La nueva película romántica que muchos están descubriendo ahora en Netflix nace de una de las novelas más leídas de Megan Maxwell, una historia de deseo, poder y secretos que te hará quedarte pegada al sofá.
Con la naturalidad y el ingenio que la caracterizan, la presentadora ha repasado el inminente cierre de una temporada televisiva al tiempo que ha dejado grandes titulares sobre su vida personal.
El matrimonio tiene por delante un fin de semana plagado de celebraciones para conmemorar sus medio siglo de amor.
El hijo de Simona, la cocinera, estuvo durante un año y más de 200 capítulos en el palacio de los marqueses de Luján. Tras su marcha, ha regresado al teatro.
La carrera de Karol G ha estado marcada por producciones cada vez más ambiciosas, pero recientemente salió a la luz uno de los detalles más sorprendentes detrás de uno de sus mayores éxitos musicales. La revelación no provino de documentos oficiales ni de un comunicado de su equipo de trabajo, sino de una conversación espontánea durante una transmisión en vivo.
El productor Ovy On The Drums, uno de los colaboradores más cercanos de la artista antioqueña, habló sobre el despliegue que implicó la realización del videoclip de ‘Cairo’, tema lanzado en 2022 y que se convirtió en uno de los sencillos más destacados del repertorio de la cantante conocida como ‘La Bichota’.
La confesión ocurrió durante un stream junto a Westcol, espacio en el que Ovy recordó que inicialmente pensó que el viaje a Egipto tendría un alcance mucho más sencillo, con algunas tomas puntuales en lugares emblemáticos de la ciudad. Sin embargo, la magnitud del proyecto terminó superando cualquier expectativa.
Un millón de dolares para hacer realidad ‘Cairo’
Según relató el productor, la producción gestionó el cierre del área de las pirámides para poder desarrollar las grabaciones del videoclip. Esa decisión elevó considerablemente el presupuesto, debido a los permisos requeridos, la logística del rodaje y el despliegue técnico necesario para ejecutar una producción de ese nivel en uno de los sitios históricos más reconocidos del mundo.
A esto se sumaron los costos asociados al traslado del equipo de trabajo, la infraestructura técnica, el personal involucrado y todos los detalles propios de una grabación internacional de gran formato.
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De acuerdo con Ovy On The Drums, la inversión total rondó el millón de dólares, una cifra que generó sorpresa entre los seguidores de la artista y que volvió a poner sobre la mesa el nivel de exigencia con el que Karol G desarrolla sus proyectos musicales y audiovisuales.
Más allá del impacto económico, el resultado terminó consolidándose como un éxito. El videoclip de «Cairo» acumula actualmente más de 360 millones de visualizaciones en YouTube, convirtiéndose en una de las producciones más vistas dentro de la trayectoria de la cantante colombiana.
El presente de Ovy y su alianza con WestCol
La revelación también evidenció la estrecha relación creativa entre Karol G y Ovy On The Drums, productor que ha participado en algunos de los temas más importantes de la carrera de la artista. Su trabajo conjunto ha sido determinante en la construcción del sonido que ha llevado a la intérprete paisa a escenarios internacionales y a posicionarse entre las figuras más influyentes de la música latina.
Por otro lado, la conversación sirvió para mostrar el presente profesional de Ovy y su alianza con Westcol a través del proyecto W Sound, una iniciativa que ha trascendido el formato de transmisiones digitales para convertirse en una plataforma musical con alcance internacional.
Uno de sus movimientos más recientes fue la incorporación de J Balvin en «Godzila» (W Sound 09), una propuesta inspirada en el clásico noventero «I Like to Move It», de Reel 2 Real. El tema representa una nueva apuesta del proyecto por conectar distintas generaciones y expandir su impacto dentro de la industria urbana.
Mientras tanto, la historia detrás de ‘Cairo’ deja ver que, detrás de un videoclip de apenas unos minutos, existe una compleja maquinaria creativa y financiera que pocas veces conoce el público, y que en este caso alcanzó una cifra millonaria para materializar la visión artística de Karol G.
