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Caoimhin Kelleher saves two in shoot-out victory

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Liverpool 3 Leicester 3 (Liverpool win 5-4 on penalties)

Second-choice goalkeeper Caoimhin Kelleher saved two penalties in the shoot-out which Liverpool won 5-4 against Leicester to send them into the semi-finals of the Carabao Cup.

Substitute Diogo Jota struck the winning spot-kick — having come off the bench to score — but the real hero was Takumi Minamino who made it 3-3 with seconds remaining of six added minutes.

The visitors crumbled under the pressure exerted in the second half having twice cruised into a two-goal lead as Jamie Vardy scored his ninth and 10th goals in 14 appearances against the under-strength Reds.

Alex Oxlade-Chamberlain briefly made it 2-1 before a brilliant James Maddison strike restored the Foxes’ advantage.

However, the introduction of first-team reinforcements for the second half changed the dynamic as Jota and League Cup specialist Minamino, with his sixth in five appearances, forced a shoot-out.

Tottenham 2 West Ham 1

Steven Bergwijn scored his first goal of the season and provided an assist to help Tottenham continue their momentum under Antonio Conte by beating West Ham to reach the Carabao Cup semi-finals.

The Netherlands forward broke the deadlock after 29 minutes and it was the catalyst for three goals in five minutes with Jarrod Bowen’s equaliser quickly countered by Lucas Moura putting Spurs 2-1 ahead which is how it finished.

Victory helps Tottenham take another step towards ending their trophy drought dating back to 2008 and made it five wins under their new boss.

The visitors were without top goalscorer Michail Antonio due to a positive Covid-19 test while Spurs reverted to their usual 3-4-3 formation under Conte, who made six changes from Sunday’s draw with Liverpool.

Bergwijn was one of those recalled for a first start in nearly two months and his rustiness was clear early on but his fellow forwards combined after 12 minutes for the opening chance.

Moura turned by the halfway line and sent Harry Kane away but his left-footed shot was well saved by West Ham’s second-choice goalkeeper Alphonse Areola.

Spurs had gone with captain Hugo Lloris between the posts and he was forced to parry away a Bowen free-kick soon after before the opener did arrive to spring the London derby into life.

Pierre-Emile Hojbjerg was the creator with a smart pass into Bergwijn, which he received back inside the area and then returned the favour to allow the Dutch international to tap home in the 29th minute.

It was Bergwijn’s first goal of the campaign and sparked a crazy five-minute spell with Tomas Soucek testing Lloris on two occasions and bringing out the best of the Frenchman who produced a couple of wonderful finger-tip saves in quick succession.

The Tottenham captain was helpless moments later though when Bowen did level after 32 minutes.

Eric Dier was initially at fault with a slack ball out from the back and, after Manuel Lanzini’s shot was controlled by Bowen, the ex-Hull attacker turned impressively before he rifled into the bottom corner for his fifth goal of the season.

Yet Moura had the final say on the half when Bergwijn, now full of confidence, skipped past Lanzini and squared for his fellow forward to stroke home from close range.

Lucas Moura of Tottenham Hotspur celebrates with teammates Harry Kane and Sergio Reguilon after scoring their side’s second goal. Photograph: Shaun Botterill/Getty Images
Lucas Moura of Tottenham Hotspur celebrates with teammates Harry Kane and Sergio Reguilon after scoring their side’s second goal. Photograph: Shaun Botterill/Getty Images

Spurs had needed a timely Oliver Skipp clearance to thwart Soucek once more before the break and Moyes’ side continued to ask questions after the restart.

Goalscorer Bowen was proving a constant thorn in the home defence and peeled off Dier to control an excellent ball over the top from Lanzini but Lloris raced out to get a crucial touch.

Conte had seen enough and turned to his bench on the hour mark. Harry Winks and Son Heung-min were introduced and he also reverted to Sunday’s formation of three in midfield in an attempt to wrestle back some control.

West Ham had plenty of ammunition too and Moyes called for Pablo Fornals and Said Benrahma with 22 minutes left. The latter almost made a difference within 60 seconds.

Hammers youngster Harrison Ashby crossed in for Benrahma, who controlled on the turn and let fly but saw his shot balloon over.

The substitute had two further efforts before full-time, including a superb volley that went just wide, but Spurs held firm to reach the semi-finals of this competition for the third time in four years.

Brentford 0 Chelsea 2

An own goal and a Jorginho penalty fired a mix-and-match Chelsea side into the Carabao Cup semi-finals after a 2-0 win at Brentford.

