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Yahoo
2 days ago
- Sport
- Yahoo
Spain triumph in New York for consecutive SailGP wins
Reigning champions Spain have put in a battling performance on the second day of the sixth round of SailGP, beating New Zealand and France in the final race in New York to clinch consecutive wins as the season reached the halfway point. Coming off their season's first victory in San Francisco in March, Diego Botin's team went five points clear into day two and overcame a slump in race five to make the top three. With shifting winds in the shadows of the Statue of Liberty on Sunday, Spain took control of the showdown on the Hudson River with an impeccable start, arriving three seconds ahead of New Zealand at gate two and three, and held their lead to clinch the victory. VAMOSSS! 🇪🇸🔥👏The #NewYorkSGP final delivered a fantastic strategic battle with @SailGPESP taking the win! 👑 #SailGP — SailGP (@SailGP) June 8, 2025 Peter Burling's New Zealand, winners in New York last year, lost more distance in the final stages and reached the finish line 43 seconds behind the Spaniards. The win saw Spain move up two places in the championship table on 46 points as they moved above three-times champions Australia, who finished fifth in New York, by one point. "America is a special place for us and it's amazing to win again here," Spanish driver Botin said. But it was not all smooth sailing for Spain on the event's final day. They started off well with a second-placed finish in the day's opening race four, 16 seconds behind Brazil, who won their first-ever fleet race at SailGP since joining the league at the beginning of the season. The Brazilians, who sat fifth after day one, were hopeful of a top-three finish, and were well positioned for just that when they finished fourth in the next race. A tricky race five, meanwhile, did a lot of damage to Spain, who were 11th and dropped from top spot to fourth in the event standings. Botin's crew earned a penalty in the decisive race six but made massive gains and got ahead of Brazil on the second-to-last leg to secure a spot in the event final. Australia held onto their early lead to win the sixth race, grabbing their second victory of the event after they came out on top in the second race on Saturday. France, who sailed very consistently on both days, put in a flawless performance to pick up a win in race five. The season next moves to Europe, first returning to Britain as the fleet races in Portsmouth from July 19-20 before heading to Germany in August for the very first time.
New York Times
24-05-2025
- Entertainment
- New York Times
Two Decades After Her Death, Celia Cruz Lives On for Her Fans
Celia Cruz reigned for decades as the 'Queen of Salsa,' with her signature shout of '¡Azúúúcar!' expressing in Spanish her music's brand of joy and optimism. Twenty-two years after her death, the Cuban powerhouse singer still captivates her fans. The petite woman with a raspy voice wore tight, glittering dresses and colorful wigs and danced in high heels while singing her hit Spanish-language songs such as 'La negra tiene tumbao' and 'Ríe y llora.' Born Oct. 21, 1925, Ms. Cruz began her career in Cuba in 1940 and continued it in exile, producing more than 70 international albums and winning multiple Grammy Awards and Latin Grammys. She moved to New York in 1961, and brought her musical Cuban roots and mixed them with Puerto Rican and later Dominican rhythms, helping to usher the birth of salsa as a popular Latino genre in the United States. 'When people hear me sing,' she said in an interview with The New York Times in 1985, 'I want them to be happy, happy, happy. I don't want them thinking about when there's not any money, or when there's fighting at home. My message is always 'felicidad' — happiness.' Ms. Cruz died in 2003 at her longtime home in Fort Lee, N.J., from complications after a surgery for a brain tumor. She was 77. Following a tour of her coffin in Miami, masses of fans honored her at a public viewing in New York City. More than two decades later, her message still resonates, and she remains relevant in what would have been her birth's centennial this year. She has remained specially visible in Miami, where many Cuban exiles and their children revere her, and the sound of bongo drums are heard in private and public celebrations. 'I see Celia Cruz not only as a legendary performer but as an enduring symbol of cultural memory, resilience and diasporic pride,' Karen S. Veloz, a Cuban American music professor at Florida International University in Miami, said in an interview. 'She stands as a cultural icon whose music traverses generations, political borders and languages.' And beyond Miami, Ms. Cruz has maintained a digital audience too, with more than 6 million monthly listeners on Spotify and her official YouTube channel garnering about 493,000 subscribers. Here are some of the different ways that the grande dame of salsa, also referred to simply as Celia by her fans, has been honored recently. The Celia Bobblehead For a home baseball game on May 14, the Miami Marlins gave away 8,000 bobbleheads of Celia Cruz as part of the organization's annual Cuban Heritage Day. The doll featured a smiling Ms. Cruz holding a microphone and wearing a blue ruffled dress. As part of the ticket package, the team sold commemorative baseball jerseys with her image that were designed by a Miami artist known as Disem305. The team also hosted Lucrecia, a Celia Cruz tribute singer, who threw the ceremonial first pitch and performed her songs. A New Mural in Miami Artwork in the Little Havana neighborhood of Miami captures Ms. Cruz's incandescent smile and her joie de vivre, with two portraits set to a backdrop in teal and pink. 'As an artist and a huge salsa and Celia Cruz fan, this is a huge honor for me,' its creator, Disem305, said of the mural, which measures 11-feet high and 45-feet wide. 