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Daddy Yankee, 48, is divorcing his wife after 29 years as he reveals what his 'constant guide' during split isCountries have agreed to a hard-fought COP29 deal to provide $US300 billion ($A462 billion) in annual climate finance by 2035. But while some delegates reacted to the agreement with a standing ovation, others voiced anger and lambasted wealthy nations for not doing more. UN FRAMEWORK CONVENTION ON CLIMATE CHANGE EXECUTIVE SECRETARY SIMON STIELL "It has been a difficult journey, but we've delivered a deal. This new finance goal is an insurance policy for humanity, amid worsening climate impacts hitting every country. "This deal will keep the clean energy boom growing and protect billions of lives. It will help all countries to share in the huge benefits of bold climate action: more jobs, stronger growth, cheaper and cleaner energy for all. "But like any insurance policy – it only works – if the premiums are paid in full, and on time. No country got everything they wanted, and we leave Baku with a mountain of work still to do. So this is no time for victory laps." INDIA REPRESENTATIVE CHANDNI RAINA "We are disappointed in the outcome which clearly brings out the unwillingness of the developed country parties to fulfil their responsibilities." "I regret to say that this document is nothing more than an optical illusion. This, in our opinion, will not address the enormity of the challenge we all face. Therefore, we oppose the adoption of this document." UN SECRETARY GENERAL ANTONIO GUTERRES "I had hoped for a more ambitious outcome – on both finance and mitigation – to meet the great challenge we face. But this agreement provides a base on which to build. It must be honoured in full and on time. Commitments must quickly become cash." BOLIVIA REPRESENTATIVE DIEGO PACHECO BALANZA "We need a finance which will properly grant us the resources we need to take steps. The finance that is hugely below our requirements is an insult and it is a flagrant violation of justice and climate equity. "Climate finance, as it stands in this agreement, is extinguishing international co-operation. We are moving on from the time of leaving of no-one behind to an era of let every man save himself." BRITISH ENERGY MINISTER ED MILIBAND "This is a critical eleventh hour deal at the eleventh hour for the climate. It is not everything we or others wanted but is a step forward for us all." "Today's agreement sends the signal that the clean energy transition is unstoppable. It is the biggest economic opportunity of the 21st century and through our championing of it we can help crowd in private investment." TINA STEGE, MARSHALL ISLANDS CLIMATE ENVOY "We came in good faith, with the safety of our communities and the well-being of the world at heart. Yet, we have seen the very worst of political opportunism here at this COP, playing games with the lives of the world's most vulnerable people. "Fossil fuel interests have been determined to block progress and undermine the multilateral goals we've worked to build. This can never be allowed to happen. "Despite the barriers, we've fought hard and secured something for our communities. We are leaving with a small portion of the funding climate-vulnerable countries urgently need. "It isn't nearly enough, but it's a start, and we've made it clear that these funds must come with fewer obstacles so they reach those who need them most. We have also rejected those who sought to undo the agreements we made on phasing out fossil fuels." EU CLIMATE COMMISSIONER WOPKE HOEKSTRA "With these funds and with this structure, we are confident we will reach the $US1.3 trillion objective. On efforts to cut emissions: "It was not a focus of this COP but we wanted more, because the world needs more of it. And even though the UAE Consensus was attacked, we did move forward, even though it was just a bit. "We did manage to safeguard Dubai and take some steps forward. It is less than we would have liked, but it's better than we feared. So we're unhappy to lose a year, we're happy not to lose this fight."
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With so many constant releases in Latin music , it can sometimes feel hard to keep up — but lots of songs rose from the din and stood out this year. Some of the best ones were new inventions (take, for example, a style Dominican rising star Letón Pé coined “demvogue”) or unexpected collaborations (no one saw Los Ángeles Azules and Emilia teaming up!) Others, like Luisa Almaguer’s “Un Día Nos Vamos a Morir,” worked best when artists showed their vulnerable side. Here’s what we loved and kept playing in 2024. San Pedro Bonfim’s latest LP Corazón de Guagua is an ambitious study in Andean songwriting traditions and spoken word theatrics, where the fluttering title track stands out as a paean to the disarming power of love. But while the Ecuadorian troubadour concedes to romance, his affections extend to territory and ancestry, drawing parallels with the