Johnson & Johnson will begin delivering its vaccine to Europe on April 19th, the company told AFP on Monday.
Italian officials had told reporters earlier in the day that they expected to see the vaccine in Italy by mid-April.
Covid-19 emergency commissioner Francesco Paolo Figliuolo, who is in charge of Italy’s vaccination logistics and has been tasked with drastically accelerating the campaign, also said that another 3 million doses of other vaccines would arrive in Italy “by the end of the month”.
Countries across the European Union are awaiting their first deliveries of Johnson & Johnson’s vaccine after EU drug regulators approved it in early March.
The EU has ordered at least 200 million doses in total. More than 26.5 million of those are reserved for Italy, including 7.3 million that are due to arrive between April and June – though some countries, including Denmark, have already been warned that they will get fewer doses in the first delivery than planned.
The new vaccine, which would be the fourth in use in Italy after the Pfizer-BioNTech, Moderna and Oxford-AstraZeneca versions, could help Italy get closer to its target of administering 500,000 shots a day by May.
Its vaccination roll-out has been hampered by supply delays and logistical problems, including faulty booking systems that failed to notify some people of their appointments. Progress also varies considerably across regions, which have separate public health services and the freedom to set their own timetables.
The new Italian government has focused on expanding Italy’s vaccination infrastructure, with new mega-centres in Rome, Milan and Genova capable of delivering thousands of shots per day.
And on Monday, Health Minister Roberto Speranza signed a new protocol with Italian pharmacists to allow jabs to take place in pharmacies, in what he called “an important step forward to make [vaccination] faster and more widespread”.
According to the latest official data, Italy has fully vaccinated nearly 3 million people so far, while roughly another 3.5 million have had their first shot only.
In the south of Los Angeles, an imposing building has been rising over the city for five years. It stands directly in front of the Natural History Museum, an essential tourist stop in Exposition Park, where visitors can also see the space shuttle Endeavor. Starting in 2025, the great attraction of the area promises to be the Lucas Museum of Narrative Art.
The name of George Lucas, the creator of Star Wars and Indiana Jones who became a patron of art together with his wife, the financier Mellody Hobson, influences the viewer’s sense of the building. It is made up of a flattened sphere that is joined by a bridge to a huge oval, overlooking the University of Southern California – which the American Graffiti filmmaker attended. The museum’s grounds occupy almost four and a half hectares, and to many people it looks like a spaceship landed in its midst.
But the museum team is quick to refute the popular impression. “It’s the foliage of a tree,” said Sandra Jackson-Dumont, director and CEO of the institution, a few days ago to a group of journalists who visited the work, including EL PAÍS. Ma Yansong, the architect responsible for the design, was reportedly inspired by the tall trees in Exposition Park. His office, MAD Architects, proposed a huge pavilion that leads into a space designed to unite the community in this lower-middle-class residential area where 70% of residents are Black or Latino. To emphasize the botanical reference, the project foresees planting 200 trees throughout the area.
This week, workers put up the more than 1,500 curved fiberglass panels that will give the building a futuristic look. They have been specially manufactured in northern California by robots; 15% of the façade is occupied by solar panels, which will help reduce the center’s environmental impact. Jackson-Dumont, who worked at the Met in New York for five years before coming to the West Coast, proudly noted that there is no single straight line inside the Lucas Museum.
The idea for the museum was born in 2014. That year, Lucas and Hobson launched a competition to design a center that would be located in Chicago, where Hobson has great power thanks to the investment fund she chairs, Ariel, which has a budget of $16 billion. But a problem with the land forced the couple, who married in 2013, to look for a new location. They found it a few meters from the L.A. Coliseum, which has been the home of two Olympic Games and two Super Bowls.
After five years under construction and a $1 billion investment, the center has begun an aggressive public relations campaign to remind the public that the project did not fizzle out with the pandemic. It has simply been delayed once again. The opening date has been pushed back from 2022 to 2023 and now from 2023 to 2025. This week, the team held press events and conferences in New York with members of the art world to build buzz. In addition to the founders, the board of directors of the institution includes Henry Bienen, president emeritus of Northwestern University; sociologist Arne Duncan, who was Secretary of Education during the Obama Administration; Michael Govan, the director of the Los Angeles County Museum (LACMA); Andrea Wishom, the president of Skywalker Holdings, Lucas’s real estate company; and filmmakers Steven Spielberg and Guillermo del Toro.
The board has recently revealed some of the works that have been added to the catalog. Among them is a painting by Robert Colescott, a subversive painter whose work is full of sarcasm and irreverence. The canvas, owned by Lucas and Hobson, shows a black George Washington crossing the Delaware. All those who appear in the painting are African American, a comment by Colescott on the absence of Black people in the historical landmarks of the United States.
