Author: bestmedeal

Fahad llegó hace unos meses hasta la puerta de la ciudad deportiva del club alque pertenece y se la encontró cerrada. Preguntó de forma educada y tranquilapor qué no había entrenamiento y le respondieron que se habían suspendidohasta después del Mundial de futbol. ” Uff, eso van a ser muchos días sin mideporte favorito”. Y no es que Fahad no este acostumbrado a que en su país,Qatar las cosas de la frecuencia de los entrenamientos sea una cuestiónordenada y sencilla. A él siempre le han visto jugando con una pelota, soñandocon jugar en los más grandes estadios y es un seguidor empedernido de todasesas ligas que se juegan en Europa y que traen ejemplos a los que imitar.

Su problema es que le gusta entrenar, le gusta ese tiempo de compartir con suscolegas, aunque él no les llame colegas, claro, le gusta ese tiempo divididoentre correr, lo aburrido pero que ha visto que en Europa es un asunto muyimportante, y estar con la pelota, trabajar con ella, tocarla, pisarla,controlarla y aprender a medir la fuerza del pase, no en vano él, Fahad, sueñacon ser el mejor pasador del mundo. Y eso de los entrenamientos es unacuestión que no siempre va de forma muy regular ya que unos días por lasvacaciones familiares, otros por las cuestiones religiosas, otras porque lainstalación está cerrada porque dispone de ella su primer equipo o porque,simplemente, sus compañeros faltan y el entrenamiento se suspende, el caso queel plan idea por Fahad para llegar a ser una mago del pase está empezando afallar.

Cuando Qatar fue elegido como sede del Campeonato del Mundo de fútbol su casafue una fiesta. Todos celebraban que iban a poder ver en directo a eso ídolosque veían en la tele y que el gran mundo del futbol les iba a visitar endirecto. Pero cuando se fue concretando el plan para poder acoger unacompetición tan grande y tan diversa se fueron dando cuenta de que nodisponían de instalaciones para todas esas selecciones nacionales y que cadapequeño reducto debería ser puesto a dispersión de la organización aunque élesperaba que su instalación pasase por debajo del radar de los organizadores yque ellos pudieran seguir con su actividad preferida: jugar al futbol.

Porque ese es el gran debate con sus amigos, a ellos les gusta la posibilidadde ver en su casa a los mejores del mundo ya él lo que le gusta es jugar alfutbol. Veamos, no es que le importase poder asistir a uno de esos grandespartidos que se avecinan pero entre jugar y ver, él prefiere, y no tieneninguna duda en su elección, jugar.

Y ahora, en medio de eso que todo el mundo llama la fiesta del futbol, ​​Fahadse debe quedar mirando la tele, soñando con compartir partido con Messi comocompañero de equipo pero con la pelota lejos de sus pies, con sus compañerosabsortos con la llegada de tanta estrella y con sus campos ocupados por nosabe qué selección a los que no podrá ver porque todo esta cerrado, todo eshermético, todo tan cerca y tan lejos.

Cuando llega a casa, triste y enfadado pero no mucho no vaya a ser que un sucasa piensen que no quiere que el Mundial esté en Qatar, su padre le dice quevan a habilitar un campo de un colegio para que puedan seguir entrenando.Fahad es el unico de sus colegas

As a starting filmmaker, if you have finally caught a world premiere, you arenot allowed to go to the screening to have a chat. It happens to the Iraniandirector duo Farnaz and Mohammadreza Jurabchian with their film _SilentHouse,_which is now running at IDFA in Amsterdam. Reason for a party, but the bordersof Iran are closed. Certainly for them.

Het is het eerste dat opvalt tijdens het videobellen met zus Farnaz en broerMohammadreza: Farnaz draagt geen hoofddoek. Opzettelijk. Ze noemt dat geenprotest, maar benadrukt wel dat we een screenshot mogen maken van het gesprekom bij het artikel te plaatsen. Het regisseursduo komt dan net terug van dederde digitale screening van hun film.

Silent House werd op IDFA genomineerd voor Best First Feature, de prijs voorhet beste regiedebuut. De autobiografische documentaire vertelt het alledaagseverhaal van de drie generaties van hun familie tegen de achtergrond van deturbulente Iraanse geschiedenis.

Voor de documentaire hebben ze homevideo’s, interviews met familieleden enhistorisch materiaal gebruikt. Bijna de hele film speelt zich af in de honderdjaar oude villa in Teheran, waar Farnaz en Mohammadreza opgroeiden.

The interview with Farnaz and Mohammadreza Jurabchian in Iran.

In court because of ‘artistic and cultural communication’

The two were not allowed to come to Amsterdam to talk about their documentary.Even before they could pack their bags, the Iranian government stopped them.Farnaz and Mohammadreza were banned from traveling. The duo must now facecourt for “artistic and cultural communication with the world”. “But that’snot a crime, is it?” Farnaz wonders aloud.

Farnaz and Mohammadreza are currently out on bail. They are not giving anyfurther details about their legal situation for security reasons. “But if yousay that our security in Iran has been under pressure for six months, peopleknow enough.”

The two themselves do not see what is wrong with the film or why the Iranianauthorities did not want them to go to the film festival. It keeps gambling.

IDFA-directeur: ‘We moeten onze ogen niet sluiten voor wandaden’

• Het International Documentary Film Festival Amsterdam (IDFA) ontvangt elk jaar ongeveer vierduizend films en projecten, waarvan er uiteindelijk zo’n driehonderd voor het festival worden geselecteerd. Uit Iran zijn dit jaar vijf producties geselecteerd, tegenover 48 uit Frankrijk en 39 uit Duitsland. * In de afgelopen vier jaar wees IDFA twee Iraanse films af wegens banden met het autoritaire regime. “Ik had graag meer Iraanse films gekozen als dat mogelijk was geweest”, zegt IDFA-directeur Orwa Nyrabia. “Maar Iran maakt weinig documentaires waaruit een onafhankelijke stem blijkt. De originaliteit van de producties uit dat land wisselt elk jaar.” * Wanneer de invloed van het Iraanse regime sterk is, worden Iraanse films volgens Nyrabia minder onafhankelijk. Momenteel is deze invloed enorm, zegt hij. Hij noemt het “gestoorde” reisverbod van de Jurabchians als voorbeeld. “We moeten onze ogen daar niet voor sluiten en Silent House juist nu laten zien. Dat maakt de overheid duidelijk dat ze niet ongezien wegkomt met haar wandaden. En het laat aan de regisseurs zien dat ze er niet alleen voor staan. Dat ze een internationale gemeenschap hebben die in ze gelooft.”

