Arles, France — One of the world’s most renowned photo festivals, in the French town of Arles, returned this week with a timely ode to diversity at a moment when France is turning towards the far right.

The Rencontres festival, which runs until Sept. 29, is spread across 27 venues in the ancient cobbled streets of this former Roman town in Provence and has been running since 1970.

This year’s theme is “Beneath the Surface,” seeking to delve into diversity without the usual caricatures around minorities.

The star exhibition is a world-first retrospective for U.S. portrait artist Mary Ellen Mark (1940-2015), who worked for magazines like Life and Rolling Stone.

One of her celebrated images features an Icelandic child resting on the neck of a horse that focuses attention away from the boy’s disability.

Mark “devoted a lot of time and attention to her protagonists, in a few cases returning to photograph them again and again over the course of many years, forging close relationships with many,” said co-curator Sophia Greiff.

An example is Tiny, whom Mark followed from her years on the street falling into drug use, to tender moments with her children.

“What I’m trying to do is make photographs that are universally understood… that cross cultural lines,” Mark once said.

Elsewhere at the festival, Spanish photographer Cristina de Middel presents documentary and dreamlike work about migrants traveling from Mexico to the U.S.

She ignores the usual tropes around migration, presenting the crossing as a heroic epic of courageous men and women heading towards a new life.

By mixing documentary images with staged and poetic photos, “it gives each person back their personality and restores a level of humanity in their representation,” said festival director Christoph Wiesner.

He said the message was particularly vital given the rise of the far right in France, which is currently leading in legislative elections.

“Just because the situation is complex, we cannot just give up,” said Wiesner, highlighting the festival’s regular work on issues around feminism and anti-racism, including presentations in local schools. 

Other exhibitions this year include “I’m So Happy You’re Here,” featuring the work of 20 Japanese female photographers.

Another invites visitors into the “baroque of everyday life” in the Indian state of Punjab with shots of bizarre roof sculptures that locals have brought back after working abroad, including footballs, tanks, planes and lions.

French artist Sophie Calle presents her images alongside responses from blind people about their understanding of visual beauty.

“Green is beautiful, because every time I like something I’m told it’s green,” reads one caption alongside a shot of vivid grass.
…

NEW YORK — In the winter of 1789, around the time George Washington was elected the country’s first president, a Boston-based printer quietly launched another American institution.

William Hill Brown’s The Power of Sympathy, published anonymously by Isaiah Thomas & Company, is widely cited as something momentous: the first American novel.

Around 100 pages long, Brown’s narrative tells of two young New Englanders whose love affair abruptly and tragically ends when they learn a shocking secret that makes their relationship unbearable. The dedication page, addressed to the “Young Ladies of United Columbia” (the United States), promised an exposé of “the Fatal consequences of Seduction” and a prescription for the “Economy of Human Life.”

Outside of Boston society, though, few would have known or cared whether The Power of Sympathy marked any kind of literary milestone.

“If you picked 10 random citizens, I doubt it would have mattered to any of them,” says David Lawrimore, an associate professor of English at the University of Idaho who has written often about early U.S. literature. “Most people weren’t thinking about the first American novel.”

What the first American novel was like

Subtitled The Triumph of Nature. Founded in Truth, Brown’s book is in many ways characteristic of the era, whether its epistolary format, its Anglicized prose, its unidentified author, or its pious message. But The Power of Sympathy also includes themes that reflected the aspirations and anxieties of a young country and still resonate now.

Dana McClain, an assistant professor of English at Holy Family University, notes that Brown was an outspoken Federalist, believing in a strong national government, and shared his contemporaries’ preoccupation with forging how a stable republican citizenry. The letters in The Power of Sympathy include reflections on class, temperament and the differences between North and South, notably the “aristocratic temper” of Southern slaveholders that endangered “domestic quietude,” as if anticipating the next century’s Civil War.

Like many other early American writers, fiction and nonfiction, Brown tied the behavior of women to the fate of the larger society. The novel’s correspondents fret about the destabilizing “power of pleasure” and how female envy “inundates the land with a flood of scandal.” Virtue is likened to a “mighty river” that “fertilizes the country through which it passes and increases in magnitude and force until it empty itself into the ocean.”

Brown also examines at length the ways novels might be a path to corruption or a vehicle to uplift, mirroring current debates over the banning and restrictions of books in schools and libraries.

“Most of the novels with which our female libraries are overrun are built upon on a foundation not always placed on strict morality, and in the pursuit of of objects not always probable or praiseworthy,” one of Brown’s characters warns. “Novels, not regulated on the chaste principles of true friendship, rational love, and connubial duty, appear to me totally unfit to form the minds of women, of friends, or of wives.”

Brown was likely more interested in shaping minds than in literary glory.

“The Great American Novel” is a favorite catchphrase but wasn’t coined until the 1860s. During Brown’s lifetime, novels were a relatively crude art form and were valued mostly for satire, light entertainment or moral instruction. Few writers identified themselves as “novelists”: Brown was known as a poet, and essayist and the composer of an opera.