delicate eco-diversity of South America and weaving percussive samba nods to his family’s Brazilian origins. — R.V. “Igual Que un Ángel,” Kali Uchis’ turn toward dreamy disco pop, was a surprise even for an artist who’s down to experiment with most sounds and genres. She practically coos the lyrics, about a woman owning her autonomy, juxtaposing the strength of the message with an air-light touch. Then there’s another unexpected moment: Mexican crooner Peso Pluma slides in for a verse, his gravelly voice suddenly soft and silk-smooth. Their quick chemistry might be why the song made the Top 10 of Billboard‘s Global 200 earlier this year. —J.L. Latin dreampop had a big moment in 2024, and indie artists like csndra are a huge part of why. The Atalnta-based singer of Puerto Rican roots released her debut EP, Lovers Club, Vol. I , this year and its lead single “cuida” quickly became a fan favorite. Her airy singing, coupled with the mellow production and charming puppy love lyrics, transport you to a simpler time when scribbling your crushes’ name a hundred times over in a notebook was reasonable. And after hearing the song enough, you might ask yourself why something so wholesome was left in the past. — J.A. Rauw Alejandro’s new LP, Cosa Nuestra , is a treasure trove of songs that could make this list. But “Tú Con Él,” his cover of the Frankie Ruiz salsa classic, stands out as one that checks all the marks: it exemplifies his album’s stated goal of channeling old school Latin culture, it gives him an opportunity to present his range in an undeniable way, and it can attract reggaeton agnostics who still resist the idea that these artists are genuinely talented. It’s a passionate statement track that doubles as an early victory lap, and he earns all of it. — J.A. Over the last few years, Mexican cumbia legends Los Ángeles Azules have strengthened the impact of their cumbias sonideras by fusing their traditional roots with modern pop productions and lyrics while tapping artists of the moment. This year, Argentine star Emilia joined the cumbia group on “Perdonartre, ¿Para Qué?,” delivering the sass of her own pop sound on the electro-cumbia: “Forgive you? For what? So that you can fail me again?” she questions. “No, thank you.” After corridos took over in 2023, could 2025 be the year of the cumbia? — T.M. This year, Venezuelan pop and alt-R&B singer Irepelusa released her sophomore album, IRENE ALEJANDRA . She called it her most personal work yet, and songs like “TE AMÉ TEMPRANOp-k8u” show why. Teaming up with Colombian artist Esteman, they trade verses, waxing about the anxiety of suspecting something is wrong in a relationship and the dread that comes with that knowledge. Wrapped in a lively and danceable pop beat, the earnest lyrics take on a new color that fends off melancholy. It’s a fantastic use of pop as a medium, and a showcase of one of LatAm’s underrated best at it. — J.A. Boza has long stood out as one of Panama’s most melodic crooners, and he had a chance to smooth his suave image out even more on the playful “Orion,” which took over the charts this year. Partway through the track, Elena Rose — the singer and songwriter who has become a secret weapon in the Latin music industry — chimes in with crystal clear vocals, and the two artists basically just charm listeners for four straight minutes with their chemistry and easygoing energy. — J.L. Shakira channeling her Nineties rock-era energy was not on anyone’s 2024 bingo card, but we sure as hell will take it. On the track off her 12th LP, Las Mujeres Ya No Lloran , the Colombian singer taps into the angsty soundscapes of her classic 1998 album, Dónde Están los Ladrones? , for an exquisite pop-rock moment. Shakira proclaims, “Life’s a bitch,” before using this grungy cut to essentially say “Fuck it” and remind herself and her listeners to seize the moment, no matter how, where, or when . — M.G. ‘Uwu^^’ happened almost by accident. Rusowsky mistakenly sent BB Trickz a sparse, hazy track that he wasn’t even thinking about releasing. BB Trickz loved it and helped develop the song, making use of Rusowsky’s muted vocals and a quieter side of her rap abilities. The song ended up being one of this winter’s most heart-bruised moments, tracing two people getting locked into a complicated love affair. (“And I’m spending hours with her/While my girlfriend is crying,” Rusowsky sings.) BB Tricks steps in with a verse about how much the whole thing sucks: “And it hurts a lot more because you’re my friend/Don’t talk to me about love, my heart is cold.” — J.L. Myke Towers and Bad Bunny have been frequent collaborators throughout the years. But “Adivino” is their most unexpected link-up yet, starting with the song’s dark, dubby production and thudding electronic beat, thanks to work from producers Cruz, Eiby, Finesse, Jarom Su’a, and Tainy. From there, Bad Bunny and Towers keep things unpredictable: Bad Bunny charges in and throws some cryptic lines about an old relationship that instantly got the internet wondering