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First passengers take Covid-tested flights from US to Milan

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The biggest airport in northern Italy has now begun its flight schedule of Covid-tested flights from the United States, making passengers exempt from the 14 days of self-isolation normally required.

“It is the first ever flight from New York since the end of March 2020. It took a year to restart this crucial connection for people and the economy,” said Armando Brunini, CEO of SEA Milan Airports, in a press conference.

“We hope that restrictions will be loosened as soon as possible: if they are safe flights, we must allow their use also for those who fly for tourism,” he added.

READ ALSO: How soon can Italy hope to restart tourism this summer?

Armando Brunini, CEO of SEA Milan Airports, talks to journalists at Malpensa Airport in Milan on April 3rd 2021, after the first “Covid-tested” and “quarantine-free” flight landed from New York to northern Italy. Passengers were tested by healthcare workers for Covid-19 upon disembarking. (Photo by Piero Cruciatti / AFP)

Around 100 people arrived from the Big Apple following the Italian Health Ministry’s decision to permit travellers to enter Italy on these Covid-tested services.

Passengers have already been taking such special quarantine-free flights to Rome Fiumicino airport. But the Ministry extended the scheme to Italy’s second-largest airport with a date set until at least the end of June 2021, as stated in a circular issued on March 10th.

To be permitted on the flight, passengers must test negative in a rapid antigen test for coronavirus no more than 48 hours before boarding and they must get tested again immediately on arrival.

An airport hostess waits to assist passengers going through a test area to undergo a rapid antigen swab test for Covid-19 at Malpensa Airport in Milan on April 3rd 2021, after disembarking from the first “Covid-tested” and “quarantine-free” flight from New York to northern Italy. (Photo by Piero Cruciatti / AFP)

Those wishing to travel must also fill in a digital location form before boarding, the Digital Passenger Locator Form (dPLF).

After completion of this document, passengers receive an email with a QR code, which must be given at the check-in desk in order to be allowed on the flight.

Also during check-in, travellers must provide a completed self-declaration form, specific just to these Covid-tested flights, which declare why you are entering Italy from abroad.

A medical worker shows a Covid-19 rapid antigen test, in the test area at Malpensa Airport. (Photo by Piero Cruciatti / AFP)

There’s more paperwork still. Upon landing in Italy, travellers must present another self-declaration form to the police. Again, this relates to Covid-tested flights only.

READ ALSO: 

A passenger undergoes a swab test for Covid-19 at Malpensa Airport in Milan.  (Photo by Piero Cruciatti / AFP)

At present, the travel scheme between the United States and Milan covers passengers coming from New York (JFK) on Delta Air Lines flight DL 118 and American Airlines flight AA198.

International travel into and out of Italy is still restricted, with rules varying according to country of origin. But, there are hopes that tourism will resume this summer throughout Europe with the anticipated EU “health passport”.

For the latest updates on travel to Italy, see here.



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Two fans sue Universal for $5 million for cutting Ana de Armas out of ‘Yesterday’ | USA

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There are risks to being an actor. A common one is what’s known in the industry as “winding up on the cutting room floor.” You get hired for a project, and based on the script you’ve read and the time that you spend on the set, you assume that you are one of the characters; that is, until the day the movie is released and you realize that your scenes have been cut out entirely.

In the case of the Cuban-Spanish actress Ana de Armas, who featured in the latest James Bond movie No Time to Die and is on an unstoppable path towards Hollywood stardom, it went further than that: she actually appeared in movie trailers advertising Yesterday, a 2019 film by the British director Danny Boyle in which actor Himesh Patel plays Jack Malik, a struggling singer-songwriter who wakes up after an accident into a world where nobody has heard of the Beatles or knows any of their songs, except himself.

Almost three years after Yesterday’s release, two fans of de Armas are suing Universal Pictures for cutting her scenes out of the final version, claiming the studio engaged in “false, deceptive and misleading advertising.”