Even he recognized the book’s lower stature, writing in the novel’s preface: “This species of writing hath not been received with universal approbation.”

How it became considered the first

The Power of Sympathy was commonly cited as the first American novel in the 1800s, but few bothered debating it until the 20th century. Scholars then agreed that honors should belong to the first written and published in the United States by an author born and still residing in the country.

Those guidelines disqualified such earlier works as Charlotte Ramsay Lennox’s The Life of Harriot Stuart and Thomas Atwood Digges’ Adventures of Alonso.

Another contender was Father Bombo’s Pilgrimage to Mecca, a prose adventure by college students Hugh Henry Brackenridge and Philip Freneau, both of whom went on to prominent public careers. Written around 1770, the manuscript was later believed lost and wasn’t published in full until 1975.

Brown’s novel was unexamined for so long that only in the late 19th century did the public even discover he had written it. Many had credited the Boston poet Sarah Wentworth Apthorp Morton, whose family had endured a scandal similar to the one in The Power of Sympathy.

In 1894-95, editor Arthur W. Brayley of the Bostonian serialized the novel in his magazine, identifying Morton as the author. But after being contacted by Brown’s niece, Rebecca Vollentine Thompson, Brayley published a lengthy correction, titled “The Real Author of the Power of Sympathy.”

Thompson herself added a preface to a 1900 reissue, noting that Brown was close to Morton’s family and alleging that the publication had been “suppressed” because Brown had bared an “unfortunate scandal.”

A clockmaker’s son, Brown was a Boston native, likely born in 1765. He was well-read, connected, culturally conservative and politically minded; one of his first published writings was an unflattering poem about Daniel Shays, the namesake for the 1786-87 rebellion of impoverished Revolutionary War veterans in Massachusetts. Brown is also the author of several posthumous releases, including the play The Treason of Arnold and the novel Ira and Isabella.

His unofficial standing as “America’s First Novelist” did not lead to broader fame. The novel, currently in print through a 1996 edition from Penguin Classics, remains more of interest to specialists and antiquarians than to general readers.

Brown was not yet 30 when he died in North Carolina, in 1793, from what is believed to be malaria. He apparently never married or had children. No memorials or other historical sites are dedicated to him. No literary societies have been formed in his name.

His burial site is unknown.
…

NEW YORK — Robert Towne, the Oscar-winning screenplay writer of “Shampoo,” “The Last Detail” and other acclaimed films whose work on “Chinatown” became a model of the art form and helped define the jaded allure of his native Los Angeles, has died. He was 89.

Towne died Monday surrounded by family at his home in Los Angeles, said publicist Carri McClure. She declined to comment on a cause of death.

In an industry that gave birth to rueful jokes about the writer’s status, Towne for a time held prestige comparable to the actors and directors he worked with.

Through his friendships with two of the biggest stars of the 1960s and ’70s, Warren Beatty and Jack Nicholson, he wrote or co-wrote some of the signature films of an era when artists held an unusual level of creative control.

The rare “auteur” among screen writers, Towne managed to bring a highly personal and influential vision of Los Angeles onto the screen.

“It’s a city that’s so illusory,” Towne told The Associated Press in a 2006 interview. “It’s the westernmost west of America. It’s a sort of place of last resort. It’s a place where, in a word, people go to make their dreams come true. And they’re forever disappointed.”

Recognizable around Hollywood for his high forehead and full beard, Towne won an Academy Award for “Chinatown” and was nominated three other times, for “The Last Detail,” “Shampoo” and “Greystoke.” In 1997, he received a lifetime achievement award from the Writers Guild of America.

“His life, like the characters he created, was incisive, iconoclastic and entirely (original),” said “Shampoo” actor Lee Grant on X.

Towne’s success came after a long stretch of working in television, including “The Man from U.N.C.L.E” and “The Lloyd Bridges Show,” and on low-budget movies for “B” producer Roger Corman. In a classic show business story, he owed his breakthrough in part to his psychiatrist, through whom he met Beatty, a fellow patient. As Beatty worked on “Bonnie and Clyde,” he brought in Towne for revisions of the Robert Benton-David Newman script and had him on the set while the movie was filmed in Texas.

Towne’s contributions were uncredited for “Bonnie and Clyde,” the landmark crime film released in 1967, and for years he was a favorite ghost writer. He helped out on “The Godfather,” “The Parallax View” and “Heaven Can Wait” among others and referred to himself as a “relief pitcher who could come in for an inning, not pitch the whole game.”

But Towne was credited by name for Nicholson’s macho “The Last Detail” and Beatty’s sex comedy “Shampoo” and was immortalized by “Chinatown,” the 1974 thriller set during the Great Depression.

“Chinatown” was directed by Roman Polanski and starred Nicholson as J.J. “Jake” Gittes, a private detective asked to follow the husband of Evelyn Mulwray (played by Faye Dunaway). The husband is chief engineer of the Los Angeles Department of Water and Power, and Gittes finds himself caught in a chaotic spiral of corruption and violence, embodied by Evelyn’s ruthless father, Noah Cross (John Huston).

