Month: November 2024

UNESCO – the U.N. agency for the protection of cultural heritage – says it is concerned that museums in Sudan are being looted during the ongoing civil war. VOA gained access to one damaged and apparently ransacked museum. VOA’s Henry Wilkins has more from The House of the Khalifa in the city of Omdurman.
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Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic “Thriller” album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.

Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family.

“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”

Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and amassing an extraordinary musical catalog that includes some of the richest moments of American rhythm and song. For years, it was unlikely to find a music lover who did not own at least one record with his name on it, or a leader in the entertainment industry and beyond who did not have some connection to him.

Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for “Roots” and “In the Heat of the Night,” organized President Bill Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World,” the 1985 charity record for famine relief in Africa.

Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.”

In a career that began when records were still played on vinyl at 78 rpm, top honors likely go to his productions with Jackson: “Off the Wall,” “Thriller” and “Bad” were albums near-universal in their style and appeal.

Jones’ versatility and imagination helped set off the explosive talents of Jackson as he transformed from child star to the “King of Pop.”

On such classic tracks as “Billie Jean” and “Don’t Stop ‘Til You Get Enough,” Jones and Jackson fashioned a global soundscape out of disco, funk, rock, pop, R&B and jazz and African chants. For “Thriller,” some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-fusing “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.

“Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time.

“If an album doesn’t do well, everyone says ‘it was the producers fault’; so if it does well, it should be your ‘fault,’ too,” Jones said in an interview with the Library of Congress in 2016. “The tracks don’t just all of a sudden appear. The producer has to have the skill, experience and ability to guide the vision to completion.”

The list of his honors and awards fills 18 pages in his 2001 autobiography “Q”, including 27 Grammys at the time (now 28), an honorary Academy Award (now two) and an Emmy for “Roots.” He also received France’s Legion d’Honneur, the Rudolph Valentino Award from the Republic of Italy and a Kennedy Center tribute for his contributions to American culture.

He was the subject of a 1990 documentary, “Listen Up: The Lives of Quincy Jones” and a 2018 film by daughter Rashida Jones. His memoir made him a best-selling author.
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“Venom: The Last Dance” enjoyed another weekend at the top of the box office. The Sony release starring Tom Hardy added $26.1 million in ticket sales, according to studio estimates Sunday.

It was a relatively quiet weekend for North American movie theaters leading up to the presidential election. Charts were dominated by big studio holdovers, like “Venom 3,” “The Wild Robot” and “Smile 2,” while audiences roundly rejected the Tom Hanks, Robin Wright and Robert Zemeckis reunion “Here.” Thirty years after “Forrest Gump,” “Here” opened to only $5 million from 2,647 locations.

“Venom 3” only fell 49% in its second weekend, which is a notably small drop for a superhero film, though it didn’t exactly open like one either. In two weeks, the movie has made over $90 million domestically; The first two opened to over $80 million. Globally, the picture is brighter given that it has already crossed the $300 million threshold.

Meanwhile, Universal and Illumination’s “The Wild Robot” continues to attract moviegoers even six weeks in (and when it’s available by video on demand), placing second with $7.6 million. The animated charmer has made over $121 million in North America and $269 million worldwide. “Smile 2” landed in third place with $6.8 million, helping to push its worldwide total to $109.7 million.

The time-hopping “Here,” a graphic novel that was adapted by “Forrest Gump” screenwriter Eric Roth, was financed by Miramax and distributed by Sony’s TriStar. With a fixed position camera, it takes audiences through the years in one living room. Critics were not on board: In aggregate it has a lousy 36% on Rotten Tomatoes.

Despite playing in almost 1,000 more locations, “Here” came in behind Focus Features’ papal thriller “Conclave” which earned $5.3 million. Playing in 1,796 theaters, “Conclave” dropped only 20% from its debut last weekend and has made $15.2 million so far. Two Indian films also cracked the top 10 in their debuts, “Bhool Bhulaiyaa 3” and “Singham Again.”

Jesse Eisenberg’s film “A Real Pain,” a comedic drama about cousins on a Holocaust tour in Poland, launched in four theaters this weekend in New York and Los Angeles. It made an estimated $240,000, or $60,000 per screen, which is among the top three highest per theater averages of the year. Searchlight Pictures will be expanding the well-reviewed film nationwide in the coming weeks, going wide on Nov. 15 to over 800 theaters.

Box office charts don’t always paint a full picture of the moviegoing landscape, however. This weekend several relatively high-profile films playing in theaters did not report full grosses for various reasons, including the Clint Eastwood film “Juror #2,” Steve McQueen’s WWII film “Blitz” and the Cannes darling “Emilia Pérez.” Netflix, which is handling “Emilia Pérez,” never reports box office figures. Apple Original Films is following suit with “Blitz,” a likely awards contender, which is in theaters before hitting Apple TV+ on Nov. 22. 

