Pre Match
Simeone's embrace of the rotation, more than any other laliga coach rides again. I personally like it. Fans say they want to win but then fans don't want players to be overused. The answer isn't less games, the answer is rotation. But rotation exposes the simple truth with most/many clubs, their hiring practices are flawed. They have developed youth who are not ready at all. They have bought senior players who can't produce off the bench.They have senior players who don't handle being rotated.
Atletico madrid aside all but four teams from laliga and the segunda division are using retro kits, the
The holdouts are Real Madrid+FC Barcelona+Rayo Vallecano+Getafe . Real MAdrid are not participating at all. While the other three have logistical issues so they can't wear the retro shirts but they have them designed.
First half
in comments
HALFTIME
Good battle, the first goal was from a reviewed choice, many defenders get caught by the pro attacker interpretation, where an attacker can tackle from behind while aside and get a foul or penalty even if they are out of the vision of a defender whose approach to the ball is even. The second goal was taking advantage of alex baena who reads defensive situations slowly while he has enjoyed a nice game in attack, being the metronome with almada as the sturdy dribbler. Simeone will change in the second half so, if it remains close or the squad can equalize.
Second Half
in comments
FINAL THOUGHTS
Some will say a dropped three points by Atletico Madrid but I oppose that view. Atletico madrid have a copa del rey final coming in right after a second leg against barcelona to progress in the uefa champions league. I think simeone rotated correctly. yes a lot of atleti youth played against barca and sevilla in laliga, and I think in both matches,the youth gained alot of experience. The connection in the selection this match isn't the best i have seen from a selection by atletico madrid this season but I think the goals/assist/play by the youth, many their first game is great exeprience. Simeone is no fool. Atleti were in this situation last season and played the starters each game of the run and lost each of the matches, I think simeone is being wise. Onto the second round against barca + copa del rey final.
LINKS
#LALIGARETRO | #42LEGADOSLALIGA
https://x.com/atletienglish/status/2043021066394591436
âď¸Simeone calls up 9 players from the reserve team for today's match against Sevilla FC.
âď¸Massive rotations expected in AtlĂŠtico and 3-4 players from the reserve team in the starting lineup.
https://x.com/GonzaloTortosa/status/2042902509606318086
Sevilla vs. Atleti. Retro edition đ
#LALIGARETRO | #42LEGADOSLALIGA
https://x.com/atletienglish/status/2042965895342100803
retro kits designed by sharon lopez
https://www.instagram.com/p/DWWLnFrjV_Q/?img_index=1
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Cage the Elephant: Unpeeled at Le Trabendo in Paris, FranceÂ
Photos: Sharon Lopez
Leila RiccaÂ
October 24, 2017
Known for their energetic live performances characterized by spectacular crowd-surfs, lively festival sets, and sometimes eccentric looks, Cage the Elephant surprisingly maintained their live charisma within the intimacy and uniqueness of this exclusive acoustic show.
While in Paris to open for the Rolling Stones' three stadium shows, the American rock band announced two special headlining dates: an electric show on the 18th of October and an acoustic one on the 24th. After Grammy-winning album Tell Me Iâm Pretty, the group released âUnpeeledâ, a live acoustic album featuring the bandâs biggest hits and covers accompanied by string arrangements. These âunpeeledâ versions come from various concerts from their USA tour, making this acoustic show in Paris an unprecedented and unique event.
âAs you might have noticed, this show is a little differentâ, stated lead vocalist Matt Shultz after opening the concert with a touching and rich performance of âHow Are You Trueâ. The relatively small venue gathered an intimate and harmonious audience in front of a really small stage. Radically different to the ĂlysĂŠe Montmartre, a spacious venue with a vast stage where the band performed last January, Le Trabendo was unexpectedly well suited to this surprisingly intimate performance, with a powerful sound and a warm atmosphere. Matt Shultz established his stage presence in a striking way within this unusual setting. Refusing the static presence one could have expected from such a show, Shultz fully occupied the limited stage that was available to him, and used this rare closeness with the public to interact differently with it. Instead of giving this impression of being trapped â or should I say caged -, he managed to use the space limitation in order to further enhance the intimacy, but also occupied it fully with impressive dance moves and liveliness. It is no wonder that Cage the Elephant are opening for the Rolling Stones given the similarities between Shultz and Jagger: from movements, energy and presence to facial expressions and some vocals, the resemblance is remarkable.
Throughout the concert, the band managed to balance the intimacy provided by the setting or the acoustic resonances of the strings, and the powerful energy and liveliness that particularly distinguishes them. Shultz confused lyrics twice through the show, on Spiderhead and Whole Wide World (a cover of Wreckless Ericâs 1978 track), which would have been disappointing or irritating in another context. However, it only appeared as a touching secondary mistake, perhaps nearly as if the audience had been attending a rehearsal, or at least an imperfect and thus particularly human performance. Shultz himself jokingly said âIâm a real human being⌠surprise!â On both mistakes, the band restarted the song with an amused expression. There was a significant cohesion within the band members, from the traditional members to the string quartet. A notable revelation were the vocals of the keyboardist Matthan Minster on Instant Crush (cover of Daft Punkâs 2013 track), who seemed to painlessly reach high notes and harmoniously accompanied Shultzâ lines.
If there was this sense of harmony amongst the players, the public itself was extremely receptive, which created a real sense of union between the stage and the crowd. The audience fully chanted choruses on their most famous tracks such as âCigarette Daydreamsâ or the ending of âShake Me Downâ but was also trusted to sing full verses on âCome a Little Closerâ, reflecting the relationship of confidence between the audience and the band that seemed to emanate from the performance. In another way, the crowd also quieted considerably in more emotional and personal parts of the show, emphasizing this real emotional exchange that seems to have been silently established. While performing âRubber Ballâ, Shutlz tangled himself with the microphone in a very touching movement, and later asked members of the audience to help him âfreeâ him at the end of the song, reflecting once more this sense of trust.
It wouldnât be fair to mention this show without describing the particularly emotional encore. After a very long, rich and energetic concert, Shultz came back alone on stage with an acoustic guitar. Whilst thanking the audience, Shultz also asserted his identity as a human being: âwhile the performance is something that is real and is a reflection of who we are, there is a platform with some people on top of others, and it isnât natural (âŚ) we are all the same, we all do the same things in lifeâ. With a paradoxically lighthearted solemnity, he read out a message from a fan before thanking the audience and proceeded to sing âRight Before My Eyesâ with outstanding sincerity and emotion. If Shultz uncovered some personal emotions through tracks like âSweetie Little Jeanâ or âTelescopeâ, he seems to have fully unveiled his vulnerability during this last part. The roughness of a sole acoustic guitar as opposed to the very rich instrumental part of the bandâs tracks gave the encore an exceptional sense of self-exposure and sentiment. He also performed two new and seemingly personal songs in a perhaps even more genuine and candid way, during which the emotion enabled the audience to adopt a calm response in order to truly appreciate the moment.
This striking emotional component ended the show by filling the audience with a real sense of plenitude. If the concert strongly differed from the experience of an electric performance, it gained a particular strength and warmth through its uniqueness. The duality of the performance between touching parts and a dynamic presence allowed it to gain a complexity and an eclectic sound that few artists manage to pull off with such harmony and humanity, both concerning the physical performance itself and the bandâs rich musical sound.
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