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Dulce, iconic Mexican singer and telenovela and reality star, dies at 69

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Dulce, iconic Mexican singer and telenovela and reality star, dies at 69

Dulce, a popular Mexican balladeer, soap star and TV personality known for the songs “Lobo,” “Tu Muñeca,” “Déjame Volver Contigo” and “Soy una Dama,” has died. She was 69.

The pop icon and “Siempre Reinas” reality star, whose name was Bertha Elisa Noeggerath Cárdenas, died Wednesday from health complications, according to the Associated Press. In early December, Dulce was admitted to a hospital in Mexico City for lung problems and underwent pleuropulmonary decortication surgery on Dec. 7, her team previously said. The procedure, also known as a pleurectomy, removes all or part of the thin membrane that surrounds the lungs as well as visible tumors from the chest cavity.

Her hospitalization came on the heels of her reluctantly postponing a series of concerts from her 2024 tour because of her health issues. She said in a Dec. 2 statement that she was treating a health condition that required care and rest.

“I am calm, in good hands and confident that I will soon be fully recovered,” she said in a Spanish-language statement at the time.

In a Christmas Day statement announcing her death Wednesday, Dulce’s family and team called her an exceptional artist and a wonderful person who left an indelible mark. The statement also asked the public to give them the space and understanding to grieve in privacy and peace during this difficult time.

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Her sister, Isabel Noeggerath, also confirmed the singer’s death on Facebook, writing: “Sister, you are already with our mother in heaven singing to her, I will miss you, rest in peace, I love you.”

Dulce, one of Mexico’s famed female voices in the 1980s, made appearances on popular local TV shows and at international festivals and most recently starred in the Netflix reality show “Siempre Reinas.” She hailed from Matamoros, a city in the northern state of Tamaulipas and launched her career in Monterrey before moving to Mexico City. She started as a member of the band Toby y Sus Amigos in the 1970s, according to Remezcla, then teamed up with singer José Rómulo Sosa Ortiz, better known by his stage name José José.

She won the top prize at the Mallorca Music Festival in 1978 with “Señor Amor,” which was composed by Armando Manzanero.

Dulce also starred in several Spanish-language soap operas, beginning with “Muñeca Rota” in 1978. She also starred in 1999’s “Mujeres Engañadas,” the early 2000s’ “Las Vías del Amor,” “Mundo de Fieras,” “Muchachitas Como Tú.” She made her feature film debut in 1984 with “No vale nada la vida” and more recently starred in the TV series “Vencer la Culpa” and “Vecinos” and in a few episodes of “Quiéreme Tonto.”

“Today we remember a woman who not only achieved her dreams, but also inspired generations with her voice, her passion and her determination,” said a Thursday post on her Instagram. The post also featured a retrospective of Dulce’s career. “With a career that transcended borders and genres, Dulce became one of the most emblematic voices that Mexico has given … But beyond her talent and her success, Dulce was a woman who taught us to believe in ourselves, to pursue our dreams and to never give up. Thank you, Dulce, for your music, your inspiration and your legacy.”

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On Friday, a mass will be held in her honor at the Basílica de Guadalupe in Mexico City.

“We invite you to join us in paying tribute to her memory and praying for her soul. Her memory will always live in our hearts,” the Noeggerath Cárdenas, Mírcoli Noeggerath, González and Mírcoli families said.

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Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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