The Salvadoran artist teams with Argentinian filmmaker Francisco Passuelo for ‘Crying at the Dairy Queen,’ signaling a new era of cross-disciplinary Latino storytelling.

The traditional music video has always been a powerful promotional tool. But for a new generation of artists, it can be something much bigger: a short film, a piece of visual storytelling, and an extension of the artist’s identity.

Salvadoran singer-songwriter JANDROU is betting on that idea.

Ahead of the release of his upcoming single Crying at the Dairy Queen, JANDROU has partnered with Argentinian filmmaker Francisco Passuelo to create a cinematic short film inspired by the song. And while the details of the narrative are being kept under wraps, the creative decision itself says plenty about where JANDROU wants to take his career.

This isn’t being positioned as simply another music video. It’s filmmaking.

When Music Meets Cinema

JANDROU has conceived the project as a standalone cinematic work in which the song and narrative exist on equal footing. The objective is to create an emotional visual experience that can stand on its own while expanding the story behind the music.

That distinction matters.

The music industry has increasingly become a visual business. Artists aren’t simply releasing songs; they’re creating aesthetics, characters, narratives and entire worlds that extend across music videos, film, social media and live performance.

For independent artists, that can be particularly powerful. Without the machinery of a major studio or label behind every creative decision, the ability to build a distinctive visual identity can become part of the brand itself.

JANDROU appears to understand that. And he has chosen a filmmaker rather than simply a music-video director to help execute the vision.

Enter Francisco Passuelo

Born in Buenos Aires and based in Vancouver since 2010, Passuelo brings an international filmmaking perspective to the project.

He is the founder of Latin Canada, a production company dedicated to amplifying Latin voices in film. His documentary Luis at Home has also been making its way through the international film festival circuit.

That background gives the collaboration an interesting dimension.

Passuelo isn’t coming into the project simply to translate a song into images. His work is rooted in character, intimacy and emotional storytelling—the very qualities JANDROU wants to bring into the project.

Together, the two artists represent a broader Latin American creative ecosystem that increasingly operates beyond borders. Los Angeles. Buenos Aires. Vancouver. Different cities, different industries, one increasingly connected creative community.

The Latino Creative Economy Is Crossing Industries

For decades, Latino artists have often been placed into narrowly defined categories: singer, actor, filmmaker, journalist, producer. But today’s creative economy is increasingly dismantling those boundaries.

A musician can become a filmmaker. A filmmaker can become a producer. A producer can build a media company. And an artist can develop an entire intellectual property universe around a song, character or story.For Latino creatives, that cross-pollination is particularly significant.

The industry has spent years talking about the need for greater Latino representation on screen. But representation isn’t only about who appears in front of the camera. It is also about who controls the narrative behind it.

Who writes the story.

Who directs it.

Who produces it.

Who owns the creative vision.

JANDROU’s collaboration with Passuelo puts two Latin American creatives in those positions.

A Bigger Canvas for “Handsome in Pink”

The short film also arrives as JANDROU prepares his debut album, Handsome in Pink.

The project is being developed with British producer Dylan Cooper, whose credits include Post Malone, Charli XCX and Ashnikko, as well as Canadian producer Joshua Eastman.

The international makeup of the team mirrors the increasingly global nature of JANDROU’s artistic ambitions. But the strategy goes beyond assembling an impressive list of collaborators.

JANDROU appears to be constructing an identity. And that identity isn’t confined to a playlist.

By creating a cinematic piece around “Crying at the Dairy Queen,” he is giving audiences another way into his music—and potentially creating a visual language that can follow him beyond the debut album.

That becomes particularly important for an independent artist building toward greater industry recognition and Grammy consideration. In an overcrowded music marketplace, the question isn’t simply whether an artist can make a good song. It’s whether audiences can remember the world surrounding it.

The Story Is Still a Secret

For now, JANDROU and Passuelo aren’t revealing what actually happens in Crying at the Dairy Queen. And perhaps that’s the point.

In an era when much of the entertainment industry is built around immediate reveals, trailers, clips and social media teasers, allowing the story to remain a mystery creates its own anticipation.

What we do know is that JANDROU isn’t approaching his upcoming release as a one-off song with a video attached. He’s thinking cinematically. That may prove to be one of the more interesting aspects of his evolution.