“Juror No. 2” is a Warner Bros. release, and a well-reviewed one at that. The film directed by Eastwood stars Nicholas Hoult as a juror on a murder case who faces a big moral dilemma. Domestic ticket sales were withheld. The studio did say that it earned $5 million from international showings, where it played on 1,348 screens.

Even major studios withhold box office numbers occasionally. Earlier this year, Disney did not report on the Daisy Ridley movie “Young Woman and the Sea.” Results were most notably withheld during the COVID-19 pandemic.

Final domestic figures will be released Monday. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, were:

1. “Venom: The Last Dance,” $26.1 million. 

2. “The Wild Robot,” $7.6 million. 

3. “Smile 2,” $6.8 million. 

4. “Conclave,” $5.3 million. 

5. “Here,” $5 million. 

6. “We Live In Time,” $3.5 million. 

7. “Terrifier 2,” $3.4 million. 

8. “Singham Again,” $2.1 million. 

9. “Beetlejuice Beetlejuice,” $2.1 million. 

10. “Bhool Bhulaiyaa,” $2.1 million. 
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NEW YORK — John Albert’s daughter didn’t go to school on Friday. And he couldn’t be happier about it.

For the first time, the high school senior and all of New York City’s public school students have the day off to mark the holiday of Diwali, celebrated in India and among the global Indian diaspora as the victory of light over darkness and marked by communities of Hindus, Buddhists, Jains and Sikhs.

To get the holiday added to the school calendar, where it joins other days off for Rosh Hashanah, Lunar New Year, Eid al-Fitr as well as federal holidays like Veterans Day, Christmas and Memorial Day, took years of pushing from those in New York’s South Asian and Indo-Caribbean communities like Albert. But it was worth it.

“It was this feeling of wanting to weave our culture into New York,” he said.

From religious and cultural holidays to region-specific commemorations to days meant to honor the towering figures and moments of U.S. history, the holiday calendars across the 50 states and the country at large are increasingly diverse ones, a reflection of and a window into the many communities that make up the American whole.

Recognizing holidays creates community

Including a smaller culture’s or community’s special days as something to recognize in the larger general culture is an act of unity, said Lauren Strauss, professor of modern Jewish history at American University.

“By doing that in an American context and by including a Muslim feast for the end of Ramadan and by including Diwali and including Rosh Hashanah and Yom Kippur, my goodness. You’re just saying it out loud, aren’t you? You’re saying that these cultures, these people, they aren’t visitors, that they are a permanent part of this community, that it is multicultural and multiethnic,” she said.

“Whether or not you think it’s good or bad, certainly it paints a different picture of what it means to be American and what the American calendar is.”

A look at what days are marked as holidays in places around the country can be a crash course into what matters in those places. Louisiana, home to New Orleans, takes a day for Mardi Gras. In Hawaii, the state marks a day for King Kamehameha, who united the Hawaiian islands, as well as a day for becoming a U.S. state. California and some other states mark Cesar Chavez Day, named for the civil rights and labor movement activist. In Texas and in the southwest, there are celebrations scheduled for Friday marking Day of the Dead, the Mexican cultural remembrance of loved ones who have passed.

The federal government, in addition to the 11 days that are days off for federal workers, has a host of days that it marks as national observances, like Harriet Tubman Day in March and Patriot Day on September 11.

It keeps greeting card companies on their toes.

“Celebrating holidays and occasions, big or small, with the people we care about is a vital thread that runs through our shared human experience,” Kelly Ricker, chief product officer at American Greetings, said in a statement. The company is “studying and talking to consumers, continuously” to keep up with the kinds of cards people are looking for.

When Chris Sargiotto started his greeting card company Apartment 2 Cards about 15 years ago, the holiday offerings were limited to Christmas and Hanukkah. In recent years, he’s added Kwanzaa and Ramadan, and is looking to bring Diwali cards onto the roster for next year.

The additional holidays were added because of requests from his customers, the stores around that country that stock Apartment 2 cards, a reflection of increasing demand.

“It was stores asking for it because of their customers are asking for it,” he said. “Whenever we introduce one of these specific cards, it seems to take off. So I think there definitely is the need for these.”

There can be challenges as well

But a holiday is not always uncontested. Take mid-October, when the federal government recognizes Columbus Day. It was added to the federal calendar in the 20th century after efforts from Italian Americans, who pushed for it as a way to stake their community’s place in America.