Summer Smash 2026 kicked off on Friday (June 12) at the grounds surrounding Seatgeek Stadium in Bridgeview, Illinois. The festival, created by SPKRBX and Lyrical Lemonade, has build a reputation as one of the premier rap-heavy fests in the U.S.
50,000 fans filled the festival grounds for day one, which was a picture perfect, sunny, 80-degree day about 15 miles outside of Chicago.
It was an eclectic group on day one, which included vets like Riff Raff along with newcomers like Molly Santana, Nettspend and Pradabagshawty continuing to prove why they could be leaders of the next generation.
Chief Keef and G Herbo displayed their connection with Chicago as drill pioneers and trailblazers for the 2010s in the city. Sexyy Red made America Sexyy again, and North West hit the stage for her festival debut with a 15-minute set inside the tent.
Lil Uzi Vert delivered as the night one headliner, showcasing a rock star ability many of his peers think they have, but only a few actually hold at the moment. There were plenty of Chicago sports luminaries sprinkled throughout the crowd, with Chicago Bears teammates Caleb Williams and Rome Odunze in attendance.
Night two will find headlining performances from Skrillex, Yung Lean and Baby Keem, while Lil Baby and Playboi Carti will hold down Sunday to bring the festival across the finish line.
With day two well underway, here were our top five moments from day one of Summer Smash 2026.
On the final day (June 13) of an eventful Tribeca Festival, Bono, Patti Smith and Tribeca co-founders Robert De Niro and Jane Rosenthal gathered in lower Manhattan to honor Bruce Springsteen with the Harry Belafonte Voices for Social Justice Award.
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“I’m a little embarrassed to get this award,” Springsteen, who dedicated the award to the people of Minneapolis, Portland and Los Angeles for standing “against the federal invasion of their cities this year,” admitted during a lengthy sit-down conversation with Bono. “I’m just a concerned citizen.”
Much like Springsteen’s recent Land of Hopes & Dreams Tour, the main topic of concern at this Tribeca Storytellers event was the erosion of democracy in America and President Trump’s federal overreach. Prior to the conversation, De Niro and Rosenthal introduced the Boss and explained why he was receiving the award.
“This is a man who knows how to use his voice,” explained the Oscar-winning actor. “He uses it to give voice to the powerless and he uses it to lead the resistance. He is fearless and direct. He knows what the problem is and he names it: Donald Trump. Donald J. Trump and his feckless enablers. That’s so important because this isn’t about reasonable disputes on policy: this is about the corruption and megalomania of one person. Bruce Springsteen puts a face on it, and he does it with the words of a poet.”
Though a peer and a self-professed “fan masquerading as a friend,” Bono asked thoughtful and even tough questions of Springsteen during their chat.
Speaking about a rock star’s ability (or inability) to connect with the working class, which both Bono and Springsteen came from, the U2 frontman said, “I fear sometimes we on the left lost a little bit of it and that the accusations of elitism that are out there for people like me are not inaccurate.”
“Has it cost you?” Bono asked Springsteen. “Do you feel torn at all thinking there’s people in this town that used to come see my shows who don’t now? Or have you made peace with that?”
“I’m not sure,” Springsteen candidly answered. “You have to do two things. There’s the classic folk song, “Which Side Are You On?”: you have to make your stand and follow your beliefs and you have to have the faith in them that they will be explicable and understandable by your fellow citizens. And you have to believe that America is a sacred argument and a compromise.”
Elsewhere in the chat, Springsteen pointed out that no one should have shown up to his recent tour – the most explicitly political one he’s done in a career marked by socio-political concerns – expecting anything different from what they got. “I warned everybody what the tour was gonna be like so they didn’t waste their money before they came,” Springsteen said with a chuckle. “I figured I did my job and it was every man for himself after that.”
Despite his consistent activism, Springsteen chooses his battles carefully. Bono shared that in the past he’s asked the Boss to sign various petitions and has been politely but firmly turned down. Bono recalled asking Springsteen to license his 2007 song “Girls In Their Summer Clothes” for a Gap commercial when Bono joined up with the clothing brand for the (PRODUCT) RED campaign, which raised money to fight HIV/AIDS in Africa. Springsteen’s response? No.