Because the future of music may not belong solely to artists who can deliver the next hit. It may belong to those who understand how to turn a song into a story—and a story into a world audiences want to enter.

For JANDROU, Crying at the Dairy Queen could be the beginning of that world.

And if the short film delivers on its promise, audiences may discover that the most interesting thing about the song isn’t just what they’re hearing.

It’s what they’re about to see.

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The Cuban singer-songwriter unveils an album celebrating female strength, Latino roots, and the power of turning adversity into opportunity.

LOS ANGELES – MEXICO CITY — At a time when the music industry often prioritizes the next viral moment, Yamila Guerra represents a different kind of success story—one built through perseverance, authenticity, and an unwavering commitment to her cultural heritage.

The Grammy-winning Cuban singer-songwriter, actress and entrepreneur has released Limonada, an album that serves as both a celebration of her Cuban heritage and a testament to resilience. Filled with themes of female empowerment, cultural pride and self-discovery, the project reflects Guerra’s belief that life’s greatest obstacles can become its greatest opportunities.

Rather than chasing fleeting commercial trends, Guerra has spent her career remaining true to herself. Classically trained in Cuba from an early age, she found in music not only a creative outlet but also a refuge and a bridge that allowed her to connect with audiences around the world. That authenticity has become the foundation of a career now recognized internationally.

Rather than following fleeting industry trends, Guerra has remained focused on authenticity—a philosophy that has guided her from emerging artist to Grammy winner.

“Awards are wonderful, but what truly lasts is the impact you can have on other people’s lives through your music,” Guerra says.

That perspective resonates throughout Limonada, whose title draws inspiration from the familiar saying about turning lemons into lemonade. For Guerra, the phrase represents the resilience that has defined both her personal life and professional career.

The album combines vibrant Cuban rhythms with contemporary production, creating a sound that is both rooted in tradition and accessible to today’s audiences. Across its songs, Guerra explores themes of family, identity, perseverance, self-love and female empowerment, offering listeners music that is as uplifting as it is personal.

One of the album’s strongest messages is its celebration of women’s strength in all its forms.

“Women don’t have to choose between being strong or being sensitive—we can be both,” Guerra has said, a philosophy that echoes throughout the project.

As more artists continue to reshape the global music landscape by embracing their cultural identities rather than distancing themselves from them, Guerra’s latest release stands as another example of the power of storytelling rooted in heritage. Her music reflects not only the rhythms of Cuba but also the experiences shared by many Latinos navigating identity, family and resilience across generations.

For Latin Heat readers, Limonada arrives at a moment when Latino artists are increasingly redefining success on their own terms. Rather than chasing viral fame, Guerra’s career has been built on consistency, artistry and purpose—qualities that have earned her respect both within the industry and among audiences worldwide.

With Limonada, Yamila Guerra offers more than an album. She delivers an invitation to celebrate Latino culture, embrace life’s challenges with optimism and remember that resilience is often life’s greatest masterpiece.

The release marks another milestone for this Cuban artist whose voice continues to bridge tradition and modernity while reminding listeners that authenticity never goes out of style.

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Festival La Onda 2026 promises an unforgettable celebration of Latin music, culture, and community — set against the iconic backdrop of Napa Valley.

Buena Onda Presents has unveiled the star-studded lineup for the 2026 edition of Festival La Onda, returning May 30–31 to the Napa Valley Expo in the heart of downtown Napa. Headlining this year’s two-day Latin music celebration are Maná, Ivan Cornejo, J Balvin, and Christian Nodal, leading one of the most dynamic Latin festival lineups in the country.

Timed for the weekend following BottleRock Napa Valley, La Onda delivers a premium festival experience spotlighting the hottest Latin artists across genres including Mexican Regional, Reggaeton, Rock, Hip Hop, Latin Pop, Salsa, and more. The 2026 lineup also features Danny Ocean, Los Tucanes de Tijuana, Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, El Gran Combo de Puerto Rico, Grupo Niche, Molotov, Orishas, Chiquis, Kinky, Ozomatli, and dozens of rising and established acts.

Beyond the music, Festival La Onda offers a fully immersive experience complete with curated Latin cuisine, specialty beverages, shaded lounges, spa activations, a dance club, silent disco, and elevated viewing areas — all infused with Napa Valley’s signature hospitality.

