Austrian far-right party hopes for its first national election win in a close race

TORONTO – Lirim Hajrullahu gave the Montreal Alouettes the boot Saturday night.

Hajrullahu kicked a CFL record-tying eight field goals to lift the Toronto Argonauts to a 37-31 win over the Montreal Alouettes.

“I did not know eight was the record,” Hajrullahu said. “We knew this was a tough opponent and we wanted to come out and get that (win).

“The East is heating up and so are we.”

Hajrullahu’s 27-yard field goal — his club record-tying seventh — at 12:43 of the fourth put Toronto ahead 34-31. Montreal took over at its 34-yard line with 2:10 remaining but turned the ball over on downs at its 39-yard line with 1:24 to play before an announced BMO Field gathering of 14,856.

That set up Hajrullahu’s 37-yard kick at 14:11 that put Toronto up 37-31. It tied the CFL record set in 1984 by Dave Ridgway and later tied by Mark McLoughlin and Paul Osbaldiston (both in 1996).

Montreal began its final possession at midfield but Tyshon Blackburn’s interception with 22 seconds remaining ended the threat and cementing the win for Toronto.

Toronto (8-7) earned its second win in three contests this season against Montreal (11-3-1). The Alouettes clinched first in the East — and home field for the division final — with the Ottawa Redblacks’ 29-16 road loss to the Saskatchewan Roughriders earlier Saturday.

But Montreal linebacker Darnell Sankey said that was the furthest thing from the Alouettes’ mind on Saturday.

“We were going out there to win a football game,” said Sankey, who had six tackles and a sack. “We’re not going to use that as an excuse, we didn’t come out and play our best game, for whatever reason.

“Props to Toronto … they came out and executed their game plan better than we did. They were the better team tonight.”

Toronto moved to within a point of second-place Ottawa (8-6-1) in the East Division and four points ahead of fourth-place Hamilton (6-9). The Argos host the Redblacks on Oct. 19.

“Lirim was huge, you’ve got to make those kicks,” said Toronto head coach Ryan Dinwiddie. “(But) we’ve got to finish in the red zone.

“We can’t have eight field goals. I know it tied a record but I’d settle for one to score some touchdowns.”

Toronto’s offence rolled up 517 net yards, including 234 yards rushing. Ka’Deem Carey led the way with 90 yards and a touchdown on 13 carries while adding three catches for 49 yards.

“This (win) is huge,” Carey said. “This could turn our season around and I’m going to make sure it turns our season around.”

Makai Polk had five receptions for a game-high 103 yards for Toronto. Starter Chad Kelly was 19-of-30 passing for 287 yards and an interception.

“Disappointing we didn’t run the ball well enough on second down,” Dinwiddie said. “We knew Montreal would let us run on first down, they wanted to get us in that second-and-five, do you pass it or do you run it?

“We didn’t move the chains as much as I wanted on second down but I have to go look at it. We didn’t play a great football game, we played good enough to win but we’ve got to continue to get better.”

Montreal came in allowing a CFL-low 19.6 offensive points per game but was ranked eighth against the run (112.1 yards per game). Toronto had the CFL’s second-ranked ground attack (118.4 yards per game).

Alouettes’ quarterback Cody Fajardo completed 20-of-29 passes for 225 yards with two touchdowns and an interception. Cole Spieker recorded three catches for 99 yards and a TD.

Montreal made it 31-31 on Dominque Davis’s one-yard TD run at 8:45 of the fourth, then Fajardo’s pass to Tyler Snead for the two-point convert. Hajrullahu’s 35-yard field goal at 3:15 had put Toronto ahead 31-23.

Deonta McMahon scored Toronto’s other touchdown. Hajrullahu also had a convert.

James Letcher Jr. and Walter Fletcher had Montreal’s other touchdowns. Jose Maltos added three converts and two singles.

Hajrullahu’s 49-yard field goal to end the half made it 22-22 and capped a wild finish to the second. Letcher’s 100-yard punt-return TD at 14:42 put Montreal ahead 22-19 after Fajardo’s 35-yard TD pass to Spieker at 13:27, and Maltos’ ensuing 84-yard kickoff single cut Toronto’s lead to 19-15.

Toronto dominated the opening half, rushing for 155 yards and holding the ball for more than 20 minutes. However, it managed just one touchdown and five times had to settle for field goals.

Carey had Toronto’s lone TD of the half on a five-yard run at 10:00 that put the Argos ahead 19-7. It capped a solid seven-play, 90-yard march.