Conor Woulfe, a 38-year-old resident of Maryland, and Peter Michael Rosza, 44, from California, rented Yesterday on Amazon Prime Video for $3.99 (€3,52). In their federal class action lawsuit, they claimed that they only rented it because they thought De Armas would be in the movie after watching the trailer. In the promotional material, she is depicted as Roxane, a character who becomes a love interest for Malik – that is, until the movie creators realized that this would draw attention away from the main love story between the songwriter and a character played by Lily James.

It is unclear whether the plaintiffs are as interested in De Armas as they may be in the $5 million (€4.5 million) they could take home if a court rules in their favor. The lawsuit states that the case is being brought “individually and on behalf of all others similarly situated.” It also claims that “by paying to view the falsely advertised movie,” the plaintiffs “suffered injury-in-fact and lost money.”

Regardless of the case’s chances, the story illustrates a US penchant for resolving disputes in court with astronomical figures in the balance, as a first step in the conversation.

The entertainment news website Variety, which first reported on the case, noted the resemblance with a 2011 case brought in Michigan by a movie viewer who was disappointed with Drive, by Nicolas Winding Refn, which she expected to be a “high-speed action driving film” but turned out to be a tortured drama about a solitary driver who finally finds the right girl.

Cutting actors out of final versions is nothing unusual. Terrence Malick, the director of Badlands and The Tree of Life, has a habit of hiring more stars than he will later need on the screen. Adrien Brody, for example, showed up for the premiere of the 1998 The Thin Red Line, convinced that he would be one of the main attractions – in the end, he only showed up in a few scenes. But the prize probably goes to To The Wonder, also by Malick: Rachel Weisz, Jessica Chastain, Michael Sheen, Amanda Peet, Barry Pepper and Michael Shannon all wound up on the cutting room floor.

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Beattie faces long road to redemption after offensive tweets emerge

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In The Strange Case of Dr Jekyll and Mr Hyde, Robert Louis Stevenson’s Gothic tale, the civilised Jekyll, fascinated by the duality of his personality, manages to embody his evil side in the depraved Hyde, then finds he cannot control the transition between the two. Hyde runs amok. That’s Doug Beattie’s twitter account, firing out messages full of attitudes and prejudices that the Jekyll side of Beattie, the man attempting to modernise the Ulster Unionist Party, claims he never had.

Last Saturday, Beattie was all over the front pages with a beaming photo, the only party leader to get a good rating in the new opinion poll. He was in soaring form. “They couldn’t have picked a smugger picture,” he tweeted, with laugh-till-you-cry emojis. That night, still buoyant, he tweeted the now infamous joke that has led to him being sued by the Democratic Unionist Party’s former leader, Edwin Poots. It involved the wives of unionist party leaders, brothels and bodily odours, and many who read it recoiled, then told him it was awful.

Jekyll Beattie responded: ‘Awful, just awful… I’m ashamed… I can’t justify that… horrendous, horrific… I’ve no excuse…’

Beattie took it down, apologised, said he had not meant to cause offence. But the truffle hunters of twitter had a scent. Soon they had snuffled out a haul of Beattie tweets that paraded every offensive stereotype in the charge book. Most dated back to the years 2011-2014, when he was a British army captain in his 40s.

Most were meant to be funny but could only have amused sexists, racists or those indifferent to people not exactly like them. Some were salacious, though more 1960s Benny Hill creepy than 2018 Belfast rape trial nasty. They featured schoolgirls’ skirts, “hookers”, randy, drunken Gurkhas, and humourless feminists with hairy chins. Other tweets held forth on the inability of women, foreigners and people from minority ethnic groups to do things properly. Leave it to the white man.

The next photos of Beattie to appear were of a man humiliated and almost broken. In a statement, now pinned to his twitter feed, he acknowledged and apologised for misogyny, said he was ashamed and embarrassed, and vowed to do better. He embarked on a series of media interviews. He was alone. No press officers, no advisors. He told BBC Northern Ireland’s Stephen Nolan, “My confidence is gone.” But there was something strange about his penance. He was contrite, though he did keep trying to consign Hyde Beattie to history, even though he had sallied forth just last weekend. Nolan read out the tweets. Jekyll Beattie responded: “Awful, just awful… I’m ashamed… I can’t justify that… horrendous, horrific… I’ve no excuse…” But he also professed bewilderment: “I am not the person who was portrayed in those tweets… it’s not me… even ten years ago it is not who I was.” He was adamant that he was “no racist”.