In the decades after though, Indigenous communities pushed back, citing the impact of colonization on their people and the continuing challenges. That has led to the spread of Indigenous People’s Day marked on the same day, which while not a federally recognized is recognized in states around the country.

And sometimes there’s some learning that needs to happen as well. In Montville, New Jersey, the police department this month put a post on Facebook explaining to the community that with Diwali approaching, they would be more likely to see swastikas, a variation of which are ancient sacred symbols in some religions and not deployed in the way Hitler and the Nazis did.

With both Jewish and Hindu communities in the town, it was done in an attempt to forestall misunderstanding, said Chief Andrew Caggiano, and has been met with an overwhelmingly positive response.

“It’s a great opportunity,” he said, “to raise awareness about other cultures that are that are in our community and that are part of our community at this point.”
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MEXICO CITY — Every year this time Mexico erupts in celebrations during the Day of the Dead. Families gather at cemeteries across the country on November 1 to reconnect with their dead just as their ancestors have done for centuries. 

For many more in small communities, it’s also about preserving the core of their traditions as celebrations in places in bigger hubs have increasingly been marked by mass tourism. 

“We’re conserving our tradition, part of our heritage that my mother instilled in me,” said 58-year-old Antonio Melendez. “We can’t let it be lost.” 

Observance dates back centuries

Melendez was among throngs of people gathered in the cemetery, tucked away in the maze of canals and brick buildings in Xochimilco, a borough in south of Mexico City that has long carried on traditions that have faded away in other parts of the country. 

He gathered with his two daughters around the grave of his mother, marked by orange flower petals spread out in the shape of a cross and bouquets of pink flowers, his mother’s favorite color. 

Melendez said she died last year, and the loss was still fresh, so he was trying to remember her by continuing with the same rituals he watched her carry out growing up, this time with his daughters. He started preparing for the celebration four days before, making tamales from scratch and building a small altar for her in their home. 

Day of the Dead dates back centuries to ancient Indigenous civilizations, which would organize parties when someone died to guide them on to the next life, and lay out food in altars to nourish them on their journeys. 

When Spanish colonizers arrived and began forcing Catholicism upon Indigenous communities, they would mix Indigenous traditions with Catholic holidays. Celebrations of the dead then synced up with All Saints Day on November 1, ending on November 2. 

While celebrations begin ramping up at the end of October, Mexican tradition says that on that night their deceased are closest to the living world, and people hope to keep them company. Each family celebrates in different ways. 

In San Gregorio Pantheon, elderly women carry massive bundles of orange flowers, the iconic flower of death. Some families sob into each other’s arms. Others sit alone next to loved one’s graves in silence. Many more drink mezcal and tell stories of their family members. 

‘It’s like being with them’

Gathered with her daughter and granddaughter, 60-year-old Beatriz Chavez kneels at the graves of her son, nephew and father, quietly lighting candles. 

“It’s like being with them one more year, feeling like even if they don’t see them, we feel like we’re closer to them,” Chavez said, noting that she planned to sleep in the graveyard, just like she did every year since her father died when she was 10. 

Over the years, the tradition has been the focus of the Disney film Coco. A Day of the Dead parade in Mexico City was also featured in a James Bond film, despite such a parade not existing in real life. Annual celebrations later adopted the idea of the parade from the movie. 

Now, people from all over the world have flocked to the Latin American nation, eager to experience the rich tradition for themselves. 

But once quaint celebrations in hubs for the Day of the Dead like Mexico City, Oaxaca and Michoacan have started to brim with tourists, who snap photos of mourners. In recent years, many Mexicans have also started to mix the celebration with Halloween. Other new traditions — such as the James Bond parade — have popped up. 

Some, like Melendez, prickle at the shifts. 

“Here, Halloween isn’t ours, it’s Day of the Dead,” he said. “It’s sad because it’s getting distorted. We’re losing the essence of who we are. This is a part of us, our roots.” 

For Melendez, it adds an extra level of importance to the celebration in their small cemetery, which he and others say has stayed true to the centuries-old traditions. 

It coincides with a larger conversation playing out across Mexico amid an influx of American “expats” and tourists. As more move to or travel to Mexico City, rents have gotten so high that many Mexicans have been pushed out of areas they’ve lived in for much of their lives, leaving frustration simmering in much of the city. 

Those who wander the graves and sell flowers and food in the streets see the changes less as a loss of tradition, and more as an evolution — a way for younger generations to continue passing on their heritage in their own ways, and share it with new audiences. 
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tokyo — Hello Kitty turned 50 on Friday. Befitting a pop icon at midlife, the bubble-headed, bow-wearing character’s fictional birthday has brought museum exhibits, a theme park spectacle and a national tour. And that’s just in Japan, her literal birthplace but not the one listed in her official biography. 