Influenced by the fiction of Raymond Chandler, Towne resurrected the menace and mood of a classic Los Angeles film noir but cast Gittes’ labyrinthine odyssey across a grander and more insidious portrait of Southern California. Clues accumulate into a timeless detective tale and lead helplessly to tragedy, summed up by one of the most repeated lines in movie history, words of grim fatalism a devastated Gittes receives from his partner Lawrence Walsh (Joe Mantell): “Forget it, Jake, it’s Chinatown.”
…

Panama’s pollera is the country’s beautiful, elaborate and very expensive national dress, and one of the most recognized Latin American traditional costumes. But production of the gorgeous garment faces an uncertain future. Oscar Sulbarán explains why in this story narrated by Veronica Villafañe. (Camera: Oscar Sulbarán; Produced by: Veronica Villafañe)
…

Washington, D.C., home to the world’s largest collection of William Shakespeare’s works, has unveiled a treasure trove that most have never seen. The Folger Shakespeare Library reopened its doors after a four-year long renovation, revealing the most valuable part of its collection to the public for the first time. Maxim Adams visited the library.
…

New York — The monthlong celebration of LGBTQ+ Pride reached its exuberant grand finale on Sunday, bringing rainbow-laden revelers to the streets for marquee parades in New York, Chicago, San Francisco and elsewhere across the globe.

The wide-ranging festivities functioned as both jubilant parties and political protests, as participants recognize the community’s gains while also calling attention to recent anti-LGBTQ+ laws, such as bans on transgender health care, passed by Republican-led states.

“We’re at a time where there’s a ton of legislation, anti-LGBTQ+ legislation,” Zach Overton, 47, said at the New York parade. “It feels like we’re taking a step backwards in the fight for equality and so it’s a great moment to come out and be with our community and see all the different colors of the spectrum of our community and remind ourselves what we’re all fighting for.”

Thousands of people gathered along New York’s Fifth Avenue to celebrate Pride. Floats cruised the street as Diane Ross’ “I’m Coming Out” played from loudspeakers. Pride flags filled the horizon, and signs in support of Puerto Rico, Ukraine and Gaza were visible in the crowd.

This year, tensions over the Israel-Hamas war in Gaza are also seeped into the celebrations, exposing divisions within a community that is often aligned on political issues.

Protesters temporarily blocked the New York parade on Sunday, chanting: “Free, free, free Palestine!” Police eventually took some of them away.

Pro-Palestinian activists disrupted pride parades earlier in June in Boston, Denver, and Philadelphia. Several groups participating in marches Sunday said they would seek to center the victims of the war in Gaza, spurring pushback from supporters of Israel.

“It is certainly a more active presence this year in terms of protest at Pride events,” said Sandra Perez, the executive director of NYC Pride. “But we were born out of a protest.”

The first pride march was held in New York City in 1970 to commemorate the one-year anniversary of the Stonewall Inn uprising, a riot that began with a police raid on a Manhattan gay bar.

Nick Taricco, 47, who was at the New York parade with Overton, said he attended Friday’s opening of the Stonewall National Monument Visitor Center, where President Joe Biden spoke. Taricco said he has concerns about politics in the U.S., including the presidential election.

“Even given how old he is, I still think that’s the direction we need to go in,” Taricco said of Biden. “But it’s a very uncertain time in general in this country.”

Ireland Fernandez-Cosgrove, 23, celebrated at the New York parade.

“New York City is a great place to live, but this is one of the only days where you can come out and be openly queer and you know you’re going to be OK and safe about it,” she said. “I came out here today with my partner to be able to be ourselves in public and know that other people are going to be supporting us.”

In addition to the NYC Pride March, the nation’s largest, the city also played host Sunday to the Queer Liberation March, an activism-centered event launched five years ago amid concerns that the more mainstream parade had become too corporate.

Another one of the world’s largest Pride celebrations also took place Sunday in San Francisco.

Tens of thousands of revelers packed sidewalks along Chicago’s parade, a scaled-back event from previous years. City officials shortened the North Side route and the number of floats this year from 199 to about 150 over safety and logistical concerns, including to better deploy police into evening hours as post-parade parties have become more disruptive in recent years. Chicago’s parade, one of the largest in the U.S., routinely draws about 1 million people, according to the city. Sunday’s crowd estimates were not immediately available.

Additional parades were scheduled in Minneapolis and Seattle.

On top of concerns about protests, federal agencies have warned that foreign terrorist organizations and their supporters could target the parades and adjacent venues. A heavy security presence was expected at all of the events.
…

…

TOKYO — The Paris Olympics open next month and the agency that oversees doping enforcement is under scrutiny following allegations it failed to pursue positive tests of Chinese swimmers who subsequently won medals — including three gold — at the Tokyo Games in 2021.

The focus on the World Anti-Doping Agency and China’s swimmers raises questions for athletes about the fairness of the competitions and the effectiveness of doping control at the Olympics.