Offence is not the worst outcome of misogyny and racism. These prejudices inform behaviours that cause real and profound harm

When Nolan offered his distraught interviewee the option of pleading post-traumatic stress given his military postings to war zones in Afghanistan and elsewhere, Beattie allowed that on returning from environments in which there was “toxic testosterone”, “you decompress, you desensitise”. He spoke of using “dark humour” which was not, he said, meant to cause offence. But offence is not the worst outcome of misogyny and racism. These prejudices inform behaviours that cause real and profound harm. A climate is created, and denied. It is disempowering. People have to waste energy fighting it, energy that others use to thrive.

Put Captain Beattie’s jokes in context. In 2009 a young black man joined the British army. He was awarded best recruit in his year and had high ambitions. But in 2013, after serving four years in Afghanistan, he quit. He had put up with a lot of “dark humour”, he said, but what started as banter had intensified into outright racism. Raising it with a superior officer made matters worse. “If you talked,” he said, “your career was screwed.” He was persuaded not to cite racial discrimination as his reason for leaving, and put down health reasons instead. In 2015 a young woman in the British navy reported a more senior officer for repeatedly groping her. She was ostracised and nothing was done. Another discovered in the course of leadership training that a male armoured commander would not take orders from her on the radio, “because I am a girl”. Women and black and minority ethnic personnel are under-represented in the British forces, and are repeatedly found to have been subjected to more bullying and harassment at work than white men.

On a BBC NI discussion last week the People Before Profit MLA Fiona Ferguson said that misogyny was institutionalised in Northern Ireland. It was rampant and faced by women on a daily basis. She mentioned bodily autonomy – the Ulster Unionist Party’s health minister continues to thwart implementation of the abortion law. She asked why women were consistently responsible for most caring roles, why they received lower pay than men. UUP veteran Chris McGimpsey said she was exaggerating. She accused him of mansplaining.

With 90 per cent of its MLAs men, it is no exaggeration to say the UUP is a male-dominated party. Beattie pointed to the work he has done to bring in progressive young women. In truth, he needs them to grow his party among those unionists who reject the hopelessly sexist and homophobic fundamentalism of the DUP. These women stood by him last week with more than the grim, stoical smiles of wives of public men who have done them wrong and been found out. But Beattie’s commitment to equality is also undermined on another front. He claims he supports the Belfast Agreement but refuses to declare whether or not he would work in an executive with a Sinn Féin first minister. Dr Jekyll has a lot of work to do.


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Latina singers: From flamenco to Spanglish: Why Rosalía’s latest album is causing a stir | USA

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When Spanish singer Rosalía appeared live on Spain’s Cadena SER radio network to present her album El mal querer in November 2018, everyone wanted to see what she had to say. Even the crew of the radio program La Ventana were eagerly awaiting the interview, something that, according to radio presenter Carles Francino, had never happened before, not even with such distinguished guests as Spanish prime ministers, Nobel prize winners or the actor Richard Gere. Rosalía was 25 years old at the time and had two albums to her name. Her responses captivated the interviewers who praised her in hyperbolic terms, comparing the Barcelona-born artist to legendary Spanish copla singer Miguel de Molina. Francino said she had triumphed because she was “very good and very different” – paraphrasing the iconic Spanish poet Jaime Gil de Biedma.

And Francino wasn’t the only one to sing Rosalía’s praises. In a pre-recording, Martín Guerrero, the managing director of Casa Patas, a seminal flamenco venue in Madrid, said that Rosalía was “electrifying, thrilling and unique.” The comments section below the YouTube video of the interview, which has more than 500,000 views, is also filled with messages extolling the singer. “From her vocabulary and her way of thinking, I thought she was a very poised woman, who knows what she is saying when it comes to music and music history and knowledge. She is not your average girl. She is a genius,” one YouTube user wrote.