‘If we can’t travel, the film should do’

Feeling in the dark: it is typical of the situation of many filmmakers inIran, three of whom are still imprisoned for unclear reasons. Farnaz andMohammadreza describe the Iranian film landscape today as “a minefield, inwhich the red lines are constantly moving”. “You never know when you’ll becaught or exiled.” Or a travel ban.

The bitter consequence is that the two cannot now attend their first publicscreening live. As a result, they miss the interaction with the audience,which they believe is indispensable food for documentary makers. “But if wecan’t travel the world, then our film should.”

There is no next project for the directors for the time being. They are unableto work under the current conditions. “You constantly think about limitations.You have to check the background of everything. So you just lose your artisticfreedom.”

A still from the movie Silent House.

Art is dying

And then you are also a woman. Farnaz: “Female directors have to work extralaboriously to be accepted and be extra strong in their shoes to be seen atall.”

Farnaz and Mohammadreza take a breather. They would like to make anotherdocumentary about the brave women in Iran, who are currently defying theprohibitions at the risk of their lives. Farnaz: “Because that’s what I missin film: a portrait of a brave Iranian woman.”

When asked if she is afraid of the consequences of this interview, sheresponds lightly: “We were advised to keep our mouths shut, but now I think webetter be as open as possible. What else can we do, stop talking completely ?That’s not possible. Because if you start censoring yourself, your art isalready dead.”

Grant Dalton llega más de una hora antes a la cita, una charla con EL PAÍS yel diario AS en Madrid. El director del Team New Zealand, el actual campeón dela Copa del América de vela, tiene una actividad frenética. A los 65 años,este marinero de Auckland, de piel curtida por el mar y vestido completamentede negro, habla con pasión de la próxima edición de la competición más antiguadel mundo (nacida en 1851), que se celebrará del 22 de agosto al 12 de octubrede 2024 en las aguas de Barcelona. Dalton es un mito en Nueva Zelanda y en losocéanos del planeta, ganador de una vuelta al mundo (1994) en cincoparticipaciones y de las dos últimas Copas del América, ya como director delNew Zealand: en Bermudas en 2017 en la final contra el Oracle y en 2021 anteLuna Rossa and Auckland.

Como manda la tradición, el campeón es el que elige la sede de la siguienteparada, y el que establece con el primer retador que se presente las normas dela competición. Dalton, mandamás del New Zealand y presidente de ACE(America’s Cup Events), provocó un terremoto tras elevar el último trofeo. Elgran jefe decidió que la legendaria Jarra de las 100 Guineas se mudaría fuerade Auckland. El rey no defendería la corona en su puerto, sino que escuchó loscantos de sirena de Barcelona. La ciudad catalana se impuso en la lucha porser la sede a Málaga, Yedda (Arabia Saudí) y Cork (Irlanda).

El equipo británico Ineos (retador), el estadounidense American Magic, elitaliano Luna Rossa y el suizo Alinghi son los aspirantes al trono del NewZealand, mientras que Francia hace números para unirse a la carrera con unatripulación (todos los navegantes han de ser de la misma nacionalidad que elconjunto). España no ha logrado armar un proyecto, aunque espera apuntarse alas categorías femenina y juvenil, que se estrenarán en Barcelona en la 37ªedición de la Copa.

Dalton argumenta esa polémica decisión de no defender la Jarra en casa, antesu gente: “Para hacer crecer un deporte, para dar a conocer la Copa delAmérica y la vela, con la diferencia horaria de Nueva Zelanda no es nada fácilcuando se compite estando la mitad del planeta de noche. El mercado depatrocinio es Europe. En la última Copa, tuvimos una audiencia acumulada de941 millones. Si la mantuviéramos en Nueva Zelanda, en la parte equivocada delmundo, no podríamos hacerlo crecer. And Barcelona seguro que crecemos. Esasson las razones por las que no hemos hecho la competición en Auckland. Laprincipal razón para Barcelona es Barcelona. Había una afinidad por laeconomía azul, el hidrógeno verde, la competición de mujeres y jóvenes, losdeportes electrónicos y la proximidad de otros barcos que están en Europa ypueden competir en otras regatas. Barcelona is perfect. Será juzgado despuéssi es la mejor de la historia. Para eso tiene que ser más que un trofeo. Si essolo eso, será parecida a otras. Nuestro legado no será juzgado por losnúmeros de televisión, sino por lo que dejemos en Barcelona y en España. Ellegado de los Juegos Olímpicos de 1992 todavía brilla, en parte porque perdurael espíritu de los voluntarios. El fuego se apagó, pero el calor permanece. Losientes cuando estás allí. Tenemos que motivar a la gente del mismo modo”.

De héroe a villano, Dalton conoce bien la escasa distancia que separa ambasorillas. “Digamos que ahora no soy popular en mi país”, ríe; “allí el deportemás grande es el rugby y el segundo es la vela. La regata final en Bermudas,en 2017, es la mayor audiencia televisiva de la historia del país, un 89%. Lascalles estaban desiertas. And Barcelona nuestros aficionados vendrán pormiles. Vivimos para ganar. Si pierdo, me dirán: ‘¿Ves? No tenias que llevartefuera la Copa’. Tenemos que conservarla”.

El campeón no quiere ser señalado como favorito. Y recurre a la comparacióncon un mundo cada vez más parecido. “Al final de la última temporada defórmula uno, se podría haber pensado que Mercedes era el favorito, pero seequivocaron con el coche y ninguna habilidad del piloto puede convertir uncoche lento en uno rápido. Aquí es lo mismo”, cuenta Dalton. Los dos universosse han unido. Alinghi trabaja con Red Bull. Mercedes, con Ineos. “El diseño delos barcos de la Copa del América y de los coches de fórmula uno vaacercándose. Muchos de los conocimientos se usan en los dos campos. Nosotrostenemos 45 ingenieros y solo uno es diseñador de barcos. Estos barcos vuelanmás que navegan”, cuenta Dalton.