Jorginho of Chelsea celebrates with teammate Marcos Alonso after scoring their side’s second goal from the penalty spot. Photograph: Alex Pantling/Getty Images
Jorginho of Chelsea celebrates with teammate Marcos Alonso after scoring their side’s second goal from the penalty spot. Photograph: Alex Pantling/Getty Images

With the Blues still ravaged by Covid-19, boss Thomas Tuchel handed debuts to academy prospects Harvey Vale, Jude Soonsup-Bell and Xavier Simons for their last-eight meeting with their west London neighbours.

But it was substitutes N’Golo Kante, Reece James, Mason Mount and Jorginho who turned the tie in Chelsea’s favour.

They left it late but Pontus Jansson’s own goal finally broke the deadlock and Jorginho wrapped up victory from the spot.

The Bees created the first clear chance when Rico Henry tore down the left wing and, after his initial cross was blocked, pulled the ball back to Bryan Mbeumo, whose cross found the head of Yoane Wissa only for Kepa Arrizabalaga to pull off a fine reaction save.

England under-19 forward Soonsup-Bell was finding some early space in between the Brentford backline and his cross from the left found Ross Barkley, but the midfielder’s volley was well off target.

Moments later Marcos Alonso’s cross was met with a wild volley over the crossbar from Cesar Azpilicueta.

Kepa came to Chelsea’s rescue again when he palmed away a powerful header from Mathias Jensen and then saved bravely at the feet of the marauding Henry, before teenager Simons forced the first save from Alvaro Fernandez with a shot from the edge of the area.

Moments before half-time the best chance of the opening half fell to 18-year-old Vale, left all alone in the area only to head Azpilicueta’s cross straight at Fernandez.

Bees keeper Fernandez was scrambling at the start of the second period when Saul’s cross came off defender Mads Bech Sorensen and threatened to creep inside the far post.

Chelsea’s kids had all departed by around the hour mark with Jorginho, Mount, Christian Pulisic and James sent on as reinforcements, while Bees boss Thomas Frank turned to Ivan Toney, recently recovered from Covid.

But it was the arrival of Kante, who Tuchel had maintained would not be involved, who provided the spark behind Chelsea’s opener.

The midfielder’s quick feet on the edge of the area evaded a couple of Brentford challenges before he slid in James, whose cross was bundled into his own net by Jansson.

Three minutes later Chelsea had their second after Mount was clumsily tripped by Fernandez and Jorginho fired the Blues through.

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Margot Robbie’s self-confessed ambition has made her the highest paid actress of the year | Culture

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Self-doubt is Margot Robbie’s greatest motivator, and competes with ambition in the Australian actress’s psyche. She couldn’t believe her own eyes when she first saw herself on a giant ad for the Pan Am TV series in New York’s Times Square. “I still have the photo,” she told EL PAÍS a few years ago, somewhat wistful for the days when she was still a nobody. The script of The Wolf of Wall Street (2013), the Martin Scorsese film that put her on the map, touted her as “the most beautiful blonde in the world,” but she didn’t believe the hype. “I remember saying to a friend, ‘I haven’t worked in six weeks.’ I’m sure there’s nothing out there for me,” laughed Robbie. But Hollywood didn’t share her skepticism. In July, Variety magazine ranked Robbie as the highest paid actress of the year when her US$12.5 million salary for the upcoming Barbie movie was announced.

Margot Robbie may be this year’s highest paid actress, but 17 men made even more money, led by Tom Cruise who was paid US$100 million for Top Gun: Maverick. Her Barbie love interest, Ryan Gosling, was paid the same as Robbie, even though she has the titular role, more evidence that pay parity in Hollywood is far from being a reality. Robbie ranked ahead of Millie Bobby Brown (US$10 million for the Enola Holmes sequel); Emily Blunt (US$4 million for Oppenheimer); Jamie Lee Curtis (US$3.5 million for Halloween Ends); and Anya Taylor-Joy (US$1.8 million for Furiosa).

Robbie’s misgivings about her career aren’t shared by other industry giants. Martin Scorsese compared her to Carole Lombard for her comedic genius, Joan Crawford for her toughness, and Ida Lupino for her emotional range. He described Robbie as having a surprising audacity, and recalls how she clinched her role in The Wolf of Wall Street by stunning everyone with a tremendous, improvised slap of Leonardo DiCaprio during her audition.

