Those days between Christmas and New Years are a little strange. Sometimesit’s like they don’t exist at all. You’ve just had two and a half days ofpartying, and in a week you’ll need that feeling again. A week is too short tosober up, so you better hold on to the party spirit. The International ChamberMusic Festival Utrecht will once again help considerably with this thiswinter.

The festival was founded and is led by star violinist Janine Jansen; theconcerts with her remain highlights. Visitors to the opening on Tuesday wereunlucky: Jansen had to cancel due to illness, but promised to play the otherconcerts.

Like on Wednesday evening, when you could participate in ‘Kerkenmarathon’: 45minutes of chamber music in three churches, with a refreshing (and obligatory)walk in between. The great apotheosis will be in your head all evening asanticipation: Janine Jansen herself will play in the last church, togetherwith her guest programmer, violist Amihai Grosz.

Clap of the evening

In every church, one of those well-known ones sounded first on Wednesday_cello suites_ from Bach. In the Geertekerk, chocomel or Glühwein behind theteeth, Pablo Ferrández also opened with a highlight: a smooth, lively, clevernarration of the First. Then he moved into it Second string quartet byAnton Arenski. The variations on a theme by Tchaikovsky, to whom Arenskydedicated the piece, were especially lively in all directions.

After a stop in the Lutheran Church, with a much more businesslike Thirdcello suite by Zvi Plesser and a terribly difficult to play and therefore abit wobbly horn quintet by Mozart, you landed in a packed Nicolai church. Thencame the blow of the evening: Janine Jansen rehearsed all day and then felttoo tired to play.

Also read an interview with Janine Jansen: ‘ Sometimes music is sopoignantly beautiful that I have to cry’

You forget that sadness a bit with a special version of the Second cellosuite : not for one cello, but two, in an arrangement by Plesser and hispartner Hillel Zori. They separated the suites, divided them between twocellos and added harmony notes that Bach insinuates, but can never make soundon one cello. Ferrández was allowed to take Zori’s place for once. Again thereis an emphasis on the darkness, with voices chasing each other in the depths.Bach suddenly sounds very full. It is musically very interesting, but in termsof experience not as strong as a cello solo. It is precisely that desolationof one cello that plays so insanely beautifully that grabs you by the throat.

The replacement for Jansen and Grosz came in the form of the young Norwegianstring quartet Opus13, which after their programmed part of the evening (a_Langsamer Satz_ by Anton Webern) remained seated. They already played a partfrom their concert on Friday: the second part from the Second string quartet(opus 13, hence) by Mendelssohn. With that they erased an unexpectedly largepart of the sadness for Jansen: how practiced, clear, warm and chargedtogether that sounded! That boded well for their Friday afternoon concert.

Classic

International Chamber Music Festival Utrecht. Heard: “Church Marathon,”12/28. Until 30/12, Utrecht.

Info: chambermusicfestival.nl

●●●● ●

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A version of this article also appeared in the December 30, 2022 newspaper

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2022 was the year where everything was allowed again, after two years ofrestrictions due to the pandemic. For many it was therefore a wonderful yearwith many trips and festivals. Unfortunately, it was not all roses andmoonshine, because some well-known couples both at home and abroad have put anend to their relationship in recent months.

Jotti (27) and Cas (24)

The winners of the last season of ‘Love Island’ threw in the towel in Novemberafter a few months, after Cas alleged infidelity. Something he himself denies.

© Streamz

Vera (26) and Dimitri (27)

Sparks flew in the ‘Big Brother’ house last season, but once back in reality,they decided to call it quits in April.

© Play4

Jens Dendoncker (32) and Lauren Versnick (28)

Jens and Lauren were together for four years, but ended their relationship inSeptember. They do remain good friends.

© Photo News

Candice (33) and Merijn (37)

The two had chemistry from the start in ‘Blind Married’ in 2020. They moved intogether after the shooting, but decided in September to go their separateways.

© VTM

Jason Momoa (43) and Lisa Bonet (55)

‘Game of Thrones’ and ‘Aquaman’ actor Jason Momoa and Lisa Bonet put an end totheir relationship in January after a relationship of 16 years, including fiveyears of marriage. They have two children together.

© Getty

Kim Kardashian (42) and Pete Davidson (29)

Kim and Pete were together for almost a year, but in August it became knownthat she was no longer a couple with the comedian.