Premium ticket options elevate the weekend even further. VIP guests enjoy access to the VIP Village with premium bars, shaded seating, air-conditioned restrooms, and prime sightlines. El Mirador offers elevated decks with all-inclusive drinks and shaded lounges, while Suite and Platinum Experiences deliver unmatched luxury, including private viewing areas, concierge services, premium dining, and front-row access.

Weekend and single-day tickets are on sale at LaOndaFest.com. General Admission weekend passes start at $218, VIP at $448, El Mirador at $1,287, and Platinum at $3,318, with flexible layaway plans available.

For updates, visit LaOndaFest.com, sign up for text alerts, and follow @LaOndaFest across social platforms.

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By Bel Hernandez Castillo

CLIKA officially premiered this weekend and with it arrived a cultural moment that feels less like a debut and more like a coronation. Produced by Jimmy Humilde—the visionary CEO behind Rancho Humilde—and released by Columbia Pictures and Sony Music Vision, the feature film represents a rare and powerful convergence of Latino music, storytelling, and studio confidence.

At a time when Latino audiences continue to drive box office results while remaining underserved in screen time, CLIKA arrives with built-in cultural capital: the sound, the artists, and the lived experience of Mexican American youth whose music has already proven its ability to mobilize millions.

From Compton to Columbia Pictures

Jimmy Humilde’s path to a Sony-backed theatrical release did not begin in Hollywood boardrooms—it began in the streets of Compton and on streaming platforms where Rancho Humilde rewrote the rules of Mexican music. As the architect of the corridos tumbados movement, Humilde transformed a once-marginalized sound into a global phenomenon, launching superstars like Fuerza Regida, Junior H, Natanael Cano, and others who now dominate charts and touring circuits.

That success did not go unnoticed.

Sony Music Latin, already deeply embedded in the evolution of Latin music, recognized that Rancho Humilde wasn’t just producing hits—it was shaping culture. With Sony Music Vision expanding into narrative storytelling, the alignment became inevitable. CLIKA is the first feature film born from that shared understanding: that Latino music is not a niche, but a mass-market force capable of driving audiences into theaters.

As Sanford Panitch, President of Sony Pictures Motion Picture Group, noted, Humilde’s musical impact naturally opened the door to new kinds of stories and stars. This was not a gamble—it was an expansion.

Music as the Engine, Story as the Heart

Directed by Michael Greene and executive produced by Humilde alongside partners Jose “JB” Becerra and Roque “Rocky” Venegas, CLIKA centers on an aspiring musician fighting to preserve his family’s legacy. The story mirrors the lived realities of many Rancho Humilde fans—ambition, loyalty, survival, and the tension between tradition and reinvention.

Starring Rancho Humilde artist Jay Dee, the film blurs the line between fiction and cultural truth, using music not as background but as narrative engine. This is where CLIKA holds particular power: Latino audiences already emotionally invested in the sound now see that sound reflected on screen, legitimized by a major studio release.

For Sony, the film represents a strategic bridge between music and film audiences. For Latino viewers, it’s representation rooted in authenticity rather than translation.

A Strategic Bet on Latino Buying Power

The timing of CLIKA’s release underscores a broader industry reality: Latino audiences consistently over-index in theatrical attendance, particularly for culturally resonant films. Rancho Humilde’s fan base—young, bilingual, digitally native, and fiercely loyal—represents the exact demographic Hollywood is chasing but rarely centers.

By backing CLIKA, Sony is not simply releasing a film—it is validating a business model where Latino music ecosystems can successfully migrate into film and television. As Alex Gallardo, President of Sony Music US Latin, stated, the moment Sony learned about the project, they knew they wanted in—and that Columbia Pictures was the ideal partner to bring it to life.

“We’re Leading the Conversation Now”

For Humilde, today’s premiere is both personal and political. “We’ve been grinding in the background,” he said, “but now we’re stepping into the spotlight.” His message is clear: CLIKA is not an endpoint, but the opening chapter of a larger creative pipeline for Mexican American storytellers.

With a cast that includes Cristian “Concrete” Gutierrez, DoKnow, Laura Lopez, OhGeesy, Eric Roberts, Master P, and Peter Greene, and a production team spanning film and music veterans, CLIKA positions itself as a proof of concept—one that blends commercial appeal with cultural specificity.