Fajardo put Montreal ahead 7-3 with a 10-yard TD strike to Fletcher at 6:30. It was set up by Dionte Ruffin’s 27-yard interception return to Toronto’s 10-yard line in a light drizzle.

UP NEXT

Alouettes: Bye week.

Argonauts: Bye week.

This report by The Canadian Press was first published Sept. 28, 2024.

MEXICO CITY (AP) — Riding in a black SUV with tinted windows, lawyer Mariel Colón rolls up to the gates of a remote mansion, strolling past a security guard side-by-side with Emma Coronel, the wife of notorious drug lord Joaquín “El Chapo” Guzmán.

Sporting suits and sunglasses, the pair stride into a dimly lit room full of slickly dressed men smoking cigars.

All to the roar of trumpets.

The scene is from “La Señora,” the latest music video from Colón, who spent several years working as a defense lawyer for Guzmán while he faced trial in a U.S. court. Now, at a time when regional Mexican music is becoming a global phenomenon, the 31-year-old is leveraging her association with the former leader of the Sinaloa Cartel to launch her music career under the stage name of “Mariel La Abogada” (Mariel, the Lawyer).

“La Señora” features — and pays tribute to — Guzmán’s wife, who was released from prison last year and has struggled to find work. It paved the way for the two to model together last weekend during Milan Fashion Week, raising eyebrows in Italy and beyond.

“(My work) opens doors for me because of the morbid, because of people’s curiosity … They want to understand this,” Colón told The Associated Press. “I’ve always told people that Mariel is a singer who became a lawyer.”

The Puerto Rican daughter of a music director grew up listening to Mexican ballads, loving the brokenhearted passion infused in the music. She always wanted to be a singer, but her family pushed her to pursue a law degree.

She began working for Guzmán’s defense team in 2018 after graduating from law school in the U.S. and stumbling upon a Craigslist ad seeking a part-time paralegal to help prepare a Spanish-speaking client for trial.

It was only later that she learned she would be working with Guzmán, taking him and Coronel as clients full time. She saw it as a “great opportunity professionally” and said she wasn’t easily intimidated.

Once among the most wanted men in the world, Guzmán led his Sinaloa Cartel in a bloody war for control of the international drug trade, gaining a cinematic level of notoriety for his dramatic prison escapes before his extradition to the U.S. in 2017. Now his sons, known as “Los Chapitos,” are locked in a deadly power struggle with another faction of the cartel, leaving mutilated bodies around the state capital.

“(People ask) how I can do this job, that I’m part of the mafia, how can I sleep at night?” Colón said. “I don’t care what they say about me. I sleep very well at night.”

Colón is one of few people who maintain regular contact with Guzmán. She visits him three times a month in the maximum security prison in Colorado where he’s serving a life sentence. She declined to discuss details of Guzmán’s cases, citing attorney-client privilege.

Seeking to build a rapport, Colón sings to Guzmán and other clients, who have included other Mexican drug traffickers and, for a brief time, Jeffrey Epstein, who killed himself in 2019 while awaiting trial on sex-trafficking charges.

Colón serenades Guzmán with Mexican classics from bands including Los Alegres del Barranco and Tucanes de Tijuana. To this day, she said, he’s among the first to hear her new music.

“Whatever genre, anything that was coming out that I liked, I would sing it to him because he doesn’t have a radio,” she said.

Her musical career began little more than a year ago, when she released her first video, “La Abogada,” which features Colón dressed in a pink suit, crooning to law enforcement from a courtroom. Like much of the genre, her music is diverse, ranging from percussion-heavy banda to character-focused ballads known as corridos.

“La Señora” features a table sprinkled with diamonds, Guzmán’s wife astride a trotting horse and strolling beside a pool.

Colón said the song was based on Coronel’s life, sending a message of redemption and second chances. It was also a way to offer the 35-year-old work, a condition of her probation.

Coronel, a former beauty queen, was released from prison last year after completing her three-year sentence for drug trafficking and money laundering in relation to her husband’s drug empire. Coronel declined to be interviewed.

“A small waist and beautiful eyes. A brain for business and a strong voice for the bad boys. She only shows her affectionate side to El Chaparrito,” Colón belts out in her ballad. “El Chaparrito,” meaning “the little shorty,” plays with Guzmán’s nickname.

Colón’s musical rise coincides with a relative golden age of Mexican music, which grew 400% worldwide over the last five years on Spotify. In 2023, Mexican artist Peso Pluma bested Taylor Swift as the most streamed artist on YouTube.

