There are times when a magazine does not choose its topics: the topics choose it. NEWS presents two historic editions that arrive almost simultaneously and they portray Argentina in its two most extreme emotional states: euphoria and griefthe court and the wake, the scream and the silence.
The first has Messi and Scaloni on its cover about an Argentine flag and a title that is also a question: “Renew the illusion.” The two-time champion team goes to the 2026 World Cup from an unprecedented place: it is no longer chasing a dream, it must defend a crown. The special covers the challenges of the Scaloneta, the logistics of a tournament expanded to 48 teams and what the magazine’s editorial accurately calls “the challenge of defending glory.”
The second special is the exact reverse side. On a photograph of the Indio in full performance, the title marks “The legend after the legend.” The death of Indio Solari on June 5 closed an unrepeatable stage of Argentine rock, but opened another: that of his legacy. A creator who built his own empire from the margins of the industry—without television, without multinational labels, without giving up control of anything—and who still filled stadiums with 140,000 people. lhe structure of Erks SA, the company that managed the Redondos universe together with Skay Beilinson and La Negra Poly, was as solid as it was discreet.
gThey recorded their albums, produced their shows, sold their tickets and managed their rights without intermediaries. A big circus run with an iron fist by someone who never seemed to be managing anything. El Indio was, before anyone called him that, a cultural entrepreneur who refused to be one under the terms that the industry imposed. And that paradox—the capitalist who hated capitalism, the businessman who despised businessmen—is a constitutive part of his myth.
What unites these two figures is not the genre or the era: it is the architecture. Messi and El Indio share an obsession that is rarely mentioned next to their names: total control. Opposite models—one under the global flashes of football, the other deliberately in the shadow of the industry—but with the same deep logic: building its own universe, with its own rules. The genius who was also a businessman. The figure that was also an institution. Two men who gathered crowds without asking anyone and who built empires without submitting to any.
Two editions, two unrepeatable moments, the same question that NOTICIAS asks: what does Argentina do with its legends when it already has them?
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