Why is Facebook Keen on Robots? It’s Just the Future of AI

Facebook announced several new hires of top academics in the field of artificial intelligence Tuesday, among them a roboticist known for her work at Disney making animated figures move in more human-like ways.

 

The hires raise a big question — why is Facebook interested in robots, anyway?

 

It’s not as though the social media giant is suddenly interested in developing mechanical friends, although it does use robotic arms in some of its data centers. The answer is even more central to the problem of how AI systems work today.

 

Today, most successful AI systems have to be exposed to millions of data points labeled by humans — like, say, photos of cats — before they can learn to recognize patterns that people take for granted. Similarly, game-playing bots like Google’s computerized Go master AlphaGo Zero require tens of thousands of trials to learn the best moves from their failures.

 

Creating systems that require less data and have more common sense is a key goal for making AI smarter in the future.

 

“Clearly we’re missing something in terms of how humans can learn so fast,” Yann LeCun, Facebook’s chief AI scientist, said in a call with reporters last week. “So far the best ideas have come out of robotics.”

 

Among the people Facebook is hiring are Jessica Hodgins , the former Disney researcher; and Abhinav Gupta, her colleague at Carnegie Mellon University who is known for using robot arms to learn how to grasp things.

 

Pieter Abbeel, a roboticist at University of California, Berkeley and co-founder of the robot-training company Covariant.ai, says the robotics field has benefits and constraints that push progress in AI. For one, the real world is naturally complex, so robotic AI systems have to deal with unexpected, rare events. And real-world constraints like a lack of time and the cost of keeping machinery moving push researchers to solve difficult problems.

 

“Robotics forces you into many reality checks,” Abbeel said. “How good are these algorithms, really?”

 

There are other more abstract applications of learnings from robotics, says Berkeley AI professor Ken Goldberg. Just like teaching a robot to escape from a computerized maze, other robots change their behavior depending on whether actions they took got them closer to a goal. Such systems could even be adapted to serve ads, he said — which just happens to be the mainstay of Facebook’s business.

 

“It’s not a static decision, it’s a dynamic one,” Goldberg said.

In an interview, Hodgins expressed an interest in a wide range of robotics research, everything from building a “compelling humanoid robot” to creating a mechanical servant to “load and unload my dishwasher.”

 

While she acknowledged the need to imbue robots with more common sense and have them learn with fewer examples, she also said her work in animation could lead to a new form of sharing — one in which AI-powered tools could help one show off a work of pottery in 3-D, for example.

 

“One thing I hope we’ll be able to do is explore AI support for creativity,” she said.

 

For Facebook, planting a flag in the hot field also allows it to be competitive for AI talent emerging from universities, Facebook’s LeCun said.

 

Bart Selman, a Cornell computer science professor AI expert, said it’s a good idea for Facebook to broaden its reach in AI and take on projects that might not be directly related to the company’s business — something that’s a little more “exciting” — the way Google did with self-driving cars, for example.

 

This attracts not just attention, but students, too. The broader the research agenda, the better the labs become, he said.

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Boeing Gets $3.9B Contract for New Air Force One Jets

Boeing has received a $3.9 billion contract to build two 747-8 aircraft for use as Air Force One by the U.S. president, due to be delivered by December 2024 and painted red, white and blue, officials said on Tuesday.

The Pentagon announced the decision on Tuesday, saying Seattle-based Boeing’s previously awarded contract for development work had been expanded to include design, modification and fielding of two mission-ready presidential 747-8 aircraft.

The contract followed the outlines of the informal deal reached between Boeing and the White House in February. That agreement came after President Donald Trump objected to the $4 billion price tag of a previous Air Force One deal, complaining in a Twitter post that “costs are out of control” and adding “Cancel order!”

The White House said in February the new deal would save taxpayers more than $1.4 billion, but those savings could not be independently confirmed.

Air Force budget documents released in February for fiscal year 2019 disclosed a $3.9 billion cost for the two-aircraft program. The same 2018 budget document, not adjusted for inflation, showed the price at $3.6 billion.

The Boeing 747-8s are designed to be an airborne White House able to fly in worst-case security scenarios, such as nuclear war, and are modified with military avionics, advanced communications and a self-defense system.

A congressional official briefed on Tuesday about the deal indicated it was little changed from the informal agreement reached in February, calling for two 747-8 aircraft to be built for $3.9 billion and delivered by December 2024.

Trump told CBS in an interview that aired on Tuesday that the new model Air Force One would be updated on the inside and have a different exterior color scheme from the current white and two shades of blue dating back to President John F. Kennedy’s administration.

“Red, white and blue,” Trump said. “Air Force One is going to be incredible. It’s going to be the top of the line, the top in the world. And it’s going to be red, white and blue, which I think is appropriate.”

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Fashion Firms Upend Design Routine to Focus on Speed, Trends

Prototypes? Passe. Fashion company Betabrand saw that knitwear was a hot style in sneakers and wanted to quickly jump on the trend for dressier shoes. It put a poll up on its website asking shoppers what style they liked, and based on that had a shoe for sale online in just one week.

 

What web shoppers saw was a 3-D rendering — no actual shoe existed yet. Creating a traditional prototype, tweaking the design and making a sample would have taken six to nine months, and the company might have missed out on the interest in knit.

 

“The web attention span is short,” said Betabrand CEO Chris Lindland. “So if you can develop and create in a short time, you can be a real product-development machine.”

Shoppers looking at the shoe online could examine the peekaboo detail or check out how the sole was put together, as they would from photos of a real product. They don’t get the actual shoes instantaneously — they have to wait a few months. But the use of digital technology in designing and selling means hot trends are still getting to people far faster than under the old system.

