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Julio Iglesias accused of sexual assault as Spanish prosecutors study the allegations
Spanish singer Julio Iglesias smiles during his star unveiling ceremony at the Walk of Fame in San Juan, Puerto Rico, Thursday, Sept. 29, 2016.
Carlos Giusti/AP
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Carlos Giusti/AP
BARCELONA, Spain — Spanish prosecutors are studying allegations that Grammy-winning singer Julio Iglesias sexually assaulted two former employees at his residences in the Dominican Republic and the Bahamas.
The Spanish prosecutors’ office told The Associated Press on Wednesday that the allegations were related to media reports from earlier this week that alleged Iglesias had sexually and physically assaulted two women who worked in his Caribbean residences between January and October 2021.
Iglesias has yet to speak publicly regarding the allegations. Russell L. King, a Miami-based entertainment lawyer who lists Iglesias as a client on his website, didn’t immediately respond to a request for comment by the AP.
The Spanish prosecutors’ office that handles cases for Spain’s National Court said that it had received formal allegations against Iglesias by an unnamed party on Jan. 5. Iglesias could potentially be taken in front of the Madrid-based court, which can try alleged crimes by Spanish citizens while they are abroad, according to the court’s press office.
Seeking justice in Spain over the Caribbean
Women’s Link Worldwide, a nongovernmental organization, said in a statement that it was representing the two women who had presented the complaint to the Spanish court. The group said that the women were accusing Iglesias of “crimes against sexual freedom and indemnity such as sexual harassment” and of “human trafficking for the purpose of forced labor and servitude.”
The organization said the women in their testimony also accused Iglesias of regularly checking their cellphones, of prohibiting them from leaving the house where they worked and demanding that they work up to 16 hours a day, with no contract or days off.
The organization said it did not reach out to authorities in the Bahamas or the Dominican Republic, and that it didn’t know whether authorities in those Caribbean nations have initiated an investigation.
Gema Fernández, senior attorney at Women’s Link Worldwide, said in an online press conference Wednesday that “Spanish legislation regarding sexual violence, gender-based violence and trafficking could be an interesting option” for the two women making the allegations against Iglesias.
“Listening to what (the two women) are seeking and their definitions of justice, it seems to us that filing a complaint with the Public Prosecutor’s Office of the National Court of Spain was the path that best suited their definition of justice. That is why we are supporting them along this path,” Fernández said.
Jovana Ríos Cisneros, executive director of Women’s Link Worldwide, asserted that Spanish prosecutors have decided to take statements from the two women and granted them the status of protected witnesses.
“Being heard by the Prosecutor’s Office is a very important step in the search for justice,” she said.
Fernández said prosecutors have not set a date to take statements from the women and noted that prosecutors have up to six months to determine whether the information they receive warrants a criminal prosecution. Those six months could exceptionally be extended to a year, she added.
The Prosecutor’s Office did not immediately return a message seeking comment.
A singer under scrutiny
Spanish online newspaper elDiario.es and Spanish-language television channel Univision Noticias published the joint investigation into Iglesias’ alleged misconduct.
Ríos said the two women initially contacted elDiario.es, which began investigating the allegations but also advised the women to seek legal help.
Spanish government spokeswoman Elma Saiz said that the media reports regarding Iglesias “demanded respect.”
“Once again I can reaffirm this government’s firm and complete commitment to take on any act of violence, harassment or aggression against women,” Saiz said Tuesday after the media reports were published.
Panky Corcino, spokesman for the Attorney General’s Office in the Dominican Republic, declined to comment, saying he couldn’t confirm or deny an investigation.
By law, any case in the Caribbean country that involves sexual aggression or violence must be investigated by prosecutors, even if no one has filed a complaint.
The 82-year-old Iglesias is one of the world’s most successful musical artists after having sold more than 300 million records in more than a dozen languages. After making his start in Spain, he won immense popularity in the United States and wider world in the 1970s and ’80s. He’s the father of pop singer Enrique Iglesias.
Julio Iglesias won a 1988 Grammy for Best Latin Pop Performance for his album “Un Hombre Solo.” He also received a Lifetime Achievement Award at the Grammys in 2019.
