Willie Colón, the titan of salsa, died

The trombonist and composer, a key figure in salsa, died at the age of 75 surrounded by his family.

The Bronx trumpet went out

Willie Colon is gone. The musician who gave sound to entire neighborhoods died this Wednesday at the age of 75. The news came through their social networks, with a statement from the family that hurts to read.

“It is with deep sadness that we announce the passing of our beloved husband, father and renowned musician, Willie Colón. He departed peacefully this morning, surrounded by his loving family.”

Last week there were massive requests for his health. In the end, there was no miracle. Only his music remains—and boy what music he left behind.

RelatedWillie Colón transformed salsa into a cry for social justice

The guy who changed everything

Born in the Bronx in 1950, Colón was not just a trombonist. He was a total creative force: composer, producer, arranger. His career exploded in the 60s with Fania Records, where he formed a legendary duo with Héctor Lavoe.

Together they created hymns such as “Aguanilé”, “Che Che Colé” and “Gitana”. Those songs defined the salsa sound of an era. But Columbus didn’t stop there.

His collaboration with Rubén Blades was another cultural earthquake. Songs like “El gran varón”, “Calle Luna, Calle Sol” and “Oh, Qué Sera?” took salsa to another level—mixing contagious rhythm with sharp social criticism.

And what can we say about hits like “Idilio” or “Sin Poderte Speak”? Songs that showed that you could make a dance floor dance while you talked about your broken heart or the injustices of the world.

More than musical notes

Willie Colón was a cultural architect. His music gave identity to generations of Latinos in the US and beyond. He merged the Caribbean with the urban, the traditional with the innovative.

He worked with giants like Celia Cruz and left a catalog that continues to be played at parties, radios and playlists five decades later. Their legacy isn’t just records—it’s the soundtrack of entire communities.

Today the salsa world is in mourning. But as his family says: “we rejoice in the eternal gift of his music”. And what a gift he left us.

Renny Harlin and Aislinn Derbez: the premieres of the week

Sharks and Mexican drama come to the billboard after the end of soccer.

After almost a month of soccer games, the audience returns to the cinemas with two opposing proposals: one of sharks with an action stamp and another of Mexican drama.

Deadly impact: sharks and survival on the high seas

A flight from Los Angeles to Shanghai malfunctions and crash-lands in the ocean. The survivors are trapped in the wreckage as sharks surround the area. The fuselage sinks and they must decide whether to take their chances in the water or wait inside.

Renny Harlin, who already demonstrated his craft in Deep Alert and High Speed, directs this film. The cast includes Ben Kingsley, Aaron Eckhart, Lucy Barrett and Molly Belle Wright. Gene Simmons, founder of Kiss, is a producer and focused on the sound design of the accident.

“Harlin regains some of his former vigor in the dizzying acceleration of violence,” notes The Hollywood Reporter.

“It’s a solid, entertaining movie about a plane that crashes into sharks. It’s much higher up the food chain than it should be,” adds IndieWire.

Until the end of the world: deep drama with ex-partner

Aislinn Derbez and Mauricio Ochmann share the set again, this time in a drama far from the comedy that made them famous in A la mala. The story, which Derbez promoted for almost a decade, addresses a serious illness and a complex love relationship.

The actress went to therapy before agreeing to film with Ochmann, her ex-partner and father of her daughter. The film starts in 1975 and ends ten years later. It is the debut film of Emiliano Castro Vizcarra.

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Cecilia Suárez is honored at the GIFF after incident

A photographer fell into the stage pit just before the actress received her award.

Tribute with scare

“First of all, I would like to know if the person who fell is okay,” said Cecilia Suárez when taking the microphone at the Teatro Juárez. The actress was referring to a photographer who accidentally fell into the stage pit from a height of about two meters. Official reports confirmed that he did not suffer injuries.

The night, however, was one of celebration. Suárez received the Silver Cross from the UNAM Film Library, an award made with metal remains from film development. Hugo Villa, director of the Film Library, joked: “They can give you 8 thousand pesos for it.”

The Tampico actress arrived accompanied by her son, whom she recognized as her driving force in life. She accepted that motherhood makes women corny, remembering María Félix:

“One tends to think that when one receives a tribute one must be a certain age, and I tend to think of myself as much younger than I really am. The path of an actress cannot be understood without collective effort.”

As an activist, she has raised her voice for women, including at the UN. He considered that in turbulent times, only collective efforts will help move forward.

Also speaking at the event were Irene Azuela, who confessed that at first she was afraid to share a set with her, but a joke calmed her down, and Ernesto Contreras, her director in Párpados azul and Las Oscuras Primaveras.

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Cecilia Suárez: “I have spent millions of pesos in therapy”

The Mexican actress reveals her investment in therapies and techniques such as psychomagic to protect herself emotionally.

Cecilia Suárez, known for “The House of Flowers” ​​and “Sex, Modesty and Tears,” spoke openly about the emotional cost of her job. During a master class at the Guanajuato International Film Festival (GIFF), where he received a national tribute, he confessed: “Millions of pesos spent on therapy and many hours of self-reflection.”

The actress highlighted that acting work requires a constant review of who one is and what tools each character uses. To “heal” after intense performances, he has resorted to various techniques. The most recent is psychomagic, created by Alejandro Jodorowsky, which fuses theater, shamanic rites and psychoanalysis.

“One believes that after a certain time it will no longer happen, but that is not the case. The last thing has been psychomagic to protect me in functions and be in a stable place,” he said.

Theatre, the king of your heart

Although he works in film, television and theater, Suárez made it clear which is his favorite. He joked with the director of the GIFF, Sarah Hoch: “Excuse me, Sarah. Interpretation has its headquarters there, it is still the litmus test for actors; there we don’t have take 2 or 3, there are no tricks and that’s what fascinates me.”

Regarding the new generations, he considered that they feel anguish during breaks, when they should be enjoying them.

Seven years in Spain, but always Mexico

Living in Spain for seven years, Suárez assures that she continues to keep up with her country. “He is present every day, reading the news, talking, eating Mexican at home; there is a certain longing to be here or return at some point.”

He considers that living in voluntary exile is enriching: “I have discovered part of my family history and recognized part of the country in me. We have leaders who insist on dividing instead of generating a synergy that enriches us more.”

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