brings

Earlier this summer, Akriila flew to Los Angeles and played two nights at the Roxy in West Hollywood. At 22, the Chilean singer-songwriter, most identifiable by her fire engine red tresses, is one of the most visionary newcomers in the latest wave of post-urbano Latin artists.

Fittingly, Akriila kick-started her career with a trap mixtape. The most-streamed tracks on her debut, 2024’s dazzling “Epistolares,” favor a progressive reggaeton vein. She also collaborated with Milo J on “Llora Llora” — a folksy lullaby off the Argentine rapper’s masterpiece “La Vida Era Más Corta.”

“Hot gays listen to Akriila” became a celebrated slogan on social media.

Turns out she was just getting started. Released Sept. 3, her latest album, “Lucy Miró al Mundo y Notó Que Está Girando” — its title a delicious riff on Beatles lore — eschews reggaeton altogether, in favor of a hallucinogenic collage of shoegaze, electronic glitch pop and South American roots sounds.

A guidepost of Chilean hyper-pop, it is also a heart-wrenching mash of tenderness and distortion. The lyrics describe the trauma of a recent transition, after she left her father’s home and ventured to live on her own — and though she’s now an established artist signed to Atlantic Records, her music is still aching and vulnerable.

“She is a reference point for all of us in contemporary music,” says producer Diego Raposo, a Dominican tastemaker who featured Akriila on his 2023 debut album. “I believe we’re witnessing something that we’ll probably never see again. Her music reminds me of Björk, Aphex Twin, even Shakira — but it’s also incredibly fresh and original.”

A few days before traveling to London for her inaugural European tour, Akriila spoke to De Los about the seduction of second verses, her obsession with ’90s dream pop and the growing pains of living alone.

This is such a dreamlike record. Was that intentional?
I wanted it to feel not necessarily ethereal, but hazy, like you’re inside a bubble. I love the way my voice is processed, sharing the space with so many layers. It’s really cool when the vocals are part of a track instead of lying there in the center of the mix.

I was your age in the ’90s, and this album has a very strange emotional effect on me: It reminds me of what it felt like to be in my 20s, listening to dream pop for the first time.
That makes perfect sense, and it connects with a favorite exercise of mine: Every week — ideally, every day — I listen to a full album from beginning to end. I started with new releases, but then set my sights on the classics.

The Sundays’ [1990 masterpiece] “Reading, Writing and Arithmetic” was the album that opened up the space mentally for what I wanted to do. I always say that I make alternative pop. I start with something that’s catchy and easily digestible, and then mix it with sounds that feel uncomfortable. As I was starting to work on this album, I listened to the Sundays, the Cardigans, and every single record that Prince ever made.

I can definitely feel the ’90s vibe in the closing track, “Lucy.” It’s gorgeous.
That’s inspired by the Sundays’ “Gone,” and the drums sound like Cocteau Twins. I love the art of collage — stealing from different artists, but doing it my way. There are samples of PJ Harvey, Patti Smith, but also Rosalía. When I make videos, I’m always thinking of something that MTV would have played back in the day.

I keep thinking of this record as a concept album, even though the actual concept is more of a feeling than anything else.
I totally get you. It’s not an album like the Who’s “Tommy” — an actual musical that takes the conceptual deal to another level. I feel we’ve forgotten the art of making albums now that we’re so focused on playlists and TikTok. I invest a lot of effort in making my albums conceptual, since I’m not into records that are random collections of tracks. “Epistolares” was all about sending letters and dedications. The deluxe version was more sentimental. This one is a concept album for sure. I could outline in detail why every moment of the record happens when it does.

The bridge on “Abrázame” is incredibly romantic.
That bit really freaked me out in a good way. It was shorter at first, but then I asked [producer] Vinco to make it longer. Those guitars on the bridge are the most beautiful thing he’s ever done. The contradiction of “Abrázame” is that everyone kept telling me that it should continue going up and explode at the end, but I had already overused that device on “Epistolares.” So I did the opposite and gave it a happy ending. That ethereal, ambient thing at the end kills me.

Talking about songwriting devices, here’s a trademark Akriila move: A song may be moving forward, and suddenly there’s a fracture — everything breaks and decomposes. Why?
I think I have ADHD and need things to be constantly changing. I’ve tried to make songs that are plain, but I just can’t do it. My favorite part of songwriting is working on the second verse. You’ve already presented the main idea and shown what the chorus is like. On the second verse you can change the beat or the lyrics, and do anything you like. [Producer] Clemente is just like me in that respect. Sometimes we take things to the limit, and then step back. It’s one of the great things about my creative team: We’re not married to the demos. We may do five versions of the same tune until it sounds right.