“That was a big mistake, too,” Springsteen cut in, seemingly to Bono’s surprise. “I should have said yes.” Explaining it was one of his favorite songs even if it wasn’t a hit, Springsteen admitted, “I should have f–king done it. I have to apologize.”
After standing up and hugging it out, the two welcomed a third Rock & Roll Hall of Famer, Patti Smith, to the BMCC Tribeca Performing Arts Center stage. With Tony Shanahan on keys, she performed a soft plea for peace, “Peaceable Kingdom,” which was inspired by Rachel Corrie, who was killed by an Israeli military bulldozer in 2003 while protesting the demolition of Palestinian homes in Gaza Strip.
Smith then performed a live favorite of hers, “People Have the Power,” a rousing call-to-activism. Springsteen and Shanahan backed her on acoustic guitar, and though Bono left the stage, Bruce called him back out to contribute backup vocals (which he also did).
Nothing on the advance program promised a live performance from Springsteen, but everyone in the crowd was quietly hoping for a little something (key word: quietly, unlike the extremely vocal fans at Miley Cyrus’ Tribeca Q&A last year who heckled until she sang something, though her event never promised music). Springsteen did, in fact, perform, offering up an utterly mesmerizing solo version of “Land of Hope and Dreams.”
Before leaving the stage amid a standing ovation, Springsteen offered up one more important thought to the New York City audience: “Go Knicks.”
Connie Orlando, executive vp of specials, music programming and music strategy at BET, has a lot on her plate right now, just two weeks before the annual BET Awards, which she is executive producing. But she still found time to spearhead the second annual Black Women in Music event, which was held on Friday (June 12) at the Audrey Irmas Pavilion in Los Angeles.
The event, executive produced by the Connie Orlando Foundation, is billed as “an evening celebrating the Black women preserving and protecting the music industry.” This year’s honorees were singers Chaka Khan and Kelly Rowland, choreographer Fatima Robinson, music executive Natina Nimene, Billboard’s Gail Mitchell and Gender Amplified’s Ebonie Smith.
Speaking from the podium, Orlando shed light on why the Black Women in Music event is so important to her.
“This gathering is the living answer to a prayer. We are here to support one another, protect our presence, and build a legacy of love that lights the way for the girls coming behind us. … As we celebrate unapologetically and stand in our collective joy, we know the reality of our world. As Black women, we are constantly asked to labor and be the backbone, often while our own well-being is ignored. We live in a climate that tries to minimize our power and rewrite our truth. For me, this evening is profoundly personal. Uplifting women, safeguarding our children is my divine assignment and life calling, and the urgency is real.
“This evening is my personal love letter to the iconic Black women who are the true guardians of the music industry. Having worked alongside many of you for decades, you are my peers, my muses and my friends, and it is my privilege to curate this evening, give you your flowers, and ensure your contributions to global culture are permanently etched in history.
And specifically for this evening, we are fighting a battle against breast cancer, a battle that is disproportionately stealing our mothers, our daughters, our sisters and our friends. Black women face alarming healthcare disparities born from systemic inequalities resulting in delayed diagnosis and inadequate treatment. So, my vision is clear: a world where breast cancer no longer exists. The Orlando Foundation is spiritually committed to education, prevention, and early detection.”
Singers Chanté Moore and David Michael Wyatt and violinist Yuli performed at the event, which was hosted by comedian Zainab Johnson. The event was brought to life by an all-Black women-led creative and production team, including Perri Camper Rivers (producer), Gabrielle Glore (creative director) and Wright Productions (event design and production).
The event was presented in tandem with founding partner Harbour/View. Additional partners include prestige partner Amazon Music and contributing partners Atlantic, BET Media Group, CMG The Label, Jesse Collins Entertainment, TDE (Top Dawg Entertainment), OWN and Universal Music Group.
Here are five highlights from the 2026 Black Women in Music event.