El Team New Zealand, and Auckland, and la pasada edición de la Copa delAmérica.Fiona Goodall (Getty Images)

Las embarcaciones alcanzan los 54 nudos, 100 kilometres por hora. “Podríamosllegar a los 150, pero cambiaría su velocidad media. Un ejemplo son las motos.Ducati era muy rapida en línea recta pero muy difícil de girar”. Dalton señalaal barco como el ingrediente fundamental para la victoria, por delante de latripulación, aunque matiza: “Buenos marineros hacen un buen barco”.

Entre las innovaciones, el reto del uso del hidrógeno en lugar de gasolinapara los barcos que siguen a los participantes —”ese es el futuro, un barcoeléctrico no puede ir muy lejos” — y la competición femenina y juvenil. “Lavela ha hecho mal en imponer las cuotas. Así no se crea un camino”. Tambiénsobrevuela la idea de emular al Mundial de fútbol en Qatar y abrir nuevoshorizontes. “Pasé bastante tiempo and Yedda para entender el lugar. Hasta queno vas, no estás preparado para criticar. Y encontré que los saudíes sonimpresionantes. En el futuro veo una Copa allí”.

‘ Every song should be a killer.’ The menacing words Michael Jackson came upwith forty years ago when he Thriller wanted to make with Quincy Jones,linger to this day. The record became the best-selling album of all time andimmediately transformed the entire music industry. But how did that actuallyhappen?

Gunter Van AsscheNovember 17, 202217:16

The numbers

More than 70 million copies sold

Reached Platinum 34 times in the United States alone

Won eight Grammys, a record number

Sixth solo album by Michael Jackson

Shooting budget of $750,000

Spent 37 weeks non-stop on the US charts

Seven of the nine songs became singles

black or white? Michael Jackson broke down all racial boundaries

The success of Thriller cannot be measured solely by gargantuan sales. AsMichael Jackson made his way into music history, Thriller a new benchmarkfor blockbusters. The record raised the bar for video quality, but also forhow superstars market themselves.

The success of Thriller gave Jackson an unprecedented reputation. Thecultural significance to every black American is unprecedented, but he wasalso a great hero in breaking racial barriers in popular music. Thriller wasthe lubricant for generations and colors.

The record earned Jackson regular airplay on MTV, but also led to a meetingwith US President Ronald Reagan at the White House. Thriller was one of thefirst albums to use music videos as a promotional tool, bringing the record towhite TV audiences in droves. The videos for ‘Billie Jean’, ‘Beat It’ and’Thriller’ are also considered today as the butter to consider music videos asa serious art form.

The album ‘Thriller’.Image rv

“Our whole idea was to make music for the masses and part of the big picturewas to take the record company to a mass market,” said Ron Weisner a few yearsback. During Thriller he was Jackson’s co-manager. “If you were a blackartist, you were put in a black music department. That meant the marketingcampaign happened with an ad in it jet and Ebony. Our attitude withJackson was let the public decide, don’t just present it on a black market.”

From the moment the pop and R&B promotion teams of record label Epic Recordsplayed the opening track ‘Don’t Stop ‘Til You Get Enough’ from the previousrecord, Off the Wall they knew they had a big chart hit on their hands. Thatsingle meant the unprecedented step of bringing singles to white and blackradio stations at the same time to promote. Actually, ‘Don’t Stop ‘Til You GetEnough’ gave the impetus to Thriller.

The gluttony of the industry was fed

Thriller was the first major album release to happen simultaneouslyworldwide. And also the first record that took almost two years instead of theusual six or eight months. Even more, Thriller was too __ the first album todeliver seven singles to radio – more than double the usual figure.

Gradually redefined Thriller the expectations for blockbuster releases.Beginning in 1984, Columbia also released seven singles from BruceSpringsteen’s album Born in the USA , all of which entered the top ten ofthe Billboard Hot 100. Around the same time, Warner Bros. five singles from_Purple Rain_ from Prince. Mercury purged seven singles Hysteria from DefLeppard, who all went on to hit the charts. All three albums eventually soldmore than 10 million copies in the United States alone.

The industry’s gluttony was generously fueled by Thriller. In early 1984,when Epic Records executives presented their list of new releases at the CBSRecords convention in Hawaii, they couldn’t resist adding to the success theyalready had. In between sales pitches for new albums, epic truck stock footagewas shown worldwide, with a thundering voiceover announcing, “Here goesanother load of albums from Michael Jacksons Thriller!”

Who The Wolf of Wall Street you’ve seen, don’t be surprised. All others, ofcourse. Thriller gave a much-needed boost to the music business, which wassuffering from its second slump in barely three years. At the time, Billboardreported that album sales had declined seriously between 1980 and 1982. AfterJackson, Cyndi Lauper, Culture Club and REO Speedwagon also delivered majorblockbusters.

Jackson in 1988.Image AP

Disappointment leads to a new sound

Jackson and Quincy Jones’ working relationship mostly revolved aroundcreativity, despite the success. “You don’t make records to say how manyyou’re going to sell,” Jones says today. “That is not in your control. Youmake something that touches you and hopefully touches someone else.” All told,they spent four months analyzing more than 700 demos. In the end they ended upwith nine songs. On the final cut, four of those were replaced by “The Lady inMy Life,” “PYT (Pretty Young Thing),” “Human Nature,” and “Beat It.”

What Jackson and Jones envisioned was to Thriller balance between R&B andpop, disco and rock, funk and ballads. “At one point we thought we were done,”remembers Greg Phillinganes, who played the keys on Off the Wall and_Thriller_. But Quincy Jones stopped him. Phillinganes: “We needed certainmissing elements. Michael was quite disappointed with the record at the time,but that’s how we got extras like ‘Lady’ and ‘Beat It’.”