Francino, perhaps sensing what was about to happen to the pop star, brought the interview to an end with a request: “We are just asking you one thing, Rosalía: don’t change.” He could not have asked anything more difficult of her.

A little over three years later, the public is eagerly awaiting her third album, Motomami, which will be released sometime in 2022. Rosalía has given a preview of what’s to come, sharing snippets of songs such as Candy and Saoko on social media. But the single that has caught the most attention is Hentai, a slow ballad accompanied by piano whose lyrics have triggered bafflement and disbelief. The sexually explicit nature of the song and Rosalía’s use of Spanglish quickly became fodder for internet memes and jokes. In the 20-second clip of the track, Rosalía sings “Te quiero ride como a mi bike” or “I want to ride you like my bike.” The educated and cultured singer, who used to cite centuries-old poetry, sounded like someone completely different.

Rosalia during a concert with Raul Refree in Madrid in 2017.
Rosalia during a concert with Raul Refree in Madrid in 2017.Getty Images

“It’s as if the person who does the songs for [children’s band] CantaJuegos had come home drunk and horny and had opened a notepad,” wrote one Twitter user. “Rosalía is now making music by taking random words from the dictionary,” read another message. The backlash was so great that, a few hours later, Rosalía herself even tweeted about it. “The people who are upset about the lyrics in Hentai, are you okay?”

It has not been a sudden change. Since her debut album Los ángeles, in which the singer made reference to flamenco singers La Niña de los Peines and Enrique Morente, as well as the poet Federico García Lorca, to the explicit and visceral Hentai, five years have passed. In that period, Rosalía has gone from being 24 to 28 years old, and she has experienced a global pandemic that kept her in Miami and away from her family for the first time. She has traveled across Latin America and rubbed elbows with the leading figures of the international music scene. A few months ago, she released a collaboration called Linda with the Dominican rapper Tokischa. The lyrics of the feminist tune – “nos besamos pero somos homies” or “we kiss but we’re homies” – surprised her fans for its simplistic nature. “It’s true that there wasn’t a bad rhyme in her first two albums, her lyrics were excellent. In contrast, in her latest songs there are terrible rhymes,” says Jorge Carrión, the coordinator of the book La Rosalía, ensayos sobre el buen querer (or, Rosalía, essays on ‘el buen querer’).

Rosalía during a Madrid concert to close her tour for ‘El mal querer.’
Rosalía during a Madrid concert to close her tour for ‘El mal querer.’ Ricardo Rubio / Europa Press (Europa Press via Getty Images)

It’s impossible to separate Rosalía’s new music from her travels across the Americas, which she herself has documented in great detail. Like many other stars of today, she has opted to overshare on social media, where she uploads posts on every step she takes without any apparent communication strategy. Her surprising friendship with US personality Kylie Jenner and the rest of the Kardashian family, which appears to be very close, was one of the first shocks. We have seen her surrounded by entrepreneurs such as Dave Grutman and Jonathan Cheban, living an opulent lifestyle (Spain’s far-right Vox party accused her of being a millionaire and having a private plane) and alongside celebrities such as Christina Aguilera, Drake, Naomi Campbell and Hunter Schafer from the US hit series Euphoria.

Living in Miami, Rosalía has started to express herself like other Spanish singers who emigrated to the US before her, such as Julio Iglesias and Alejandro Sanz. The Argentinian newspaper Clarín described her accent as “indecipherable, a mix of Spanish, Catalan, Andalusian and Caribbean, riddled with words in English.” In an interview with a Dominican newspaper, Rosalía explained that her friendship with the Kardashians began when she started to hang out with Kendall in Los Angeles, which she named using the English acronym LA instead of the city’s full name as you do in Spanish.

