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Newsweek
a minute ago
- Newsweek
Sonny Gray Trade? Why Latest Mets, Cardinals Trade Buzz Makes No Sense
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Bleacher Report's Kerry Miller recently put together a list of every MLB team's trade needs ahead of the upcoming trade deadline. For the Cardinals, Miller suggested they need to pick a lane and went as far as to suggest trading Sonny Gray to the New York Mets if the Cardinals were to be sellers. "If the Cardinals are sellers, Ryan Helsley, Erick Fedde, Steven Matz, Phil Maton and Miles Mikolas are the expiring contracts to unload, while Sonny Gray could be the aforementioned ace the Mets target and Nolan Arenado could be the answer to the Yankees' hot corner woes," Miller wrote. But does this make sense? PHOENIX, ARIZONA - JULY 19: Starter Sonny Gray #54 of the St. Louis Cardinals pitches during the third inning against the Arizona Diamondbacks at Chase Field on July 19, 2025 in Phoenix, Arizona. PHOENIX, ARIZONA - JULY 19: Starter Sonny Gray #54 of the St. Louis Cardinals pitches during the third inning against the Arizona Diamondbacks at Chase Field on July 19, 2025 in Phoenix, of all, it's likely the Cardinals will be sellers. They've lost quite a bit this month, and their starting pitching rotation is far from postseason-ready. The Cardinals would need to make a lot of moves to get this team in shape to win the World Series. It's quite unlikely, so expect the Cardinals to be sellers. For the Mets, this deal would make a lot of sense. They need to add starting pitching, and Gray would fill that need with a consistent and reliable arm. He's quietly been one of the better pitchers in baseball for over five years now. The Cardinals could trade him, despite his team control, in a move that builds for the future. He would net a solid prospect return on the open market, so a trade could make sense. But Gray has a no-trade clause, and he's been unwilling to waive it for anybody. The veteran pitcher has carved out a role as a mentor to the younger arms in St. Louis, and he's done this job very well. He's been very vocal about his love for the Cardinals and how he wishes to stay with the team. If Gray is unwilling to waive his no-trade clause, then a deal is dead before it can even grow legs. More MLB: Phillies Called 'Best Fit' In Blockbuster Trade For Red Sox All-Star
Yahoo
29 minutes ago
- Yahoo
This L.A. company builds venues for the world's biggest pop stars, sports teams and sumo wrestlers
Sports and music fans, flocking to a once-questionable corner of downtown, were the springboard for an L.A.-born multibillion-dollar empire of venues and events for screaming enthusiasts around the globe. AEG, the company behind Arena and the L.A. Live district, has turned its know-how about hosting and promoting big shows into a formula it has rolled out on five continents. It is literally setting the stages for the world's biggest pop stars, sports teams and even — most recently — sumo wrestlers. It is one of the city's lesser-known global success stories. With more than 20,000 employees and billions of dollars of projects running at any one time, AEG is one of the planet's biggest venue and event companies. L.A.'s high concentration of sports teams and musical talent forced it to develop a system that uses its spaces for up to five different events in a day. "We learned how to be nimble in moving from one to the other to really maximize," AEG Chief Executive Dan Beckerman told The Los Angeles Times. AEG is prospering by executing a fairly simple business plan, said Andrew Zimbalist, professor emeritus of economics at Smith College. Its industry is fairly straightforward — and more use of each seat means gives the company more capital to build more venues. "You have to pick your niche, have capital, have tenacity," he said. "And stick with it." Sumo wrestlers bashed bellies this month in AEG's newest venue on the grounds of a legendary castle. The recently opened IG Arena stands in the outer citadel of Nagoya Castle in Nagoya, Japan, which was built in the early 1600s, when samurai battles raged in the region. While the summer sumo tournament required a traditional ring of sand, clay and rice straw bales, the arena will be soon be transformed to host such diverse events as a basketball clinic hosted by the L.A. Lakers' Rui Hachimura, a professional boxing match and a concert by English musician Sting. In Nagoya and increasingly across East and Southeast Asia, AEG is doing what it does better than most — build arenas that can host pro sports and shows by big-name artists, with the venues often built within an ecosystem of bars, restaurants and hotels also built by the company and its partners. The company was founded in 1995 when Denver billionaire investor Philip Anschutz bought the Los Angeles Kings and in 1999 opened the downtown arena then known as the Staples Center, which was built by Anschutz and Kings co-owner Ed Roski. It was considered a risky project at the time, when the gritty blocks near the Los Angeles Convention Center were deemed undesirable by most real estate