“It’s hard going into Paris knowing that we’re going to be racing some of these athletes,” American swimmer Katie Ledecky, a seven-time Olympic champion, said in a television interview. “I think our faith in the system is at an all-time low.”

Rob Koehler, who worked as a deputy director of WADA until 2018, offered a similar tone.

“Athletes have zero confidence in the global regulator and World Aquatics,” Koehler, the director general of athletes’ advocacy body Global Athlete, told The Associated Press. “Transparency is needed more than ever. Without it, the anti-doping movement will crumble and athletes will never feel they have a level playing field.”

The background

From January 1-3, 2021, 23 elite Chinese swimmers tested positive for the banned substance trimetazidine — a heart medication known as TMZ — while competing in the Chinese city of Shijiazhuang and staying in a local hotel.

Chinese authorities investigated but did not sanction the swimmers and said they had unwittingly ingested the banned substance. They blamed food/environmental contamination and said the drug had gotten into spice containers in the hotel kitchen.

The investigation was carried out by the Chinese Minister of Public Security, China’s national police force.

WADA accepted the explanation and argued, in part, it was not possible to send its own investigators to China during what officials said was a “local COVID outbreak.”

Several of those athletes later won medals at the Tokyo Olympics, including gold medals in three events.

Eleven of the 23 Chinese swimmers were named this month on the country’s national team to compete in Paris, including Zhang Yufei, who won gold in the 200-meter butterfly and the women’s 4×200 freestyle relay. She also won two silver medals in Tokyo.

Also on the list for Paris is 200 individual medley Olympic gold-medalist Wang Shun, and 200 breaststroke world-record holder Qin Haiyang.

The criticism of WADA

WADA has been criticized for seeming to look the other way at aspects of the Chinese anti-doping agency’s investigation and reporting. It has also not published any of the science behind its decision.

The Chinese agency, known as CHINADA, did not report the positive tests to WADA until mid-March. And in early April 2021 it told WADA it had begun an investigation. On June 15 of that year, it told WADA that environmental contamination was the cause and said it was not pursing an ADRV — an anti-doping rules violation.

Had an anti-doping rules violation been found, CHINADA should have filed a mandatory provisional suspension with a public disclosure forthcoming.

Many questions have been asked since the case became public this year, including by a bipartisan group of U.S. senators. Why did it take 2 1/2 months to report the findings, and why was the investigation begun even later? WADA attributes the “certain delays” to COVID restrictions.

Why was there an apparent delay in inspecting the hotel kitchen? Why was the residue still around, particularly in light of China’s tough sanitation rules during the pandemic? And where did the TMZ come from and how did it land in a spice container? Why were the national police involved in a sports doping case?

The New York Times and German broadcaster ARD broke the story in April of this year.

WADA’s defense

Basically, WADA says it had no grounds to challenge the findings of CHINADA. WADA did say, however, it did not agree with all of CHINADA’s investigation “for largely technical reasons.”

WADA says it accepted the contamination theory because: the levels of TMZ were very low; the swimmers were from different regions of China; and the swimmers were in the same place when the positive tests occurred. Also, competing swimmers stayed in another hotel. Three were tested and none tested positive.

Legally, WADA argued that it could have appealed to the Court of Arbitration for Sport but was advised not to by external lawyers. It would have been a narrow appeal that would not have kept the athletes from competing at the Tokyo Olympics.

WADA has appointed retired Swiss prosecutor Eric Cottier to review the handling of the case. Fairly or not, his impartiality has been questioned.

The banned medication

Trimetazidine is listed as a “metabolic modulator” and is banned by WADA — in competition and out of competition. It is believed to help endurance and recovery time after training. One of the best-known TMZ cases involved Chinese swimmer Sun Yang, who was suspended for three months in 2014 after testing positive for the substance. He also served a four-year suspension for a separate doping violation.

Russian figure skater Kamila Valieva tested positive for TMZ weeks before the 2022 Beijing Winter Olympics. She said the substance had belonged to her grandfather and had accidentally contaminated her food. She was allowed to skate in Beijing, but was was eventually handed a four-year suspension.

WADA said Valieva’s contamination scenario “was not compatible with the analytical results.” In the case of the Chinese swimmers, WADA said “the contamination scenario was plausible and that there was no concrete scientific element to challenge it.”

Strict Liability

The principle of “Strict Liability” — athletes are responsible for what they ingest — is at the heart of the WADA code, and is there to ensure all athletes are treated equally. Some question if the principle was followed in this case.

WADA’s rules specify that a “mandatory provisional suspension” should have taken place after the positive tests, which were carried out at a WADA-approved laboratory in Beijing. The local anti-doping agency — in this case, CHINADA — should have issued the suspension.

“CHINADA’s handling of the case, and WADA’s subsequent response, did not adhere to the most essential rule in the code — the principle of Strict Liability,” Steven Teitler, the legal director of the Netherlands doping agency, wrote in a white paper examining the case.