Margot Robbie and Ryan Gosling during the filming of director Greta Gerwig's Barbie in California, June 2022.
Margot Robbie and Ryan Gosling during the filming of director Greta Gerwig’s Barbie in California, June 2022.MEGA (GC Images)

Robbie showed the same boldness when she lobbied director Quentin Tarantino for another role opposite DiCaprio in Once Upon a Time in… Hollywood (2019). She sent the director a letter telling him how much she admired his films, especially her all-time favorite, True Romance (1993). The letter probably wasn’t necessary, as Tarantino already had the I, Tonya star in mind to play Sharon Tate in his new movie, describing her to EL PAÍS as an actress with a visual dynamism and personal qualities that you don’t see every day.

Robbie has wanted to work in movies ever since her start in Neighbours, the long-running Australian TV series that is coming to an end after 9,000 episodes and 37 years on the air. “Of course I’m ambitious. My career motivates me. I came to the United States with a plan, and I’m always looking ahead,” she told us. Even as a child growing up in Queensland (northeastern Australia), Margot Elise Robbie displayed her business smarts and drama queen chops when she decided to sell all her brother’s old toys from the sidewalk in front of the family home.

She jokes about her childhood, but part of that little girl always comes out in the wide variety of characters she plays. She has had all kinds of roles in little-known films like Suite Française and Z for Zachariah, and also in box-office hits like Suicide Squad and Birds of Prey. She won Oscar nominations for playing driven women in I, Tonya (2018) and Bombshell (2020). “Yes, many of the women I’ve played share my ambition – this is a tough industry. But I’m full of doubt like anyone else. You never know how things will turn out,” she said.

 Margot Robbie and her husband, Tom Ackerley, at Vanity Fair magazine’s Oscars party, March 2018.
Margot Robbie and her husband, Tom Ackerley, at Vanity Fair magazine’s Oscars party, March 2018. Jon Kopaloff (WireImage)

Seeking more control over her films, Robbie founded production company LuckyChap Entertainment in 2014 with her husband, British filmmaker Tom Ackerley, and some friends. She hopes to use LuckyChap as a vehicle for herself and other actresses, as she did with Promising Young Woman starring Carey Mulligan, a black comedy thriller film that won writer/director Emerald Fennell an Oscar for best original screenplay. “Margot is an extraordinary person,” said Fennell. “That’s why she’s doing so well as a producer who is determined to try different things and give women a voice.”

Robbie met British assistant director Tom Ackerley on the set of Suite Française in 2013. They began a romantic relationship the next year and moved in together right after attending their first Golden Globes gala for The Wolf of Wall Street. Married since 2016, the couple and co-workers in LuckyChap have a bright future ahead, judging by all the work that is piling up for Robbie. In addition to Barbie, she will appear in Amsterdam, directed by David O. Russell; as silent film star Clara Bow in Babylon, directed by Damien Chazelle; and has a role in Wes Anderson’s Asteroid City. As if that wasn’t enough to keep Robbie busy, a remake of Ocean’s Eleven awaits her; she will play opposite Matthew Schoenaerts in the post WWII drama, Ruin; produce a remake of Tank Girl; and play a female Jack Sparrow in another installment of Pirates of the Caribbean. Surely Margot Robbie doesn’t have any more doubts about her career.

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Salem’s last witch regains her honor | Culture

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As statues of slave owners and slave traders continue to fall in the United States, the embers of the bonfires that burned women accused of committing spells and witchcraft are also being extinguished. In the umpteenth revision of history to try to exonerate the victims, the most recent episode concerns the last official Salem witch, Elizabeth Johnson Jr., from the massive 1692 and 1693 trials in the English colony of Massachusetts. Thanks to the initiative of a middle school teacher and her students in Andover, located in the same county as Salem, her spirit can now roam free. The enthusiastic students began the vindication process in 2020 and persuaded Massachusetts state senator Diana DiZoglio (D), who took up the cause and pushed for Johnson’s pardon, which was announced last week.

It has taken 329 years for Elizabeth Johnson Jr.’s name to be cleared definitively. She was the last of the Salem witches to be exonerated. While Johnson was spared a death by hanging, she was stigmatized until she died at 77, an uncommonly long life for the time. Historians say that Johnson showed signs of mental instability and was single and childless, all of which were signs of witchcraft during that period. She pled guilty before the court of inquisitors. Almost 30 members of her extended family were also implicated, as if witchcraft were contagious, hereditary, or both. Johnson, her mother, several aunts and her grandfather, a church pastor, were tried as well. According to historian Emerson Baker, the author of a book about the Salem witch trials, her grandfather described Johnson to the judges as a “simplish person at best.” Most likely, the judges would have equated “simplish” with different during that superstitious and pre-scientific period.