Spain’s culture minister said Wednesday that its left-wing government, which holds women’s rights and equality among its priorities, will also consider stripping Iglesias of the state’s Gold Medal of Merit in the Fine Arts that he was awarded in 2010.
“It is something we are studying and evaluating, because evidently we feel obliged to do so when faced by such a serious case,” Culture Minister Ernest Urtasun said.
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Why Gen Z is movie-maxxing : Pop Culture Happy Hour
Inde Navarrette and Michael Johnston in Obsession.
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Two big horror films, Obsession and Backrooms, just smashed all box office expectations. So much of their success has been driven by Gen Z, which is now the biggest moviegoing demographic. But what makes a movie a Gen Z movie? Today we’re bringing you an episode of NPR’s It’s Been a Minute. Host Brittany Luse talks about this trend with Sam Adams and Reanna Cruz.
If you want to hear more about these movies, check out these episodes:
In ‘Obsession,’ love hurts. It really, really, really hurts.
‘Backrooms’ brings YouTube horror to the big screen
Zendaya brings ‘The Drama,’ we bring the spoilers
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Lifestyle
10 new books you won’t want to miss in July
I regret to inform you I’ll need to keep this introduction brief. Not because there’s any lack of things to say about July’s crop of notable new releases; it features award-winning journalists and several different flavors of anxiety about our bleak ecological future and data-dominated present, as well as the welcome returns of several beloved novelists.
No, these books certainly deserve some love, dear readers. It’s just that I’m finding it a bit tough to type while bearhugging a box fan. And since it seems that may be my last best chance to get through this latest U.S. heat wave here on the east coast without sweating through my shirt, I feel some urgency to get back at it.
So enough with the ado. With any luck, you’ll soon be cracking open one of these great reads on the beach — or in front of a decent air-conditioning unit, at any rate.
You Won’t Get Free of It: Stories of Mothers and Daughters, by Rachel Aviv (July 7)
Aviv, New Yorker staff writer and finalist for this year’s Pulitzer Prize, has a fairly extensive purview in her role as reporter at large. Still, when reviewing her latest work, Aviv noticed a crucial throughline: “I realized that, to some degree, I’d been writing about mother-daughter pairs for the last decade,” she explained to the Paris Review. Seeing this, she decided to collect and revise half a dozen of those stories, which cover ground from a daughter’s troubling fugue states to the immigrant nannies who must leave their own children behind, to Alice Munro’s daughter, whose claims of sexual abuse went unheeded yet regularly resurfaced in her mother’s fiction.
Country People, by Daniel Mason (July 7)
In Mason’s first novel since North Woods, 2023’s critical darling and book club stalwart, readers are plopped right back in the New England woods but the time scale has shrunk considerably. Whereas North Woods spanned centuries, his new novel confines itself to a single year, during which Miles, loving family man and lackadaisical Ph.D. candidate, plans to finally buckle down on that derelict degree of his and reassert his worth to one and all! At least, that’s the idea. But plans don’t stand much of a chance when there are eccentric neighbors to befriend and mysterious local legends to investigate.
Catch the Devil: A True Story of Murder, Deception, and Injustice on the Gulf Coast, by Pamela Colloff (July 14)
This is the first book from Colloff, a veteran investigative journalist for ProPublica and The New York Times Magazine. She has won multiple National Magazine Awards for stories focused on miscarriages of justice – such as her 2019 piece about Paul Skalnik, a grifter, fabulist, sexual predator and snitch, whose fabrications can be linked to dozens of wrongful convictions in Florida, including some sending the innocent to death row. Here Colloff expands upon that investigation, which gets a lot more room to breathe in the transition from magazine article to full-length book. What emerges in this disturbing account is a portrait of one man’s callous cruelty, and the law enforcers who had no problem tolerating a deal with the devil, provided it kept juicing the conviction rate.