WADA further muddied the water in a fact sheet it published. It said “even for mandatory provisional suspensions there are exceptions.” It said there were multiple precedents for the decision to exonerate the Chinese athletes, precedents that did not seem to have been widely known.

This has raised more questions about how the agency follows its own rules.

The anti-doping system relies on national agencies like CHINADA to enforce the rules, which can clash with the wishes of high-profile athletes and the prestige they might bring to a country and its government.
…

NEW YORK — The monthlong celebration of LGBTQ+ Pride reaches its exuberant grand finale on Sunday, bringing rainbow-laden revelers to the streets for marquee parades in New York, Chicago, San Francisco and elsewhere across the globe.

The wide-ranging festivities will function as both jubilant parties and political protests, as participants recognize the community’s gains while also calling attention to recent anti-LGBTQ+ laws, such as bans on transgender health care, passed by Republican-led states.

This year, tensions over the Israel-Hamas war in Gaza are also seeping into the celebrations, exposing divisions within a community that is often aligned on political issues.

Already this month, pro-Palestinian activists have disrupted pride parades held in Boston, Denver, and Philadelphia. Several groups participating in marches Sunday said they would seek to center the victims of the war in Gaza, spurring pushback from supporters of Israel.

“It is certainly a more active presence this year in terms of protest at Pride events,” said Sandra Pérez, the executive director of NYC Pride. “But we were born out of a protest.”

The first pride march was held in New York City in 1970 to commemorate the one-year anniversary of the Stonewall Inn uprising, a riot that began with a police raid on a Manhattan gay bar.

In addition to the NYC Pride March, the nation’s largest, the city will also play host Sunday to the Queer Liberation March, an activism-centered event launched five years ago amid concerns that the more mainstream parade had become too corporate.

Another one of the world’s largest Pride celebrations will also kick off Sunday in San Francisco. Additional parades are scheduled in Chicago, Minneapolis, and Seattle.

On top of concerns about protests, federal agencies have warned that foreign terrorist organizations and their supporters could target the parades and adjacent venues. A heavy security presence is expected at all of the events.
…

SAN FRANCISCO — In an increasingly divisive political sphere, Becka Robbins focuses on what she knows best — books.

Operating out of a tiny room in Fabulosa Books in San Francisco’s Castro District, one of the oldest gay neighborhoods in the United States, Robbins uses donations from customers to ship boxes of books across the country to groups that want them.

In an effort she calls “Books Not Bans,” she sends titles about queer history, sexuality, romance and more — many of which are increasingly hard to come by in the face of a rapidly growing movement by conservative advocacy groups and lawmakers to ban them from public schools and libraries.

“The book bans are awful, the attempt at erasure,” Robbins said. She asked herself how she could get these books into the hands of the people who need them the most.

Beginning last May, she started raising money and looking for recipients. Her books have gone to places like a pride center in west Texas and an LGBTQ-friendly high school in Alabama.

Customers are especially enthusiastic about helping Robbins send books to places in states like Florida, Texas and Oklahoma, often writing notes of support to include in the packages. Over 40% of all book bans from July 2022 to June 2023 were in Florida, more than any other state. Behind Florida are Texas and Missouri, according to a report by PEN America, a nonprofit literature advocacy group.

Book bans and attempted bans have been hitting record highs, according to the American Library Association. And the efforts now extend as much to public libraries as school libraries. Because the totals are based on media accounts and reports submitted by librarians, the association regards its numbers as snapshots, with many bans left unrecorded.

PEN America’s report said 30% of the bans include characters of color or discuss race and racism, and 30% have LGBTQ+ characters or themes.

The most sweeping challenges often originate with conservative organizations, such as Moms for Liberty, which has organized banning efforts nationwide and called for more parental control over books available to children.

Moms for Liberty is not anti-LGBTQ+, co-founder Tiffany Justice has told The Associated Press. But about 38% of book challenges that “directly originated” from the group have LGBTQ+ themes, according to the library association’s Office for Intellectual Freedom. Justice said Moms for Liberty challenges books that are sexually explicit, not because they cover LGBTQ+ topics.

Among those topping banned lists have been Maia Kobabe’s Gender Queer, George Johnson’s All Boys Aren’t Blue and Nobel laureate Toni Morrison’s The Bluest Eye.

Robbins said it’s more important than ever to makes these kinds of books available to everyone.

“Fiction teaches us how to dream,” Robbins said. “It teaches us how to connect with people who are not like ourselves, it teaches us how to listen and emphasize.”

She’s sent 740 books so far, with each box worth $300 to $400, depending on the titles.

At the new Rose Dynasty Center in Lakeland, Florida, the books donated by Fabulosa are already on the shelves, said Jason DeShazo, a drag queen known as Momma Ashley Rose who runs the LGBTQ+ community center.

DeShazo is a family-friendly drag performer and has long hosted drag story times to promote literacy. He uses puppets to address themes of being kind, dealing with bullies and giving back to the community.

DeShazo hopes to provide a safe space for events, support groups and health clinics, and to build a library of banned books.

