Pedro

I still remember the moment when I heard “Cien Años” for the first time. I can vividly recall the haunting aftertaste, the glorious specificity of the experience.

I had moved from Buenos Aires to Los Angeles, and somehow managed to make a living writing about Latin music. I‘d seen Los Tigres del Norte in concert, shared a lengthy conversation with Vicente Fernández outside the Arrowhead Pond of Anaheim, and spent months poring through the songbook of José Alfredo Jiménez. But listening to the 1953 recording of “Cien Años” by Mexican legend Pedro Infante was a game changer — an existential milestone that will stay with me for the rest of my life.

I was in my home office, researching a story about the golden era of Mexican music. “Cien Años” played on, the elusive contours of its melody floating in the afternoon air. Three minutes and 33 seconds later, when it ended, you could hear a pin drop. I sat still for a few minutes, transfixed. Then I played it again. And again. Ten, 15, 20 times in a row.

A composition by Rubén Fuentes and Alberto Cervantes, the song wasn’t just another lilting ranchera from the 1950s — that much was clear. On the contrary, it felt like an otherworldly manifestation from the gods above, as if a UFO had landed in the Mexican capital decades ago, and an advanced race of extraterrestrials left this artifact behind as some sort of exquisite offering — a reminder of everything that could be but wasn’t.

There‘s the matter of that sinuous electric guitar intro, halfway between tropical psychedelia and merry-go-round anthem. Then, the main melody: forlorn, hallucinogenic. Infante’s aristocratic delivery collides head on with the brutal indifference of the girl he will carry on loving for the rest of his embittered existence. His voice, so soft and fragile, could belong to both man and woman; the universal scar of romantic rejection.

Clearly there was a mystery attached to this evergreen standard that people got to see on the big screen in 1954, when Infante performed it in the film “Cuidado Con El Amor.” The song also reminded me of Schubert — maybe a page off “Winterreise,” the romantic song cycle composed in 1827.

Had I accidentally discovered a supernatural portal where time and space didn’t exist, one where random phenomena of blinding beauty could materialize on this plane without any logical explanation?

To figure out why “Cien Años” still resonates, I decided to consult with a few notable singer-songwriters.

First I thought of Spanish rock star and longtime Los Angeles resident Enrique Bunbury, who himself traffics in the diffuse territories of the ominous and esoteric. I sent him a rambling voice memo, trying to convey my bewilderment as best as I could. True to his character, he replied with a terse but eloquent text.

“I apologize for the delay in responding, as I was busy promoting my new album,” he wrote. “I have to agree that Pedro Infante’s version has an incredibly evocative air to it that is not common in rancheras. This may be related to the classical violin training of Rubén Fuentes, who was also an arranger. Alberto Cervantes, on the other hand, was a bolero guy. I imagine he contributed the intense Acapulco scent that emanates from this song. I’m so sorry that my ignorance on this subject will probably not be of great help in your inquiry.”

I marveled at Bunbury’s humility, but agreed with him that the mystery was far from solved.

Maybe a young Mexican singer could shed some illumination, I thought, before sending a somewhat incoherent email to Silvana Estrada. I was right to assume that the 29-year-old prodigy behind 2025’s “Vendrán Suaves Lluvias” — one of the most spiritually devastating albums of the decade, and the second best album of last year — would have something to say.

“This is one of the most gorgeous boleros in the Mexican repertoire,” Estrada replied.

“I always thought the Pedro Infante version was mind-boggling. There is something in the string arrangement that sounds a bit impressionistic to me, but also profoundly Mexican, with the trumpets doubling the violin lines. There’s also a sense of maximalism that sums up the old Mexico as a time of splendor. And when I think of this song, I think of something splendid.”

At least now I knew that I was not alone in my overwhelming passion for this strange little gem. But neither Bunbury nor Estrada had addressed the eerie supernatural vibe that emanates from the recording — the feeling that when “Cien Años” was recorded somewhere in Mexico City, Pedro and company connected with another dimension.

I was scheduled to interview Mexican American singer Lila Downs the following day, and I decided to bring this up at the end of our chat. She was sitting down in her stately Oaxaca home when we connected over Zoom, and smiled widely the moment I brought up my metaphysical query.

“I’ve experienced a similar feeling with other songs that I’ve performed,” she said. “It’s like they transport me to a más allá [a far beyond], a certain undefined something that doesn’t belong in my own era. ‘La Llorona,’ in fact, connects me to something that is not even human — a force that exists in the shape of waves. It’s the essence of the very mystery that music itself evokes in all of us.”