Your Chilean roots shine through on “Partedemipartedeti.” I listened to those folk bits and thought: Here’s someone who grew up listening to Los Jaivas and Inti-Illimani.
When I first started obsessing about music, the stuff that I liked was all in Spanish. I listened to tons of records from Chile, Argentina and Mexico. “Carta a Mi Papá” is like a traditional balada from Chile. I stole those chords from “Quizás, Porque” by [Argentine supergroup] Sui Generis. I listened to a lot of Pescado Rabioso when I was a teen. My partner has a cassette deck in her car, and she’s always playing [Charly García’s] “Piano Bar.” I don’t identify only with Chilean music. It’s more of a música latinoamericana thing. I don’t think gringos are that good in the lyric writing department. Artists like Bandalos Chinos, Alex Anwandter and Zoé are really great composers.

Do you think you’re an old soul?
People always tell me that [smiles]. We’re a team of three; I think Clemente is a really young soul. Vinco and I are the old ones.

Before making this record, you stopped living with your dad, moved to a place of your own, and experienced a time of profound loneliness. What does your father think of the finished album?
He loves it. He is a musician himself, and it must have been hard for him when we started living apart. It was also difficult for me to get home and feel so lonely because there was no one waiting for me anymore. My dad still comes to my place once a week; he doesn’t want to bother me, so he leaves food in the reception area. It’s his way of making sure that I’m doing fine.

Authorities warn residents that extreme conditions could pose risks and urge people to stay away from flooded areas.

Residents of the northeastern United States are facing a powerful storm known as a nor’easter that has knocked out power and caused flooding across the region.

The storm has led to the cancellation of more than 400 flights and power outages affecting more than 88,000 homes and businesses as of Saturday afternoon local time. That figure is down from a high of 119,000 earlier in the day.

Bob Oravec, lead forecaster with the National Weather Service in College Park, Maryland, said that the storm is likely to persist, with “a lot of high winds, a lot of high tides and heavy rain possibility over the next few days for the northeastern US”.

The governors of New York and New Jersey declared states of emergency in counties expected to see the worst of the storm, including New York City, on Friday.

Authorities have also warned residents about the risks of flooding and high tides, cautioning people to stay away from the beach and areas inundated with water.

“Anyone who goes in or near the water this weekend is literally gambling with their life,” New York Governor Kathy Hochul said.

Despite the warnings, people have been seen kayaking down flooded streets in Long Island, New York, while others took advantage of large swells in Hampton, New Hampshire.

“In all the canals, the water is up really high and coming into people’s back yards,” Jay Boyd, a resident of Ocean City, Maryland, told The Associated Press news agency.

Oravec said that nor’easters are not unusual as the region of New England enters the autumn season, but that “this might be a little earlier than average for a big storm”.

About 425 flights have been cancelled and 1,338 delayed so far on Saturday, according to data from the flight tracker FlightAware.

Concerts and sporting events have also been cancelled, including musician Ed Sheeran’s scheduled shows in the state of Massachusetts on Friday and Saturday.

Heavy rains could cause life-threatening flooding and landslides on Mexico’s Pacific Coast, the US National Hurricane Center warned.

Hurricane Polo has sent heavy rain and strong waves across Mexico’s Pacific coast, while Tropical Storm Nolo is approaching Hawaii with the potential for catastrophic flooding.

Early on Thursday, the hurricane was swirling about 130 miles (209 kilometres) south-southwest of the Mexican city of Zihuatanejo. It was moving northwest at 7mph (11kph) and forecast to turn west-northwest later in the day, taking it further out to sea, before turning northwest on Saturday.

Polo was forecast to maintain Category 5 strength as it moves along Mexico’s coast over the next few days.

While the eye and the strongest winds were expected to remain at sea, the heavy rains could cause life-threatening flooding and landslides, warned the US National Hurricane Center in Miami.

A hurricane watch was issued for Hawaii county and disaster preparations are under way because Tropical Storm Nolo could hit the island on Friday or Saturday, warned the National Weather Service.

John Bravender, a weather service warning coordination meteorologist, said during a news conference on Wednesday afternoon that the tropical storm could develop into a major hurricane.

Hawaii County Mayor Kimo Alameda told residents in a video message that they should start preparing for the storm. He urged them to put together emergency kits with food, water and medications, as well as trim vegetation and clear drains.

“This is a very serious situation,” he said. “We do believe that the rain is going to come. It’s coming already.”