“I don’t think a person of color should have to search so hard for an amazing book about history of what our Black community has gone through,” DeShazo said. “Or for someone who is queer to find a book that represents them.”

Robbins’ favorite books to send are youth adult queer romances, a rapidly growing genre as conversations about LGBTQ+ issues have become much more mainstream than a decade ago.

“The characters are just like regular kids — regular people who are also queer, but they also get to fall in love and be happy,” Robbins said.
…

taipei, taiwan — Taiwanese singer and activist Panai called Saturday — at one of the most prestigious entertainment events in the Chinese-speaking world — for people not to forget China’s bloody 1989 crackdown on pro-democracy protesters at Tiananmen Square. 

Chinese artists in recent years have largely stayed away from Taiwan’s Golden Melody Awards given renewed tension between democratically governed Taiwan and China, which views the island as its own territory, and the reference to Tiananmen is unlikely to endear Beijing to the ceremony. 

Taking the stage after winning for best Taiwanese language album at the ceremony in Taipei, Panai said this was the 35th anniversary of the awards. 

“The Tiananmen Square incident is also exactly 35 years old, let’s not forget,” she said. 

Chinese tanks rolled into the square before dawn on June 4, 1989, to end weeks of pro-democracy demonstrations by students and workers. Public discussion of what happened is taboo in China, though it is freely talked about in Taiwan. 

China says it “long ago” reached a clear conclusion about the events of 1989, and China’s Taiwan Affairs Office did not immediately respond to a request for comment. 

Panai has campaigned for years for the rights of Taiwan’s Indigenous people. 

“Democracy is a lengthy and not an easy journey, we are pressured as we don’t know if we will be bullied by a ‘bigger’ power,” she told reporters backstage after her win. 

“The reason why I mentioned that event on stage is because Taiwan’s democracy is a process that all of us need to cherish; our freedom and freedom of speech is what we need to protect.” 

No Chinese singers attended this year’s awards, despite several high-profile nominations, including Xu Jun winning for best composer. 

Another Chinese singer, Jude Chiu, did arrive in Taiwan but returned to the country before the awards for health reasons, Taiwan’s official Central News Agency reported. 

While Taiwan has only 23 million people, its pop music scene has an outsized cultural influence across East Asia, especially in China, in part due to creativity unencumbered by censorship. 

The awards celebrate not only Mandopop but artists singing in Taiwanese — also known as Hokkien — Hakka and Indigenous languages like Bunun, a visible sign of the Taiwan government’s efforts to promote once suppressed tongues. 
…

NEW YORK — It’s not just a book.

Back in the 1450s, when the Bible became the first major work printed in Europe with moveable metal type, Johannes Gutenberg was a man with a plan.

The German inventor decided to make the most of his new technology — the movable-type printing press — by producing an unprecedented version of the scripture for wealthy customers who could interpret Latin: leaders of the Catholic Church.

Though he planned on printing 150 Bibles, increasing demand motivated him to produce 30 extra copies, which led to a total of 180. Currently known as the “Gutenberg Bibles,” around 48 complete copies are preserved.

None is known to be kept in private hands. Among those in the United States, a paper Bible can be seen at the Morgan Library & Museum, in New York City. Two more copies in vellum lie in the underground vaults, next to 120,000 other books.

Why should anyone — religiously observant or not — feel compelled to see a Gutenberg Bible up close? Here’s a look at how its printing influenced the history of books and the religious landscape. And what a 500-year-old volume can still reveal.

What is a Gutenberg Bible?

The term refers to each of the two-volume Bibles printed in Gutenberg’s workshop around 1454.

Before that, all existing Bibles were copied by hand. The process could take up to a year, said John McQuillen, associate curator at the Morgan Library. In contrast, it is believed that Gutenberg completed his work in about six months.

Each Gutenberg Bible has nearly 1,300 pages and weighs around 60 pounds. It’s written in Latin and printed in double columns, with 42 lines per page.

Most were printed on paper. A few others on animal skin.

When a Bible came off the press, only the black letters were printed. Hand decorations and bindings were added later, depending on each buyer’s taste and budget.

Some ornamentations were added in Germany. Others in France, Belgium or Spain.

Therefore, each Gutenberg Bible is unique, McQuillen said.

Why were these Bibles a turning point?

Gutenberg’s invention produced a massive multiplication of complete copies of biblical texts.

The first impact was among scholars and learned priests who had easier access than ever before, said Richard Rex, professor of Reformation History from the University of Cambridge.

“This massive multiplication even led to the wider adoption of the term ‘Bible’ (Biblia) to describe the book,” Rex said. “Medieval authors and others do speak sometimes of ‘the Bible’, but more commonly of ‘scripture.'”

Psychologically, Rex said, the appearance of the printed text — its regularity, precision and uniformity — contributed to a tendency to resolve theological arguments by reference to the biblical text alone.

Later on, the printing of Bibles in vernacular languages — especially from Luther’s Bible (early 1520s) and Tyndale’s New Testament (mid 1520s) onwards — affected the way that ordinary parishioners related to religion and the clergy.