Downs pointed out an important detail: that “Cien Años” could not have emerged from any country other than Mexico.

“Our subconscious is loaded with the spirit of the ancestors,” she added. “There is a deep connection with the cosmos in Mexico. I’ve seen it in anthropology books; this vision of art as a healing agent that facilitates spiritual growth.”

I was finally ready to put the matter aside, when I spoke to Gepe. The Chilean singer-songwriter has crafted many tracks that have a timeless, soulful quality to them. “Desastre,” a lovely tune released in 2024, feels almost as unearthly to me as “Cien Años.”

I asked him to listen to the song.

“That intro is definitely striking,” he told me in the first of many voice memos. “It has a psychedelic tinge that didn’t really exist in the 1950s. It reminds me of someone like Peter Drake and his slide guitar playing, which had more of a Hawaiian sound. I think it’s beautiful that such a short intro can leave you with more questions than answers. That’s part of the magic, isn’t it?”

Gepe made an astute observation: that my life-changing experience with “Cien Años” was not due to a single factor. It was a layered, complex combination of different details.

“You have this incredible, hypersensitive performance by Pedro, coupled with a timeless arrangement which was definitely ahead of its time,” he explained. “The cinematic, almost Hawaiian touch on the guitar, but also a strong affinity to the bolero aesthetic — there’s a subtle softness in the maracas, so that the voice can grow and shine with so much sweetness.”

And then, he told me the one thing that brought it all together.

“It’s funny, because you keep saying that this song sounds like it landed from another world, but there’s a stark contradiction in that statement,” he said. “Pedro’s delivery is so marvelous and sensitive, that it goes beyond male or female — it sums up the human experience in all its subtlety and aching beauty. I think what happened here was that the composers, arrangers, musicians and Pedro got together in a studio and created something so immense and luminous that it ended up transcending its own sense of time.”

Marc Guehi (Man City): I’ll have Guehi in as my holding midfielder. He should have scored two against Bournemouth because he missed a massive chance before he ended up scoring. But he got the equaliser and offered a lot more of a calming presence than City’s £116m record signing Elliot Anderson – Guehi controlled the game a little bit more.

Vitaly Janelt (Brentford): He is one of those big, powerful and dominant players who does the basics really well. He mixed that with a goal against Spurs and you don’t really speak about him, but he was always the one breaking up play and doing the horrible things really well.

Christos Tzolis (Arsenal): A lot of people are talking about Arsenal and how they’re great. That is absolutely true. And so is the bit of business they did bringing this young man in from Club Brugge. So many goals and assists he brings to the team, but also a calming influence and tenacity as well. Look at Gabriel Martinelli, Leandro Trossard, he feels to me like both of them in one. He has a lot more output than those guys. He’s going to be a beast for this year.

Anthony Elanga (Newcastle): Last season I though he was treated poorly by Eddie Howe because he was one that kept being put on the bench, being introduced late or would be the first one to come off. But he showed in a new formation, under a new manager and somebody who believes in him that he can use his pace and power. As a result he looks like a completely different player and he looked happy. He ran past Milos Kerkez like he wasn’t there despite the Liverpool left-back having a five-yard start and produced an unbelievable finish for his goal.

Cole Palmer (Chelsea): One we were all talking about, and should’ve gone to the World Cup with England. Feels like he’s got a point to prove, feels like he’s been working hard. The injuries from last year skewed everyone’s vision. This is going to be a breakout season for him. Everything he did was positive. Ran forward with pace, looked like he could move. He had those issues with the groin but now he’s chopping and turning.

Chelsea striker Joao Pedro has signed a new contract running until 2034.

The Brazil international, 24, joined from Brighton last summer in a deal worth an initial £55m, plus £5m in add-ons.

He scored 20 goals in all competitions in his first season at the club, having played a key role in their Club World Cup success.

“I am very happy to sign a new contract with Chelsea,” Joao Pedro said.

“I always dreamed of playing for a big club, and it means a lot to me to give my long-term commitment to this club. Chelsea has a long tradition of winning and it has big ambitions for the future.

“Everyone is very excited for this season. We know we can achieve a lot of things, we have a great team, we have a coach who wants to win and has won already.”

When he signed for the club, his original contract was announced as running until 2033.

However, that deal actually ran until 2032 with an option for one further year.

Chelsea typically include those club options when stating the length of a player’s contract in official announcements.