Rosalía’s constant use of social media clashes with her previous image as an avant-garde artist who had released two albums exploring issues such as grief and gender violence. In her Instagram and TikTok accounts we see a cheerful, exhibitionist and sexual young woman, who often shares photos of herself half-naked and is seen with impossibly long fake nails and heavy makeup. She is obsessed with her pet chihuahua and loves cars and motorbikes – to such a degree that she bought a €60,000 pink-upholstered Ford Ranger Raptor with “La Rosalía” embossed in the headrests. Sometimes she takes on a certain childish attitude as if she were a character of one of the anime series she loves. On TikTok, she shared a photo with the message: “POV: When you steal Raul’s phone and it has FaceID.” The message, written in Spanish and containing spelling mistakes, was difficult to make sense of for those unaware of her relationship with singer Rauw Alejandro, which became public at the end of 2021.

This free-spirited image has left its mark on her music, both in her collaborations and what has been heard of Motomami. Even the name of the album appears to announce a new era that is lighter and fresher. In the video to announce the album launch, Rosalía can be seen covered in red glitter in a jeweled bikini, motorbike helmet and stilettos. The music in the clip is more reminiscent of other contemporary pop artists such as Charli XCX, SOPHIE, Arca or Grimes than of the flamenco which launched her career.

The debate around Rosalía’s transformation is not new. The jump from Los ángeles to El mal querer had already raised questions about whether the move from music that paid homage to traditional flamenco to music that was an explosive mix of genres with global reach was part of a sincere and organic transformation, or whether it hid a premeditated and commercial strategy. Rosalía has behind her a team of women, including her sister Pili, who is the artist’s stylist, her mother Pilar, the administrator of the company Motomami S.L., which manages the financial side of her career, and her manager Rebeca León, who is a superstar herself within the Latin music industry. But Rosalía has always defined herself as a controlling and detail-oriented artist who devises far-reaching projects. She even studied sound engineering in order to have greater control over the creative process. “I’m not doing it for mere strategic reasons, but rather taking into account the reason why I make music: to share it. The priority is to be connected to each moment that I am living and for this to be a means of communication, not a monologue,” she said in an interview with Spanish magazine MondoSonoro in 2018.

Despite his reservations, book coordinator Carrión is still interested in Rosalía’s latest project, which he describes as daring. “I sense that she has both discovered so many new popular genres in Latin America and what it means to be a global artist. She has begun to collaborate with the leading figures in reggaeton, trap and other urban music genres and that has led to a fusion [of styles],” he says. He agrees with Sara García, a comedian and the creator of the stand-up show Riot Comedy, who has been closely following Rosalía, her music and her relationship with Madrid-born singer C. Tangana for years. “She has pulled a ‘Miley Cyrus’ and is making songs that have nothing to do with the aesthetic, rhythms or soul of El mal querer. She is sending us signals that Motomami is not going to have anything to do with what we have seen before.”

Rosalia and Rauw Alejandro at the 40 Music Awards 2021 in Palma de Mallorca.
Rosalia and Rauw Alejandro at the 40 Music Awards 2021 in Palma de Mallorca.Europa Press News (Europa Press via Getty Images)

These signs were always there. Rosalía may be multifaceted and unable to be pigeon-holed, but if there is something that defines her it is the way she incorporates everything she knows into her music. Her first album was marked by her studies in flamenco, while the second mixed this knowledge with personal elements such as the R&B music she listened to as a teen and the sound of motorbikes, which her parents have always owned. When she reached success, she wrote Milionària in her native language, Catalan, and now she is writing about the volatility of fame and sexual pleasure with her partner. She also speaks of her own chameleon-like nature in Saoko (”A butterfly, I transform / Drag queen make-up, I transform”).

It’s likely that the reservations about her public image on social media, the people around her and the lyrics of her new songs are no more than a manifestation of prejudices, a generational gap and a certain amount of sexism. We are simply not used to seeing a genius being happy, naïve, sexual and exhibitionist and blowing kisses in photos next to Kylie Jenner. Rosalía’s greatest talent is in breaking the mold.

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