© Getty

Kanye West (45) and Julia Fox (32)

Kanye also continued after the split with Kim. He had been with actress /model Julia since January, but after a short romance of barely two months,they already broke up

© getty

Shailene Woodley (31) and Aaron Rodgers (39)

‘Divergent’ actress Shailene Woodley and American football player AaronRodgers called off their engagement in February after a year. How long the twowere together is unknown as they kept their relationship out of the spotlight.

© Getty

Leonardo DiCaprio (48) and Camila Morrone (25)

Actor Leo and actress/model Camila were together for four years, but called itquits at the end of August.

© Getty

Anna Kendrick (37) and Bill Hader (44)

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© Getty

Shakira (45) and Gerard Pique (35)

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Emily Ratajkowski (31) and Sebastian Bear-McClard (34)

The model and actor were married for four years, but they confirmed theirsplit in July. They have a child together.

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Matt LeBlanc (55) and Aurora Mulligan (38)

Friends actor Matt LeBlanc (Joey) dated British TV producer Aurora Mulliganfor six years. In February they put an end to their fairy tale.

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Toni Collette (50) and Dave Galafassi (44)

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Billie Eilish (21) and Matthew Tyler Vorce (29)

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Alexis Bledel (41) and Vincent Kartheiser (43)

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Florence Pugh (26) and Zach Braff (47)

The ‘Don’t Worry Darling’ actress and ‘Scrubs’ actor split in August afterthree years of dating.

It wasn’t that long ago that artists largely depended on radio stations toscore a hit. In 2022, attention on the radio helps, but it is mainlyTikTokkers that you have to pack. The social medium, extremely popular amongteenagers, has had a major impact on the music industry this year.

A playful video idea or a choreography that is easy to imitate that iscirculating on TikTok: nowadays an artist doesn’t seem to need much more toscore a hit.

If anyone has personally experienced the power of this app in the past year,it is the Armenian singer Rosa Linn. Despite only twentieth place in theEurovision Song Contest, her song went viral on TikTok soon after the final.Numerous videos appeared on the platform with an accelerated version of _snap_but the original also became a hype.

The counter has now reached 400 million streams on Spotify. In comparison: thewinning Eurovision song by Kalush Orchestra from Ukraine has around 40 millionstreams. Only Arcade by Duncan Laurence (which also became a TikTok trend)is the only Eurovision song with more streams than snap.

Hits from new artists

Rosa Linn wasn’t the only relatively new artist to get a big boost this yearthanks to TikTok. Japanese artist Joji already had a few streaming hits to hisname when he managed to reach an even larger audience this year with Glimpseof Us. TikTokkers began to doubt their own relationship because of thelyrics. Partly because of this Glimpse of Us in the United States one of thebiggest hits of the year.

Singer Lauren Spencer-Smith came to american idol did not go beyond the top20, but scored with Finger Crossed a bigger hit than many a talent showwinner ever did. She made good use of TikTok by warming up her followers withsmall pieces of the song. By the time the full track was released, Spencer-Smith’s millions of streams were already flying.

The number abcdefu by the American artist Gayle was in the highest regionsof the charts for months at the beginning of this year, also in theNetherlands. The angry number addressed to her ex was used en masse by TikTokusers who themselves had a bone to pick with a former lover.

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Taylor Swift and Beyoncé also lean on TikTok

Even the most established artists on our planet can benefit from a TikToktrend. Taylor Swift’s new album midnight didn’t necessarily need the app tobe a success. Still, it was very welcome for team Swift that TikTokkers ranoff with the phrase ” i t ‘s me, hi, I’m the problem, it’s me_from thenumber _Anti Hero.

Meanwhile, Sam Smith scores one of the biggest hits of their career with thesong Unholy with Kim Petras. The song already scored on TikTok when only afragment of the song was available. Since the full version appeared onSpotify, it has been one of the most listened to songs worldwide non-stop.

Both Beyoncé and Lizzo have benefited from the power of TikTok choreography.With singles Cuff It and About Damn Time dances were devised byinfluential TikTokkers. It helped the records to the top of internationalcharts.

Old hits return

TikTok not only offers space for new artists and hits, old songs are alsobeing given new life. The second life of Running Up That Hill (A Deal WithGod) of Kate Bush was primarily due to, of course Stranger Things. But alsoyoung people who have never seen an episode of the hit series were introducedto the song through the many creations on the app.