That last song came about with Eddie Van Halen because they wanted to make ablack rock ‘n’ roll song, says Jones. “’My Sharona’ by The Knack was numberone in the charts at the time and we wanted to survive the disco hype at thesame time. We actually wanted to find a way to transcend all that. With God’sblessing we climbed out of that valley with a world number.”

MTV was not the only engine, but an important one

Screen time was what changed the course of Jackson’s career. On May 16, 1983,NBC Motown 25: Yesterday, Today, Forever on which he performed an instantlyiconic rendition of “Billie Jean.” His sequined glove and James Brown-inspiredmoonwalk brought fame to eternity. The next day, Fred Astaire called Jacksonto congratulate him. “That was staggering,” Weisner recalls. “Everyonesometimes forgets there were so many other Motown legends on that show. Thenext day everyone was just talking about Michael.”

By that time the demand for Thriller got so big that Weisner said factorieshad slowed down the pressing of other albums to make more copies of them. Andthat was before the video for the title track itself. The videos for “BillieJean” and “Beat It” catapulted Jackson to stardom, but it was the fourteen-minute clip for “Thriller” that became a pop culture sensation. It was madefor the sum of 1 million dollars and canned by a film director, John Landis.

“Most of the videos we made with $30,000 or $40,000,” record peeps recalled atthe time. Most executives reportedly fell off their seats when they saw thebudget. MTV eventually paid more than $1 million for the exclusive rights tobroadcast the clip. It was the first time it paid a label for a clip. Ofcourse they were right on target: Jackson’s label boss, Walter Yetnikoff, oncethreatened to publicly denounce MTV as big racists for not bringing ‘BillieJean’.

‘Thriller’ jeopardized the milking of radio singles

As essential as MTV was to the success of Thriller , the radio was even moreimportant. In front of Thriller came out, record companies promoted onlythree or four singles for most albums. The label also did not want to releasesingles unless they had a chance to reach the top ten.

As long as the promo guys thought that was possible, songs from the recordkept appearing. In the end it became seven, of the nine songs. Unseen. Theyalso all ended up in the top ten of the American charts. Even more notably,between the release of ‘PYT (Pretty Young Thing)’ and ‘Thriller’, sister labelColumbia released ‘Say, Say, Say’, another duet between Jackson and McCartney.It immediately hit number one.

Finally stood Thriller 122 weeks on the Billboard 200, leading record labelEpic to one of its greatest periods of prosperity. Given the decline in albumsales and the rise of digital downloads, it is unlikely that another albumwill ever again dominate radio, video or the collective consciousness as_Thriller_ did.

Jackson in 1984, at the Grammy Awards. ‘Thriller’ won a record number ofawards.Image Getty

The influence of this record remains unparalleled

Dawn FM of The Weeknd is clearly through Thriller inspired. “Michael issomeone I admire,” the Canadian artist told The Weeknd GQ. “He’s not a realperson, you know? When I started music, I aspired to be him.” He’s not alone:​​from Bent Van Looy who swears by ‘Human Nature’ to hard rock bands and hip-hop acts who envy the buttery smooth beats, many contemporary artists andproducers try to capture the sound of Thriller copy or match.

Although that is not given to many mortal people. “Before ‘Beat It’ we workedfive days and nights without sleeping. It got so bad that at one point thestudio speakers overheated and caught fire,” recalled Quincy Jones in themagazine Rollingstone. Since then it has been a dilemma that the magazinesometimes presents to its interviewees. But no artist who wants to ventureinto that possible death experience.

Cuando era pequeña, me pasaba los Mundiales o los Juegos Olímpicos sentadaenfrente de la tele viendo durante un sinfín de horas partidos de seleccionesque ni siquiera conocía, en el caso del Mundial, o disciplinas que casi nisabía que existían, en el caso de los jugos. Quién me iba a decir que metragaría un Egipto-Corea del Sur o que me quedaría embobada viendo la luchapor las medallas en doma clásica. Era la magia del deporte. Pero sobre todo,la magia del futbol. ¡Qué pasada y qué maravilla poder ver tantos partidos delmáximo nivel uno tras otro, como si fueran capítulos de una serie que te tieneenganchada! Normalmente sucedía en verano, daba igual que viniésemos de verLiga, Copa o Champions, el Mundial era otra cosa. Yo, como espectadora, meencontraba de vacaciones y he de reconcer que cuando la Copa del Mundoterminaba sentía una especie de vacío existencial. ¿Y ahora qué hago durantelas asfixiantes tardes de agosto?

Mas informacion

Normalmente lo arreglaba yéndome a entrenar porque yo deseaba estar al otrolado de la tele algún día. Así pasaban los veranos de Eurocopa a Mundial.Hasta que llegó el verano de 2010, el más inolvidable de todos, cuando Iniestamarcó y nos hizo campeones del mundo. En ese instante me di cuenta de labrutal capacidad que tiene el deporte para crear ilusión, para unir a laspersonas y para generar una energía positiva en la sociedad que muy pocassituaciones consiguen. Ahora, ya más mayor, sigo esperando ansiosamente queempiece otra Copa del Mundo para poder disfrutar y volver a soñar con estaselección de Luis Enrique.

And dos días comienza el tan ansiado Mundial. En dos días, un porcentaje muyalto de la población de cada país modificará sus rutinas. Fijaremos el horariode cada partido como el momento más importante de nuestro día a día, paraanimar, para sufrir o para disfrutar, en definitiva para compartir ese momentoapoyando a la selección.

Pero este Mundial va a ser diferente. No es verano, y no estoy de vacaciones.Se disputa en otoño, en visperas de la Navidad. A ver cómo lo digerimos ¡A míme bastaría con que la selección volviera con el mejor de los regalos!Entiendo que para los jugadores también debe ser raro que se detenga la Ligapara ir al Mundial, y después más Liga, Europa y Copa del Rey. Será unesfuerzo brutal, diferente, pero los jugadores y jugadoras nos adaptamos atodo, nos encanta nuestra profesión y queda demostrado que somos capaces depasar temporada tras temporada sin apenas descanso. Durante años nospreparamos para dar nuestra mejor versión, compitiendo con nuestros clubes ydeseando ir a la selección para poder competir y ganar partidos frente a losmejores combinados del mundo. Sin mirar el momento en el que se juegue,dandolo todo siempre. Sí diré que el hecho de que se juegue en este momento dela temporada beneficia el estado físico y mental de los jugadores. No llevantantos partidos en sus piernas como puede ser en verano. A los futbolistas quemás lejos lleguen en el Mundial la temporada se les puede hacer muy larga.