The limits of literacy still meant that access to the Bible was far from universal. Gradually, though, religious leaders stopped being its main interpreters.

“The phenomenon of lay people questioning or interpreting the biblical text became more common from the 1520s onwards,” Rex said. “Although the early Protestant Reformers, such as Luther, emphasized that they did not seek to create an interpretative ‘free for all,’ this was probably the predictable consequence of their appeal to ‘scripture alone.'”

More than a book

Three times per year, a curator from the Morgan Library turns the page of the Gutenberg Bible on display. It’s leaves not only tell a tale of scripture, but of those who possessed it.

A few years ago, by studying its handmade initials, McQuillen was the one to figure out the origin of its decoration: a German monastery that no longer exists.

Similarly, in the 2000s, a Japanese researcher found little marks on the surface of the Old Testament’s paper copy. Her findings revealed that those leaves were used by Gutenberg’s successors for their own edition, printed in 1462.

“For as many times as the Gutenberg Bible have been looked at, it seems like every time a researcher comes in, something new can be discovered,” McQuillen said.

“This book has existed for 500 years. Who are the people that have touched it? How can we talk about these personal histories in addition to the greater idea of what printing technology means on a European or global scale?” he said.

Among the thousands of Bibles that J. P. Morgan acquired, owners made various annotations. Individual names, birth dates, details that reflect a personal story.

“A Bible is now sort of a book on the shelf,” McQuillen said. “But at one point, this was a very personal object.”

“In a museum setting, they become art and a little bit distanced, but we try to break that distance down.”
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WELLINGTON, New Zealand — When Ngarauru Mako told her family she was calling off Christmas festivities in favor of celebrating Matariki, the Māori new year holiday that’s experiencing a renaissance in New Zealand, her children didn’t believe her.

“We grew up with Christmas because it was just what you did, but I realized it wasn’t my thing,” said Mako, who is Māori, a member of New Zealand’s Indigenous people. “I just decided myself to cancel Christmas, be the Grinch, and take on Matariki.”

Now in its third year as a nationwide public holiday in New Zealand, Matariki marks the lunar new year by the rise of the star cluster known in the Northern Hemisphere as the Pleiades. The holiday is seeing a surge in popularity, even as political debates about race in New Zealand have grown more divisive. Accompanying the holiday’s rise is a tension between those embracing Indigenous language and culture, and a vocal minority who wish to see less of it.

“For much of our past, since the arrival of settlers to this land, mostly out of Great Britain, we’ve really looked to mimic and build our identity off Great Britain,” said Rangi Mātāmua, professor of Mātauranga Māori -– Māori knowledge — at Massey University and an adviser to the government on Matariki.

“But I think as we’ve moved a number of generations on, Aotearoa New Zealand is starting to come of age in terms of our understanding of our identity,” he added, using both the Māori and English names for the country.

When New Zealand established the national day in 2022, it became the first nation in the world to recognize an Indigenous-minority holiday, scholars including Mātāmua believe. But many did not know what it was. Even so, 51% of people did something to mark the day, official figures show, and that number grew to 60% in 2023. Matariki falls on a different midwinter date each year based on the Māori lunar calendar; in 2024 it was officially celebrated June 28.

 

A 700-year-old tradition that fell out of observance in modern times — even among the 1 million Māori who make up New Zealand’s population of 5 million -– the fortunes of Matariki changed over the past few decades, as Māori language, culture and traditions saw a passionate resurgence.

“Māori culture has been oppressed for a long, long time. We lost our reo — our language — nearly, we nearly lost our identity,” said Poropiti Rangitaawa, a musician who performed Māori songs this month at a family Matariki celebration outside of Wellington, the capital city. “But with the hope of our people, our old people, our ancestors, they have brought it up and now it’s really strong.”

The carnival day at Wainuiomata where Rangitaawa played was one of many events New Zealanders of all ethnicities attended to mark Matariki. Some attended predawn ceremonies where steam from food is released to “feed the stars” and lists of names are read remembering the dead and those born since the last celebration.

Dotted around Wellington were remembrance spots — in the back room of a church, in a garden -– where visitors displayed notes to those they had lost: a dad, an aunt, a cat.

“It’s only just now that I’m realizing Matariki is about the stars, and I love the fact that they’ve got a star for the ones we’ve lost in the year,” said Casey Wick, attending a celebration with her family.

For many, a growing knowledge of the holiday has come through their children, which is typical of New Zealand’s Indigenous movement. Protests in the 1970s seeking recognition of the language gave rise to Māori language pre-schools whose first generation of graduates are fluent speakers.

Every elementary school in New Zealand now recognizes Matariki, and many this month hosted shared meals for families to celebrate. Children come home singing the names of the nine Matariki stars to the tune of the Macarena.

“I learn more from her about Matariki than I could ever give to her,” said Liana Childs, whose daughter Akaylia, 9, recited the stars of the cluster perfectly. The family is not Māori, Childs said, but they studied the Māori seasons, which guide the planting of crops and when to hunt.