Lady Gaga is currently having a hit with a song from 2011. Blood Mary doesnot appear in the series Wednesday before, but users of TikTok edited itunder a scene from the Netflix hit. Et voilà, Lady Gaga is raking in millionsof streams a day again.

Tom Odell’s love song AnotherLove from 2012 took on a new meaning afterbeing used in images of both the war in Ukraine and the protests in Iran.

The Dutch pop group Ch!pz is also in the spotlight again. The number 1001Arabian Nights was provided with a new choreography by TikTokkers. Even KimKardashian and her daughter North did the dance steps.

0:22 Afspelen knop

How the music industry is dealing with it

TikTok opponents consider the platform to be the death of music. They statethat you only need to deliver a catchy fragment to score a hit. Recordcompanies have of course also found out that there is money to be made onTikTok. This can lead to artists and songwriters being commissioned to createsomething that has viral potential.

In addition, speeded up and slowed down versions of songs are now officiallyreleased following TikTok success on a regular basis. This was the case, forexample, with Lykke Li. Songs by the Swedish singer went through the roof onthe app several times thanks to the delayed versions. On Instagram, Lykke Liexpresses gratitude for the renewed interest in her music. Still, you maywonder to what extent these distorted versions are still her own creations,which also score better than the original.

En mi primera infancia llegó a mis manos un tebeo de figures illustrations_dedicado a Pelé y lo leí hasta descuadernar la revista. ¿Como no quedarfascinado? Se trataba de un chico humilde que con 15 años debutó en el Santosy tardó muy poco en convertir a Brasil en Campeón del Mundo, al Santos en el_Santos de Pele ya sí mismo en rey por elección popular. Rey del futbol. Reydel deporte rey. Primero lo vi jugar en mi cabeza, desde fotos que veía endiarios y revistas que activaban mi imaginación. And la revista El Grafico ,biblia deportiva de la época, veía ese cuerpo como si se tratara de una postalde fútbol y las cosas que se decían de él parecían mágicas. Hablo de un tiempoen que las palabras aún sostenían leyendas. No tuve la opportunidad de verjugar a Pelé en directo yademás debí esperar mucho tiempo para disfrutarlogracias a la televisión.

Escondido de mí, Pelé seguía levantando Copas y todas las semanas viajaba parajugar amistosos que lo exhibían como un héroe en el mundo entero. Además de sucarisma había el punto de misterio propio de la época que ayudaba a suidealización. En Europa lo veían solo de vez en cuando y esos pasos fugacesdejaban certezas sobre su colosal talento, pero también preguntas difíciles decontestar. La más común: ¿destacaría tanto jugando en Europa como lo hacía enSudamérica? La duda me ofendia. Si a estas alturas la respuesta sirve paraalgo, aquí va la mía: por supuesto que sí. Los genios trascienden geografías yepocas.

Cuando llegó el Mundial del 70, Pelé tenía 30 años, yo tenía 14 y mi madreaccedió a comprar un televisor. Sería la primera vez que podría ver jugar afutbolistas profesionales. Un emocionante acontecimiento que nunca olvidare.Sobre todo, porque el televisor entró a la cocina de mi casa con Pelé dentro.Todo lo que vi en aquel Mundial no defraudó la idealización del fútbol quehabían provocado las voces radiofónicas y los artículos periodísticos. Perocada partido de Brasil era una soberbia obra coral, en donde Pelé se encargabade lo distinto. Como si en medio del partido, activado por un balón,apareciera en escena un mago que asombraba con un maravilloso instinto animalque nadie más tenía.

A pesar de mi argentinida , lloré de alegría viendo como Brasil levantaba laCopa y como Pelé era paseado a hombros en lo que era su consagracióndefinitiva. Muchos años después me encontré con la crónica de aquella finalfirmada por el periodista y escritor Armando Nogueira, que empieza de estaforma maravillosa: “Y las palabras, yo que vivo de ellas, ¿dónde están?” Merecuerdo solo en aquella cocina y aunque ya apuntaba maneras como agnóstico,sentía que Dios quería decirme algo cada vez que Pelé tocaba la pelota. Unchico de 14 años tampoco tenía palabras para definir la emoción que sentía,pero mirados esos momentos desde aquí, tengo pocas dudas de que aquellos díasconformaron mi gusto por un fútbol elegant, astuto y valiente. Fue aquelBrasil, y sobre todo Pelé, los que me hicieron creer que el fútbol podía ser,entre otras muchas cosas, una obra de arte. Con el tiempo encontré muchas másveces otras cosas que obras de arte pero mi sensibilidad ya estaba marcadapara siempre.