R . Le gusta jugar centro-izquierda. No pegado a la banda, pero tampocometido dentro. Le gusta tener esa libertad de llegada. Ni le hables de jugaren la derecha. Se siente incómodo cuando se tiene que perfilar desde laderecha. Por un tema de capacidad espacial. And cada persona predomina unperfil. Un dia le hicimos una broma: “ Ney hoy vas a jugar por la derecha,bien pegado a banda”. “¡Ahí nunca jugue!”, dijo. “Bueno, que nunca hayasjugado por derecha no implica que no puedas hacerlo hoy…”. Y él: “¡No mister!¡por favor no me ponga ahí!”. ¡Pánico total! And Brasil tiene libertad dejugar a su aire. Da lo mismo. No se puede encasillar.

P. Cuando Messi y Ney bajan al mediocampo son más brillantes quecualquier centrocampista para medir los tiempos. ¿Como se comportan cada unoen ese plano?

R . Messi siente la responsabilidad de darle continuidad al juego. Cadavez que desciende es muy prolijo. Siente vergüenza si pierde un balón. Él enel mediocampo utiliza toda la capacidad que tiene en el último tercio de verespacios, dar una asistencias o definir, para ser responsable y darcontinuidad. No lo verás nunca tirando un caño o jugando de tacón. Utilizarála superficie de los pies con la mayor seguridad para que el juego puedaevolucionar. Ney juega en todo el campo de la misma forma. Sinresponsibility. Es un irresponsable por naturaleza. A bandido. Va almediocampo, te pisa un balón, te lo muestra, te lo muestra… y es capaz deperderlo. O de que le den una patada. O de tirarte un caño en el area propia.El no siente esa vergüenza si pierde el balón. Lo asimila como parte de sufútbol: divertirse haciendo cosas bonitas. Messi se divierte más en un rondo.¿Cuándo va Messi adentro? Muy poco. Neymar está constantmente yendo adentroporque quiere tirar caños. Messi nunca se equivoca en la superficie del pie.Neymar podría hacerlo igual, pero su carácter es diferente. Messi encuentra elplacer en lo simple. Neymar encuentra el placer en lo dificil.

Mbappe es más inmaduro. Así como Leo y Ney saben lo que son y lo que> quieren, Kylian todavía necesita encontrarse a sí mismo. Le cuesta discernir> en qué momentos correr riesgos y en qué momentos no

P. ¿Y en qué encuentra el placer Mbappé?

R . Mbappé es más joven e inmaduro. ¡Pero es el único que ha ganado unMundial! Kylian es un animal. Tiene carisma. Te atrae. Tiene calidad technica.Pero así como Leo y Ney saben lo que son y lo que quieren, Kylian todavíanecesita encontrarse a sí mismo. Le cuesta discernir en qué momentos correrriesgos y en qué momentos no, de acuerdo a su capacidad. Messi y Neymar sabende lo que son capaces. Kylian debe averiguar de que es capaz y qué es lo quemás y menos le conviene.

P. ¿Como encaja Mbappé and Francia?

R . Es la problemática de todo. El y Benzema necesitan compartir espacios.Y el tercero del ataque, que es Griezmann, necesita sacrificarse por los otrosdos. No diría que Kylian ejerce en Francia la misma influencia que Neymar oMessi en su selección. El puede liderar haciendo goles pero el Balón de Oro lotiene Benzema. Está en un camino ascendente; y partir de ahora tendríamos quever al mejor Mbappé con mejores registros todavía. Pero la evolución muchasveces pasa por salir de la zona de confort. Renovar por el PSG es bueno parael club y sus fans. Pero Mbappé en el futuro se tendrá que plantear que salirde su zona de confort lo aproximará a pelear por el Balón de Oro.

P. Benzema consigue que el equipo avance saliendo de la zona del nueve.Esto es muy raro. ¿Como es Mbappé cuando baja al mediocampo?

R . Es la gran diferencia entre Messi, Neymar, Benzema o Harry Kane, queestá en ese nivel. Son jugadores totes que han alcanzado su madurez. TampocoHarry era esa clase de jugador cuando llegamos al Tottenham. Cuando Kyliandesciende no tiene el timing , la lectura de lo que necesita el equipo.¿Desciendo para buscar profundidad con jugadores de segunda línea o de banda?¿Hago progresar a mis compañeros? El no tiene esa capacidad de poder bajar yhabilitar. Él se asocia muy bien en el último tercio: juega de primera y va alespacio. Es un jugador de espacios. Eso esta clarísimo. Necesita atacar elespacio para descubrir su mejor virtud. El disfruta más cuando va, rompe correy finaliza. Es un caballo de sprint.

P. ¿Le gusta más entrar de izquierda a derecha?

R . Igual que Neymar. Nos encontramos con muchos jugadores a los que noles gusta jugar por la derecha. Les gusta jugar centro-izquierda para entrar ytener la pierna hábil para poder golpear. Su ojo dominant es el izquierdo.Todos tenemos un area donde nos sentimos más comodos. Hasta cuando nossentamos a charlar en una mesa con amigos, hay ángulos en las queinteractuamos con más naturalidad. Muchas veces los entrenadores decimos:“Este tiene que jugar acá”. No es así. Sobre todo, con la gente joven, Tienesque descubrir su zona. Los jugadores maduros from solos. ¿Cuándo ves por laizquierda a Messi? ¡Nunca!

P. ¿Cómo era Harry Kane cuando usted llegó al Totenham en 2014?

R . Era el tercer atacante. Estaban Soldado, Adebayor y él. Habia dudas.Tenia 21 anos. El director deportivo intentó fichar a Welbeck. Lo analizamos yno lo vimos claro. ¿Para qué traer a Welbeck? El club propuso sacar a Kane aprestamo. Nosotros dijimos que no. Y tuvimos suerte: se lesionó Giroud en elArsenal, el Arsenal puso mucho más dinero y Welbeck fue al Arsenal.