Governor Josh Green’s office said public schools and state and county offices across Hawaii’s Big Island will close on Thursday and Friday, while Maui County will shut them on Friday ahead of the threat of heavy rain, winds and flooding.

As the fall equinox approached from a week away, the Primetime Emmy Awards made its 78th visit, leaving trophies in some hands, the honor of just being nominated for others and bupkes for the rest of the thousands who make what we call television. Once again I have been called to witness (from afar) and report, so let’s get down to it.

It was the turn of NBC (and Peacock) in the round robin of major networks who broadcast the show, and to keep things literally in-house it was hosted by Mariska Hargitay, “America’s sweetheart sex cop Olivia Benson” from the network’s “Law & Order: Special Victims Unit” and broadcast from the Peacock Theater, formerly the Microsoft Theater, formerly the Nokia in #DTLA, formerly downtown Los Angeles.

When reviewing the Emmys, or any awards show, as television in its own right, the only real questions are what distinguishes it from its many previous appearances on the karmic wheel of life — how it tricks up the basic, immutable form, like different decorations on the same sugar cookie recipe you have been using forever. Anything unexpectedly or especially moving, rousing, funny or strange, things that go against the grain of a production that wants to keep things controlled in order to bring the ship in on time.

This year the critic has been given the gift of Hargitay, primarily a serious actor (and director and producer), following in a long line of comedians and comic actors. There have been other serious actors as host, for example, Raymond Burr in 1959, Tom Selleck in 1984 and Angela Lansbury in 1993. And certainly, if you’re looking for someone to represent the medium rather than merely to comment on, celebrate or joke about it, you could do no better than Hargitay, the longest-serving actor on the longest-running prime-time live-action series on American TV. She’s beautiful, glamorous, self-possessed. She was recently on Broadway in “Every Brilliant Thing,” which involved a degree of what comedians call “crowd work,” so standing up in front of a live audience of people no more famous than she wasn’t going to throw her. Professional comedian Nate Bargatze, who hosted last year, was much more of a dark horse.

Emmys host Mariska Hargitay with singer Taylor Swift and her cat Olivia Benson on screen during a skit the 78th Primetime Emmy Awards.

(Patrick T. Fallon / AFP via Getty Images)

Although I would have bet on a pre-filmed “Special Victims Unit” routine to open the show, which is why I’m not a gambler, it wasn’t until an hour in that it appeared. (It involved murder-style boards, concerning the Case of Whether Taylor Swift would be making an appearance; she did, in the bit.) The pre-filmed production number that did open the show began with Hargitay and her actual good friend New York Knick Jalen Brunson steaming their clothes when Hargitay suddenly realizes she is due across the country to host the show. This led to Joan Jett’s “I Love Rock ’N Roll” reconceptualized as “I Love TV Screens,” which included the “Widow’s Bay” sea hag revealed to be Jennifer Coolidge, bringing boba tea (rhymes with “TV”); other rhymes matched “eating beef” and “watching ‘Beef’” and “Ed Gein” and “mean.” It moved to the live stage, with Hargitay flanked by dancers with television heads. Both segments felt more effortful than funny, but not unfunny.

On her own, however, Hargitay was above all a woman having a good time, never less than likable and game and enthusiastic, managing the scripted patter as well as anyone might have. Her monologue included several jokes about age, one about “L&O” producer Dick Wolf’s real name (Richard Penis), and another about her inability to pronounce “finale” because she’d never been in one. As is practically an Emmys tradition, some of these were confusing (even to the people performing it), or went on too long (Nick Offerman, cornered at his table, describing his work as an erotic house painter), or just had the effect of having been put on their feet without much, if any, rehearsal. Presenting the final award, for outstanding comedy, Woody Harrelson and Matthew McConaughey, told to stretch — the show was actually running short — described the plot of their upcoming Apple series, “Brothers,” until they were allowed to move on.

As to what the Television Academy calls “creative elements,” everything that isn’t a presentation or a speech, they advertised tributes to the 30th anniversary of “Buffy the Vampire Slayer,” certainly a typo, and the 50th of “Charlie’s Angels,” a logical impossibility, but these were really just themed groupings of presenters — Sarah Michelle Gellar and David Boreanaz in the former, Kate Jackson, Cheryl Ladd and Jaclyn Smith in the latter. (The Angels managed a few words for Farrah Fawcett, but none for Shelley Hack, Tanya Roberts or David Doyle.) But there were full tributes to Dolly Parton (Sally Field enthused, Reba McEntire sang); to James Burrows, with Jamie Lee Curtis pivoting emotionally to talk about old friend Rob Reiner, who won a posthumous guest appearance Emmy this year for “The Bear”; and to Catherine O’Hara, with her “Home Alone” child Macaulay Culkin and “Schitt’s Creek” children Annie Murphy and Dan Levy, who spoke to “helping her build a TV character over the age of 60 that wears leather miniskirts and eight-inch heels and speaks in a strange, sometimes unintelligible transatlantic accent, and know that she will not scare an audience away.”