The fact that Johnson didn’t have any descendants deprived her of anyone to vindicate her good name, as relatives of the other defendants did. The first attempt to do so happened at the beginning of the eighteenth century. Then, in the 1950s, Massachusetts passed a law exonerating those found guilty, but it failed to gather all the names. A 2001 attempt at justice excluded Johnson because, after her conviction in 1693, she was formally presumed to be dead (executed).

The social hysteria against everything that deviated from the norm, against the minimal exercise of free will, was implacable against women, as Arthur Miller’s play The Crucible (the playwright adapted it for the big screen in 1996) and recent variations remind us. The theme lends itself very well to artistic creation, but in real life it amounted to opprobrium for those who suffered it and represented a cause for scorn among puritans.

Illustration of the 1692 trial of two Salem witches. The Granger Collection.
Illustration of the 1692 trial of two Salem witches. The Granger Collection.The Granger Collection / cordon press

Salem was more than a witch trial. According to historians, it was a collective exorcism fueled by a puritanical inquisition based on paranoia and xenophobia, a gratuitous auto de fe that unleashed people’s worst instincts: fear and the human tendency to blame others for one’s own misfortunes. At least 172 people were indicted in the 1692 trial. About 35% confessed their guilt and were spared the gallows; according to sources, around twenty insisted on claiming their innocence and did not escape that fate. The rest of the detainees were acquitted or sentenced to prison. The Salem witch trials represented a collective bogeyman through which one can foresee the later threat of the Ku Klux Klan. It is hard not to wonder what bonfires would have burned today on the pyre of social media and extreme polarization.

The great Salem witch hunt can be re-read through the prism of gender. As the adage goes, se non è vero è ben trovato (Even if it is not true, it is well conceived). Witches, like those in Salem and the woman in Nathaniel Hawthorne’s novel The Scarlet Letter (made into a film in the 1950s), were demonized for going off the rails. The dominant society’s puritanical stance against any kind of heterodoxy or freestyling, against rebels with or without a cause, led people to be targeted for dressing exotically by puritanical standards or for daring to drink at a tavern, a sacrilege for the morals of the day. It’s not difficult to draw a straight line from the bonnet of a witch on the gallows to the handmaid’s white bonnet in Margaret Atwood’s novel: all were women who were demonized, objectified, and scapegoated for deeper ills.

Beyond gender, other historians emphasize the socioeconomic dimension of the Salem witch trials, which combined a deep-seated inequality with racism, the United States’ original sin since well before the Declaration of Independence. The trials targeted colonial society’s most vulnerable during a period of economic instability that unleashed fierce rivalry among Salem families. According to historian Edward Bever, society was permeated by interpersonal conflict, much of it stemming from competition over resources. People did whatever they could to survive, from physical aggression to threats, curses, and insults. One of the first women accused, Sarah Osborne, was a poor widow who dared to claim her husband’s land for herself, defying the customary laws of nature, which granted the inheritance to sons. The accusation of witchcraft ended Osborne’s claim. Tituba, an indigenous slave, was accused of being a witch because her racial origins differed from the norm. Sarah Good was also poor, but she defended herself against the humiliations of her neighbors, which led her to the gallows; her daughter, Dorothy Dorcas Good, was Salem’s youngest victim: she was arrested at only four years old and spent eight months in prison.

Since then, history has not changed the fact that vulnerable women pay the price for circumstances beyond their control. That the Puritans of the time considered women—the evil heirs of Eve —prone to temptations such as the desire for material possessions or sexual gratification was only an added factor. Poor, homeless, and childless, these women in the shadow of society’s dominant morality were fodder for the gallows. But Elizabeth Johnson Jr. didn’t just manage to save her life; 329 years later she recovered her honor as well.

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Meridian Brothers: A fake salsa band ignites the rebirth of an old New York record label | Culture

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A new album will land on the salsa dance floor by the end of this week; one that fuses rhythms from the 1970s with the technological dystopias of the future. Behind it is Ansonia Records, a label that, after its creation in 1949 among Latino immigrants from New York, would produce several merengue, jibara, bomba, guaracha, mambo, and boogaloo albums, before stopping altogether in 1990. This Friday, after more than 30 years, Ansonia Records will return with a salsa album.