'On the right side of the wall, there's a younger Celia with the Freedom Tower standing tall behind her to represent the Cuban community here in Miami,' he said, referring to the Miami landmark where many Cuban refugees arrived in the 1960s and '70s. 'On the left side, there's a portrait of an older, more mature Celia — the one that comes to mind when most of us hear her name — with her huge, contagious smile.' He said he was commissioned by the Marlins to design the mural and the commemorative jersey. A Commemorative Coin Ms. Cruz became the first Afro-Latina to appear on American quarters as part of the 2024 U.S. Mint's American Woman Quarters collection, which honored a diverse group of notable American women in a variety of fields. The U.S. Mint described Ms. Cruz as a 'cultural icon, and one of the most popular Latin artists of the 20th century.' The quarter's tail shows her dazzling smile as she performs in a rumba-style dress. '¡Azúcar!' — which means 'Sugar!' — is inscribed on the right. A Posthumous Award In April, Ms. Cruz was posthumously honored with a 'Legend Award' at the Billboard Latin Women in Music gala in Miami. A montage highlighted her early days in Cuba as she broke gender barriers in a male-dominated industry, eventually elevating Afro-Cuban sounds on global stages. 'Celia Cruz made her life a carnival with a voice that seemed out of this world,' the singer Joya said on the show. The Puerto Rican performers Ivy Queen, La India and Olga Tañón paid tribute to Ms. Cruz by singing a medley of her songs. '¡Qué viva la reina!' La India shouted to the audience and viewers. Celia on Exhibit From January to February, the Museum of Art and Design at Miami Dade College celebrated the singer with the exhibit 'Celia Cruz: Work.' The exhibit, which included videos, posters and Ms. Cruz's wigs and gowns, drew more than 400 people to the Hialeah campus, museum officials said. Pinecrest Gardens, a lush botanical oasis south of Miami, also remembered Ms. Cruz in January with a celebration that included a concert series featuring musicians. As part of the reopening after restoration of the Freedom Tower, which is operated by Miami Dade College, officials will host a Freedom Tower Family Day on Oct. 11 for visitors 'to experience Celia's story' through readings, art activities and performances. 'She is not only a global icon,' María Carla Chicuén, a college spokeswoman, said in a statement, 'but a cherished figure in Miami, whose life and legacy are deeply intertwined with the history of the Freedom Tower.'
The Guardian
20-05-2025
- General
- The Guardian
Mexican navy says ship's pilot in deadly bridge crash was from New York
The Mexican navy has said that the pilot navigating the training ship Cuauhtémoc during its Saturday night crash into the Brooklyn Bridge was New York-based. 'The ship must be controlled by a specialized harbor pilot from the New York government,' Admiral Raymundo Pedro Morales Angeles said at a press conference. Morales Angeles acknowledged there was not much time for the pilot to react to the situation, possibly as little as 80 to 90 seconds. Two soldiers from the Mexican navy were killed and 22 others were injured during the incident, which collapsed all three of the ship's masts. The event was captured on video by onlookers and quickly spread on social media. The dead were identified as América Sánchez, 20, from Veracruz, and Adal Jair Maldonado Marcos, 23, from Oaxaca. In interviews with Mexico News Daily, family members talked about Sanchez's aspirations to become a naval engineer, and Maldonado's long-held dream of following his father's path as a sailor. The ship, which had 277 people on board, was in the midst of a 254-day global goodwill tour, beginning with a 6 April departure from Acapulco, on Mexico's Pacific coast, and spent five days docked in New York City. New York police said the ship lost power as it left the harbor for Iceland, and was sucked toward the bridge by the current. The ship, at 157ft tall (48m), was unable to fit under the clearance of the Brooklyn Bridge, at 134.5ft (41m). A member of the National Transportation Safety Board (NTSB) was unclear as to how police discerned the ship lost power, but said there were no structural integrity concerns related to the Brooklyn Bridge itself. Onlookers reported seeing crewmembers hanging from the ships masts and beams while awaiting rescue. A full investigation into the ship's crash is being handled by the NTSB. A preliminary report is expected to be issued in under 30 days, but the full investigation will likely take over a year.
CBS News
20-05-2025
- General
- CBS News
Ship that struck Brooklyn Bridge was under control of pilot from New York, head of Mexico's navy says
Mexico's Secretary of the Navy claimed Tuesday that a pilot from New York was in control at the time the ship crashed into the Brooklyn Bridge. Raymundo Pedro Morales spoke at a news conference with Mexico's president. "In particular, in New York, the ship has to be controlled by a specialized harbor pilot from the New York Government, so the entire maneuver that the ship made from the moment it left the dock until the collision was under the control of the pilot," Morales said in Spanish. Morales claimed that the pilot had very little time to act, because the distance from where the ship was docked to the bridge was very short. CBS News New York is reaching out to local officials for comment. Meanwhile, the National Transportation Safety Board is still waiting for permission from the Mexican government to board the ship. The Cuauhtémoc remains docked at Pier A on Manhattan's Lower East Side. Two sailors died in the crash. The NTSB says it will be looking at three components that could have played a role, including crew operations, the condition of the vessel, and the wind and tides. A prayer vigil is being planned for Wednesday night in Brooklyn.