And aquel Brasil todos jugaban de maravilla, pero Pelé no necesitabaesforzarse para ser diferente. Inventaba soluciones espontáneas para todos losproblemas, lo que era una experiencia estética siempre diferente. Hablamos deun atleta de zancada armoniosa, tanto que era bello verlo correr. Muy fuertemuscularmente, virtud útil para el freno, el arranque, el salto, todosproductos de primera necesidad para hacer desequilibrantes su fútbol. Tambiende coraje andaba bien. Aquellos que lo marcaron coincidían en que, al comienzode los partidos, Pelé les hacía una advertencia: “Si me pegan, pego”. Y enaquellos tiempos se pegaba lo que las nuevas generaciones no se imaginan. Comoadvertía, Pelé respondía con sentido de la proporción.

Y ahora sí, señoras y señores, llega su majestad la pelota a los pies de Pelé.Aquí no había puntos débiles. Conducía, regateaba, pasaba y tiraba con las dospiernas; su mirada periférica pasaba de cercana y mediana hasta largadistancia para habilitar a compañeros con precisión y un veneno que le abríaun panorama nuevo a la jugada. La cabeza, siempre levantada, era parteimprescindible de la gracia de su figura. En el área tenía un repertorioinagotable que queda expresado en los 767 goles oficiales y los muchos más demil, si contamos los amistosos.

Su repertorio futbolístico era amplísimo. Aqui va una pequeña muestra. Essabido que cuando pisaba el área y no había asociación posible con uncompañero, tiraba paredes con los rivales. Tan simple como utilizar laspiernas de los contrarios como una pared de verdad, se las tiraba fuerte yantes de que pudieran reaccionar, Pelé ya se había apoderado del rebote. Elsiguiente paso se llamaba gol. Cesar Luis Menotti, que fue su compañero en elSantos, cuenta que saltaba para cabecear y, en el aire, hacía un doble salto,la paraba con el pecho y luego tiraba. Los porteros se avivaron y, cuando laparaba con el pecho, salían para llegar antes de que la pelota bajara a lospies. Pero atención: cuando el portero estaba a mitad de camino, Pelé metía lacabeza como las tortugas y cabeceaba por encima de la salida. Otra vez gol.Por esas cosas Menotti, cuya inteligencia llegó hasta la médula del fútbolargentino y amó a Di Stéfano y Maradona, como ama a Messi, asegura a quien loquiera escuchar que “como Pelé, ninguno”.

Yo nunca supe comparar épocas y creo que no viene al caso ni en este ni enningún momento. No fue el único que, dentro de una cancha, me sedujo hastasucumbir a su encanto, pero fue el primero. Amo lo que Pelé me ​​dio y essuficiente para decirle gracias para siempre.

A woman who claims to have had an illicit relationship with Steven Tyler inthe Seventies when she was a minor has filed a lawsuit against the Aerosmithsinger, accusing him of sexual assault, sexual battery, and intentionalinfluence of emotional distress. The lawsuit was filed following Californialegislation that temporarily waived statutes of limitations for childhoodsexual abuse allegations.

In the suit filed in Los Angeles and obtained by Rollingstone , theplaintiff Julia Holcomb alleges that Tyler convinced Holcomb’s mother to granthim guardianship over her when she was 16 years old, which consequentlyallowed her to live with him and engage in a sexual relationship. She claimsthey were together from 1973 until about three years later. The suit itselfdoesn’t name Tyler, naming the defendants as Defendant Doe 1 and Does 2through 50. But Holcomb — who Rollingstone mentioned in a 1976 profile ofthe band in reference to Tyler’s romantic life — has been public about herexperience with Tyler in the past, and the lawsuit directly quotes fromTyler’s own memoir. In his book, without stating a name, Tyler similarly sayshe “almost took a teen bride” and that “her parents fell in love with me,signed a paper over for me to have custody, so I wouldn’t get arrested if Itook her out of state. I took her on tour with me.”