Hermano del futuro, vengo buscando iluminación; brother from the future, I come looking for enlightenment. So says one of the songs from the new album, called Metamorfosis, by the old salsa group Renacimiento. But there is a catch: Renacimiento does not exist. It never did. It is a fake group, and this is a fake cover, explains musician Eblis Álvarez, founder of the Colombian group Meridian Brothers, who had already experimented with various genres, from cumbia to vallenato. A group that practices “tropical cannibalism,” says Álvarez. This year, Meridian Brothers decided to launch a group of salseros straight out of fiction: Renacimiento.

Colombian group Meridian Brothers.
Colombian group Meridian Brothers.Perla Hernández Galicia (Cortesía)

“Renacimiento [rebirth] is the typical name that musicians would give a salsa group in the 1970s,” Álvarez tells EL PAÍS. “For example, in the Nueva Trova movement there was talk of a political rebirth, but at the same time they combined this with a spiritual factor: when one listens to groups like La Columna de Fuego [from Bogota] or Los Jaivas [from Chile], there was a common pattern: everyone was waiting for a rebirth of the soul, and of society.”

Although on stage Renacimiento is made up of five artists — María Valencia, Alejandro Forero, César Quevedo and Mauricio Ramírez, besides Álvarez — when the album was recorded it was the founder who played all the instruments, besides doing the voice of the salsero that accompanies the songs. The album has nine tracks, some similar to the older, slower salsa, and others to the faster, contemporary style. Between the piano, the timbales and the percussion, we find verses with the concerns of the 21st century: love that “communicates by algorithm,” or the threats of atomic bombs that “take us to the cemetery.” Metamorfosis, the single that has already been released, begins with a man who wakes up turned into a robot and longs for a time “when nightclubs really had an atmosphere, not like now, full of cameras, full of drones.”

“I wanted it to sound like salsa from the 1970s,” says Álvarez. “There is no originality, or the originality of this lies in being able to replicate the music as best as possible, but in terms of the material there is nothing original, as it is made with the collective unconscious of Latin America, of Colombia, of Latinos. This is an extrapolation from the 1970s to today, and it speaks of transhumanism, like the matter of highest concern that everything, absolutely everything, is now packed inside the damn cell phone.”

The rebirth includes both the album and the label, as this is the first recording in more than 30 years to be released by Ansonia Records, a company created in 1949 and later forgotten, despite having been one of the first labels founded by a Latin migrant in the United States. Puerto Rican Rafael Pérez, its founder, brought Dominican, Puerto Rican and Cuban musicians from Latin Harlem or the South Bronx, who had not found a home among American record companies, to several studios. He produced his records before the time of the powerful Fania, which made New York salsa famous.

To Liza Richardson, an American radio host who was also a music supervisor on series like Narcos or the movie Y tu mamá también, Ansonia Records is a gem. In the early 1990s, she found an Ansonia album in the station’s archives and, fascinated by the label’s production, became close to the heirs of Pérez. In 2020, she bought the record label with the intention of reactivating it. She, with the help of a small team, has begun to digitize more than 5,000 Ansonia-produced songs; an eighth of them can already be found on streaming platforms like Spotify.

Colombian group Meridian Brothers during a live show in Bogota.
Colombian group Meridian Brothers during a live show in Bogota.Perla Hernández Galicia (Cortesía)

Souraya Al-Alaoui, manager of Ansonia Records, explains that most of the artists chosen by the label were focused on the Latin American diaspora. That was their base; they valued the traditional sounds from islands like Cuba or Puerto Rico, and were not looking to become westernized.

“Johnny Pacheco, founder of La Fania, started with Ansonia Records, and Ansonia was an inspiration for what would later become La Fania,” says Al-Alaoui. “Ansonia was also a pioneer as a label owned by a Latino, an independent label with a founding message: ‘this is from us and for us.’ That’s why it was an inspiration for what came after.”

Over the years, La Fania grew and the seed of Ansonia Records faded away. The label never managed to promote its musicians in concerts like La Fania did, and after the arrival of the digital world, they did not set up a website or try to upload their music to any streaming platforms. Thus, it became a label that was only known by a small group of music lovers, like Liza Richardson and Eblis Álvarez.

“Now, we are hoping to release a new record every year, and we are thrilled to start with this one by Meridian Brothers,” says Richardson. “This is an album that looks to the past but tries to move towards the future, and that is exactly what we are trying to do: look to the past to, at some point, be able to grow again, to thrive.”

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