P. ¿Inglaterra es víctima de la presión por ganar un gran título despuésde medio siglo de sequía?

R . no. Hay una corriente que tendría que aprovechar Inglaterra. Porque lapresión la tienen Brasil, Argentina, Francia o incluso Alemania… Inglaterra noestá obligada a ganar. ¿Por que? ¿Porque ganaron las chicas? Creo que haydemasiado estrés y me parece que viene de adentro hacia afuera más que deafuera hacia adentro. Es un caso único en el fútbol. Lo cierto es queInglaterra con Kane, Mount, Foden Saka o Sterling, tiene una generación dejugadores que es la envidia de cualquier país. Es el momento de Inglaterra.Deberia serlo. Pero ves que en los momentos determinantes hay algo que notermina de aflorar.

En el un uno contra uno, si te marca Kane, no te le vas. Es el mejor> central, el mejor centrocampista y el mejor definidor del Tottenham. No> puedes hacer un equipo con once Maradonas pero sí con once Kanes

P. Dice que Mbappé necesita encontrar su lugar en el fútbol. ¿Come seencontró Harry Kane?

R . El logra su madurez cuando comienza su crecimiento mediático. Elcrecimiento mediático de Mbappé es muy anterior a su madurez. Es un procesocompletamente diferente. Kane estuvo cuatro años seguidos a prestamo:Leicester, Leyton Orient, Norwich, Milwall…

P. ¿Sería correcto decir que ningún jugador ve con más claridad que Kanelo que debe hacer antes de recibir la pelota?

R . El podría jugar bien en cualquier posición. Siempre nos reíamos: losque mejor defienden la estrategia a balón parado no son los Centrales delTottenham, es Harry Kane; el que mejor habilita desde posiciones lejanas, noes Hojbjerg ni Bentancourt, es Harry Kane; el que mejor define es Harry Kane…En el un uno contra uno, si te marca no te le vas. Podría jugar en cualquierposición. No puedes hacer un equipo con once Maradonas pero sí con once Kanes.Tiene la capacidad interpretativa de lo que demanda cada posición y tiene lacapacidad física y mental. Es todo menos portero. En un partido de Championsen Chipre íbamos ganando 4-0 y se puso de portero. Y le metieron una falta pordebajo de las piernas. ¡Qué risa! Le dijimos: “¡Harry, de portero nunca más!”.

Out and aboutDEN BOSCH/VEGHEL/OSS/LITHOIJEN/SCHIJNDEL/TILBURG – Every weekfive titillating activities in your region that you don’t want to miss.

Thomas Olde Heuvelt signs at Adr. Heinen in Den Bosch. © rv

Thomas Olde Heuvelt signs his latest book

It is his darkest story ever… Thriller writer Thomas Olde Heuvelt signs hislatest book November at Bookstore Adr. Heinen in Den Bosch and at bookstoreDeRijks in Oss. This thriller is a modern version of a Faustian pact with thedevil as only Thomas Olde Heuvelt can write it down. The ideal book for thedark days. November 24 Adr. Heinen December 7 DeRijks

Shirma Rouse is in the Blue Boulder. Photo: ArjoFrank Photography / BrunoPress© Brunopress

The Dutch Queen of Soul

She is also called the Dutch Queen of Soul. Shirma Rouse takes the audience onher new show Hope and Love along on her journey. From the 19-year-old womanwho came to the Netherlands alone to the star she is today. An intimateevening full of singing, short stories and swinging music. And of course hermusical heroine Aretha Franklin also passes by. November 18 The Blue Kei Veghel

Shut up and play with me, Het Zuidelijk Toneel. © Sophie Knijff

For anyone who has ever played

Playing, everyone can do it, but few do. What if we dare to let go of thebrakes completely and plunge into a limitless game? Sarha Moeremans andJoachim Robbrecht bring in the performance Shut Up and Play with Me an odeto the playing man. The premiere of this performance can be seen in De NieuweVorst in Tilburg. November 26 The New Frost

Tribute Legends, Schijndel. Photo: Joris Bisschops © Joris Bisschops

Musical heroes come very close

Enjoy live music from Queen, AC/DC, Muse, Coldplay and U2 in Schijndel? Youcan do that during Tribute Legends XL in riding school De Molenheide. Thebest tribute bands play well-known hits by their musical heroes. Getting muchcloser to the original than through these bands is almost impossible. Thereare three different stages where 15 bands will perform. November 26 riding school De Molenheide

Hans Vanhorck, ‘Beyond nature XI’ © Gallery Sous Terre

Jubilee exhibition Hans Vanhorck

It is almost 25 years ago that the Sous-Terre gallery took Hans Vanhorck’spaintings to America to exhibit them at art fairs. At that time, Hans wasalready one of the gallery’s most important artists and he still is. Time foran anniversary exhibition in which not only the 25-year collaboration iscelebrated, but also the 70th birthday of the artist. From November 20 to January 15 Galerie Sous-Terre

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Log in or create an account and don’t miss a thing of the stars.

There’s a revolution happening in Hollywood, and Zahn McClarnon is at theforefront. The Hunkpapa Lakota actor, who has starred in television hitsincluding Westworld and reservation dogs recently finished his firstseason of yet another popular series, Dark Winds where he is not only thestar but also the executive producer.

To say that McClarnon is changing the narrative of onscreen Nativerepresentation would be an understatement.

“I think we’re in a pretty unique time right now for representation, andpeople are finally hearing our stories,” McClarnon says during an interviewfor Yahoo’s . “We have our own storytellers, and we’re writing our ownstories, and we have our own directors and we’re getting showrunners andproducers now. So there’s been quite a big turn in Native representation in TVand film in the last few years.”

When it comes to Indigenous representation on the big and small screens, thenumbers have been particularly stark. In fact, for film, Native people remainunderrepresented, landing less than 1% of the share of top roles, as well asdirector and writer positions, according to UCLA’s 2022 , which covered thetop 200 films released theatrically and on major streamers in 2021 .