Cloudthief, by Nathaniel Rich (July 14)
Though it’s his fiction we’re discussing here, it’s important to note Rich’s reporting has earned plaudits, too, as well as a few film adaptations. No matter the medium, climate change is usually on his mind, as well as the blunt, rather bleak, prognosis he offered on Fresh Air in 2019: “There’s a huge range of outcomes … ranging from the not very good to the apocalyptic.” Which is to say I’m surprised to find myself describing his newest response to global catastrophe as a rollicking good time – and not just because I’ve never said those words, in that order, in my life. This spry, funny caper features a freelance environmental reporter who inadvertently breaks bad, careening under the influence of lust and a light wallet toward the novel’s big centerpiece: the planned heist of a massive data center.
Data Empire: The Power of Information to Organize, Control, and Dominate, by Roopika Risam (July 14)
And now, for another book centered on data – albeit from a rather different angle. This illuminating history from Risam, a Dartmouth professor, traces the practice of collecting information – and the power conferred by possessing it – from the bones that were humans’ first archives, to the omnipresent systems that shape (or outright determine) life today. As Risam asks, “What has it meant – and what will it mean – when records that once served only to help us remember, come to rule?” A pressing question (see: those data centers), which you’re probably better served trying to answer with the help of Risam than, say, Alexa or Claude.
It Will Come Back to You: Stories, by Sigrid Nuñez (July 14)
For someone with nine novels to her name, Nuñez got a later start than you might expect, having published her first book when she was already in her mid-40s. More than three decades later, now a spry 75 years old, the National Book Award winner has gotten around to publishing her first collection of short stories. The 13 stories here have been culled from across her career, but each one resonates clearly with the warm timbre of her voice: simple, unadorned prose and mundane setups, from which she consistently manages to tease out glimpses of truth, elusive and profound.
They Stole a City: Wilmington’s White Supremacist Coup and the Families Who Live with Its Legacy, by Lauren Collins (July 14)
The only coup d’etat to succeed on U.S. soil is, at most, a distant historical afterthought these days. To be honest, I can’t recall reading a single textbook entry that even remarked on the 1898 race massacre in Wilmington, N.C., an action led by white supremacists that left many (historian estimates say up to 300) Black Wilmingtonians dead and permanently scarred a community newly aware of its simmering animus and vulnerability to violent overthrow. So I’m grateful for Collins’ new chronicle of the infamous event, which fills in some serious gaps in the American collective memory and explains how its perpetrators cultivated the disorienting silence that persists in the historical record today.
Yellow Pine, by Claire Vaye Watkins (July 21)
I don’t think I’ve ever actually laid eyes on the Mojave Desert but after reading Watkins’ latest novel, it feels like I can picture it more vividly than some streets I’ve actually lived on. No, it’s “not a beginner’s wilderness,” as Watkins concedes in Yellow Pine, but this landscape so redolent of death is also deceptively robust with life, if only you’re patient enough to find it. Too bad, then, that it’s also on fire. And choked by drought, irradiated by military test sites and soon to be sacrificed to a massive new solar array named, inexplicably, Yellow Pine. But those aren’t the only complications confronting the book’s main character, Rose, whose aspirations of becoming a kind of climate hermit warp a bit under the pressure of a rekindled love and the pendulum swing of rage and despair at the state of the world.
Cool Machine, by Colson Whitehead (July 21)
Ray Carney is back, for what regrettably appears to be the last time. The lifelong Harlemite, hard-luck furniture dealer and ambivalent crook starred previously in Harlem Shuffle and its sequel, Crook Manifesto. His perspective is our window on the changing eras of the historically Black neighborhood, from the mid-1950s on. In this, the final installment in Whitehead’s brisk, exceedingly entertaining Harlem Trilogy, readers catch up with Carney around the start of the 1980s, following him deeply into Reagan’s decade. The novel also represents the end of an era for Whitehead, whose attention has been exclusively occupied with these characters since he won Pulitzer Prizes for consecutive novels, The Underground Railroad and Nickel Boys.
Beginning Middle End, by Valeria Luiselli (July 28)
The gifted young Mexican writer returns this month with her fourth novel, the second she has written in English and her first since Lost Children Archive launched to widespread plaudits more than seven years ago. Her new book, like her previous one, also concerns the travels of a small family – only this time, the road leads not through the American Southwest but Sicily. And the history sought by its mother-daughter main characters is not a record of bureaucratic cruelty but something much more intimately personal: the links shaped and tested by generations of shared heritage and experience.


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