 

“Retailers and brands who are embracing this are going to be winners of the future,” said David Bassuk, managing director of consulting group AlixPartners. “This is flipping the business model on its head.”

 

It’s a big cultural change for clothing makers. For decades, the process meant designers sketched ideas on paper, a design got approved, and the sketches went to a factory that created prototypes. Designers and product developers made tweaks and sent prototypes back and forth. Once a final version was approved, it was sent to the factory to be copied for mass production. Getting something from design to a store could take at least a year.

Now, some companies have designers sketching on high-resolution tablets with software that can email 3-D renderings of garments with specifications straight to factories, as better technology makes the images look real and the pressure to get shoppers new products swiftly intensifies. The goal is to reduce to six months or less the time it takes to get to store shelves.

 

Even chains like H&M, which once set the standard for speed by flying in frequent small batches, are realizing that’s not fast enough. H&M, which has seen sales slow, is starting to digitize certain areas of its manufacturing process.

 

For clothing makers and retailers, the shift means design decisions can happen closer to when the fashions actually hit the shelves or website. That means less guessing so stores aren’t stuck with piles of unsold clothes that need to be discounted.

 

The 3-D technology is used in just 2 percent of the overall supply networks, estimates Spencer Fung, group CEO of Li & Fung, which consults with more than 8,000 retailers including Betabrand and 15,000 suppliers globally. But he believes that will change as retailers begin prioritizing speed and realize that cutting down on design time and prototypes saves money.

 

“You can actually essentially create an entire collection before you even cut one garment,” said Whitney Cathcart, CEO of the Cathcart Technologies consulting firm. “So it reduces waste, it reduces lead times, it allows decision making in real time, so the entire process becomes more efficient.”

 

Fung imagines a scenario where a social media post with a celebrity in a red dress gets 500,000 “likes.” An alert goes to a retailer that this item is trending. Within hours, a digital sample of a similar dress is on its website. A factory can start to produce the dress in days.

 

“Consumers see it and they want it now,” says Michael Londrigan of fashion college LIM in New York. “How do you bring it to market so you don’t miss those dollars?”

 

Nicki Rector of the Sonoma Valley area in California bought a pair of Betabrand’s Western-style boots last summer based on the 3-D rendering.

 

“It looked real,” said Rector, who examined the images of the heel and the insoles. She didn’t worry about buying off a digital image, reasoning that if you’re buying online you can’t really know how something’s going to fit until you put it on your feet. She said knowing it was designed from customer input also helped make the wait OK.

 

Betabrand has sold 40,000 pairs of shoes priced from $128 to $168 over the past year, all from digital renderings, and plans to add 15 to 20 such projects this year.

At a Levi Strauss & Co. research and development facility in San Francisco, designers use programs that offer the look of a finished garment and let them make changes like adding pockets quickly, rather than requiring a new prototype. When they’re set, they can send a file to the factory for mass production. Using digital samples can shorten the design time to one week or less from an eight-week timeframe, Levi’s says.

 

Few companies are yet selling directly to shoppers off digital renderings like Betabrand, and are instead showing them to store buyers or to factories rather than using traditional samples.

 

Xcel Brands uses them for its own brand of women’s tops and for the company’s Judith Ripka jewelry line. The company, which also makes clothes for Isaac Mizrahi and Halston, will start using them for other brands within the year. CEO Robert D’Loren hopes to start putting 3-D samples on its website next year.

 

Tommy Hilfiger has an interactive touchscreen table where buyers can view every item in the collection and create custom orders. And Deckers Brands, the maker of Ugg boots, is using digital renderings of the classic boot in 10 colors, eliminating the need for 10 prototypes for store buyers. That helps reduce cost and increases speed.

 

Using digital designs also mean the exact specifications for different Levi’s design finishes can be uploaded to a machine that uses lasers to scrape away at jeans. No need to teach employees how to execute a designer’s vision, in a minute and a half the lasers have given the jeans the exact weathered look that took workers wielding pumice stones twenty minutes to half an hour.

 

“Thirty years ago, jeans were only available in three shades — rinse, stonewash and bleach,” said Bart Sights, head of the Levi’s Eureka lab. “Our company now designs 1,000 finishes per season.” Such a long lead time “pushes production and creation too far away.” Levi’s latest technology alleviates this issue, he said.

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‘McQueen’ Examines Career of Brilliant, Troubled Designer

The London fashion world didn’t know quite what hit it when Alexander McQueen’s disheveled models staggered down the runway at his 1995 “Highland Rape” show, their Scottish-inspired clothing ripped to expose breasts and nether regions. 

It was exactly the reaction that McQueen, then in his 20s and subsisting on fast food and unemployment checks, was seeking. “I don’t want a show where you come out feeling like you’ve just had Sunday lunch,” he said at the time. “I want you to come out either feeling repulsed or exhilarated.”

McQueen would go on to provoke, repulse, inspire and exhilarate — often simultaneously — until he was 40, when he tragically took his life.

How did a taxi driver’s son from working-class London make the unlikely journey to the top of the fashion world, and what made him end it all at the height of his powers?

For filmmakers Ian Bonhote and Peter Ettedgui, the two questions proved irresistible. Their resulting documentary, McQueen, opens this week.

Fashion is a compelling subject for documentaries; few subjects are so enticingly visual. But the challenge is always to peel away the well-polished, and well-guarded, facade.

“The fashion world is a bubble,” said Ettedgui, who wrote and co-directed the film. “They don’t necessarily take kindly to outsiders coming in and revealing their secrets.”