For TV, the numbers are only slightly higher. Native representation grew fromthe previous year and accounted for 2% of broadcast scripted roles, but lessthan 1% on cable and digital, , which covered the 2020-21 season.

That makes McClarnon’s work on Dark Winds especially meaningful. The56-year-old actor/producer stars as Joe Leaphorn, a Navajo detective solvingcrimes on the Navajo Nation. While the show is based on novels written by non-Native author Tony Hillerman, McClarnon, as an executive producer, insisted oncasting Native actors as well as writers, directors and crew.

“What we’re doing and trying to do is bring in Native writers to come at itfrom a bit of a different perspective, more from a Native perspective,”McClarnon says.

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That means centering the Native storylines and even using the Navajo languagein the script.

After all, shining a spotlight on the Native perspective comes after years ofharmful onscreen stereotypes and even erasure. That’s something McClarnon isworking to combat.

“We grew up with these stereotypes and these tropes about Native Americans,”he says, “and the public is learning that we’re not all on horseback andyipping and yelling in buckskin, and that we’re human beings, that we’ rethree-dimensional characters.”

McClarnon himself has shown that multi-dimensional range through hischaracters. While his tribal police role on reservation dogs leans moretoward laughs, his Dark Winds detective and sci-fi role as Akecheta on_Westworld_ have more gravitas.

All of that goes to show why the actor-producer says that “telling our ownstories” is crucial. That, and more representation in the boardroom, too.

“Getting more people at the studio level and more producers is the nexthurdle,” he adds. “And the more we get Native representation in thesepositions, the better off we’re gonna be.”

The tide seems to be turning, as Dark Winds has been renewed for a secondseason and Reservation Dogs, from Indigenous co-creators Taika Waititi andSterlin Harjo (Seminole/Muscogee), for a third. Not only that, but the Native-centered predator prequel, Prey delivered .

With so many recent successes, what does McClarnon hope the future looks likefor Native representation in Hollywood?

“What I hope it looks like is that we just have more storytellers, morewriters, more doors opening up for people in front of the camera and behindthe camera as well,” he says. “And I hope that shows like Dark Winds and_reservation dogs_ and Rutherford Falls and the other shows that are in pre-production are gonna be produced, are gonna just open and crack those doorseven wider for future talent.”

Ominous title though, Netherlands under water from Avrotros. Was this afuture vision of how we will be when the sea swallows us? By no means. It wasa “dive into our unprecedented nature”. A nature documentary about what ishappening below the current sea level and fresh waters of the Netherlands.Directed by Arthur de Bruin and glowingly voiced by actor Gijs Scholten vanAschat. With his voice, the two-year journey of one transparent young eelacross the pitch-black ocean on its way to the Dutch coast becomes… well,lively.

There are people who play a crackling fire on their TV screen, or an aquarium.Slower than slow TV, probably very soothing, but it won’t make you much wiser.Netherlands under water is an audio and picture book in one. So rare closewhen you get to the mayfly larvae, the tickle midge, the spotted Americancrayfish. You’ll learn how a river lamprey queue forms, and see how these”rare and ancient” fish become entangled in a slippery vortex below thewater’s surface. The cormorants know that unfortunate swimming route and licktheir lips awaiting the pile-up.

Calamities

From the underwater world to the underworld above water where _112 Today_informs us every working day about calamities and emergencies that haveoccurred in the past 24 hours. And oh, how many questions I have about that.What determines the editor’s choice? The seriousness of the accident, theoddity, the seriousness expressed in terms of injuries or deaths? Or does itjust depend on whether images are available? And how do they get those images?From bystanders? Disaster reporters?

Last week I saw passing by: a car that ended up in a backyard. A dentiststabbed by a patient with a knife. A Marktplaats sale that got out of handwith a stab in the neck, a thud at a supermarket. And of course various fatalor non-fatal traffic incidents. Sometimes a reporter is on site afterwards tofind that the garden gate is indeed halfway up the car and the door of thesupermarket is shattered. From the stab wound to the neck, some drops of bloodcould still be seen on the garden tiles of the house where the injured man hadcalled for help.

Local residents are always willing to comment. In all cases, they say: thatthey were very shocked, that the bang/explosion was deafening and oftenfollowed by a sentence of cultural pessimism about the changed times in whichwe live and no, they have no idea what exactly happened and why.

A 112 expert is present in the studio to recount the police press release. Ifyou’re lucky, Ellie Lust will be the interpreter. The former police spokesmanhas taken off her uniform, but kept the jargon. With her it is never aboutcars but about vehicles, the emergency services are always on site andsuspects are transferred to cell complexes and with undisguised glee she cansay that the police dog “had to lend a hand” in catching the suspect.

Bystanders

All well and good, but what purpose does this serve? Other people’s sufferingfor education and entertainment? The disadvantage of calamities, incidents andemergencies is that there is usually a victim. Well, I was hit by a police busonce in my life, when I was ten. I don’t know much about that, but one thing Ido know. That, lying on the tram rails, I heard bystanders speculating whetherI was still alive or not. What I’m saying is that this program is definitelynot made for the victims. For whom? That will be the bystanders, safe at home

“Jews Don’t Count,” a new documentary from British writer and comedian DavidBaddiel set to air on UK broadcaster Channel 4 next week, is an examination ofhow, particularly in progressive circles, there is a persistent sense thatJews aren’t entitled to the same protection and support as other minoritycommunities. That sense is predicated on the antisemitic belief that all Jewsare rich, successful and “dominate” industries such as Hollywood, if not thevery world order.

It’s symbolic of the catch-22 at the heart of the film that the succession ofJewish celebrities who appear within it to talk about their experiences ofantisemitism, such as David Schwimmer, Sarah Silverman, Stephen Fry andJonathan Safran Foer, may well end up further convincing antisemites that thevery premise of the documentary is unfounded.

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Baddiel, a comedian and writer, acknowledged that predicament at a pressscreening in London on Wednesday although he was ultimately sanguine about it.“I want [the documentary] not to just be seen by Jews,” he explained. “Onevery simple way of doing that, hopefully, is to have big names in it. It’s apragmatic decision.”