And there was Julianna Margulies presenting the Bob Hope Humanitarian Award to Michael J. Fox, who, in his usual way, was eloquent and funny, and let the people know about the goodness of Bob Hope, setting up a punchline in the bargain. Like a lot of you, I love Michael J. Fox, and I’m just going to leave that here, with a pile of soaked-through tissues.

John Mulaney stole the show as a presenter at the 78th Emmy Awards ceremony at the Peacock Theater in Los Angeles.

(Robert Gauthier / Los Angeles Times)

But what America will mostly remember from this night was John Mulaney, introducing the award for lead actor in a drama, and burning the house down with a routine that went wherever it wanted. “They can play anything, these nominees. Not just doctors. They can play a cop or an FBI agent or a secret agent. And then that’s it. No other examples.”

“Since the creation of television, men have been historically underrepresented,” Mulaney said, explaining that the medium was all “beauty contests and children talking to hand puppets until the early ’60s. Until a man walked out and said, ‘Enough. My name is Fonzie and the president’s been shot.’” Mulaney is a man who has convulsed crowds in arenas and stadiums, but, as a local, nothing made me laugh harder than the words, “You know, I was shooting down Barham last night at 90 miles an hour.”

Nothing against Hargitay, but it’s clear that Mulaney should host this show, and every awards show, from now on.

JEDDAH: While the COVID-19 pandemic forced millions of people around the world to move their lives online, one young Saudi technology entrepreneur was watching more closely.

He was not just looking at how people were adapting to a new digital reality, he was watching what was happening elsewhere — particularly in China, where livestream shopping was rapidly becoming a mainstream way to buy.

For Taher Alblowe, the idea was simple but powerful — and he decided to build a live Saudi social shopping and auction marketplace.

“It is called Rwaj; we built it so a seller can go live, sell at a fixed price or by auction, get paid and ship without leaving the app, and a buyer can purchase or bid knowing their money is protected until the item is in their hands,” he explained to Arab News. “This lets us reach many more sellers and buyers in the region and beyond.”

Before founding Rwaj, Alblowe founded and served as CEO of Geeks Valley, an education and digital fabrication company that grew to more than SAR23 million in cumulative revenue and worked with government entities, leading universities, and international companies.

“Live selling in our region did not need to be invented. It needed to be made safe, and made native,” he said.

He sees Rwaj as being more than another shopping application; it is an attempt to anticipate how commerce could evolve and to build that future.

“When I saw the same model start to take hold in the US and then in Europe, I was convinced the timing was right to build it for the Middle East, from the ground up and in Arabic,” he said.

Today, through Rwaj, Alblowe is focused on building a new generation of commerce for Saudi Arabia and the wider Gulf Cooperation Council, combining livestream shopping, real-time auctions, entertainment, and direct interaction between buyers and sellers into a more engaging and trusted shopping experience.

A technologist at heart, he and his team had to build not only the technology that allows sellers to broadcast live, but also the systems behind every transaction — from seller verification and payments to escrow and logistics.

On Rwaj, sellers must go through a verification process before they can sell, while payments are held in escrow and released only after the buyer receives an item and confirms it is as described. For Alblowe, building that layer of trust from the beginning was part of the promise he wanted to make to users.

Asked what makes Rwaj different from existing e-commerce and social-commerce platforms, he replied: “Three things. First, trust and safety are built into the product, not bolted on — every seller is verified and every purchase, fixed price or auction, runs through escrow. Second, the format itself — a seller can sell instantly at a fixed price and run timed live auctions in the same stream, so buyers get both convenience and the excitement of bidding. Third, it is built for this region — Arabic-first and fully bilingual.”

The journey has gone through many challenges, but he kept going. “Every startup faces challenges, especially in the early days,” he said, pointing to logistics and the complexity of building a reliable trust system before reaching significant scale.

Yet none of those issues changed his conviction that live commerce has a future in Saudi Arabia and the wider region.

Alblowe, who has been recognized by Forbes Middle East, believes Saudi Arabia has many of the ingredients needed for that future — a young and digitally connected population, widespread use of smartphones and social media, fast mobile networks and increasingly sophisticated digital payments.