Candid interviews

The filmmakers approached close to 200 sources, Bonhote said. Finding footage was painstaking work, but they were fortunate to secure key parts of McQueen’s most dramatic runway shows, along with some strikingly candid interviews with the designer — a rarity at fashion shows. 

They also found some valuable archival footage, including some private footage that McQueen and his associates captured for fun, trying out a new camera as they traveled to Paris for the designer’s new, high-profile post at Givenchy in 1996. They looked like grinning kids taking their parents’ car for a spin. 

The filmmakers were also able to convince some key McQueen family members to speak, namely his older sister, Janet, and her son, Gary, a designer himself who worked for his uncle. And they interview some of McQueen’s former colleagues, though not all. Sarah Burton, who succeeded McQueen at his namesake label, doesn’t appear.

At the heart of the film, though, is McQueen’s work and the way his bracing talent reverberated through the fashion establishment. Watching now, one can almost feel the gasps in the audience as the designer places model Shalom Harlow on a revolving platform in a plain tulle dress in his show No. 13, then has two robots spray yellow and black paint on her as she turns and turns. It was a mesmerizing effect that brought McQueen himself to tears.

​Film’s divisions

The film is divided into chapters, each focusing on a particularly influential McQueen show. The first, Jack the Ripper Stalks His Victims in 1992, was originally his final project at Central Saint Martin’s, the well-known London fashion school.

Even getting to the school was unlikely. The young Lee McQueen (he reverted to his middle name, Alexander, later because it sounded posh) was supposed to become “a mechanic or something,” but he was obsessed with drawing clothes. His mother encouraged him to knock on doors on Savile Row for an apprenticeship, and there, he became a superb craftsman.

Isabella Blow, a prominent fashion figure, bought up his entire Jack the Ripper collection and helped him make his way. But it’s clear that, as an associate says: “No one discovered Alexander McQueen. Alexander McQueen discovered himself.”

At first, there was no money. A friend describes how the two went to McDonald’s after a major show, dropped the food on the floor, but had to pick it up and eat it because they couldn’t afford to buy more.

Things changed radically when luxury conglomerate LVMH hired McQueen for Givenchy. But McQueen didn’t just sit back and enjoy his financial windfall — he poured it back into his own label. back home. It was a time of enormous pressure; McQueen says in one interview that he produced an astounding 14 collections in a year.

For a man often called the “bad boy” or “enfant terrible” of fashion, there was much else to learn about McQueen, the filmmakers say. Among the things that surprised them: his sheer technical craftsmanship, and a constantly developing business savvy.

‘Tender at times’

They were also struck by how McQueen’s personality contrasted with the myth. “He had this reputation for being abrasive, punk,” said Ettedgui. “But what we see in the archive is McQueen with friends, with his parents, even his beloved dogs, being very human and very tender at times.”

At the end of his life, two deaths devastated McQueen. Blow took her life in 2007 — we see him at her funeral, looking destroyed. And in early 2010, McQueen’s beloved mother died. Only days later, on the eve of her funeral, the designer killed himself.

The filmmakers can only speculate why McQueen, who struggled with drug addiction, took his life. “Fashion does come with a very unique set of pressures,” said Ettedgui. But, he added, “people we spoke to said, ‘Don’t try to make him a victim, because ultimately the person who put the most pressure on McQueen was McQueen.”

Bonhote also noted the designer’s ambivalence about the world he had chosen, clearly expressed in shows like his famous 2001 Voss, in which he forced the assembled fashion world to literally stare at itself for long minutes into a mirrored cube — which in turn represented an insane asylum.

“To some degree, he was always a misfit in the world he found himself in,” Bonhote said.

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Trade Pain: US Small Companies Hit by Import, Export Tariffs

Time and effort have gone down the drain for Steve Gould, who is scrambling to find new customers for his gin, whiskey and other spirits since the United States has taken a tough stance on trade issues.

Before the European Union retaliated against new U.S. tariffs with taxes of its own, Gould expected revenue from the EU at his Golden Moon Distillery in Colorado to reach $250,000 or $350,000 this year. Now he’s concerned that European exports will total just $25,000. Golden Moon already saw an effect when then-candidate Donald Trump made trade an issue during the 2016 campaign. Gould lost one of his Mexican importers and an investor, as overseas demand for small-distiller spirits was growing.

“We’ve lost years of work and hundreds of thousands of dollars in building relationships with offshore markets,” says Gould, who’s hoping to find new customers in countries like Japan. 

President Donald Trump’s aggressive trade policies are taking a toll on small U.S. manufacturers. The president has imposed tariffs of 25 percent on steel and 10 percent on aluminum imports from most of the world, including Europe, Mexico and Canada, driving up costs for companies that rely on those metals. And he has slapped 25 percent taxes on $34 billion in Chinese imports in a separate trade dispute, targeting mostly machinery and industrial components so far. Trump’s tariffs have drawn retaliation from around the world. China is taxing American soybeans, among other things; the European Union has hit Harley-Davidson motorcycles and Kentucky bourbon; Canada has imposed tariffs on a range of products — from U.S. steel to dishwasher detergent.

More businesses could be feeling the pain as the trade disputes escalate — the administration on Tuesday threatened to impose 10 percent tariffs on thousands of Chinese products including fish, apples and burglar alarms. And China responded with a tariff threat of its own, although it didn’t say what U.S. exports would be targeted.