“I think it’s just brought us closer together as a family,” she said.

The political climate for Māori language and culture, however, is complicated.

Words in the language are now commonplace in conversations, but Māori has its detractors, too. Matariki was established as a national day under New Zealand’s previous center-left government, which urged the country to embrace Māori culture. The government, however, was often decried for doing little to address woeful economic, health and justice issues for Māori that became entrenched after New Zealand was colonized in the 19th century.

A change of government last October meant a new era for Matariki. The party leading the current center-right coalition supports the day, but one of its coalition partners does not. The government has also pledged to scrap some policies recognizing Māori that were passed by its predecessors, getting rid of a Māori health agency that prioritized Indigenous New Zealanders, who die younger than people of non-Maori descent; reversing a movement to grant Māori names to government agencies, some of which have already reverted to their English titles; and halting plans for shared management of public utilities with Māori tribes.

One of the governing parties has provoked a fresh debate about New Zealand’s founding document, the Treaty of Waitangi -– signed between Māori tribes and the British Crown in 1840 -– with the suggestion that modern interpretations have given Māori too many rights. The rumblings about a revisited treaty have prompted protest marches.

“Governments will come and governments will go,” said Mātāmua, the professor. “Matariki existed before government, and it will continue to exist after the current government.”

Māori language and culture almost died out when earlier politicians opposed their expression, Mātāmua said, but in a nation where many are now enthusiastic about it, any government trying to curtail the celebration would learn “that perhaps trying to put this genie back in the bottle would be very, very difficult.”

At the Matariki celebration in Wainuiomata, Tash Simpson stood with friends at a stall that fused Māori and Kenyan crafts.

“We’re stronger now. Our people are more knowledgeable now,” she said of political threats to Māori. “But now we know what’s coming and we’re ready.”
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PROVIDENCE, Guyana — India thumped defending champion England by 68 runs to reach the final of the Twenty20 World Cup on Thursday.

India will face South Africa on Saturday at Kensington Oval in Bridgetown, Barbados in a battle of the two unbeaten teams of the tournament.

Captain Rohit Sharma’s (57) second half-century helped India compile 171-7 and Suryakumar Yadav also blunted the England pace and spin with a vital knock of 47 off 36 balls after more than 2-1/2 hours of second semifinal was lost due to rain and wet outfield.

Spinners Axar Patel and the Kuldeep Yadav then combined in for 6-42 through some sharp turners as England got bowled out for 103 in 16.3 overs on a skiddy, low pitch devoid of grass to bow out of the tournament.

“If bowlers and batters adapt, things fall in place,” a beaming Sharma said. “Axar and Kuldeep are gun spinners. (It was) tough to play shots against them in these conditions (and) they were calm under pressure.”

Captain Jos Buttler smashed four boundaries in his 23 off 15 balls, but once he top-edged reverse sweep off left-arm spinner Patel’s first ball inside the power play and lobbed a simplest of catches to wicketkeeper Rishabh Pant, England kept on losing wickets with regular intervals.

“I’ve bowled in the powerplay in the past many times,” Patel said after being adjudged player of the semifinal. “Knew the wicket was assisting and didn’t try too many things.”

England had collapsed to 88-9 when Liam Livingstone and Adil Rashid both got run out but Jofra Archer hit 21 off 15 balls before Jasprit Bumrah (2-12) finished off England by having Archer leg before wicket.

The win was sweet revenge for India, which got hammered by England by 10 wickets in the 2022 World Cup semifinal at Adelaide, Australia.

“India outplayed us,” Buttler said. “We let them get 20-25 runs too many on a challenging surface … they had an above-par total and it was always a tough chase.”

Earlier, Sharma and Yadav combined in a 73-run third wicket stand on a wicket where batters struggled to negotiate the variable bounce of pace and spin.

Virat Kohli’s below-par tournament continued after a wet outfield delayed the toss for 80 minutes and Buttler won the toss and elected to field.

Kohli took his run tally to disappointing 75 runs in seven games with run-a-ball knock of nine before Reece Topley cramped him for a big shot and hit the top of leg stump.

“We understand his (Kohli’s) class,” Sharma said in defense of his ace batter. “Form is never a problem when you’ve played for 15 years, probably saving for the final.”

Sharma continued his sublime form in the tournament on difficult pitches and countercharged on a yet another tough wicket for batters before heavy rain took the players off the field for another 73 minutes when India had reached 65-2 after eight overs.

Sharma reached his 50 after resumption of play with a swept six over fine leg off Sam Curran, and Yadav hammered the left-arm fast bowler to point for a six before both exited in successive overs.

Sharma was undone by a googly from Adil Rashid (1-25) in his last over and was clean bowled, while Yadav was deceived by Archer’s slower ball and ballooned a catch to long off.

Chris Jordan picked up 3-37 that included the wickets of Hardik Pandya (23) and Shivam Dube off successive balls, but India had piled up enough runs for its spinners to defend.
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