The director of the museum believes that there will be no permanent collection once the museum opens its doors. Her idea is that the works will be rotated within the museum. Before their marriage, Lucas and Hobson were already art collectors. She was mainly interested in works by African-American artists such as Norman Lewis and Kara Walker. Lucas’s forte was American art, graphics, comics and illustrations. After their union, they began looking for pieces that interested them both, such as canvases by the 1980s and 90s New York phenomenon Jean-Michel Basquiat, and the photorealistic works of Chuck Close.
A space dedicated to narrative art can sound confusing, and it is. The museum’s treasures include objects as disparate as pieces made 2,200 years ago in Egypt, mosaics from the Roman Empire, the post-war works of Normal Rockwell, African art, a replica of Velázquez’s “Las Meninas” made 200 years later by John Singer Sargent, photojournalism by Dorothea Lange, a self-portrait by Frida Kahlo, a mural by Judith Baca, Ralph McQuarrie’s art designs from the Star Wars movies and Marvel comics by Robert Crumb, star of the American underground cartoon.
“Our intention is to erase the borders between culture and popular art,” says the director. The museum will also have two exhibition halls with capacity for 300 people. One end of the building will include a library open to the public with the entire archive of Lucasfilm, the production company that the filmmaker sold to Disney in 2012 for $4 billion. Lucas and Hobson also bought the Separate Cinema archive two years ago, which includes 37,000 objects linked to the history of film noir ranging from 1904 to 2019.
It is also one of just six EU countries without a national minimum wage, having instead, since 2019, the so-called “citizens’ income”.
Nearly 2.5 million people claim this benefit for the jobless, which works out on average at 550 euros a month, costing the state 8.3 billion euros this year.
The majority – 1.7 million people – live on Italy’s islands or in the south, a region with a large shadow economy and where 10 percent of households live in absolute poverty.
But the benefit has been targeted by fraudsters, and some employers say it makes it impossible for them to find staff. They accuse young people of preferring to pocket easy money for sitting at home.
These payments have become one of the electoral campaign’s most divisive issues, to the point that Meloni’s far-right Brothers of Italy party, which led the last opinion polls, has vowed to ditch the scheme outright.
“The citizens’ income helped hugely,” 70-year-old Conte said. For a while, many guests stopped coming.
Rising prices have brought new faces to his door, however: from divorced dads to struggling carers, whose badly paid, off-the-books work is no longer enough.
The number of people using soup kitchens in Salerno has doubled over the past few months, while a Caritas-run canteen in Castellammare outside Naples has seen a three-fold increase.
Conte feeds an extra 10 families with young children each morning.
This benefit was the brainchild of the populist Five Star Movement, which swept to power four years ago after winning big in the south.
Now trailing the right in the polls, Five Star has vowed to make the income “more efficient”, to bring in a minimum wage and to tackle the gender pay-gap.
The centre-left Democratic Party (PD) also wants to keep a reformed version of the benefit. It has pledged similar other anti-poverty measures as well as with 500,000 new council houses and free school meals.
Mick Jagger doesn’t hate Coldplay. A few weeks ago, the Rolling Stones singer published a video on his Instagram account showing him in the upper stands of London’s Wembley Stadium, waving his arms to the sound of the Coldplay anthem Fix You. Like the other 80,000 members of the audience, Jagger wore on his wrist a xyloband, the light bracelet that the British quartet has invented for their concerts. The image was startling. “Jagger listening to Fix You at Wembley and keeping the tears at bay,” someone said on Twitter ironically, referring to the tear-jerking effect of listening to the piece. “Mick Jagger doesn’t care if you know he loves Coldplay,” the music medium Loudwire titled a piece of information about the video, noting that it’s a bit embarrassing to declare passion for the music of the British quartet.
Put the words “hate + Coldplay” in Google or YouTube search engines and you will find dozens of articles on the subject. Music critics and aficionados can’t stand them. A few years ago, The New Yorker published an article titled Why I Don’t Like Coldplayand The New York Times critic Jon Pareles, left this phrase for history: “The most insufferable band of the decade.”
But Coldplay is the biggest pop band of the moment. No one can come close to their concert numbers. After a hugely successful UK tour, the band will embark on a world tour in 2023. The 200,000 tickets for the band’s four concert dates in Barcelona sold out in a matter of hours, and in Argentina, Coldplay is expected to perform to over half a million people during the 10 days they will be at River Plate stadium. We are talking about tickets that cost upwards of €105. And yet, Coldplay’s music is hated just as much as it is loved. What have the British quartet done wrong?
Alexis Petridis, music critic for the British newspaper The Guardian and one of the most influential pop music specialists in Europe, ends his furious analysis of the band’s latest album, Music of the Spheres (2021), with this criticism: “There must be more worthy ways to stay on top.” His theory is that the quartet is obsessed with success and after commercial slips in the past, have decided to play it safe. How? By working the numbers. They selected artists with the most social media followers and platform listeners and went out of their way to have them on the record. Hence, the presence of Selena Gomez and Korean pop stars BTS.