Despite the starry guest list, when variety asked whether there were anyJewish public figures who had declined to appear in the film, Baddiel replied“quite a lot.” Out of respect for their privacy, he didn’t reveal their namesbut said the list included “some quite prominent Jews who don’t want to bringtheir Jewishness to the fore and just don’t want to talk about this.”

“This” being the uncomfortable but important discussion about how anti-Semitism presents in the modern day. On the right, it has remained largelyunchanged from the time of the Nazi Party in Europe and the Ku Klux Klan inthe US But in recent years antisemitism has also, to the surprise of many (notleast Jews themselves), sprung up on the left and it’s here, as Baddieldemonstrates in the documentary, that it takes a more insidious form, firstlyby shrouding itself in terms that, while not explicitly discriminatory, serveto exclude Jews alone from supposedly inclusive spaces, and secondly bydeclining to engage when Jews are subject to the kind of treatment that wouldarouse outrage on behalf of other groups (for example, inauthentic casting).

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“Particularly over the last 20 years, with social media and all the rest ofit, I think there’s been an incredible focus on trying to right wrongs, a lotof which has been good,” Baddiel said during the Q&A. “But some of which hasbeen performative. And I think within the performative space, [in which]people [are] trying to make it clear that they are allies in a way that ismore about their sense of self than about actual allyship, Jews have nocurrency for them.”

The documentary is based on Baddiel’s non-fiction book of the same name butthe two are distinct projects. “The book is very personal piece of work,” heexplained during the Q&A. “It’s me talking about my own experience of thisparticular phenomenon. [In the documentary] I can go speak to other Jews, andthey can tell me whether or not they’ve experienced the same kind of thing. Itturns out that this is something which, as Sarah Silverman says, a lot of Jewshave been feeling for a long time, but maybe hasn’t been articulated before.”

“And I guess the other thing that the book can’t do is, you can feel thingslike the Colleyville incident, for example,” Baddiel continued, referring tothe hostage crisis that took place at the beginning of this year, in which ayoung British man held up a Texas synagogue at gunpoint. Convinced of Jews’power and influence, the hostage-taker selected the synagogue at random todemand that an unaffiliated (and bewildered) rabbi in New York order therelease of an inmate and alleged al-Qaeda operative from Fort Worth.

David Baddiel and Sarah Silverman in “Jews Don’t Count.”

The rabbi, Angela Buchdahl, also makes an appearance in “Jews Don’t Count.”“The way we’ve rendered it, you can feel what that’s like for [her] suddenlybeing cast as this ridiculous stereotype of Jewish power that she’s got fourpeople’s lives in her hands,” Baddiel said.

He also shows how Jewish schools in the UK participate in active shooterdrills, an exercise almost unheard of in Britain, connecting it with festeringanti-Semitism on all sides of the political divide.

Despite the sober subject matter, audiences may be surprised to find that“Jews Don’t Count” also has plenty of laughs (at one point Silverman proclaims“I love money!” before acknowledging this documentary probably isn’t the bestplace to say that out loud). “It’s part and parcel of a Jewish tradition thatwhen you talk about trouble and awful things, you also try and be funny aboutit,” Baddiel said.

The documentary also sees Baddiel, who came to fame as a comedian, grapplewith anti-Semitism in the industry. The film examines “Bo’ Selecta!,” aBritish sketch show from the early 2000s which saw comedian Leigh Francisdress up as a number of public figures including Black (and Jewish) musicianCraig David, for which Francis donned Blackface. Francis also caricaturedBaddiel in the show, portraying him with a hook nose, long curly sidelocks(which Baddiel has never worn) and thick accent. It was a portrayal a friendof Baddiel’s apparently found so appalling he suggested it constituted a hatecrime.

In 2020 Francis released a video apologizing for portraying Black celebritiesincluding David and Michael Jackson. Baddiel, however, did not receive anapology from Francis. “I don’t like calling out other comedians. We’recomedians and it’s weird to do that. But in this particular case, it’s such aclear example of the selective outrage in the sense that, as far as I’m aware,no one has ever drawn any attention to that [lack of apology],” Baddiel saidduring the Q&A. He also revealed that Francis had declined a request to appearin “Jews Don’t Count.”

During the Q&A, Baddiel also discussed Dave Chappelle’s SNL monologue about> Kanye West, which took place just a few days earlier. “I love Dave> Chappelle, he’s a brilliant comedian,” Baddiel said but added that he had> found the SNL monologue “weird.” “Dave Chappelle was basically saying,> ‘Look, Kanye is right. We can’t say out loud, but Kanye was right, because> look what’s happened to him,’” Baddiel said, referring to the many brands> that had cut ties with West following his litany of public antisemitic> comments, including a threat to “go death con 3 on Jewish people [sic].”

“There are consequences, like there are [in the case of] all other minorities,when people say racist or discriminatory things,” Baddiel said. “But withJews, those consequences seem to be indicative of Jewish power.”

One of the most powerful moments in “Jews Don’t Count” is when Baddiel tackleshis own racist caricature of Black British footballer Jason Lee during a ’90sBBC sketch show called “Fantasy Football League.” In the show Baddiel appearedin Blackface as Lee with a pineapple on his head while his co-host, FrankSkinner, played Lee’s manager.

Baddiel has apologized publicly a number of times for the sketch but had nevermet Lee in person. In the documentary, he appears as a guest on Lee’s podcast,“AbsoluteLee,” during which he apologizes again. The duo then have adiscussion of both racism and anti-Semitism. During the Q&A, Baddiel revealedthat, although it’s not shown in the doc, he apologized to Lee again beforeleaving the podcast studio. “I just went up to him again, and said, ‘I’msorry, again.’ And he just went, ‘It’s done now.’ And shook my hand.” Theexperience, Baddiel said, was difficult but one he was grateful for. “I’m veryglad I’ve done it.”

Ultimately “Jews Don’t Count” ends on a hopeful note. “I do think that thedial is shifting, I say that at the end of the film,” Baddiel said. “I thinkthings have definitely moved on from when I wrote the book. Hopefully, thefilm will make people just think about it.”

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