Argentine

Aug. 17 (UPI) — Nearly 8 in 10 Argentine households earn less than the national average, helping explain why consumer spending remains weak despite signs of improvement in the broader economy, according to a Fundación Encuentro report based on estimates by consulting firm Consultora W.

Average household income reached 2.8 million Argentine pesos per month after taxes during the first quarter of 2026, or about $2,000.

However, 78% of households earned less than that average during the period amid a persistent loss of purchasing power due to inflation, the economic recession and wages failing to keep pace with the cost of living.

The report said 21% of households were in the lowest-income group and below the estimated poverty line.

This reality reflects what economists and analysts describe as a “two-speed economy.” While broader financial indicators show a strong stabilization under the economic policies implemented by President Javier Milei, Argentine households are experiencing the effects of the country’s most severe austerity program in recent history.

Economist Néstor Requelme, a consulting partner at REyVA Macro Estrategia, told UPI that the distribution of household income reflects changes in wages, prices, interest rates and the exchange rate, which have affected households differently.

Requelme said one of the main problems is the loss of workers’ purchasing power and the declining ability of wages to sustain families’ living standards.

“Above all, it reflects that wages have ceased to serve as an instrument of social cohesion,” he said.

Requelme said that as long as real wages continue to be used as an economic adjustment variable, it will be difficult to reverse the movement of households into lower-income groups.

“As long as current macroeconomic policy continues to use real wages as an adjustment anchor against inflation, interest rates and the exchange rate, fundamental variables in any economy and especially ours, downward social mobility is a process that will not stop,” he said.

The Fundación Encuentro report links the country’s income distribution to weak consumer spending. Although inflation has begun to ease and real wages have started to recover, lower-income households still have little room to increase spending.

“That concentration of incomes below the average helps explain why mass consumption remains depressed, even as macroeconomic indicators have been improving,” the report said.

Spending cuts, however, are not limited to lower-income families. Guillermo Olivetto, director of Consultora W, said during an event organized by Argentina’s Chamber of Social and Market Research Companies, or CEIM, that higher-income households are also reassessing their spending, according to Argentine news outlet Infobae.

Despite having greater financial resources, those households are reducing fixed expenses such as insurance and private health plans, cutting back on services and spending less on dining out, concerts and travel.

Consumers are also increasingly seeking discounts and promotions as their ability to save remains under pressure.

The shift is also evident in everyday purchasing decisions. Esteban Cagnoli, CEO of Worldpanel by Numerator, told Infobae that consumers are becoming “increasingly selective” and favoring neighborhood stores.

Cagnoli said the preference is not driven solely by convenience. Consumers are also trying to avoid impulse purchases and focus their spending on a smaller basket of goods.

The data point to an uneven recovery in income and consumption in Argentina. While macroeconomic indicators show signs of improvement, a large majority of households still face constraints on their ability to spend.

There has been a small slice of Wales in Argentina for more than 150 years.

About 160 Welsh emigrants sailed to Patagonia in 1865 to create a new settlement, ‘Y Wladfa’, where their language, culture and religion could flourish free from English influence and dominance.

The language is still actively spoken there, while more than 50,000 Patagonians can claim Welsh ancestry.

One of those is Jeremias James.

James was born and raised in Trelew, a city founded in 1886 by Welsh settlers in the Chubut province.

Its name translates from Welsh to “Town of Lewis” in honour of its founder, Lewis Jones.

“I’m part of a Welsh family, a Welsh colony that settled in southern Argentina, specifically in Chubut,” James told BBC Sport Wales.

“Five generations of my family were born in Trelew, and I’m part of the the fifth generation.

“Over the years my family settled in Chubut and that’s where my story, my family, and all my descendants come from.”

July 9 (UPI) — An Argentine court convicted former Navy Capt. Claudio Villamide and sentenced him to three years of suspended prison time for his role in the 2017 sinking of the submarine ARA San Juan, the country’s deadliest peacetime naval disaster.

The sinking killed all 44 crew members. The submarine was located in late 2018 at a depth of roughly 3,000 feet in the South Atlantic. It has not been recovered.

According to Argentine media reports, the court in Río Gallegos found Villamide guilty Wednesday of aggravated negligence and failing to fulfill the duties of a public official. In addition to the suspended sentence, he was barred from holding public office for six years.

Prosecutors argued that Villamide, who commanded the Argentine Navy’s Submarine Force at the time of the disaster, authorized the patrol mission despite knowing the vessel had serious maintenance deficiencies. The submarine had pending post-repair tests and was subject to a technical diving restriction that was ignored, prosecutors said.

Villamide maintained his innocence throughout the trial, arguing the submarine met operational requirements, and that investigators had not conclusively determined the physical cause of the disaster.