The Beginning of a New Lane

As CLIKA premieres today, it does so carrying more than box office expectations. It carries the weight—and promise—of a movement that has already reshaped music and is now testing Hollywood’s willingness to follow where culture leads.

If Rancho Humilde changed the sound of Mexican music, CLIKA may well signal the next evolution: Latino-led studios, Latino-driven audiences, and stories that no longer ask for permission.

And if today’s premiere is any indication, the audience is already there—waiting, listening, and ready to show up.CLIKA Premieres January 23, Marking Jimmy Humilde’s Bold Leap From Corridos to Cinema

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La Marisoul & Los Hermanos Carlos and Bolero Soul Shine

By Bel Hernandez Castillo

There’s something magical about boleros—the romantic lyrics, the gentle strum of guitars, and those unforgettable harmonies that wrap around your heart. The Boleros de Noche performances presented as part of LA Phil’s 2026 summer season at The Ford, felt like a true homecoming. 

This year’s lineup started off with the dynamic ensemble Arturo and Jose Luis of Bolero Soul, delivering a heartfelt tribute to the golden era of romantic Latin music. It was followed up by the reunion of La Marisoul with Los Hermanos Carlos, making for a powerhouse bolero trio.  La Marisoul delivers vocals that drip with heartache, longing, and love, while the Carlos brothers’ harmonies wrap around her like a warm summer breeze. The crowd didn’t just watch—they felt it, often singing along, swaying in their seats, and cheering in between every heart-tugging verse.

La Marisoul, best known as the powerhouse vocalist of La Santa Cecilia began her career singing boleros.  “That’s the root of what I sing—traditional boleros and rancheras,” she explains. “I learned from the musicians that played at restaurants on Olvera Street.”  She is a Grammy Award winning artist who credits her songs as being inspired by life, love, heartbreak and the drunken rants of the neighborhood.

It was clear that for many, boleros are more than music—they’re memories. The Ford was a perfect backdrop for this concert, with palm trees lit in vivid hues framing the stage, the hillside seating enveloping the audience in a close shared beautiful sensory experience of sight and sounds. 

While the bolero’s origins trace back to 18th-century Spain and Cuba, it was Mexico that truly made the genre its own, becoming a cultural epicenter for its evolution. Many of us grew up hearing the voices of Los Panchos, Pedro Infante, or Javier Solís serenade generations with their soulful bolero renditions. Boleros De Noche at The Ford Theater brought that timeless sound back to life, creating an unforgettable night of music, nostalgia, and connection that felt both deeply personal and universally moving.

Boleros De Noche, now a yearly tradition at the Ford, began in 2015 with a mission to preserve the bolero tradition and create a space to keep the tradition alive. They moved to The Ford in 2018 and are now celebrating their 9th year at this venue. Boleros De Noche has evolved from a small grassroots concert series into a major cultural event. 

This year’s LA Phil summer season at The Ford runs through October 31st, features everything from retro cinema, hip-hop and poetry to mariachi legends and cutting-edge dance of all genres. Boleros De Noche at The Ford proves that great programming doesn’t need to be big and flashy to be powerful. It just needs to be authentic. And this show? It absolutely was.

Performance line up at The Ford  Follow on social media: @TheFordLA 

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Boleros with La Marisoul, Leyendas Mariachi Icons, and Serenatas y bodas

The joy of summer events — The Ford invites you to three nights that will lift your spirits after some trying times in the City of Los Angeles.

This summer, the LA Phil presents Mexican Nights—a soulful three-part concert series that celebrates the music, dance, and traditions that have shaped generations and are woven into the cultural fabric of Los Angeles. Under the stars at The Ford, audiences will be transported on a journey through the romance of boleros, the power of mariachi, and the vibrant artistry of folklórico dance.

Presented by the LA Phil as part of its 2025 Latin Music Concert Series, Mexican Nights invites fans on a journey through the beloved sounds of boleros, the powerful legacy of mariachi, and the colorful cultural expressions of Mexican wedding serenades and folkloric dance.