who he was referring to, while Towers goes hard on his verses, even rapping a few lines in English. — J.L. Alex Anwandter puts a spotlight on pure desire on the dancefloor. “Give me what you want,” he pleads on “Gaucho.” “Can’t you see I’m desperate?” The Chilean pop prince sings to his masculine horseman muse on the Eighties disco-house-inspired track, juxtaposing the rough image of the man he loves with the song’s bright, electric melodies. “I know you have a secret you want to tell me,” he insists. “At dusk you prefer me.” — T.M. “Tu Boda” delivered some of the most colorful lyrics in música mexicana this year. On the track, Óscar Maydon and JOP’s heartbreak is so intense that they’re thinking of going Romeo & Juliet on a girl who’s ready to marry someone else. Written by El Chachito, Maydon sings, “One hundred guests, and everyone will have to watch that our love will go to the afterlife.” Backed by melancholic sierreño requinto strums, Maydón and Fuerza Régida come to terms with the lost love by the end of the relatable song. For Maydon, “Tu Boda” continued his epic 2024 filled with star-building collabs. — T.M. For Quevedo, his album Buenas Noches was meant to capture late-night celebrations and late-night thoughts and longing, and no song on the LP did that as well as the title track. Easily one of the best songs in his catalogue, it’s a tender rumination on life before fame and how Quevedo feels like he wants to be two places at once: He dreams of being back home on the Canary Islands with someone who means a lot to him, but his mind also races as he thinks about the demands of his career. All of it is down over a sparkling beat that doesn’t fall into melodrama; in fact, the contrast of how upbeat the song is makes it even more poignant. — J.L. On “Si Antes Te Hubiera Conocido” — which translates to “If I Had Met You Before” — Karol G pays homage to the Dominican Republic in an uplifting, wistful merengue. Inspired by her time in the country while recording last year’s Mañana Sera Bonito, the song talks about a deeply personal missed connection, with the retrospection of someone who came out on the other side with a newfound maturity. “What would have been, if I had met you before?” she asks, as the song builds layer by layer, culminating in a joyous and communal refrain. — R.C. Hedonism made a glorious return in 2024 — and leading the charge was Argentine club queen Six Sex with the deliciously horny Satisfire EP. Its strobing centerpiece, “4 NoviosS,” is a King Doudou-produced slice of nasty girl techno about using and losing suitors at the bat of a lash. But it was the music video’s spin class turned rave that sent the track stratospheric, delivering sweaty, glitter-spackled camp for a new generation of revelers. — R.V. Latino artists have always been overlooked in classic soul, R&B, and funk but recent acts like The Sinseers and Los Yesterdays have made significant inroads with fans. 54 Ultra’s silky “Heaven Knows” snuck in under the radar this summer and wowed listeners with its authentic sound and undeniably catchy Spanglish lyrics. The son of Dominican and Puerto Rican parents, 54 Ultra stands out with his smooth-voiced vocals, inviting old and young listeners to embrace the timeless energy of the track. The accompanying music video makes it clear what era he’s aiming for, and he hits the mark perfectly. — J.A Venezuelan acts Rawayana and Akapellah doubled their star power by teaming up for the vibrant “Veneka,” a song that went viral almost as soon as a tiny snippet was shared on social media. The track puts Akapellah’s smooth flow on display while deploying the ultra-colorful sound that’s made Rawayana a breakout favorite recently. The song keeps things lighthearted by celebrating Venezuelan women, but its upbeat message of pride and beauty became all the more poignant after a complex and difficult year in the country. — J.L. 2024 ushered an exciting new age of Dominican electronic music with boundary pushing gems of techno , ambient , and jerk . But producer and animator Adriel.sfx managed to cut through the stylized noise with a series of singles colliding future funk nostalgia and glitchy asymmetry. “Euforia Checkpoint” is a throbbing, psychedelic Internet collage that manipulates jittery breakbeats and anime samples, defying SoundCloud hashtags while banking on pure, unabashed fun. — R.V. Letón Pé has been one of the most imaginative rising stars out of the Dominican Republic, and “¿Cuándo Se Va’ir El Calor?” is another showstopper that introduces the world to a sound she coined “demvogue.” The moniker refers mixing the rapid-fire rhythm of dembow and with flashy club flourishes for a high-octane summer anthem that captured how stifling delicious insanely hot days can feel. “I felt the need to do it on my own terms,” Pé told Rolling Stone . “Being such a fan of Nineties house music, we decided to intersect these two, creating a fresh sound that represents my culture and my influences.” — J.L. Villano Antillano, or Villana to