Small businesses are particularly vulnerable to tariffs because they lack the financial resources larger companies have to absorb higher costs. Large companies can move production overseas — as Harley-Davidson recently announced it would do to escape 25 percent retaliatory tariffs in Europe. But “if you’re a small firm, it’s much harder to do that; you don’t have an international network of production locations,” says Lee Branstetter, professor of economics and public policy at Carnegie Mellon University’s Heinz College.

Shifting manufacturing away from items that use components that are being taxed is also harder since small businesses tend to make fewer products, he says. And if tariffs make it too expensive to export to their current markets, small companies may not be able to afford the effort of finding new ones.

Small-business owners have been growing more confident over the past year as the economy has been strong, and they’ve been hiring at a steady if not robust pace. But those hurt by tariffs are can lose their optimism and appetite for growth within a few months.

“They have narrow profit margins and it’s a tax,” says Kent Jones, an economics professor at Babson College. “That lowers their profit margins and increases the possibility of layoffs and even bankruptcies.”

Yacht company

Bertram Yachts is one company finding it trickier to maneuver. The U.S. has put a 25 percent tariff on hundreds of boat parts imported from China, where most marine components are made. And European countries have imposed a 25 percent tariff on U.S.-made boats. Last year, Bertram exported about a third of its boats, with half going to Europe.

“We have been squeezed on both sides,” says Peter Truslow, CEO of the Tampa, Florida-based boat maker.

Truslow doesn’t know how the tariffs will affect the company’s sales and profits, but dealers he’s spoken to in Europe have already gotten cancellations on boats that run into the millions of dollars. Bertram plans to try to build up its strong U.S. business and seek more customers in countries that aren’t involved in trade disputes with the U.S., including Japan and Australia.

Still, the company’s growth and job creation stand to slow. “It’s probably going to be more about a reduction in hiring than it is about layoffs,” Truslow says.

The ripples are being felt across the industry, says Tom Dammrich, president of the National Marine Manufacturers Association trade group. He estimates there are about 1,000 manufacturers, almost all small or mid-size businesses, and says some parts can only be bought from China.

Metal fabrication

Matt Barton’s metal fabrication company, which makes custom replacement parts for farm equipment, outdoor signs and people who race hot rods, is paying its suppliers up to 20 percent more for metals than it did a year ago.

Prices had soared as much as 40 percent months ago amid expectations of U.S. tariffs on aluminum and steel. They have since steadied, but are expected to remain high for three to six months. Barton’s Pittsboro, Indiana-based company, The Hero Lab, is absorbing part of the increases. Some racing customers are still delaying orders.

“What they budgeted to cost $1,000 now is now $1,200 or $1,500,” Barton says. “They’re pushing their orders back four to six weeks, waiting for a few more paychecks to come in.”

Cheese maker

Jeff Schwager’s cheese company, Sartori, is selling products to Mexico at break-even prices because of that nation’s retaliatory 25 percent tariff. Twelve percent of the Plymouth, Wisconsin-based company’s revenue comes from exports, which is the fastest-growing segment of the business.

Sartori and its Mexican importer are each absorbing half the costs of the tariff. Schwager, the CEO, doesn’t see leaving the Mexican market as an option.

“If you lose space on the grocery store shelf, or you’re taken out of recipes in restaurants, that takes years to get back,” he says. He hopes the trade dispute can be resolved and tariffs rolled back.

Flatware maker

But some small manufacturers believe they can benefit from a trade dispute. Greg Owens, president of flatware maker Sherrill Manufacturing, says if his competitors in China are hit by U.S. tariffs, he could see revenue increase.

“They would have to raise the retail price, which would allow us to raise our prices,” says Owens, whose company is located in Sherrill, New York. In turn, Owens says, that would allow “long overdue” raises for workers and upgrades to capital equipment.

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Grandson Shares Mandela’s Life Lessons in New Book

An entire generation has been born since Nelson Mandela’s 1990 release from a South African prison, where he spent almost three decades for his anti-apartheid activism.

Ndaba Mandela wants to make sure those young people understand his grandfather’s role – and his values – in fighting for racial equality and later in trying to heal divisions as South Africa’s first black president.

“That is the very reason why I wrote this book,” Ndaba Mandela says of “Going to the Mountain” (Hachette). His goal with the memoir – released last month, in time for Wednesday’s 100th anniversary of the late leader’s birth – is to show the elder Mandela “not as this huge, great icon” but as a supportive grandfather figure they might relate to.

The 35-year-old shared views of his grandfather – who died in late 2013 at age 95 – both in the book and in a recent visit to VOA headquarters here. Ndaba describes him as “courageous” and “fearless” in his quest to end South Africa’s white minority rule, but says that commitment came at great personal cost.

“That is a man who went against the system, who sacrificed his family, sacrificed his own life for the greater good of his people,” Ndaba tells VOA, alluding to his grandfather’s 27 years in detention.

It’s a complicated, extended family, given Mandela’s three marriages and five children. Ndaba’s father was Makgatho Mandela, “the Old Man’s second son by his first wife, Evelyn Ntoko Mase,” he writes, using a term of affection.  

Mandela was imprisoned while that son grew up and became a street hustler in Soweto. Ndaba says his own childhood was chaotic and impoverished, with his parents caught up in alcohol and sometimes fighting bitterly.

“A lot of the time, I would eat at my neighbors’ house, you know, when my parents couldn’t afford to get dinner for me,” he says. “… By any standard, I grew up in a broken home.”

In 1989, 7-year-old Ndaba met his grandfather at Victor Verster Prison, from which the leader was freed several months later. The boy was 11 when he moved in with Mandela and his staff in a house in Johannesburg’s Houghton suburb. He would spend much of the next two decades there – being cared about, and then caring for, the Old Man.

