In October, the Red Hot Chili Peppers announced the dates for their Global Stadium Tour, which will see them visit some of the biggest venues the world over and will get going in Spain. The first date will be in the Estadio de La Cartuja, in Seville, on June 4, 2022, and the second in the Estadi Olímpic, in Barcelona, three days later. This will be the first time that the Californian group will be playing in major stadiums in Spain, and that fact could be surprising to some. Are they still a big enough band to fill up so many seats at prices that are not exactly affordable? For example, a general ticket is priced between €55 and €150, while the VIP option costs as much as €600. The answer came just a week after the gigs went on sale, with the Seville date completely selling out. How did this happen? We analyze the never-ending success of the veteran band.
Red Hot Chili Peppers have been active since 1983, having survived addictions to hard drugs, lost old members, had internal battles and many creative and emotional lows. In some ways, announcing a stadium tour right now is like making a bet by which they are putting their power to resist on display and presenting themselves as a supergroup that is ready to celebrate itself to the maximum. In the United States, their support acts will include greats such as Beck, The Strokes, Haim and St. Vincent, among others. In Europe, meanwhile, they will be backed by rapper A$AP Rocky and the unclassifiable Thundercat.
What’s more, as editor of Spanish music magazine Mondosonoro Joan S. Luna points out, this is the first major tour that has been announced since the coronavirus pandemic hit. Covid-19 ruined the group’s plans in 2020, both in terms of the live shows they had planned and the recording of a new album. Their next release will be characterized by the return of the most-emblematic line-up: John Frusciante (51) will be returning as guitarist and Rick Rubin (58) as producer, accompanying founders Anthony Kiedis (59) on vocals and Flea (59) on bass, and long-term drummer Chad Smith (60).
For fans of the group, who have bought tickets from all corners of Spain, the Seville date is doubly symbolic: it will see the start of the band’s world tour and will also be the first major rock music party in the wake of the pandemic.
Like the Rolling Stones, Bruce Springsteen and U2, the Chili Peppers are a classic rock band who manage to turn every one of their concerts into an unmissable event, independent of the interest that their latest albums have sparked. For the general public, all they need are a few dozen singles that they recognize and can sing along to, even if they never bought one of their albums in their lives.
“It’s been many, many years now since they’ve released a masterwork,” explains Joan S. Luna. “I think that Californication, which came out in 1999, is their last great record, but then they have released singles that have worked very well commercially and have turned them into a band for the whole public, having done endless mid-tempo and more accessible songs. They’ve lost a lot of what made them an exciting group to offer instead an effective formula and cover that quota of rock tastes for a lot of people.”
A multi-generational band
Related to the previous factor is the group’s capacity to create songs that endure in the collective memory, meaning that nostalgia is playing a large part here too. “The Chili Peppers have been the soundtrack to my life,” explains Fran Belda, a 44-year-old from the Canary Island of Tenerife, who snapped up tickets for the Seville concert for him, his partner, and a group of friends he hasn’t seen for years. “For a time I would play Blood Sugar Sex Magik every evening, and play the bass along to all the songs from start to end. I will, without a doubt, continue to listen to them, because not only have they conveyed their love of funk and rock to me, but also listening to them transports me to incredible times in my life.”
“Being such a legendary band, one I grew up with, I couldn’t miss the party,” adds Belda’s partner, Susana Lasvignes, a 45-year-old from Madrid. “I’m going to have a great time with my friends, singing all of their hits, and I’m sure I’ll cry and laugh,” adds Cristina Bendala, better known as Tinatha. This multidisciplinary artist – who creates rap music, as well as graffiti, illustrations and design – discovered the band thanks to some skaters from Huelva in southern Spain when she was 11 or 12.
“The Chili Peppers were like my cool cousins, people who gave me the power to grow,” she explains. “I wanted to draw, to add color to everything, paint t-shirts and tie-dye them, be in the group, skate, be wild and natural. And to be strong like Anthony too,” she says between laughs. “Their attitude was really important for me,” she continues. “To see these really crazy guys, who were free and wild, really fun and with a wonderful spirit. Nearly naked on the stage with those socks strategically placed over their genitals, like on that poster I hung in my room in 1996. That was so cool!” Which brings us to…
They created a unique (and very attractive) look
No one could doubt that one of the major secrets of their success has been the personal way in which they brought together the bravado of hip hop and the carnality of funk, with the electric intensity of metal and punk. In the second stage of their career, they also mixed in the melodic accessibility of pop and alternative rock, as well as a light-hearted and zany image. This can be seen in the video they released to announce their tour, in which each member is instantly recognizable thanks to their own charisma and sense of humor. They could almost be cartoon characters, but when they’re together they ascend to another dimension.
