10-show London run closes the tour between Aug. 15 and Sept. 1. She next appears on screen in Focker-in-Law, opening Nov. 25.