Subtitled “Life Lessons From My Grandfather,” the book explores the older man’s motivations and approaches.

Among those lessons:

“Nonviolence is a strategy,” Ndaba writes, quoting the Old Man. His grandfather subscribed to Gandhi’s strategy “of noncooperation and peaceful but unstoppable resistance. … He was a judicious leader who understood the power of doing the right thing until it overwhelms the wrong thing.”

Education is essential. Nelson Mandela “valued education because it was something that was stripped away” from blacks, says Ndaba, who admits he himself at one point “didn’t perform well at school” and had “a rocky adolescence.” Like his grandfather, he went on to earn a college degree.

Weeks after becoming president in 1994, Mandela established what became the Nelson Mandela Children’s Fund, donating about a third of his presidential salary every year, his grandson writes. As the elder man had told parliament, “The emancipation of people from poverty and deprivation is most centrally linked” to quality education.

Respect your heritage. The phrase “going to the mountain” refers to ceremonial circumcision – a monthlong rite of passage for young men in the Xhosa ethnic group. Ndaba was almost 21 when he underwent cutting and related psychological and spiritual testing. It was a turning point in his relationship with his grandfather, who then “expected critical thinking and welcomed civilized disagreements,” he writes. “… From the time I was a kid, I knew I could depend on him. This is when he knew he could depend on me.”

Don’t expect change all at once. When Ndaba eventually realized that his grandfather had orchestrated his parents’ separation and also kept them away from him, he writes, “I struggled to forgive him.”

Ndaba’s mother, Zondi, was already gravely ill when he learned that she had HIV/AIDS. She died of its complications in 2003, though a family press release attributed her death to pneumonia.

Ndaba writes that Mandela tried to address the country’s AIDS epidemic in 1991 by promoting safe-sex education, but backed off when accusations that he was “encouraging promiscuity” threatened his political prospects. When Ndaba’s father succumbed to the same disease in early 2005, Mandela called a press conference “to announce that my son has died of AIDS.”

“It’s impossible to overstate what this meant to the millions of people who live in fear of seeking help or disclosing their HIV status and to the millions more people who loved them,” writes Ndaba Mandela, now an ambassador for UNAIDS, the United Nations effort to curb the disease.   

Show leadership through service. Mandela was a man of “integrity, humility,” one who “dived into public service,” his grandson says. “A leader is not someone who says, ‘Look at me, I’m the best’ – a leader is there to serve.”

For Ndaba, service comes through Africa Rising, a nonprofit that he and cousin Kweku Mandela formed in 2009 to improve the continent’s socioeconomics. “We need to empower young Africans,” he says, “to give them a heightened sense of pride and confidence in being African.”

This report originated in VOA’s English to Africa Service.

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Get Your Geek On: 130,000 Head for San Diego Comic-Con

Desk jockeys in eye-wateringly tight spandex will blur the line between fantasy and reality this week as they invade San Diego for the world’s largest celebration of pop culture fandom.

The 49th Comic-Con International will revel in movies, TV and — yes — comic books, as fans in pitch-perfect monster, alien and manga costumes swelter in the southern Californian heat over five surreal days.

Where fandom abounds, controversy is never far behind. And the big bone of contention this year is Disney’s decision not to bring its Marvel Cinematic Universe (MCU) to Comic-Con, despite a record-breaking year with Black Panther, Avengers: Infinity War and Ant-Man and the Wasp.

“It’s going to be an interesting year this year,” said SyFy Wire editor-in-chief Adam Swiderski in a video preview of the Wednesday to Sunday get-together at the city’s harborfront convention center.

“A lot of the big players like Marvel, Star Wars and Game of Thrones, who dominated past cons, aren’t going to be there, which gives other properties an opportunity to step into the spotlight.”

Since its humble beginnings in 1970 as the Golden State Comic Book Convention, a gathering of a few dozen geeks who swapped superhero magazines, Comic-Con has exploded in popularity.

Each July, it attracts around 130,000 cosplayers, movie executives, sci-fi fans and bloggers to a feast on all manner of panels, screenings and other attractions.

‘Scare Diego’

Described by Rolling Stone as the “Super Bowl of people who don’t like watching the Super Bowl,” Comic-Con’s beating heart is the 6,500-seat Hall H, where a cornucopia of stars hawk their latest work.

Devotees have been known to wait for days to be among the first to get into the sprawling arena, taking turns with family members and other fans for toilet breaks and sleep.

New Line Cinema and Warner Bros. kick off proceedings Wednesday with “Scare Diego,” where fans will enjoy insights into It: Chapter Two and the frankly terrifying-looking The Nun.

The convention has traditionally persuaded most of the big studios to turn up for detailed presentations of their highly anticipated slates of upcoming movies — but not this year.

Disney is presumably saving its biggest treats for its own biennial D23 fan convention, and Universal’s segment is dedicated to just two movies — M. Night Shyamalan’s Glass and David Gordon Green’s Halloween.

Elsewhere, Paramount brings its spinoff Transformers film Bumblebee and Fox has a Deadpool 2 celebration and preview for its Predator reboot.

Sony presents Venom, and the animated Spider-Man: Into the Spider-Verse, neither of which are considered part of the MCU, although Marvel was part of the production team.

That cedes the center stage to Warner Bros., which is expected to pull out all the stops in its two-hour Saturday spot.

The schedule is kept tightly under wraps, but insiders say there will almost certainly be thrills and spills from Aquaman, Godzilla: King of the Monsters, the new Fantastic Beasts movie and Shazam!