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In the suit, Holcomb alleges that she “was powerless to resist” Tyler’s“power, fame and substantial financial ability, and that Tyler “coerced andpersuaded Plaintiff into believing this was a ‘romantic love affair’”. Holcomballeges that she met Tyler (who would’ve been 25 at the time of their meeting)just after her 16th birthday when Aerosmith played a concert in Portland,Oregon, in 1973. Tyler, according to the suit, took Holcomb back to his hotelroom, where they discussed Holcomb’s age. After he allegedly asked why she wasout all night by herself, Tyler and Holcomb talked about her troubles at home.He then “performed various acts of criminal sexual conduct upon” her beforesending her home in a taxi the next morning, the lawsuit states.

Story continues

Tyler also allegedly bought Holcomb her own plane ticket to his next Aerosmithshow in Seattle since she was a minor and could not legally travel with himacross state lines, the suit says. After the Seattle show, Tyler allegedlyperformed more sexual acts on her, and Holcomb flew back to Portland the nextmorning.

By 1974, as the suit alleges, Tyler convinced Holcomb’s mother to allow him tobecome her guardian, which would allow him to more easily travel with herwithout criminal prosecution — a timeline that matches Tyler’s own commentsfrom his 2011 memoir. Tyler allegedly told Holcomb’s mother he would providebetter support than she was getting at home, promising to enroll her in schooland give her medical care. Tyler “did not meaningfully follow through on thesepromises and instead continued to travel with, assault and provide alcohol anddrugs to Plaintiff,” the suit claims.

Holcomb further alleges that she was pregnant with Tyler’s son in 1975 whenshe was 17 years old but got an abortion after Tyler insisted she terminatethe pregnancy following an apartment fire. In making the argument, he citedsmoke inhalation and lack of oxygen to the baby. Though the suit claims amedical professional told her the unborn baby was not harmed by the fire.

According to the lawsuit, Holcomb was hesitant about going through with theabortion, but Tyler had threatened to stop supporting her if she didn’tproceed with the procedure. After the abortion, she allegedly left Tyler andwent back to Portland to change her life. She became a devout Catholic, withher husband, and buried her previous experiences with Tyler until he wroteabout them in his book.

Holcomb says in the suit that her life was further disrupted with thepublication of Tyler’s memoir, which, without Holcomb’s consent, referencedhis time with an underage girl and subjected her to “involuntary infamy” whileframing the alleged abuse as a “romantic, loving relationship,” the suit says.Tyler has also spoken of a relationship with an underage girl both in his ownmemoir and in Aerosmith’s autobiography. The Aerosmith autobiography,published in 1997, references the relationship, the apartment fire, andabortion, but Tyler refers to the girl as Diana and said she was 14 at thetime they met. In his memoir, however, he says she was 16, and he writes aboutthe fire but not the abortion. In the suit, Holcomb says she’s mentioned inthe memoir’s acknowledgments which further removed her anonymity. (The book’sacknowledgments include Julia Halcomb which could be a misspelling of hername.)

“She was sixteen, she knew how to be nasty, and there wasn’t a hair on it,”Tyler wrote in his memoir before saying he became the girl’s guardian to avoidgetting arrested if he took her out of state before detailing their sexualendeavors a few pages later. “With my bad self being twenty-six and she barelyold enough to drive and sexy as hell, I just fell madly in love with her. Shewas a cute skinny little tomboy dressed up as Little Bo Peep. She was myheart’s desire, my partner in crimes of passion.”

The lawsuit isn’t the first time Holcomb has shared these details about heralleged experience with Tyler. Prior to the complaint, she detailed many ofthe same allegations in 2011 for the far-right, anti-abortion websiteLifesitenews, and she has gone on programs like Tucker Carlson’s show to shareher experience as fodder against pro-choice advocacy. Holcomb also spoke ofthe experience in the 2021 documentary Look Away, which focused on sexualabuse in rock music culture.

“I became lost in a rock and roll culture. In Steven’s world it was sex,drugs, and rock and roll, but it seemed no less chaotic than the world I leftbehind. I didn’t know it yet, but I would barely make it out alive,” Holcombwrote in 2011. “I couldn’t believe he was even asking me to have an abortionat this stage. He spent over an hour pressing me to go ahead and have theabortion. He said that I was too young to have a baby and it would have braindamage because I had been in the fire and taken drugs. “

Holcomb’s suit comes in the final days of California’s Child Victims Act, a2019 piece of legislation that lifted the statute of limitations and granted athree-year lookback period for survivors of childhood sexual abuse to comeforward with their allegations. The deadline to file a lawsuit is December 31,2022.