Confused? Welcome to the party. If there’s one thing about Hello Kitty, it’s that she’s proven adaptable and as much a study in contrasts during her long career. She — and Kitty is a she, according to the company that owns her — may have been conceived as a vessel for the feelings of others, but some women see an empowering symbol in her mouthless face. 

“Shrewd” is how Mika Nishimura, a design professor at Tokyo’s Meisei University, describes the way Hello Kitty conquered the worlds of commerce, fashion and entertainment. As a tabula rasa open to interpretation, the non-threatening creation was the perfect vehicle for making money, she said. 

“American feminists have said she doesn’t say anything and acquiesces to everyone. But in Japan, we also see how she may appear happy if you’re happy, and sad if you’re feeling sad,” Nishimura told The Associated Press. “It’s a product strategy that’s sheer genius. By being so adaptable, Kitty gets all those collaborative deals.” 

The character’s semicentennial is evidence of that. Sanrio, the Japanese entertainment company that holds the rights to Hello Kitty’s name and image, kicked off the festivities a year ago with an animation account on TikTok, Roblox games and an avatar for the social networking app Zepeto. 

There have been anniversary editions of merchandise ranging from pet collars, cosmetics and McDonald’s Happy Meals to Crocs and a Baccarat crystal figurine. A gold coin pendant with the image of Hello Kitty holding the number 50 is selling for about 120,000 yen ($800), while a Casio watch costs 18,700 yen ($120). 

But first, more on the origin story. 

Unlike Mickey Mouse and Snoopy, Hello Kitty didn’t start as a cartoon. A young Sanrio illustrator named Yuko Shimizu drew her in 1974 as a decoration for stationery, tote bags, cups and other small accessories. The design made its debut on a coin purse the next year and became an instant hit in Japan. 

As Hello Kitty’s commercial success expanded beyond Asia, so did her personal profile. By the late 1970s, Sanrio revealed the character’s name as Kitty White, her height as five apples tall and her birthplace as suburban London, where the company said she lived with her parents and twin sister Mimmy. 

“The main theme of Hello Kitty is friendship. When I first created it, I made a family of which Kitty was a part. But then Hello Kitty started to appear in other settings as the character grew,” Shimizu told the BBC in June. “Sanrio put a lot of effort into building the brand into what it is today.” 

At some point, Sanrio designated Kitty’s birthday as November 1, the same as Shimizu’s. Her background was embellished with hobbies that included playing piano, reading and baking. Her TV appearances required co-stars, including a pet cat named Charmmy Kitty that made its debut 20 years ago. 

But Hello Kitty’s 40th birthday brought an update that astonished fans. Sanrio clarified to a Los Angeles museum curator that Kitty, despite her feline features, was a little girl. A company spokesperson repeated the distinction this year, renewing debate online about the requirements for being considered human. 

“She is supposed to be Kitty White and English. But this is part of the enigma: Who is Hello Kitty? We can’t figure it out. We don’t even know if she is a cat,” art historian Joyce S. Cheng, a University of Oregon associate professor, said. “There is an unresolved indeterminacy about her that is so amazing.” 

Part of the confusion stems from a misunderstanding of “kawaii,” which is Japanese for “cute” but also connotes a lovable or adorable essence. Sanrio recruited Shimizu and other illustrators to create “kawaii” characters at a time when cute, girlish styles were popular in Japan. But the word is used often in Japanese society, and not only to describe babies and puppies. 

An elderly man, something as innocuous as an umbrella, a subcompact car or a kitchen utensil, or even a horror movie monster can get labeled “kawaii.” By Western standards, the idea may seem embarrassingly frivolous. But it’s taken seriously in Japan, where the concept is linked with the most honorable instincts. 

The complexity of “kawaii” may help explain Hello Kitty’s enduring appeal across generations and cultures, why Canadian singer-songwriter Avril Lavigne released a song titled “Hello Kitty” a decade ago, and why Britain’s King Charles wished Hello Kitty a happy 50th birthday when he hosted Japan’s Emperor Naruhito and Empress Masako at Buckingham Palace in June. 

Although Hello Kitty may seem to embody the self-sacrificing woman stereotype, it’s revealing that three women have served as the character’s chief designers at Sanrio. Yuko Yamaguchi, who has held the role since 1980, is credited with keeping the character both modern and timeless, giving Kitty black outfits or false eyelashes as trends dictated but never removing the bow from her left ear. 

“Hello Kitty, this cultural object, has something to tell us about the history of women in East Asia, and how East Asian women modernized themselves and became professional citizens in a modern society,” the University of Oregon’s Cheng said. 