‘Crazy busy’

“This is a fun room. It’s going to be crazy busy for Warner Bros., like it always is,” said James Riley of the SDConCast podcast.

“But without the pull of the evening Marvel panel to generate such a fervor for the line … we have a feeling this is actually going to be an easy day to get into Hall H.”

The television side of the Comic-Con gets increasingly bigger as the stars follow the voluminous torrent of cash into TV productions funded on a scale never seen before.

This year’s Hall H is expected to be more notable than ever for its small-screen content, despite the absence of HBO’s big-hitters.

“Several other networks will be showing off new and returning series in a hope to cut through the cluttered landscape and maintain, or possibly grow, viewership,” said Lesley Goldberg of The Hollywood Reporter.

AMC has the pick of the convention with a debut appearance from Better Call Saul alongside a 10th anniversary reunion panel for Breaking Bad and a discussion on acclaimed graphic novel adaption Preacher.

The Walking Dead, the most successful show in U.S. cable television history, is back ahead of season nine, expected to debut in October, and there is a panel for its sister show, Fear the Walking Dead.

Other studios plying their TV wares include YouTube Originals and Fox, while SyFy stages what promises to be an emotional farewell to the Sharknado franchise.

Marvel’s movie people might be largely absent, but the studio boasts numerous panels and other event for its TV output, including Cloak & Dagger, Iron Fist and Marvel’s Avengers: Black Panther’s Quest.

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Egypt Targets Social Media With New Law

Egypt’s parliament has passed a law giving the state powers to block social media accounts and penalize journalists held to be publishing fake news.

Under the law passed on Monday social media accounts and blogs with more than 5,000 followers on sites such as Twitter and Facebook will be treated as media outlets, which makes them subject to prosecution for publishing false news or incitement to break the law.

The Supreme Council for the Administration of the Media, headed by an official appointed by President Abdel Fattah el-Sissi, will supervise the law and take action against violations.

The bill prohibits the establishment of websites without obtaining a license from the Supreme Council and allows it to suspend or block existing websites, or impose fines on editors.

The law, which takes effect after it is ratified by Sissi, also states that journalists can only film in places that are not prohibited, but does not explain further.

Supporters of Sissi say the law is intended to safeguard freedom of expression and it was approved after consultations with judicial experts and journalists.

But critics say it will give legal basis to measures the government has been taking to crack down on dissent and extend its control over social media.

Sherif Mansour, Middle East and North Africa program coordinator for the Committee to Protect Journalists, said the vague wording of the law allows authorities to interpret violations and control the media.

“That power of interpretation has been a constant powerful legal and executive tool that was used to justify excessive aggressive and exceptional measures to go after journalists,” he told Reuters.

Hundreds of news sites and blogs have been blocked in recent months and around a dozen people have been arrested this year and charged with publishing false news, many of them journalists or prominent government critics.

 

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The Go-Go’s on Their Legacy and Advice for Other Rockers

Go-Go’s guitarist Jane Wiedlin has five simple words of advice for female rock bands — “Write. Write. Write. Write. Write,” she said.

 

“I think the world needs a lot more women that are really taking charge of their whole career and image, instead of women being picked by men and then songs get written for them and players played for them,” Wiedlin said. “I just would like to see a little bit more wholly, self-realized female artists. I know there’s some out there. But I want more.”

 

Wiedlin joined other members of her pioneering all-female band on a Broadway stage last week to welcome “Head Over Heels,” the musical based on the band’s infectious hits. They treated the audience to a two-song set at curtain call.

 

“Head Over Heels” weaves the Go-Go’s tunes — “We Got the Beat,” “Our Lips Are Sealed,” and other hits with deep cuts and lead singer Belinda Carlisle’s subsequent singles — to tell an updated take on Sir Philip Sidney’s “Arcadia.” It’s an Elizabethan tale about a royal family trying to escape an oracle’s prophecy of doom, using Shakespearean conventions and reveals and mistaken identities.

“The fact that we actually made it to Broadway feels like it’s kind of a miracle. And also, super unlikely for a band that started 40 years ago as a punk rock band. So, it’s pretty thrilling,” Wiedlin said.

 

The Grammy-nominated Go-Go’s helped pave the way for future female artists and notably sang and played their own songs, but Carlisle stops short of feeling like a role model.

 

“I don’t like that term. I don’t think we’ve ever thought of ourselves as role models. We just did the work and got on with it,” she said. “It’s weird that there aren’t more Go-Go’s that have come along. I don’t know why, but for whatever reason.”

 

The Go-Go’s have no plans to tour, but Wiedlin claims it’s not the end of the band.

 

“In 2016, we did a no-more-touring tour, and basically, we announced we were not going to be touring anymore, which for some reason most people thought that meant we were breaking up. But we’re not broken up,” Wiedlin said.

 

She said the band will continue to work together, and separately, as well as perform in situations she deems, “exciting.” And having time can lead to cool projects, like the Broadway show.

 

“We were all to the point where touring is just a bit too much, so we are very happy to be focused on the musical ‘Head Over Heels’ right now,” she said. “There’s plenty of stuff in the future for us, both together and apart.”

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‘Mamma Mia!’ Sing-along Returns with Star-studded Sequel Premiere

Amid olive trees and plenty of ABBA tunes, the musical world of “Mamma Mia” took over a London theater on Monday for the film sequel’s world premiere with Oscar winner Meryl Streep and pop diva Cher among the attendees.

Ten years after the movie version of the hit theater musical, “Mamma Mia! Here We Go Again” sees old faces return and new ones join the ABBA sing-along set on a picturesque Greek island where stars belt out tracks by the hugely popular Swedish band.