A rep for Tyler did not immediately respond to Rollingstone ‘s request forcomments.

New York has similar legislation with the Adult Survivors Act, giving NewYorkers a year to file lawsuits over sexual misconduct they allegedlyexperienced in adulthood, regardless of when the claimed incident occurred.Since taking effect last month, two women have accused the late recordexecutive Ahmet Ertegun of sexual assault in the 1980s and 1990s. Californiaalso passed legislation lifting the statute of limitations on adult sexualabuse cases for a year starting on January 1st, 2023.

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Click here to read the full article.

Pelé tuvo el mundo a sus pies, pero los brasileños nunca le quisieron deltodo | Deportes

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Pelé hace una chilena durante un partido amistoso contra la selección deBélgica en Río de Janeiro (Brasil), en 1968.AP

Pelé es la compensación que Dios le otorgó a nuestro país por no tener, hastaahora, un premio Nobel. Pelé inventó la idea de Brasil en el imaginario detodo el planeta. El futbolista fue elegido Atleta del Siglo por el periódicofrancés L ‘Equipe and 1980. Andy Warhol, el artista pop que predijo lagloria instantánea durante 15 segundos para todos los mortales, dijo de él:“Pelé será famoso durante 15 siglos”. El jugador consiguió un alto al fuego en1969 en la guerra civil de Nigeria para que los africanos lo viesen jugar conel Santos Fútbol Club. Pelé tuvo el mundo a sus pies, pero los brasileñosnunca le quisieron del todo. Incluso en el lecho del hospital, Oh Rei erapisoteado en las redes sociales. La mayoría de sus detractores recordaba querechazó la paternidad de su hija, Sandra Regina Machado, en 1991; otrosrecordaban sus desafortunadas frases políticas: “El pueblo brasileño no estálisto para votar”, dijo en la década de 1970, en plena dictadura; y tambiénhubo quien lo criticó por su ausencia en la lucha antirracista.

Simeone dibujó unaparación pintona y atrevida. Con el tridente Griezmann, JoãoFélix y Morata tan pocas veces utilizado de inicio. La fórmula, con el luso yel francés con libertad para bajar a tocar balones y no solo esperarlos, fueintroducida por Simeone en un momento de necesidad imperiosa de puntos y en elque en el horizonte está si finalmente se da esa fatídica solución que seviene intuyendo desde hace tiempo: o el jugador o su entrenador. La cuestiónes si estando el equipo como está, Simeone y el club pueden permitirseprescindir de uno de sus mejores jugadores. El Cholo contribuyó anoche acrearle un contexto en el que él puede disfrutar. El técnico rojiblancodispuso su artillería más pesada para medirse al colista, al que trata dereparar Pablo Machín. Tras un año en Arabia Saudí y otro en el paro, haregresado al campeonato un entrenador que suele insuflar a sus equipos orden eideas claras. Yes se encontró el Atlético. Un conjunto que desde el arranquele dificultó el juego por dentro y por fuera. Siempre a la espera de que entreBoyé, Roger o Pere Milla ligaran alguna jugada prolongada o pescaran en algúnrenuncio a la defensa rojiblanca. Fueron los detalles de João Félix yGriezmann y los desmarques de Morata los que pusieron algo en jaque elentramado defensivo del Elche. Más fogueo que pegada verdadera. Fue cuando elnovato Pablo Barrios se soltó el pelo cuando el Atlético entró en verdaderacombustión. El chico comenzó tímido, pero empezó a asomar por la mediapunta yaportó gramos de distinción. Una conducción, una pared, un pase filtrado,suertes que a su equipo no le sobran. Uno más para desequilibrar, queademástiene trabajo y personalidad, nunca le viene mal a un equipo que trata debuscar soluciones. Su derribo de la puerta del primer equipo comienza a seruna realidad.