It’s an interesting theory, one that echoes similar criticism from Alfonso Cardenal, the host of the Sofá Sonoro music program on Spain’s Cadena SER radio network. “Coldplay is a band that was aiming for an independent side, so to speak, but the unexpected success of their first album [Parachutes, 2000] turned them into stars, and they decided to stay there by performing commercial pop. Radiohead had the chance to do the same after the huge success of Creep, but preferred experimentation.”
It is worth highlighting what Coldplay critics find annoying about the band’s music: the excess of positivity, songs composed with the aim of being played in stadiums, saccharine melodies, the forced feelgood vibes and the lack of imagination – and this doesn’t just apply to their early songs. And hence the jokes: Coldplay is perfect music for a wedding, indie music for people who don’t like indie… Lanre Bakare is The Guardian’s arts and culture correspondent. When asked by EL PAÍS about why some people have a problem with Coldplay, he says it’s because the band is seen as too commercial. “Those looking for challenging music are put off by Coldplay’s level of success. It is for the same reason that many hate U2, which I think is a group with certain similarities to Coldplay. Also, Coldplay’s tendency to fall into sentimentality is off-putting to some. But the truth is that the mass public wants music that can soundtrack the ups and downs of their lives, and their songs are perfect in that regard,” he says.
Gustavo Iglesias, from Spain’s Radio 3, also defends the band: “Given Coldplay’s massive success, it’s easy to attack them and say that they have sold out or lost their dignity. But if you look at their career, their recent albums haven’t been so bad. Music of the Spheres won’t be an important work in the future of popular music, but I don’t see it as an atrocity either, as much of the critics have said.”
Critics of the band also criticize lead singer Chris Martin for his meekness as a rock star. He doesn’t brag about vices, he grinds at the gym and always has a smile on his face. But this is exactly what Shuarma, the leader of the Spanish group Elefantes, likes about him. “Chris Martin is simple, nothing fancy or eccentric. His power is that naturalness. I think it’s a time when the music culture is closer to the normal person than the rock star,” he tells EL PAÍS. “Music has taken a turn: records are no longer sold and music programs and magazines are no longer so influential. There are no more rock stars, the ones that survive are the ones from yesteryear.”
Shuarma admits he is more interested in Coldplay’s early music than their latest albums. “However, they continue to do wonderfully now as well. They have a tremendous compositional capacity and energy. And collaborating with artists from different styles, as they have done with BTS or Selena Gomez, I think it enriches the music.” Bakare agrees with Shuarma about Martin. “He’s a new kind of pop star, less cool, but who connects on an emotional level and people can relate to. Chris Martin is a nerd who grew up an evangelical Christian. And it has paved the way for musicians with similar profiles, such as Ed Sheeran and Lewis Capaldi.”
It is true that Coldplay has been a stadium band for years, but now it has exceeded expectations. “Nobody can doubt its pull, the figures are tremendous. The images of the Wembley concerts have raised a lot of expectations,” says Cardenal. “Some are not fans of Coldplay, but are drawn to the show. It is also a concert which is considered an ‘event to be at.’ There are a lot of influencers, people taking photos for Instagram. They are fashions that bring together part of the population that wants to involved in what’s being talked about.” And there are the songs, of course, with the rousing choruses that work perfectly for large audiences.
We asked a college student who spent a morning in the virtual queue for Barcelona concert tickets why she wanted to see them. Blanca Liceras, a 23-year-old from Madrid: “I’m not a big fan of the group and I’ve barely listened to their latest album, but I decided to buy a ticket after seeing the videos of other concerts on social media: the lights, the different settings, how much fun people seem to have….”
The members of Coldplay met at university in the 1990s and moved to London full of ambition. “We wanted to meet musicians, the people with whom we were going to conquer the world,” they have reported on occasion. When Britpop (Oasis, Blur, Suede) was beginning its decline, a new generation of British musicians appeared who turned down the volume of the guitars, introduced the piano and spoke of melancholy love. It was the early 2000s. Coldplay, Travis, Keane and Snow Patrol were appearing at the top of the charts.
Of all of them, only Coldplay are capable of reaching large audiences today, partly due to their willingness to be a commercial pop group. Iglesias finds their evolution “quite honest, they have never tried to be an arty or sophisticated group.” Bakare points out: “They are fundamentally a commercial band that sometimes surprises us by winking at Kraftwerk. I always remember Noel Gallagher [Oasis] saying that Coldplay wrote songs for ‘children who wet the bed.’ The truth is that they make songs that connect with people on an emotional level, that’s why they perform in Spain and fill stadiums and Noel doesn’t.”