The plot follows on from the first film, which grossed over $600 million at the box office, but this time has flashbacks explaining how Meryl Streep’s character Donna arrived in Greece.

While fans have highly anticipated the sequel, ABBA founding members Benny Andersson and Bjorn Ulvaeus said they were not so keen on the idea at first.

“We were kind of protective of the first one because we were very proud of it, it was very good and it became kind of a cult movie … and we thought what’s the point of risking … taking away from that legacy, so we were reluctant,” Ulvaeus told Reuters.

But the film writers’ idea of making the movie a sequel and prequel at the same time helped change their minds, he said.

“I laughed out loud many times when I read (the script’s first draft). It was funny, it was moving so we said go ahead and here we are.”

Chanting “Waterloo,” “Super Trouper” and “Dancing Queen,” fans cheered as Streep, Pierce Brosnan, Colin Firth, Amanda Seyfried and Christine Baranski – who starred in the 2008 film – arrived.

The sequel’s cast additions include Lily James, who plays the younger Donna, and Cher, who portrays Donna’s mother.

“I don’t know what I was expecting but I walked onto the set and I just thought everyone’s just having fun,” Cher said.

Like the first film, the sequel has plenty of colorful and comic scenes. It also has touching moments, cast members said.

“It’s a great time for this movie to be out in the world, because we’re all feeling a little down about the world right now,” Baranski said. “I think people are going to be transported to this beautiful Greek island with all these beloved characters and all these fabulous songs.”

“Mamma Mia!” the musical originated more than 20 years ago and has gone on to have productions around the world with generations of fans still singing and dancing to ABBA songs some 40 years after their release.

“It’s so humbling and I’m grateful but I cannot say I understand quite how that happened. It’s kind of a miracle,” Ulvaeus said of the band’s success. “Never in our wildest dreams did we think that these songs that we wrote would last for such a long time.”

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Classic 1965 Ford Mustang given self-driving abilities

Scientists from Cranfield University in Britain have teamed up with the engineering firm Siemens to retro-fit a classic 1965 Ford Mustang with driverless technology. They recently tested it on a racetrack at the Goodwood Festival of Speed — considered the largest motoring garden party in the world. VOA’s Julie Taboh has more.

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3D Printing Helps Restore 18th Century Chinese Pagoda

Twenty-first century technology has helped restore an 18th century Chinese pagoda in the heart of London. Faith Lapidus has the story.

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Venezuela Pleads Guilty in US to Role in PDVSA Bribe Scheme

A former official at a Venezuelan state-run electric company pleaded guilty on Monday to U.S. charges that he participated in a scheme to solicit bribes in exchange for helping vendors win favorable treatment from state oil company PDVSA.

Luis Carlos De Leon Perez, 42, pleaded guilty in federal court in Houston to conspiring to violate the Foreign Corrupt Practices Act and to conspiring to commit money laundering, the U.S. Justice Department said.

He became the 12th person to plead guilty as part of a larger investigation by the Justice Department into bribery at Petroleos de Venezuela SA that became public with the arrest of two Venezuelan businessmen in December 2015.

The two men were Roberto Rincon, who was president of Tradequip Services & Marine, and Abraham Jose Shiera Bastidas, the manager of Vertix Instrumentos. Both pleaded guilty in 2016 to conspiring to pay bribes to secure energy contracts.

De Leon is scheduled to be sentenced on Sept. 24. His lawyers did not respond to requests for comment.

De Leon was arrested in October 2017 in Spain and was extradited to the United States after being indicted along with four other former Venezuelan officials on charges they solicited bribes to help vendors win favorable treatment from

PDVSA.

An indictment said that from 2011 to 2013 the five Venezuelans sought bribes and kickbacks from vendors to help them secure PDVSA contracts and gain priority over other vendors for outstanding invoices during its liquidity crisis.

Prosecutors said De Leon was among a group of PDVSA officials and people outside the company with influence at it who solicited bribes from Rincon and Shiera. De Leon worked with those men to then launder the bribe money, prosecutors said.

De Leon also sought bribes from the owners of other energy companies and directed some of that money to PDVSA officials in order help those businesses out, prosecutors said.

Among the people indicted with De Leon was Cesar David Rincon Godoy, a former general manager at PDVSA’s procurement unit Bariven. He pleaded guilty in April to one count of conspiracy to commit money laundering.

Others charged included Nervis Villalobos, a former Venezuelan vice minister of energy; Rafael Reiter, who worked as PDVSA’s head of security and loss prevention; and Alejandro Isturiz Chiesa, who was an assistant to Bariven’s president.

Villalobos and Reiter were, like De Leon, arrested in Spain, where they remain pending extradition, the Justice Department said. Isturiz remains at large.

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US Launches Five WTO Challenges to Retaliatory Tariffs

The United States launched five separate World Trade Organization dispute actions on Monday challenging retaliatory tariffs imposed by China, the European Union, Canada, Mexico and Turkey following U.S. duties on steel and aluminum.

The retaliatory tariffs on up to a combined $28.5 billion worth of U.S. exports are illegal under WTO rules, U.S. Trade Representative Robert Lighthizer said in a statement.

“These tariffs appear to breach each WTO member’s commitments under the WTO Agreement,” he said. “The United States will take all necessary actions to protect our interests, and we urge our trading partners to work constructively with us on the problems created by massive and persistent excess capacity in the steel and aluminum sectors.”

Lighthizer’s office has maintained that the tariffs the United States has imposed on imports of steel and aluminum are acceptable under WTO rules because they were imposed on the grounds of a national security exception.