her diehard fans, broke barriers with her hit debut album La Sustancia X in 2022. This year, she came back for more and put out the even better LP Miss Misogyny . She wastes no time in reminding people who she is, dropping the crackling boast rap “1-800-CRISTAL” out of the gate. Her furious style hasn’t missed a step, nor has her wealthy encyclopedic knowledge which she weaponizes with aplomb, taking references like forgotten Nick Cage movies and Manifest Destiny and lyrically wielding them against her doubters in the savage way she knows best. — J.A. Natanael Cano and Óscar Maydon go pop, playing lover boys for the girls on “Madonna” without straying too far from their signatuere lifestyle-flaunting lyrics. “You tamed my animal instincts,” sings Maydon in the chorus dedicated to a “güerita” who looks like Madonna. “How many Rolexes do you need me to buy you for just a kiss?” The pair go to lengths to please their love interest with luxuries, as they take a note from other stars in the genre by naming their song after a pop icon. — T.M. Colombian pop singer Ela Taubert had a breakout year, scoring the 2024 Latin Grammy for Best New Artist. Part of the reason she attracted so much attention has to do with her instantly catchy, heart-on-her-sleeve songwriting, and ‘Para Que?’ is a solid example. The kiss-off to an ex who wants her back borrows folk and pop-rock sounds and showcases just why so many people have been drawn to her confessional lyricism and bubbly production style. — J.L. On “Un Día Nos Vamos a Morir,” Mexican singer-songwriter Luisa Almaguer unspools the existential dread that hangs over a romance on its last legs. A standout from her emotionally harrowing LP, Weyes , the song eloquently captures fear of finality, rehashing sensual memories over a mercurial canvas of acoustic strums and rapturous alt-rock. The result is a furious rejection of loneliness, and a universal plea for more time with those we love. — R.V. Argentine rap auteur Dillom is nothing if not brazen, and on “Buenos Tiempos,” the definitive banger from his conceptual opus Por Cesárea , a night of drug-addled exploits sends his protagonist spiraling into oblivion. In the song’s uproarious chorus, he leaps from sniffing poppers with the gays to fantasizing about the death of President Javier Milei, plunging ever further into madness and grabbing ass on the way down. — R.V. FloyyMenor and Cris MJ’s low-fi reggaeton hit has been everywhere this summer. The track found an audience on TikTok first and then started winding up the charts at the start of the year. Part of its appeal lies in its stars: FloyyMenor was a mysterious, hard-to-pin-down Chilean artist whose face and identity had been hidden from the internet before he teamed up with fellow Chilean and rising star Cris MJ. Now that the song has blown up, it’s spent the past few months ka-booming out of cars and shadowy clubs across the globe. — J.L.GENEVA (AP) — World Cup sponsor Bank of America teamed with FIFA for a second time Tuesday, signing for the Club World Cup that still has no broadcast deals just over six months before games start. Bank of America became FIFA’s first global banking partner in August and sealed a separate deal for a second event also being played in the United States, two days before the group-stage draw in Miami for the revamped 32-team club event . It features recent European champions Real Madrid, Manchester City and Chelsea. “FIFA is going to take America by storm and we’re going to be right at their side,” the bank’s head of marketing, David Tyrie, said in a telephone interview Tuesday. Bank of America joins 2026 World Cup sponsors Hisense and Budweiser brewer AB InBev in separately also backing the club event, and more deals are expected after Saudi Arabia is confirmed next week as the 2034 World Cup host. While games at the next World Cup, co-hosted with Canada and Mexico, will be watched by hundreds of millions globally mostly on free-to-air public networks, the Club World Cup broadcast picture is unclear. FIFA has promised hundreds of millions of dollars in prize money for the 32 clubs to share but is yet to announce any broadcast deals for the month-long tournament. It is expected to land on a streaming service. “You have to think about how you are going to connect with these fans,” Tyrie told the Associated Press from Boston. “TV is one, sure, social media is a big avenue. “The smart marketing capabilities are able to say ‘Hey, we need to tilt this one a little bit more away from TV-type marketing into social-type marketing.’ We have got a pretty decent strategy that we’re putting in place to do activation.” Engaging Bank of America’s customers and 250,000 employees are key to that strategy, Tyrie said. “It’s going to be for our clients, and entertainment, it’s going to be for our employees in creating excitement. All of the above.” The Club World Cup will be played in 12 stadiums across 11 cities, including Bank of America Stadium in Charlotte, N.C, and Lumen Field where the hometown Seattle Sounders play three group-stage games. European powers Madrid, Man City and Bayern Munich lead a 12-strong European challenge. Teams qualified by winning continental titles or posting consistently good results across four years of those competitions. The exception is Lionel Messi’s Inter Miami, who FIFA gave the entry reserved for a host nation team in October based on regular season record without waiting for the MLS Cup final. LA Galaxy hosts New York Red Bulls playing for that national title Saturday. Messi’s team opens the FIFA tournament June 15 in the Miami Dolphins’ Hard Rock Stadium and will play its three group games in Florida. “The more brand players you bring in, the bigger the following you have got,” Tyrie acknowledged, though adding Messi being involved was “not a make or break for the event.” The Club World Cup final is July 13 at Met Life Stadium near New York, which also will host the World Cup final one year later. AP soccer: https://apnews.com/hub/soccer
There’s a phrase in that could, by now, serve as a slogan for government: “Without proper planning.” That was her description, in Tuesday’s annual report, of how the decision to close supervised-consumption drug sites was made. But six years into the life of a government that has always shown an eagerness to fire before it aims, it seems more like an all-purpose description of The Doug Ford Way. The report contains plenty of other language that might seem jolting when applied to government actions, but by now seems overly familiar. The (or MZOs)were “not fair, transparent or accountable.” The assessment process for the was “irregular” and “subjective,” and “rules and guidelines ... were not followed.” Another description of MZOs that may as well be a shorthand summary of this government’s standard operating procedure: “no protocol and no apparent rationale.” Those descriptions could easily describe any number of the Ford government’s other moves: in the middle of an election campaign; the whole hokey-pokey; trying to a year before a global pandemic; the ; the ; the recent move to . The list is not exhaustive. There are a few themes there that are at the forefront of Spence’s report. Decisions seem to be made quickly and on impulse, according to either the political whims and vendettas of the premier or the backroom desires of developers and corporate interests. Traditional accountability checks or analysis of impacts are discarded. Rinse, repeat. Sometimes, Ford and his government reverse course when it becomes clear that what they are doing is phenomenally stupid and massively unpopular. But a willingness to admit a mistake has never caused them to pause and think before steamrolling forward into the next big blunder. If it wasn’t for hindsight, they wouldn’t have any kind of sight at all. Ford may be willing to change his mind, but he has never changed his ways. So where does that leave us? Well, in the case of Ontario Place, we see that some bidders had closed-door meetings with the premier’s staff and other government officials (despite this being explicitly prohibited) and that they “had direct access to an Infrastructure Ontario executive.” Rules for assessing the bids were not clear and were not followed. And the redevelopment costs to be borne by the province have more than quadrupled to $2.237 billion. Additionally, Ford’s decision to close supervised drug consumption sites near schools and daycares was made “without proper planning,” the AG said. Additionally, Ford’s decision to close supervised drug consumption sites near schools and daycares was made “without proper planning,” the AG said. It certainly isn’t reassuring, in this context, to note that Infrastructure Ontario CEO Michael Lindsay, who presided over all that, is to try to push the (and assorted other overdue transit projects) over the finish line. Nor is Spence’s finding that were behind schedule and over budget, including one hospital that was $4 billion over budget. Oh, and the cost of moving the Ontario Science Centre to Ontario Place has ballooned such that it is now more expensive than the estimates for rehabbing the old building. , the auditor notes harm reduction strategies that prevented 1,500 deaths from overdoses are being discontinued without proper planning or impact analysis. Which sounds like a roundabout way to say people are likely to die. If there’s another thing that has defined Ford’s government it’s boastfulness — and . The government tripled its advertising spending in one year (to $103.5 million), setting an Ontario government record. The report concludes that about 62 per cent of these dollars were essentially partisan: their primary objective was “to promote the governing party.” If the ad bonanza continues into what is expected to be an election year next year, the report does offer some fantastic, auditor-approved tag lines. “Ontario: no protocol and no apparent rationale” has a certain ring to it. The ring of truth.
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