AUG 2: Boleros de Noche – A Reunion of the Heart
For over two decades, Marisoul y Los Hermanos Carlos have serenaded L.A. with the timeless magic of bolero. What began as intimate performances at Placita Olvera has blossomed into a musical legacy. Now, for one unforgettable evening, they reunite to fill the night air with love songs that speak straight to the soul.

AUG 7: Leyendas del Mariachi – Icons on One Stage
A historic gathering of mariachi’s greatest artists from ensembles like Mariachi Vargas de Tecalitlán, Los Camperos, and Mariachi América de Jesús Rodríguez de Hijar promises an electrifying night of heritage and artistry. This is a rare opportunity to witness legends unite in celebration of Mexico’s beloved musical treasure.

AUG 16: Serenatas y Bodas de México – A Tapestry of Tradition
Grandeza Mexicana Folk Ballet Company, joined by Teocalli Ballet Folklórico and Mariachi Tesoro de San Fernando, brings to life the colorful wedding traditions of Mexico through music, dance, and storytelling. The evening closes with the world premiere of a piece honoring Oaxaca’s Muxes—a powerful celebration of gender diversity in Zapotec culture.

Mexican Nights is a celebration of community, identity, and the enduring beauty of Mexican culture. Tickets available now at theford.com | Follow @TheFordLA for updates.

#MexicanNights #TheFordLA #LAPhil #Mariachi #Boleros #Folklorico #VivaMexico

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Ainadamar at LA OPERA April 26, through May 18^th 

By Judi Jordon for LATIN HEAT

In Spain, the legacy of poet, playwright and political martyr Federico García Lorca (1898–1936) is ever-present—etched into the hearts of artists across generations. Liberal, openly gay, and vocal supporter of the Spanish Republic, Lorca was executed without trial by firing squad at the Andalusian natural spring, Ainadamar; Arabic for “Fountain of Tears”. Lorca’s physical body was never found but his magnificent work; poetry, drama, and prose includes over a dozen major plays, including the iconic Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936)—a trilogy that delves into themes of repression, honor, and female agency in Andalusian society. His poetry “Gypsy Ballads” (1928) and “Poet in New York” (published posthumously in 1940) deftly blend Gitano and modern concepts, with symbolism, passion and Andalusian visions. 

Lorca’s Spanish romanticism and avant-garde surrealism are an integral force in 20th-century literature. A perfect subject for OPERA as song and dance were such a huge part of Lorca’s life canvas. Today his tragic end has a chilling resonance, one felt profoundly in L.A. OPERA’S masterful production of Ainadamar. And there was only one man to translate this legacy into dance Antonio Najarro. 

Much-awarded, the delightful Najarro is a notorious perfectionist and Mr. 110%. “When auditioning dancers he looks for the ‘complete package’ and may see 500 dancers to find just one that can fluidly execute his unique vision; in Ainadamar that translates to ballet, flamenco and modern dance, all seamlessly woven into the narrative. 

For Spanish superstar, choreographer and former director of Ballet National of Spain, Antonio Najarro, Lorca’s work isn’t merely an influence; it’s a spiritual force, a cultural flame that continues to inspire across borders and mediums. After an impressively smooth tech rehearsal in the Dorothy Chandler Pavilion, perfectionist Najarro took a breath and a break to share his passion for Lorca, teamwork, crafting unforgettable dance, and what drives him to the edge. 

Collaborating with conductor Lina González-Granados on Ainadamar, Najarro found an ideal partner—open, intuitive, and rhythmically attuned to flamenco’s complex timing. “It’s not easy for an orchestra to follow flamenco,” he says. “But Lina embraced every challenge. She loves dance, and that makes everything easier.”

“Every artist in Spain, at some point, ‘touches’ Lorca,” Najarro says. “We are always speaking about him—his poetry, his thinking. He left his message open to interpretation. You can do many versions of his poems, and I love that.” Najarro recently returned from a sold-out run in Madrid with his namesake dance company’s critically acclaimed production, Romance Sonámbulo at Teatro MIRA de Pozuelo de Alarcón in Madrid, inspired by one of Lorca’s most haunting poems. 

For Ainadamar Najarro leans into Lorca’s dreamlike mysticism, crafting a spiritual, non-terrestrial piece that seduces audiences through night, moonlight, and mystery. “It’s not traditional,” he explains. “It’s something deeper—more emotional, more expressive.”

