Latest news with #Zenith
New York Post
4 days ago
- Entertainment
- New York Post
Iga Swiatek's excessive celebration evokes memories of infamous Wimbledon farce
I wasn't born a cynic, let alone a skeptic. Believing what I was told — especially as delivered through our black-and-white, wait-to-warm-up Zenith — I was fully sold on Mr. Green Jeans' overalls being green, like the Red Sox's new uniforms. Covering sports has made me cynical. I even eye the celebrations of Wimbledon victors with a conditioned suspicion. Last Saturday, after Iga Swiatek crushed Amanda Anisimova 6-0, 6-0 in 57 minutes to win her sixth major and first Wimbledon, Swiatek's response after the last point seemed, well, excessive — as if she were putting on a show for photographers, sponsors and all gathered media. Advertisement It seemed, as they say over there, that the pudding was overly egged, as if the match's foregone conclusion ended an epic, hard-fought marathon. She threw herself on the ground, face up, fists clenched in dramatic flamboyance — as if she didn't know this match was something of a walkover farce.
Sydney Morning Herald
04-07-2025
- Entertainment
- Sydney Morning Herald
Homegrown hits: the best new Australian music to hear this month
Evans Robson Quartet, Zenith Some people hate pigeons, but in flight a flock can mesmerise with their abrupt turns, take-offs and landings, without ever banging wings. How clumsy we seem, by comparison. Well, not all. Saxophonists Sandy Evans and Andrew Robson, bassist Brett Hirst and drummer Hamish Stuart can curl and twist around each other in musical flight, with a similar capacity to avoid collisions. This is a key secret of jazz at its highest level: playing around each other, without needing constant points of convergence. The cause is aided in this band by the absence of a chordal instrument, and the consequent expanses of vacant space in the music's midrange. Watussi Dreaming, for example, is just a bent blues in essence, but give it a polyrhythmic quality and more exotic scalar options, and suddenly, in the hands of these players, it becomes open-ended and unpredictable. Even more open is Evans' The Big Merino, which reminds me of something her beloved old band, Clarion Fracture Zone, might have played. Melodically zany, it lurches along over a half-time backbeat that Stuart unwinds behind the solos, so the horns are jerked and twitched like marionettes by the groove. Evans (on tenor) and Robson (baritone) respond with improvisations packed with whacky interval leaps and slurring asides, while Stuart's subsequent solo is like the soundtrack for a slapstick routine. Then, to keep the surprises coming, suddenly there's Robson proving to haunted school children everywhere what an iridescent instrument the descant recorder can be. The piece, his own Tea Horse Road – to these ears as evocative of Native American music as it is of the titular ancient Chinese trade route – rides on Hirst's bouncy riff and Stuart's shakers and hand-drumming, and has a skimming solo from Evans' soprano. Simpler rhythmic options are also embraced, as on Evans' slow, soulful tribute to the late Archie Roach, For Archie. Here the bass and drums lay down a straightforward 3/4 groove, across which the saxophones testify like true believers, all preceded by Hirst offering one of his typically supple and heartfelt solos. For Archie also has a cousin in Robson's lazy-day Lucky Jim, featuring the brawn of his baritone. The boppish The Running Tide (by Evans) is reminiscent of Charles Mingus' work, with its marvellous deployment of accelerations and decelerations. It boasts a seething, bubbling dialogue between the saxophones, before compelling solo statements from both bass and drums. They end with the aptly titled Cry to the Waning Moon, which reinforces the impression that Hirst's bass has never been better recorded, with sumptuous low notes and a singing tone higher up. Slow and lonesome, the melody is taken by Robson's alto and harmonised by Evans' tenor. This could well become my favourite composition on an album packed with strong ones from both leaders and with a wealth of slippery dialogues between four master musical conversationalists. John Shand
The Age
04-07-2025
- Entertainment
- The Age
Homegrown hits: the best new Australian music to hear this month
Evans Robson Quartet, Zenith Some people hate pigeons, but in flight a flock can mesmerise with their abrupt turns, take-offs and landings, without ever banging wings. How clumsy we seem, by comparison. Well, not all. Saxophonists Sandy Evans and Andrew Robson, bassist Brett Hirst and drummer Hamish Stuart can curl and twist around each other in musical flight, with a similar capacity to avoid collisions. This is a key secret of jazz at its highest level: playing around each other, without needing constant points of convergence. The cause is aided in this band by the absence of a chordal instrument, and the consequent expanses of vacant space in the music's midrange. Watussi Dreaming, for example, is just a bent blues in essence, but give it a polyrhythmic quality and more exotic scalar options, and suddenly, in the hands of these players, it becomes open-ended and unpredictable. Even more open is Evans' The Big Merino, which reminds me of something her beloved old band, Clarion Fracture Zone, might have played. Melodically zany, it lurches along over a half-time backbeat that Stuart unwinds behind the solos, so the horns are jerked and twitched like marionettes by the groove. Evans (on tenor) and Robson (baritone) respond with improvisations packed with whacky interval leaps and slurring asides, while Stuart's subsequent solo is like the soundtrack for a slapstick routine. Then, to keep the surprises coming, suddenly there's Robson proving to haunted school children everywhere