While corridos have dominated for more than a century, young artists have filled stadiums by twisting the style on its head, mixing classic ballads with trap in corridos tumbados.

But it also cuts to the heart of a larger debate: Does the music capture the realities facing many Mexicans or does it glorify the narco-violence long plaguing the Latin American nation?

Narco culture has long been part of corridos, with many singers idealizing traffickers as “an aspirational figure going against the system,” said Rafael Saldívar, a researcher at the Autonomous University of Baja California.

“They’re cultural expressions speaking to the realities of the country,” Saldívar said. But “in a way they glorify these criminals, or do so in a way where some feel it’s pushing this kind of lifestyle.”

A classic example: king of corridos Chalino Sánchez used the violence around him in Sinaloa to spin lyrics while also calling out the “Sinaloa gang” for torturing and killing innocents. He was shot dead at a performance in the state’s capital in 1992.

Last year, Peso Pluma – who paid homage to Guzmán in songs – was forced to cancel a show in Tijuana after the 25-year-old received threats from a rival of the Sinaloa Cartel that if he came it “would be your last performance.”

Later, Tijuana banned the performance of narco ballads altogether to protect “the eyes and ears” of youths as it tries to contain violence. Local authorities in northern states previously banned musicians singing narcocorridos.

Colón, who hasn’t gone so far as to glorify arms or drugs, is quick to defend narcocorridos.

“There’s a reason why Netflix did the ‘Narcos’ show, it’s because there’s an audience for it. It intrigues people,” she said. “That doesn’t mean they’re applauding or celebrating what this person did, but they do have a sort of admiration for this person or this person’s life. Not everything is violence. These people have hearts, they have families.”

While Colón plans to put out her first record in December, Coronel has leveraged “La Señora” to launch her career as a model and social media influencer.

April Black Diamond, the designer who asked Coronel and Colón to model in a side event during Milan Fashion Week, said her choice was met with “shock.”

“People evolve. My platform isn’t about judgment but about showing different dimensions of women, their strength, and resilience,” she wrote in a statement. The next day, photos of Coronel in one of the designer’s dresses appeared plastered on a billboard in New York’s Times Square.

On Wednesday, Italy’s National Fashion Chamber issued an “urgent” press release saying the show wasn’t affiliated with official fashion week events and that brands need to follow its code of ethics.

Meanwhile, eyes on Colón and Coronel’s video continue to grow, clocking around 750,000 views on YouTube.

LOS ANGELES (AP) — On a hot summer evening, Miles Villalon lined up outside the New Beverly Cinema, hours before showtime.

The 36-year-old already had tickets to the Watergate-themed double feature of 1976’s “All the President’s Men” and 1999’s “Dick.” But Villalon braved Los Angeles’ infamous rush-hour traffic to snag front-row seats at Quentin Tarantino’s historic theater.

This level of dedication is routine for the Starbucks barista and aspiring filmmaker, who typically sees up to six movies a week in theaters, and almost exclusively in independently owned theaters in and around Los Angeles.

“I always say it feels like church,” he said. “When I go to AMC, I just sit there. And I can’t really experience that communal thing that we have here, where we’re all just worshipping at the altar of celluloid.”

Streaming — and a pandemic — have radically transformed cinema consumption, but Villalon is part of a growing number of mostly younger people contributing to a renaissance of LA’s independent theater scene. The city’s enduring, if diminished, role as a mecca of the film industry still shapes its residents and their entertainment preferences, often with renewed appreciation after the pandemic.

A revival in the City of Angels

Part of what makes the city unique is its abundance of historic theaters, salvaged amid looming closures or resurrected in recent years by those with ties to the film industry. Experts see a pattern of success for a certain kind of theater experience in Los Angeles.

Kate Markham, the managing director at Art House Convergence, a coalition of independent cinema exhibitors, said a key factor is the people who run these theaters.

“They know their audiences or their potential audiences, and they are curating programs and an environment for them to have an exceptional experience,” she wrote in an email.

Tarantino pioneered the trend when he purchased the New Beverly in 2007. After Netflix bought and restored the nearby Egyptian Theater, which first opened in 1922 as a silent movie house, the company reopened it to the public in November in partnership with the nonprofit American Cinematheque. It’s now a bustling hub, regularly welcoming A-list celebrities premiering their projects as well as film buffs willing to stick around for hourslong marathons, like a recent screening of four Paul Thomas Anderson movies.