Najarro’s undeniable artistry incorporates and punctuates the subtle and surreal tone perfectly as Ainadamar portrays Lorca’s final days and his impassioned yet doomed relationship with actress Margarita Xirgu. 

Directed by Brazilian choreographer Deborah Colker, the opera has traveled from Glasgow and Detroit to the Metropolitan Opera and now to Los Angeles. “This opera is not only about Lorca’s life—it’s about emotion,” Najarro says.  “The singers dance, the dancers act, everything is expression.”

Expression is the engine of Najarro’s philosophy—tempered always by rigorous technique. Whether it’s flamenco, ballet, or contemporary dance, his performers are required to master diverse movement styles with both precision and passion. “For my company, dancers must be very versatile,” he explains. “My choreography is elegant, technical, but it must also be pure. I need their footwork, their castanet technique—it’s like playing an instrument.” Working in harmony with Grammy-winning composer Osvaldo Golijov, Najarro emphasized the importance of understanding the emotional reasoning behind each composition.

Instrumentality comes alive in Ainadamar, particularly in the striking opening solo piece that blends flamenco footwork with modern movement atop a table, backed by flamenco percussion and electronic soundscapes. “It’s the bullfight,” Najarro says. “The strength, the risk, the image of the bull. Lorca loved that tension between life and death. That’s what this choreography is.”

Tickets at https://laopera.org/performances/2025/ainadamar

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By Brenda Herrera

Yaamava’ Resort & Casino set the stage for an unforgettable evening of music, dining, and entertainment as Colombian superstar Juanes, the Colombian Grammy award-winning singer, graced the theater with his electrifying performance. From the moment we arrived, the festive spirit was palpable, with the venue’s stunning Christmas decorations creating a warm and enchanting atmosphere. Glittering lights, intricately designed ornaments, and holiday cheer welcomed guests into this Southern California gem, located just over an hour from Los Angeles.

Juanes took the stage and delivered hit after hit, including fan favorites like “A Dios Le Pido,” “Me Enamora,” and the iconic “La Camisa Negra.” His passion and charisma lit up the room as he seamlessly transitioned from rock anthems to heartfelt ballads. A highlight of the night was his performance of “Es Por Ti,” where the audience joined in, creating a moving moment of connection. His powerful lyrics and dynamic stage presence reminded everyone why he’s a 23-time Grammy and Latin Grammy winner. The production was top-notch, with stunning visuals and a band that matched Juanes’ energy note for note.

Our evening began with an exceptional dining experience at The Pines Modern Steakhouse. The menu, designed like a captivating book with chapters for each course, was a culinary delight. We started with perfectly seared crab cakes and rich, velvety lobster bisque. For the main course, we indulged in tender ribeye, succulent filet mignon, shrimp, and creamy lobster mac and cheese, paired with crispy Brussels sprouts that added a flavorful crunch. Our server, Alex, provided impeccable service, ensuring every detail of our meal was flawless. The Pines lived up to its reputation, offering a dining experience that was as luxurious as it was delicious.

After dinner, we made our way to the Yaamava’ Theater, a state-of-the-art venue that seats between 2,500 and 3,000 guests. The “intimate” setting ensures that every seat in the house offers a great view, and the theater’s acoustics amplified Juanes’ performance to perfection. The crowd’s excitement was contagious as the Latin rock legend took the stage, opening with a high-energy set that had everyone on their feet.

After the concert, we headed to the casino floor to try our luck. With a wide array of slot machines and table games, the casino offers endless entertainment for seasoned players and casual visitors alike. The energy was electric, and the friendly staff made the experience all the more enjoyable.

To cap off the night, we danced the night away at the Tukut Lounge, where the DJ spun an eclectic mix of dance hits that kept the crowd moving. The lounge’s vibrant atmosphere and expertly crafted cocktails made it the perfect spot to end an incredible evening.

Yaamava’ Resort & Casino is more than just a concert venue—it’s a comprehensive entertainment destination. With its luxurious accommodations, diverse dining options, and world-class entertainment lineup, it’s the ideal weekend getaway for Southern Californians. The resort’s 21+ policy ensures a sophisticated environment, and the attentive staff provides top-tier service at every turn.For those looking to experience the magic of Yaamava’ firsthand, check out their upcoming concert calendar here: Yaamava’ Theater Concerts. Whether you’re a music lover, a foodie, or just looking for a fun escape, Yaamava’ Resort & Casino offers something for everyone. Our evening with Juanes was nothing short of spectacular, and we can’t wait to return for more unforgettable experiences.