Because the sentence was suspended, Villamide will not serve time in prison.

In a unanimous decision, the court acquitted three other former naval officers charged in the case: former Rear Adm. Luis Enrique López Mazzeo, former Capt. Héctor Aníbal Alonso and former Capt. Hugo Miguel Correa.

Relatives of the victims expressed outrage over the ruling and what they described as the leniency of the only conviction.

According to Argentine newspaper Página/12, many family members believe the verdict fell short of delivering justice because it did not hold the Navy’s top commanders or senior government officials from the time accountable.

Lawyers representing the victims’ families said they will appeal the ruling before Argentina’s Federal Court of Cassation beginning Aug. 21, seeking to overturn the acquittals and increase Villamide’s sentence. At the same time, they described the decision as an unprecedented institutional milestone, according to La Nación.

For the first time, an Argentine court ruled that the loss of a military vessel during peacetime was not solely the result of weather conditions, but also of serious human failures and omissions.

Villamide’s defense also rejected the verdict.

His attorneys called the conviction “unusual and unjust,” arguing the trial established there was no direct causal link between the orders issued by naval command and the submarine’s final collapse in the South Atlantic, according to La Opinión Austral.

The defense said it also plans to appeal in an effort to obtain a full acquittal.

The ARA San Juan reported flooding and an electrical fire caused by seawater entering its battery compartment on Nov. 15, 2017. After contact with the submarine was lost, its wreckage, crushed by an implosion, was found about a year later nearly 3,000 feet below the surface of the South Atlantic.

In an era hallmarked by what experts call a “sex recession,” Six Sex is a symbol of liberation.

The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.

To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.

“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”

In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”

That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)

“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”

“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.

“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”

Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.

Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.

This interview has been condensed for clarity and was translated from Spanish to English.

“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.

(Catalina Jacobo)

I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal?
[laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.

Is there an element of separation at all between the artistry and you as a person?
I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.

Is it weird to put those intimate experiences on an album?
No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.

I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance?
Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.

Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.

Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club.
I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.

You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life?
These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”

There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work.
[laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.

How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception?
I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.

Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music?
I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.

That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.

An Argentine television presenter has resigned after falsely reporting that the father of Lionel Messi had died during Argentina’s first World Cup game.

Florencia Pena made the claim during a live broadcast on Argentine streaming channel Luzu TV following Argentina’s opening group game win over Algeria.

“I don’t want to bring bad news, but Messi’s father has just passed away. It was sudden. In the middle of the World Cup,” Pena said while hosting the show.

The report quickly spread on social media before Pena clarified that the information had not been confirmed.

The Messi family later issued a statement confirming that the player’s father, Jorge Messi, is receiving medical treatment for an undisclosed health condition.

The statement said the 68-year-old is under medical supervision and recovering, while criticising speculation surrounding his health and calling for privacy during a difficult period.

Pena apologised publicly and said the information had been passed to her during the programme as if it was verified news.

“I apologise to the Messi family,” she said in a statement. “I am deeply ashamed to have been involved in this mistake.”

The 51-year-old television personality and actress now says she was given unverified information.

“I have to clarify that this false information was given to me live on air as if it had been checked by the show’s production team, and I trusted it,” Pena wrote on social media on Thursday.

“Even so, I take responsibility for being part of the mistake and that is why I decided to step aside and end my participation in Luzu.

“I apologise again from the heart; I was wrong.”

Luzu TV also apologised and announced disciplinary action following the incident, saying the dissemination of sensitive information without proper verification was unacceptable.

Nicolas Occhiato, the show’s host and producer, said: “We at Luzu TV deeply regret what happened on the air during the program El Show de Verano. For our channel, the broadcast of sensitive information without proper prior verification is unacceptable.

“For this reason, Luzu TV management has decided to terminate the employment of all those responsible, and Florencia Pena has decided to step down.

“We reaffirm our commitment to responsible, respectful, and rigorous journalism.”

The controversy came after Messi scored a hat-trick in Argentina’s 3-0 win over Algeria. The 38-year-old appeared emotional during the match and later said he had experienced “difficult days” for personal reasons unrelated to football.

The false report triggered widespread criticism across Argentina, with many supporters condemning the failure to verify the information before it was broadcast.

Argentina’s President Javier Milei called it “Trash talk” on X, saying that Pena’s “outrageous and unscrupulous, unverified statements on a streaming channel, which would still be outrageous even if the information had been true, since they concern a citizen’s private life, remind us of the impunity with which some individuals believe they can operate simply because they have a microphone or a pen in their hand”.

Argentina continue their World Cup campaign against Austria on Monday (18:00 BST).