But perhaps his biggest ambition is to make live selling accessible beyond major brands and influencers.

Rwaj, founded in 2025, recently closed a $1.2 million (SR4.5 million) pre-seed funding round, which the company plans to use to accelerate growth and product development across the region.

For the founder, however, the funding appears to be less an end point and more another step in a much longer journey. He already sees Rwaj beyond Saudi Arabia and the Gulf: “I want Rwaj to be serving the world,” he said.

The ambition may sound big for a company still in its early stages, but it reflects the same mindset that led him to start the business in the first place: looking at where people’s behavior is heading and trying to build for tomorrow rather than today.

His vision is of a future in which livestream selling becomes as normal as walking into a store, where every shopping district could have people whose job is to sell live to customers who may never physically enter.

“Rwaj is building the infrastructure for that: the streaming, the payments, the trust layer, and the logistics,” he said.

Russian Finance Minister Anton Siluanov has made a surprise appearance at United States-hosted G20 finance talks in North Carolina, sparking frustration and dismay among European ministers and officials.

Siluanov’s appearance at the talks in Asheville on Monday marks the first time the minister, who was appointed in 2011, has attended a G20 meeting in person since Moscow launched its full-scale invasion of Ukraine in 2022.

He held a bilateral meeting with US Treasury Secretary Scott Bessent, with Russia’s Ministry of Finance saying the two men discussed financial cooperation within the G20 framework.

A US official said the meeting focused on US President Donald Trump’s peace plan for Ukraine.

Asked about the invitation to Siluanov, Trump told reporters: “We like getting along with everybody. One of the reasons I’m so successful, I get along with everybody.”

European officials, however, criticised the move.

Polish Finance Minister Andrzej Domanski said he was unhappy to see Moscow represented, although he recognised the right of G20 hosts to invite guests.

“We do not trust Russia. They lie constantly, and you need to be really, really cautious while discussing with them,” ⁠he told the Reuters news agency, stressing that Russia was the aggressor in its conflict with Ukraine.

“So for me, it would be very difficult to have any kind of conversation with Russia.”

‘Troubling’ signal

German Finance Minister Lars Klingbeil said the US’s decision to welcome Siluanov sent a “signal I find troubling”.

He said he told Siluanov during a plenary session that Moscow had to end the war and “that we clearly support Ukraine”.

He also said Europe was preparing a further package of sanctions against Russia and hoped for close cooperation with Washington on the measures.

European ministers and central bankers also opposed appearing with Siluanov in the traditional G20 “family photo”, European officials said. The photograph was ultimately taken without the Russian minister.

Klingbeil said European officials, including European Central Bank President Christine Lagarde, had discussed Russia’s involvement on Sunday and agreed that maintaining an avenue for dialogue could allow them to deliver a frank message to Moscow.

“However, the mere fact that the Russian finance minister is back – after, I believe, four G20 meetings without Russian participation – indicates an attempt at normalisation, and that makes it all the more important for us to push back,” he said.

Siluanov’s appearance marked a sharp contrast with the G20 meeting in Washington, DC, in April 2022, when his virtual participation prompted officials from Canada, the United Kingdom, the US, and the European Central Bank to walk out.

White House defends talks with Russia

Asked about Siluanov’s attendance, White House spokesman Kush Desai told the AFP news agency that the Trump administration had been working with Russia to push for a deal that “would stop the endless bloodshed that the president has really condemned”.

“The president and the administration will never shy away from talking with the folks we need to talk to, to further that,” he said. “That’s what we’re working on here at the G20.”

Separately, Reuters and AFP, citing sources familiar with the Washington-Moscow talks, said Bessent had made clear that the US would not provide Russia with economic relief until war in Ukraine was over.

Trump has pushed Moscow and Kyiv to reach a deal to halt the fighting, but an initial 28-point plan that largely adhered to Russia’s demands was criticised by Ukraine and European governments.

The US, which currently holds the rotating G20 presidency, did not invite South Africa, last year’s G20 host, to the gathering. Poland, which is not a permanent G20 member, was invited.

Certain reporters from major US newsrooms, including The New York Times and Bloomberg News, were not granted credentials to cover the gathering.

The decision was condemned by the National Press Club, which said that “no administration should be allowed to handpick the press corps that scrutinizes it”.

The two-day meeting comes as global debt levels have reached a record of nearly $353 trillion and the global economy faces an energy shock triggered by the US-Israel war on Iran. The talks also come amid rising tensions over China’s large trade surplus and uncertainty over the effects of a surge in artificial intelligence investment.