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Emilia Pérez is a 2024 musical crime comedy film written and directed by Jacques Audiard. It stars Zoe Saldaña, Karla Sofía Gascón, Selena Gomez, Adriana Paz, and Édgar Ramírez in the lead cast. Emilia Pérez was the most talked-about film premiere at the 78th edition the 2024 Cannes Film Festival where it not only received a 12 minute standing ovation, the four lead women all received the best actress award at the renowned festival.

Filmed in Mexico, Zoe Saldaña who plays Rita, an overqualified and exploited lawyer who wastes her talents working for a large firm far better at whitewashing criminal garbage than serving justice. But an unexpected way out appears, the sort of offer she can’t refuse — to help feared cartel boss Juan “Little Hands” Del Monte – aka Manitas (played by Gascón) retire from his business and disappear forever. Manitas has a plan he’s been fine-tuning in secret for years, to become, at last, the woman he’s always dreamed of being.   

Following the movie’s Cannes debut, Selena Gomez who plays Manitas wife, Jessi del Monte, opened up about the nerves she was feeling. “I was very nervous because this is a project that is unlike anything I’ve ever done before,” she told The Hollywood Reporter in May. “Even though I have such a small part, it’s such a big and special project that I feel so lucky that I was able to be a part of it.”

Selena also recalled the audition process, where she said she “acted insane.” She told the trade publication, “[Audiard] wanted me to perform one of the numbers and I just surrendered and completely gave myself. I was, like, ‘Well, at least I could walk away and say that I did my best.’ When he asked me to be a part of it, I was so nervous but also so excited.”

The original songs for the film were contributed by mutli–grammy winning group, Camille, while its original score was provided by Clément Ducol. The choreographic sections of the film are designed by Damien Jalet.

The film premiered on 18 May 2024 at the 77th Cannes Film Festival, and was selected to compete for the Palme d’Or in its main competition section, where it won the Jury Prize and its female ensemble won the Best Actress award. The premiere date for Emilia Perez is set to August 21, 2024.

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In Memoriam

Tejano music legend and TV host Johnny Canales passed away on June 12, 2024, he was 67. Canales will be remembered for a giving soul who was there to illuminate and give a hand up to new Tejano talent on his show, the Corpus Christi-based TV show The Johnny Canales Show, which ran from 1983 to the mid 1990’s.

He would introduce young and well known music talents with his signature phrase “You Got It, Take it Away”.  It was a show that captivated audiences near and far introducing talents like a teenage Selena who appeared on his show a couple of times before her career took off.  Canales was known at that time as the “Mexican American Dick Clark”.

Author, Filmmaker, & Activist David Damian Figueroa, was a friend of Canales throughout the years.  Figueroa, who was a publicist back in the day, would bring his clients to Canales show. In honor of Canales’ legacy Figueroa said:

“Johnny Canales was a true American hero who championed the uniquely American music genre of Tejano. His influence extended far beyond borders, as his show was broadcast in 23 countries, showcasing the vibrant sounds of Tejano music to a global audience. 

Canales’s ability to seamlessly blend Spanglish, with his tagline delivered in English to an audience that predominantly spoke Spanish, further solidifies his legendary status. His story serves as a testament to the power of music to transcend language barriers and unite people from diverse backgrounds. 

He was instrumental in inspiring other Corpus Christi hometown talents, like Selena, Freddy Fender, Pepe Serna, and Eva Longoria, who all went on to become icons in their own right.  As for me, Johnny was my good friend, compadre, and colleague.  He taught me a lot about the entertainment business and civil rights and how to merge both to help our community.  Johnny Canales’ legacy as a pioneer in promoting.”

David Damian Figueroa

There is a documentary currently in post production entitled Take It Away: The Rise and Fall of Tejano Hollywood that will recount Canales’ significant contribution to Tejano music.The documentary will shed light on Canales’ significant contributions to the Tejano music scene and his enduring legacy.

Canales’ legacy will live on in our hearts, in the talent he showcased, and now in this upcoming documentary

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