Therefore, Joao Pedro’s new deal has been announced him as being under contract until 2034, despite the deal itself running until 2032 with a further two-year option.

In reality, Chelsea have extended his contract on improved terms rather than reducing it.

The strategy is not only designed to protect their investment – Barcelona have been keen on the striker – but it also serves as a reward for performance.

Chelsea operate a strict wage structure, but are keen to incentivise strong performances by allowing players to move up wage bands.

They did so with Cole Palmer after his impressive form and also with Nicolas Jackson, who moved from an entry-level salary to a more established wage bracket after joining from Villarreal.

Last season, Joao Pedro became the first Chelsea striker since Diego Costa to score 20 goals in a campaign without taking penalties.

He also netted three times during Chelsea‘s Club World Cup-winning campaign last summer and has eight goals in seven pre-season matches.

He is likely to start Chelsea‘s Premier League opener at Fulham on Monday, with new signings Danny Welbeck and Emmanuel Emegha expected to provide cover this season.

His success has led Chelsea to hand him the number nine shirt, with Liam Delap relinquishing it.

Delap is available for transfer for about £50m and is attracting interest from Nottingham Forest and Leeds United.

Chelsea intend to hand out a number of new contracts to key players after the transfer window closes, with Levi Colwill and Estevao Willian among those likely to be considered.

The state has rescinded a $73.4-million grant for a new mental health and drug treatment facility in San Pedro, putting the future of the controversial project in jeopardy.

Neighbors had picketed outside the property at 2100 S. Western Avenue and packed a town hall in April to oppose the project, with some expressing fears about drug users coming to the area.

The nonprofit Fred Brown Recovery Services was seeking to acquire the five-acre property and turn it into a 106-bed inpatient recovery center for “veterans, the justice-involved, the unhoused, and those with co-occurring conditions.” The facility also would serve about 200 outpatients a day.

About 70 elderly residents who live in a nursing home on the property would have had to move, some opponents of the project said. Others said they supported mental health treatment in general but argued that the proposed center would be too close to nearby schools, day cares and churches.

The grant, which would have covered most of the project’s cost, was funded partially by Proposition 1, a $6.4-billion bond measure approved by California voters in 2024 to improve mental health and addiction treatment.

In a letter dated July 15, the California Department of Health Care Services said it rescinded the grant because Fred Brown Recovery Services failed to meet a cash match requirement and did not address discrepancies in an appraisal document.

The matching funds cannot come from the seller of the property, and the match documentation was signed by Brian Dror, a manager for the current property owner, 9 Gem Capital Group, said the letter, which was addressed to Fred Brown Recovery Services. The letter also noted that there is no process to appeal the decision.

Dror, a partial owner of the property, said that state bond guidelines do not prohibit an owner from providing matching funds.

In a statement Thursday, Fred Brown Recovery Services said it is “reviewing the Department’s decision and evaluating next steps. Regardless of the future of this particular project, our commitment to serving individuals and families struggling with substance use disorders remains unchanged, and we will continue looking for opportunities to expand access to treatment for those who need it most.”

Los Angeles City Councilmember McOsker, who represents the coastal neighborhood, opposed the project and rallied community members to send letters to elected officials and state decision makers, urging them to review the grant application.

In a Facebook post, McOsker said he had raised concerns to the Department of Health Care Services for months over the project’s financial structure and lack of transparency.

Previously, McOsker had applauded Fred Brown for its work on recovery group homes elsewhere in San Pedro. But he said he was doubtful that the nonprofit could scale up from 20-person homes to the larger one proposed for the South Western site.

“I am grateful to the many residents, neighborhood organizations, and community leaders who remained engaged throughout this process,” McOsker wrote in the Facebook post. “Today’s action demonstrates why thorough review, public scrutiny, and accountability matter.”

L.A. County Supervisor Janice Hahn, who lives in the neighborhood and was booed at the April town hall for saying that rehab facilities like the proposed one are sorely needed, said Thursday that halting the project “might be for the best.”

“There was so much opposition in San Pedro, I don’t think this proposal was ever going to work,” she said.

Richard Scandaliato, president of San Pedro’s South Shores Community Assn., said the reversal was “unbelievable” after months of near-weekly picketing and hundreds of letters that neighbors wrote to state officials.

The most important thing, he said, is that the senior citizens living on the property can stay there. He said he’s gotten at least a hundred phone calls from neighbors since the grant was rescinded.

“It really shows what a community can do,” he said.