The way that the band members interact on the stage releases a huge amount of entertainment, but also physical energy. They are a muscular group in both the literal and metaphorical senses. “You only have to see how Flea still convulses while he plays, at nearly the age of 60, and how Anthony moves across the stage, although it is true that the singer has lost a lot in recent years,” explains Fran Belda. “I also like the twists and different ways of playing some songs. That moment when John Frusciante, Flea and Chad Smith stretch out a song and make you wish it would never end. Above all, they transmit a lot of positive energy.” For Tinatha, their best values on the stage are “the combination of savagery and sensitivity, entertainment and sadness, explosivity and ease.”
Four reputed and influential musicians
All of the band members of the Red Hot Chili Peppers, past and present, are considered to be among the best musicians in the world with their respective instruments. Anthony Kiedis has been characterized by an unmistakable voice in different registers, which evolved and peaked with the release of Californication. Chad Smith joined the band in 1989, following in the footsteps of prestigious drummers such as Jack Irons, who subsequently joined Pearl Jam, and Cliff Martinez, who was to become one of the most sought-after soundtrack composers.
John Frusciante has been in and out of the band over the years, but is a fixture on the most important Chili Peppers’ releases: Mother’s Milk (1989), Blood Sugar Sex Magik (1991) and Californication (1999). “Among the most-recognizable elements of his style is how clean it is, and the space he leaves between the notes and the chords – he’s not an invasive guitarist,” explains a well-known Spanish rock guitarist. “He’s never pedestrian, predictable or obvious. And he has something else that’s fascinating, which is the physical sensation that he imprints on his instrument. You can feel the contact between the pick and the string – it’s like seeing a painting by [Jackson] Pollock, you feel the gesture, the active sensation of the body carrying out an action.”
And of course there is Flea, considered by many to be the best bassist of all time. “He’s my biggest musical reference,” states Fran Belda, who currently plays with a group called Cachorro. “What impressed me the most was how he slapped the bass, turning it into a percussion instrument. He also opened the doors for me to funk, allowing me to discover amazing groups like Parliament, Funkadelic and Sly and the Family Stone.”
Susana Lasvignes, who plays drums for Cachorro and used to do the same in a duo called Diecisiete, has just as much admiration for Flea as she does for drummer Chad Smith. “As well as having an immediately recognizable style, for me Flea is a completely crazy man who gets so much enjoyment out of his instrument in spite of his years, in spite of his virtuosity and in spite of his success,” she explains. “That, to me, is tremendously admirable and enviable.”
Beattie faces long road to redemption after offensive tweets emerge
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.
Latina singers: From flamenco to Spanglish: Why Rosalía’s latest album is causing a stir | USA
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.
“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’).
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.”
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.
Plan to cut hospital waiting lists as Covid eases being finalised by HSE
The Health Service Executive is finalising a multi-annual plan to cut hospital waiting lists, as Covid-19 pressures ease.
Chief executive Paul Reid said the plan will build on previous work done within the Slaintecare process and be ready “within weeks”.
The lifting of most restrictions earlier this month had given a great lift to health staff and the situation in hospitals and other services was now much better, Mr Reid told a media briefing on Thursday.
There were 711 patients with Covid-19 in hospital on Thursday, including 74 in ICU.
Some 53 per cent of patients with the virus were there because of Covid, while 47 per cent had been admitted for a different illness but were subsequently diagnosed with Covid, he said.
While this group is asymptomatic, the patients are also infectious, Mr Reid pointed out, and so require infection control measures.
About 4,800 HSE staff are off work due to Covid-19 infection or being a close contact, down 3,000 on two weeks ago.
Chief operating officer Anne O’Connor said hospitals are very busy, with attendances up 41 per cent last week on the same week last year, and 14 per cent on two years ago.
The use of surge capacity has increased and there were 571 delayed transfers of care last week.
Mr Reid enumerated the “learnings” made by the HSE over the period of the pandemic, which can now be built on for the future of the health service. There is greater integration between different services in acute public hospitals, the community and among GPs, pharmacies and private hospitals, he said.
In addition, the key role of public health teams came to the fore during the pandemic. Much had also been learned through the agility demonstrated by the health service during the pandemic, and there is now greater clarity on the role of the centre within the HSE as well as greater access for GPs to diagnostics.
Mr Reid said his priorities for the future were to build capability within the pandemic workforce and to prioritise waiting lists.
The multi-annual plan to improve access to care and reduce waiting lists will go to Government and the HSE board shortly, he said.
Other priorities include the further enhancement of community health networks, the consolidation of a single health service that includes the private sector as waiting lists are being addressed, and improved cybersecurity.
More than 200,000 doses of Covid-19 vaccine have expired as demand dropped and many people were unable to receive them due to recent infection, the briefing heard.
Asked whether he thought the pandemic was at an end, Mr Reid said no-one in healthcare was saying it was over. Yet the need for people to get back to normality was recognised, and there was never a more appropriate time for this than now.
Covid-19 might yet force a “recalibration” in the future but for now there was every reason to celebrate the lifting of restrictions.
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