Fue un desmarque de Morata al borde del descanso lo que empezó a aclarar elpartido para el Atlético, obtuso para romper por fuera al equipo de Machín.Derribado por Verdú cuando se disponía a pisar área, fue el VAR el que decretóla expulsión del central del Elche. Con el lanzamiento a la barrera de JoãoFélix concluyó el primer tiempo, pero la expulsión hacía presagiar que elElche tendría complicado poder frenar la carga que iban a disponer losrojiblancos en el segundo. Entre João Félix, Barrios, Griezmann y Llorente seencargaron de confirmar esa salida a liquidar el encuentro. Solo un errorpodría condenar al Atlético. Y lo tuvo a medias. Hermoso vio una amarilladiscutible, pero una segunda clara que dibujó un nuevo paisaje de diez contradiez.

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La delicadeza del momento fue superada por una jugada trenzada en su origenpor João Félix con un toque de tacón, rematada por Griezmann y finalizada porel luso con un frentazo a placer tras convertir el francés en un pase templadoel despeje de Edgar Badía.

El tanto terminó de reconciliar a la hinchada rojiblanca con la inversión máscara de la historia del club. Las molestias físicas provocaron su cambio y elreconocimiento de una afición que no duda de que a ese nivel, con unaconfianza real del entrenador y con un contexto que le permita serprotagonista con la pelota puede ser determinante si finalmente no sale.

Ya abierta la lata, Barrios continuó con su descaro alegrando la noche a laparroquia. Pero fue Morata el que terminó por cerrar el partido, previocabezazo mordido de Pere Milla que angustió a Oblak. La maniobra de Moratasentando a Bigas en el lateral del área y recortando antes de ejecutar eldisparo que dibujó un globo envenenado tras tocar en Mascarell. Tirado en elsuelo, el atacante internacional no se dio cuenta de que la pelota habíaentrado. Se sorprendió con el gol, tanto como había sorprendido la apuesta deSimeone.

Simeone: “El futuro de João no depende de mi”

Diego Pablo Simeone se mostró muy satisfecho con la versión ofrecida por suequipo y por los dos jugadores que protagonizaron la victoria rojiblanca.Sobre João Félix dijo: “Comento lo de siempre. Pienso en los jugadores queestán conmigo. And sacarles lo mejor para el equipo y para el club. Lo quesuceda no depende de mi. Se entendió bien con Griezmann y Morata y nos generala opción de hacer daño”. Sobre el canterano, el preparador argentino expresósu sensación de que es un jugador que puede aportar mucho a un equipo quenecesita de jugadores distintos: “Cuando juegas con calidad, verticalidad, sinmiedo… el chico tiene unas condiciones muy buenas. And este partido le hasalido todo perfecto, pero no siempre será así. Hay un jugador de fútbol queva a crecer y lo importante es la humildad que tiene”.

“De todos los viajes de mi carrera, todo el mundo me pregunta: ¿Cuál es elmejor, en cuál te divertiste más? Un país que no puedo olvidar por el cariño,la atención que me dieron y por cómo me trataron, digo nuevamente, fueMéxico”, contó Pelé en un vídeo divulgado por la Secretaría de RelacionesExteriores de México en 2020.

Pelé llegó al Mundial de Suecia como suplente. Su puesto correspondía a JoséAltafani, un italo-brasileño que dejó una gran huella en el calcio (Nápoles,Milan, Juventus, Torino), donde era apodado Mazzola porque evocaba al granValentino Mazzola, estrella del trágico Torino que se estrelló en Superga en1949. Al tercer partido de la cita escandinava ya desfiló Pelé como titular ymarcó en los tres que quedaban, contra Gales, Francia y Suecia. And total,seis goles and cuatro partidos. Sus lágrimas tras ganar la final a laselección anfitriona, con un doblete suyo, simbolizaban a un niño extasiado enuna cima mundial. Y que niño. El primero de los dos goles que selló en lafinal fue antológico. Recibió un centro de Zagallo -que sería su seleccionadoren el Mundial de México de 1970, la obra cumbre de Brasil, la apoteosis delmejor equipo de la historia-, tiró dos sombreros, el primero con un do depecho y embocó. Glorioso.

Pelé supo modelar con inteligencia su carrera fuera del campo, reinventarse.Estudió, fue comentarista deportivo, empresario e incluso ministro deDeportes. Pero durante estas décadas fue sobre todo una leyenda viva. “Yo nobusco que haben bien de mí cuando me muera”, dijo a El País Semanal and2014, poco antes de protagonizar el saque de honor en el Mundial que secelebró en su patria.