developers. AEG added the $3 billion L.A. Live complex in 2007, and other developers also moved into the South Park district, building hotels, restaurants and thousands of residential units. The popular venues have now hosted 22 Grammy Awards shows, a Democratic National Convention, two Stanley Cup championships, six NBA championships and All-Star hockey and basketball weekends. That high-profile success gave it an edge when competing to build or buy around the world. AEG has expanded to own and operate more than 100 venues serving 100 million guests annually. Among its holdings are the Los Angeles Galaxy soccer team and German pro ice hockey team Eisbären Berlin. As the second biggest event promoter in the world, it puts on large festivals including the annual Coachella Valley Music & Arts Festival and American Express Presents BST Hyde Park music festival in London. It has faced slowdowns and other tough periods as well. Its London arena was the site of Michael Jackson's planned comeback announced in 2009. During a period when he was rehearsing for the physically demanding shows, Jackson died. His mother and three children sued AEG Live in 2010. The lawsuit alleged that AEG was negligent in its hiring of the physician who administered the fatal dose of propofol that led to Jackson's death. A Los Angeles jury unanimously decided that the concert promoter wasn't liable in the singer's death. "People heard of AEG because of Michael Jackson and the and the subsequent lawsuit from the family," said Randy Phillips, former manager of music promotions at AEG. "They would never have even known what it is." The company was laid low during the pandemic, when live events were canceled starting in March 2020. Venues stayed dark until well into 2021, when AEG started putting on sports events with no audiences and later with limited seating. Times changed in 2022 when revenues reached new records as fans stormed back, Beckerman said. "We were all very pleasantly surprised," he said. "I think people learned during the pandemic that there really is no substitute for live events." AEG also lost a longtime arena tenant when the Los Angeles Clippers moved to a new arena in Inglewood after the team's lease at Arena expired in 2024. Owner Steve Ballmer said he wanted the Clippers to have their own home that they didn't share with other teams. AEG's touring business lifted off with a 2001 concert with Britney Spears at Staples Center. "The Britney Spears tour is what broke the company wide open," said Phillips, who became head of music promotions for AEG after landing Spears. "That's when we became players." Big acts followed including Tom Petty, Paul McCartney, Tina Turner and Pink. AEG expanded its U.S. concert touring empire by building large multipurpose arenas in Las Vegas and Kansas City. It also is establishing a network of smaller venues such as the El Rey Theatre in Los Angeles and the Showbox in Seattle. It recently opened the Pinnacle at Nashville Yards, a concert hall that is part of a mixed-use district including housing and offices that AEG and a local partner are developing in downtown Nashville. Its highest-profile property outside of Los Angeles is in London, where the company resurrected a large dome-shaped building built to house an exhibition celebrating the turn of the millennium in 2000. After AEG's redevelopment of the site, the O2 Arena became one of the world's busiest venues for entertainment and sports with 10 million visitors a year. In Berlin, the company built the Uber Arena, one of the highest-grossing arenas in the world and part of an entertainment district with restaurants and theaters. The Nagoya project is part of the company's pan-Asian strategy to grow its real estate empire and create more venues for artists like Taylor Swift and Ed Sheeran. The United States and Europe, where AEG has long been active, are largely built-out with modern arenas for sports and entertainment, but many Asian countries are ready to upgrade their old facilities. "Japan is at the top of the list" for AEG, said Ted Fikre, head of development at the company. The country's venues are typically decades old and pale in comparison to modern multi-use arenas typically found in the U.S. and Europe. The IG Arena in Nagoya, with a capacity of 17,000, is expected to annually host 150 events for 1.4 million attendees at concerts, basketball games and other live entertainment. AEG has an even larger development in the works in Osaka. Plans call for an 18,000-seat arena that will anchor an entertainment district with hotels, offices, shops and restaurants along with housing. Valued at more than $1 billion, Fikre compared the Osaka project to its largest mixed-use districts — L.A. Live in Los Angeles and the O2 in London. The project is set to break ground in 2027. In partnership with the NBA, the company built Mercedes-Benz Arena in Shanghai in 2010. It is also involved in plans for South Korea, Singapore and Thailand. "The ambition for us is to establish a strong presence throughout the Asia region, and we've got a good head start," Fikre said. AEG opened a 4,500-capacity venue in Bangkok