Sanrio has come up with hundreds of creatures, all adorable and cuddly, but none with the lasting power of Hello Kitty. Forget the understated wabi-sabi aesthetic historically associated with Japan. A chameleon-like cat-girl who reflects unabashed kitsch is the cultural ambassador of a consumer-crazed, happy-go-lucky nation. 

“It’s the anti-wabi sabi, wanting to be as flashy and as bling-bling as possible, like Lady Gaga. In your face, but that’s actually part of the genius, too. It’s powerful,” Cheng said. 

Leslie Bow, a professor of English and Asian American Studies at the University of Wisconsin-Madison, said that while many Asian and Asian American women see Hello Kitty as a symbol of defiance, the protective, caretaking instinct aroused by “kawaii” isn’t without power. 

“We take care of our siblings, our babies, our pets, because we are in control. We control their actions. And so that is also the dark side of cute,” Bow said. 

Sanrio has taken advantage of the character’s adaptability by allowing relatively unrestricted use of her image in return for a licensing fee. 

Just about anything goes for the wee whiskered one, from a growing global empire of Sanrio-sanctioned Hello Kitty cafes to an “augmented reality” cellphone app that shows Kitty dancing in front of the Eiffel Tower in Paris, London’s Big Ben and other tourist landmarks. 

On the unsanctioned side, Hello Kitty even has shown up on guns and vibrators. 

During a presentation earlier this year in Seoul, Hello Kitty designer Yamaguchi said one of her unfulfilled goals was finding a way “to develop a Hello Kitty for men to fall in love with as well.” But she’s still working on it. 

“I am certain the day will come when men are no longer embarrassed to carry around Hello Kitty,” entertainment news site Content Asia quoted Yamaguchi as saying. 
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KARACHI, Pakistan — Attiq Ur Rehman is determined to follow his dream to become Pakistan’s first professional surfer despite his father’s concern for his future, a lack of equipment and the messy waves near Karachi.

“I don’t care about the money right now. I just want to compete,” the 21-year-old says, shrugging off his father’s plea to take up fishing so he can get married and support his family. “It’s my surfer attitude.”

Rehman’s family are part of a poor coastal community in southern Pakistan that usually make a living from fishing or as lifeguards watching over more affluent residents of Karachi when they come for a day at the beach.

His father makes the equivalent of $100 a month to feed a family of 10 through fishing.

“I told him a thousand times (to stop surfing) but he still doesn’t listen,” said Rehman’s father, Muhammad Rafiq.

Rehman was a lifeguard but gave it up to concentrate on his surfing, which he started at age 9, and founded a new community that calls itself “Surfers of Bulleji.”

The group has grown to around 50 and has gone viral on social media in a country where cricket and hockey are the main sports.

The group consists of surfing enthusiasts from surrounding coastal villages, some as young as 8.

On a sunny day, their passion for surfing is on display with the right window for waves to surf along a near-empty beach close to the metropolis of 20 million.

One of cohort, Mujahid Baloch, a 24-year-old fisherman, first saw surfing on social media and instantly took a shine to it.

“Slowly, through watching, we learned. No one taught us,” he said.

Though Sri Lanka and the Maldives to the south are on global surfers’ hit lists, Pakistan’s arid 1,000 kilometers of coastline is usually poorly suited for surfing, relying on local winds to generate waves that are often small and messy, or rare cyclone swells.

“When all of Karachi was being given an advisory to stay away from the sea, and a cyclone was approaching, me and the boys were getting ready to go to the beach,” said Rehman. “The waves were ideal for us.”

While an occasional visiting surfer might join them for a paddle and some other villages along the coast have small surfing groups, competition with global peers is a challenge. The International Surfing Association has 116 member countries, including places such as Ukraine and land-locked Switzerland, but Pakistan is not on the list.

Still, members of Surfers of Bulleji idolize American professional surfer Kelly Slater, whose videos they often watch awestruck, and wish to emulate his skill.

But access to surfing equipment is limited in Pakistan, with the group sharing about 25 surfboards and pitching in for repairs when they are needed.

They sometimes find discarded boards in large containers of junk brought to Pakistan from around the world. They buy these junked boards for as little as $35 and repair them using basic materials like glue and resin.

“If it breaks, we repair it. Because we don’t have surfboards here,” Baloch said. Pointing to a piece of foam, he said it was found at sea and shaped into a makeshift board. “If we find more such foam, we can make our own boards here,” he said.

“Our community is getting bigger and stronger, so the shopkeepers know we will come and keep such finds safe for us,” Rehman said.
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