ABC News
18-05-2025
- Entertainment
- ABC News
La Cocina shows the chaotic lives of undocumented migrants working in the underbelly of US commercial kitchens
Translating from Spanish to mean 'the kitchen', the title of Mexican writer-director Alonso Ruizpalacios's latest work reflects its central preoccupation: undocumented Hispanic migrants who seek to better their lives in the underbelly of American commercial kitchens. What: 24 hours inside the pressure cooker that is a commercial kitchen staffed mostly by undocumented migrants. Directed by: Alonso Ruizpalacios Starring: Raúl Briones, Rooney Mara, Anna Díaz, Motell Foster Where: In cinemas now Likely to make you feel: Struck by its interludes of beauty, but mostly stressed Times Square tourist trap The Grill is the site of our focus, and we follow Estela Ramos (Anna Díaz) as she haphazardly navigates the subway system and American employment practices armed with a smattering of English and the name of someone who'll purportedly be able to get her a job: a fellow Mexican chef by the name of Pedro (the heart of the film, played by a mercurial Raúl Briones). But something is up at The Grill. More than $800 went missing from the cash register the night before, and management is in a frenzy. Certain it was one of their precariously employed staff, management takes to interrogating each and every one of them. Meanwhile, Pedro's American waiter girlfriend, Julia (a striking Rooney Mara), is pregnant with his child and at odds with what she wants to do about it. Severely homesick and hopeful that this child is the best thing that may happen to him, Pedro gives Julia money while beseeching her to not get an abortion. All the while, orders keep spitting out of a receipt printer — evoking The Bear (I'm sorry, it had to be mentioned sooner or later). Dishes get forgotten, food is perilously dropped, equipment malfunctions (resulting in one of the more surreal scenes of the film), food burns, tempers are lost. It's impossible to write about La Cocina — shot entirely in black-and-white except for a few key moments — without referencing Juan Pablo Ramírez's stunning camera work and exquisite framing of the film's subjects. Reflecting Estela's discombobulation in the film's first few scenes, the slow-motion shots are juddering and gauzy, culminating in a feeling of being sick and adrift. Once she finds The Grill, the camera stills, favouring rapid to-and-fros between various people — heightening the urgency. There are close-ups of a sandwich being assembled with the utmost care (unlike the miscellaneous dishes on the restaurant menu), of people chewing, of a viscous substance dripping off meat. Food is rendered into something almost abject — reduced to the basest, most primal desires of the people consuming it. This is perhaps reflective of the hospitality industry, where questionable ethics underpin aspirational dining experiences entirely divorced from the people who produce them. Slicing through the scenes are Tomás Barreiro's majestic score and Javier Umpierrez's dramatic sound design. Every noise, thud and reverberation — water gurgling from a soft drink dispenser, meat cleaved into thick slivers, the din of playful cusses — is magnified to exacerbate the claustrophobia of being in a small kitchen. Often, this reflects the inner chaos of the characters — a soothing chant is disrupted by discordant instruments as Pedro descends into a state of crisis. Swathes of the film are cloaked in silence as characters monologue or in moments of extreme tension. A hierarchy of sorts becomes evident in The Grill, where undocumented migrants from places like Mexico, Colombia, the Dominican Republic and Morocco butt up against an American underclass. Spanish is the lingua franca of the kitchen, while English is spoken in the restaurant's public façade. The restaurant's manager is a second-generation migrant, himself the son of undocumented migrants. In the kitchen, men occupy a position of supremacy over the women; female waiters are sexualised and Pedro's rapscallion quality gives way to coercive streaks of cruelty and violence when he's under pressure. This dynamic is complicated through Pedro and Julia's relationship. Julia is a white American citizen, but her womanhood imperils her. Pedro has no legal rights in America and speaks in a tongue foreign to him; in a memorable scene, he tells Julia: "I have to cry in English because you will not come to me. I have to come to you always." Yet he also exemplifies the dominance of the patriarchy. Legal papers are dangled over Pedro like a carrot, but he will never obtain them. The entire kitchen crew are in varying positions of stasis, doomed to repeat the same movements day after day without any hope of escape or ascendancy. The American Dream is such; an enduring hope that powers the economy while fatally depleting those who dare believe in it. The arrested scope of La Cocina and the highly stylised and choreographed formations of actors as they cook, dish and serve is reminiscent of a play, so it's not surprising that this film is loosely based on Arnold Wesker's 1957 British play 'The Kitchen'. But the medium of film is employed adroitly to capture that which theatre cannot. The phone through which Pedro calls his family in Mexico becomes a portal through which he can see and hear his home. The most transcendent scene of the film occurs when Pedro and Julia lock eyes through a lobster tank to the baleful tune of Lee Hazlewood's 'Your Sweet Love'. Pedro is a "f***ing time bomb" in one character's words, and the same could be said of La Cocina. The escalating pressure needs a release valve, and we see the film reach its fateful end in a single-take, 10-minute final sequence. It's breathtakingly gripping, simultaneously horrible and cathartic. La Cocina is in cinemas now.