last year with a concert by Ed Sheeran. The company is also working with one of Thailand's largest mall operators to build an 18,000-seat arena in a sprawling regional mall just east of Bangkok, set to open in 2028. AEG's network of venues throughout Asia makes it easier to book big-name artists. "It's a bit tricky to tour in Asia because of the expense of traveling around the region," Fikre said. "It's not like you're in the U.S., where you just take a bunch of trucks" from city to city. Swift completed the international leg of her most recent tour last year that included six nights in Singapore and four nights in Tokyo to sold-out audiences booked by AEG Presents as her international promoter. Sheeran played in Bhutan, India and other Asian countries he hadn't previously visited in venues booked by AEG. The international trend now works in both directions for AEG, with K-pop acts such as BTS, Blackpink and other global stars packing AEG venues in the West. Sign up for our Wide Shot newsletter to get the latest entertainment business news, analysis and insights. This story originally appeared in Los Angeles Times. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
29 minutes ago
- Yahoo
A historic win by 45-year-old Venus Williams resonates and shows there are no limits for excellence
WASHINGTON (AP) — There are plenty of reasons why this particular victory by Venus Williams in this particular tennis match — just one of hundreds — resonated with so many folks. That she's 45, for one thing. Only one woman, Martina Navratilova, ever has won a tour-level singles match while older; her last victory came at 47 in 2004. That Williams hadn't entered a tournament anywhere in 16 months. That she needed surgery for uterine fibroids. And when asked Tuesday night after beating her 23-year-old opponent, Peyton Stearns, 6-3, 6-4 at the DC Open what message others might take away from that performance and that result, Williams was quick to provide an answer. 'There are no limits for excellence. It's all about what's in your head and how much you're able to put into it. If you put in the work mentally, physically, and emotionally, then you can have the result,' she said. 'It doesn't matter how many times you fall down. Doesn't matter how many times you get sick or get hurt or whatever it is. If you continue to believe and put in the work, there is an opportunity, there is space, for you.' Williams has been winning at tennis for decades. Her pro debut came when she was 14. Her first Grand Slam title came at Wimbledon in 2000, less than a month after her 20th birthday. She accumulated four major singles trophies before Stearns was born and eventually wound up with seven, five at Wimbledon and two at the U.S. Open, plus another 14 in women's doubles — all with her sister Serena — and two in mixed doubles. 'I have so much respect for her to come back here and play, win or lose. That takes a lot of guts to step back onto court, especially with what she's done for the sport,' said Stearns, who is ranked 35th and won NCAA singles and team titles at the University of Texas. 'You have a lot behind you. You have accomplished a lot. And there is a lot of pressure on her and to kind of upkeep that at this age. So massive credit to her for that.' There were challenges along the way for Williams, none more public than the diagnosis in 2011 of Sjögren's syndrome, an energy-sapping auto-immune disease that can cause joint pain. More recent was the pain from fibroids — noncancerous growths — and shortly before the DC Open, Williams said: "Where I am at this year is so much different (from) where I was at last year. It's night and day, being able to be here and prepare for the tournament as opposed to preparing for surgery.' As thrilled as the spectators — 'Who I love, and they love me,' Williams said — were to be able to watch, and pull, for her under the lights Tuesday, other players were rather excited about it, too. 'I commend her so much for being out here,' said Taylor Townsend. Naomi Osaka's take: 'She's, like, the queen. There's a royal air around her.' 'She's one of the best athletes of all time," Frances Tiafoe said. "Her and her sister, they're not only great for the women's game, not only great for women's sports, but they are so iconic.' Yet, there were some on social media who wondered whether it made sense for the tournament to award a wild-card entry to Williams instead of an up-and-coming player. DC Open chairman Mark Ein said it took him about two seconds to respond 'Of course' when Williams' representative reached out in April to ask whether a spot in the field might be a possibility. A reporter wanted to know Tuesday whether Williams took any satisfaction from proving doubters wrong. 'No, because I'm not here for anyone else except for me. And I also have nothing to prove. Zip. Zero. I'm here for me, because I want to be here,' she said. 'And proving anyone wrong or thinking about anyone has never gotten me a win and has never gotten me a loss.' ___ Howard Fendrich has been the AP's tennis writer since 2002. Find his stories here: More AP tennis: Howard Fendrich, The Associated Press