what an iridescent instrument the descant recorder can be. The piece, his own Tea Horse Road – to these ears as evocative of Native American music as it is of the titular ancient Chinese trade route – rides on Hirst's bouncy riff and Stuart's shakers and hand-drumming, and has a skimming solo from Evans' soprano. Simpler rhythmic options are also embraced, as on Evans' slow, soulful tribute to the late Archie Roach, For Archie. Here the bass and drums lay down a straightforward 3/4 groove, across which the saxophones testify like true believers, all preceded by Hirst offering one of his typically supple and heartfelt solos. For Archie also has a cousin in Robson's lazy-day Lucky Jim, featuring the brawn of his baritone. The boppish The Running Tide (by Evans) is reminiscent of Charles Mingus' work, with its marvellous deployment of accelerations and decelerations. It boasts a seething, bubbling dialogue between the saxophones, before compelling solo statements from both bass and drums. They end with the aptly titled Cry to the Waning Moon, which reinforces the impression that Hirst's bass has never been better recorded, with sumptuous low notes and a singing tone higher up. Slow and lonesome, the melody is taken by Robson's alto and harmonised by Evans' tenor. This could well become my favourite composition on an album packed with strong ones from both leaders and with a wealth of slippery dialogues between four master musical conversationalists. John Shand
Stuff.tv
04-07-2025
- Entertainment
- Stuff.tv
The Zenith Defy Skyline Skeleton White Surfer proves you can never go wrong with white ceramic
After two sell-out collaborations, Zenith and Time+Tide have dropped the final instalment in their surf-inspired trilogy – and it's a sun-bleached stunner. Meet the Defy Skyline Skeleton White Surfer Ceramic, a limited edition of just 100 pieces that swaps moody titanium for something fresher: full white ceramic. Like its 'Night Surfer' predecessors, this is a skeletonised version of Zenith's boldest sports watch, with the same sharp lines and distinctive star-shaped bridges. But this time, it's in a more summery variant. The 41mm case is ultra-light and scratch-resistant, with 100m water resistance and a screw-down crown – so yes, you can take it in the sea. The openworked dial keeps the trilogy's signature gradient effect, but inverts it: deep blue at the top fading to sky blue at the bottom. A glowing five-pointed star – lit with Super-LumiNova – gives a nostalgic nod to the original Night Surfer from 2021. It's also echoed in the movement beneath. Powering the show is the El Primero 3620 SK, a high-frequency automatic calibre that beats at 5Hz and offers 1/10th second accuracy via a central hand driven straight from the escapement. It's got 55 hours of power reserve and an unusual level of decoration for a watch this sporty, including blue bridges and a star-shaped rotor, visible through the sapphire caseback. The integrated bracelet is white ceramic too, but you also get a white rubber strap that swaps in easily, thanks to Zenith's quick-change system. Handy when you're heading from rooftop drinks to beach volleyball. For Time+Tide founder Andrew McUtchen, the white surfer was an irresistible twist on the collab that started it all: 'There's a huge risk in trying for a trilogy when the first two collabs have been so popular, but when we saw the prototype of an 'inverted' Night Surfer, in brushed white ceramic, we just had to make it happen.' It's a confident end to the trilogy – and proof that white doesn't have to mean plain. The Defy Skyline Skeleton White Surfer is bold, breezy and very much limited. And like any good summer romance, it probably won't stick around for long. The Defy Skyline Skeleton White Surfer is available from the 11th of July on Time+Tide's website, priced at US$19,600 / £17,700. Liked this? The new Hublot Classic Fusion Essential Taupe might be my favourite Hublot… ever
News18
04-07-2025
- Politics
- News18
Vijay Rupani Sat In Cockpit On Boeing Plane Months Before AI-171 Crash, Old Pics Resurface
Last Updated: Vijay Rupani was seen sitting inside the cockpit of a Boeing aircraft during his visit to Ahmedabad's Indus University months before his death in the Air India crash. Former Gujarat chief minister Vijay Rupani, who was among the victims of the Air India-171 plane crash in Ahmedabad, had paid a visit to a Boeing plane's cockpit a few months ago. He had visited the Western India Institute of Aeronautics in Ahmedabad's Indus University and posted the pictures of his interaction with the students. He also shared his images in the cockpit. The pictures of his visit have now resurfaced on social media, days after he died in the plane crash on June 12, in which 240 others on board were killed in the deadly crash. There was a sole survivor in the crash. During his visit to the university, he had sat inside a decommissioned Boeing 737 aircraft. He sat in the right seat of the cockpit, where the first officer (co-pilot) is mostly seated. 'During a visit to the campus of 'Indus University" in Ahmedabad today, I also visited the Western India Institute of Aeronautics. During this visit, I saw models and real aircraft such as the Boeing 737, Cessna, Zenith, and MiG-21," he posted on Instagram along with the pictures of his visit. 'The interaction with students from the aviation department was full of energy and enthusiasm. I extended my best wishes for Indian students to make a mark on the global stage," he added. Rupani was also seen speaking with Radhika Bhandari, the Dean of Aviation at the university, while standing at the entrance of the aircraft. He was the chief minister of Gujarat between 2016 and 2021. He also served as a member of the Rajya Sabha from 2006 to 2012. First Published: July 04, 2025, 14:09 IST