Further east is Vidiots. Previously existing as a Santa Monica video store before it closed in 2017, Vidiots reopened across town five years later with the addition of a 271-seat theater, bar and new crop of devotees.

“It’s literally my favorite place to be outside of my own snuggly home,” said filmmaker and actor Mark Duplass, a financial backer of Vidiots alongside dozens of other high-profile names, including Aubrey Plaza and Lily Collins.

What’s bringing people in?

What draws people to independent theaters can vary, from older programming to elevated food-and-drink offerings to lower prices. But many agree, above all, there is a communal aspect chains can’t match.

“The bigger places obviously have premium formats and stuff like that. But I think there’s a lot less communal connection” said Dr. Michael Hook, who attended a matinee of “Seven Samurai” at Vidiots with a Children’s Hospital Los Angeles co-worker. “You’re not just milling around with people who also have selected to go to a three-hour-long 1950s Japanese movie.”

Although the pandemic was a blow from which the box office has yet to recover, it also served as a pruning that made the movie theater landscape more sustainable for the streaming era, according to Janice O’Bryan, Comscore’s senior vice president.

“COVID weeded out some of the stuff that needed to close anyway,” O’Bryan said of the more than 500 theaters that closed nationwide. “I think that it made everything healthier.”

The theaters that survived have found niches, sometimes purposefully eschewing the chains’ 4DX, reclining seats and dining services.

“For the types of films that we show, I definitely don’t want waiters walking around, bringing stuff to people and hearing the scraping of cutlery on plates,” laughed Greg Laemmle, who co-runs the Laemmle Theaters, a fixture of independent cinema in Los Angeles for nearly a century.

But Laemmle acknowledges the importance of giving audiences options beyond popcorn and soda, especially as an additional revenue source. Embracing food and drinks can sometimes turn the theater into a unique destination.

“When I normally go to a movie theater, I show up two minutes before the movie starts,” Duplass said. “I go to Vidiots like 45 minutes before the movie starts so I can get my chilled Junior Mints, I can have a drink at the bar, see some people. I go and walk around the video store.”

In February, more than 30 filmmakers — including Jason Reitman, Steven Spielberg, Denis Villeneuve and Christopher Nolan — acquired Westwood’s Village Theater in an effort to preserve it. Also coming to the red-carpet premiere favorite? A restaurant, bar and gallery.

Not without challenges

Like the rest of the country, LA movie theaters have had their share of pandemic-inflicted challenges — some exacerbated by last summer’s strikes — including fewer movies to show.

And not all theaters have found their Tarantino or Reitman. The iconic Cinerama Dome’s closure was a blow to the city’s cinephiles. Though owned and operated by the ArcLight Cinemas chain when it closed in April 2021, the Dome was a kind of singularity in Hollywood, a regular premiere spot memorialized in film and a symbol of the city’s place in the industry.

Its fate remains in limbo, with reported delays to the targeting reopening date, despite parent company Decurion Corporation, who couldn’t be reached for comment, being granted a liquor license for the multiplex in July 2022.

The venues that have been preserved often have done so through some form of benefaction or aid, like the $16 billion federal Shuttered Venue Operators Grant program, which Laemmle used during the pandemic. He said the funds were a needed bandage in June 2021. But a full recovery has been slow.

“It provided some some stability. How much remains to be seen,” he said. “The waters are still muddy.”

Only in Hollywood?

In some ways, thanks to the city’s history, culture and surfeit of theaters, this renaissance is restricted to Los Angeles, admits Bryan Braunlich, the executive director of the National Association of Theatre Owners Cinema Foundation.

Tarantino, who declined to be interviewed, is less likely to purchase a dying revival house in Peoria, Illinois. But, Braunlich argued, that doesn’t mean this trend can’t have an impact there.

“Hollywood and filmmakers are saying, ‘Hey, movie theaters matter,’” he said. “There are amazing independent theater owners that are thriving across the country. And I think they get a boost of confidence of like, ‘Yes, this is a great business to be in. This is a great business to invest in. And we’re not alone as film nerds doing this.’”

As Duplass reflected on his own introduction to cinema growing up in the suburbs of New Orleans, he recalled a trip to Vidiots to see “Raising Arizona” with his parents.

“I realized that I was the same age now that they were then when we first saw it in the movie theater together. And I got to hold my dad’s hand as we cried in that last scene,” he said. “We shared that movie, but we shared the passing of time in our favorite church, which is the movie theater.”