Mexico said it would defend its retaliatory measures, saying the imposition of U.S. tariffs was “unjustified.”

“The purchases the United States makes of steel and aluminum from Mexico do not represent a threat to the national security,” Mexico’s Economy Ministry said in a statement.

“On the contrary, the solid trade relationship between Mexico and the U.S. has created an integrated regional market where steel and aluminum products contribute to the competitiveness of the region in various strategic sectors, such as automotive, aerospace, electrical and electronic,” the ministry added.

Lighthizer said last month that retaliation had no legal basis because the EU and other trading partners were making false assertions that the U.S. steel and aluminum tariffs are illegal “safeguard” actions intended to protect U.S. producers.

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Stevie Nicks and LeAnn Rimes Share Heartbreak in New Duet

Stevie Nicks cried on her living room floor when she first saw LeAnn Rimes perform “Borrowed” on her TV in 2013.

 

The song, about an intimate, yet fleeting romance between Rimes and her lover, came out on Rimes’ “Spitfire” album when Nicks became enamored with it. The Fleetwood Mac singer knew then that she wanted to sing it with Rimes someday.

 

“It was very easy for me to try to be in that same sad, deeply tragic, passionate place where she was when she wrote that song because I had been there. I had lived there for a long time,” Nicks said in an interview with The Associated Press from Mexico, where she was on vacation.

 

Nicks heard from mutual friend and producer Darrell Brown, who co-wrote “Borrowed,” that Rimes was planning to touch up some of her hits for her “Re-Imagined” EP, and she jumped at the chance to record a duet version with Rimes.

 

“Being able to have another artist really kind of get you on so many levels in that authenticity and from that space is really magical,” said Rimes.

 

The new version, released last month, balances Nicks’ soft croon to Rimes’ striking vocals. Like in the previous version, a cool and fading steel guitar compliments the rhythmic melody and calming percussion.

 

Even though Nicks has been singing and recording long before Rimes was on the scene, she said working with her is like going to singing college.

 

“She doesn’t brush over anything,” said 70-year-old Nicks. “You have to sing every single word with her; otherwise it won’t be a good duet because she would leave you in the dust.”

 

Rimes, 35, became a star as a teen and launched hits such as “Blue,” “How Do I Live” and “Can’t Fight the Moonlight.” She won the best new artist Grammy at age 14.

 

Both singers come from different musical backgrounds. Nicks is a rock ‘n’ roll magnate from Phoenix and Rimes has country roots in Texas, but their voices reflect on a shared passion where heartbreak isn’t bound by place, time or genre.

 

Rimes said she came up with the idea for the song during an emotionally troubling moment on an airplane when she noticed someone reading a tabloid magazine with her on the cover. She started to cry when the stranger’s husband came to her comfort.

 

“I honestly feel like that guy was an angel,” she said. “Some things came over me at that moment and I just remember thinking that title (“Borrowed”) to myself.”

 

The first line of the song came to Rimes: “I know you’re not mine. Only borrowed.” From there, she took it to the studio where she fleshed out the rest of the tune.

 

“It’s a very honest, authentic moment and capturing a piece of me that I really didn’t know existed until I wrote this song,” said Rimes.

 

Rimes is currently on a summer tour and Nicks is hitting the road with Fleetwood Mac in the fall. Both singers said they hope to perform the song together someday.

 

“I would love to do a record with LeAnn,” said Nicks. “I’m hoping that for some reason we’ll get to go onstage and sing this song together.”

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Activists: Thousands of Congolese Threatened by National Park Oil Plans

Democratic Republic of Congo’s plan to drill for oil in national parks could leave thousands of farmers and fishermen who rely on the land in a struggle to survive, rights groups said Monday.

The central African country announced last month that it was taking steps toward declassifying parts of Virunga and Salonga national parks, both recognized as world heritage sites by the United Nations, to allow for oil exploration.

The parks, which together cover an area about the size of Switzerland, are among the world’s largest tropical rainforest reserves and home to rare species including forest elephants.

Allowing drilling in the parks would cause a loss of biodiversity, release huge amounts of carbon dioxide into the atmosphere and pollute water that thousands of local people use for fishing and farming, according to several rights groups.

Congolese state spokesman Lambert Mende told Reuters that the government will study the potential impact of oil drilling on local communities before they proceed.

The government has previously defended its right to authorize drilling anywhere in the country and said it is mindful of environmental considerations, such as protecting animals and plants, in the two national parks.

“There are lake-shore communities, especially in Virunga, that are very dependent on fishing and on the park’s integrity,” said Pete Jones of environmental advocacy group Global Witness.

“That really needs to be taken into account and doesn’t seem to be part of the debate that’s happening, which is a shame,” he told Reuters.

Conservation group World Wildlife Fund (WWF) also said it is concerned about the impact of oil drilling on at least 50,000 people who benefit from the fishing industry in Virunga, and tens of thousands more who farm on the outskirts of the parks.

“The risks of pollution are clear and present. The fishing industry would suffer considerably if it gets to that point,” said Juan Seve, WWF country director in Congo.

The oil industry would be unlikely to create local jobs since specialists would be brought in from abroad, he added.

The U.N.’s cultural agency UNESCO has previously said that oil exploration should not be conducted at world heritage sites.

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Scarlett Johansson Film Exit Spotlights Lack of Transgender Actors on Screen

Scarlett Johansson’s decision to pull out of a film role playing an American gangster who was born a woman but identified as male could kickstart a drive to get more transgender actors on screen, film insiders and LGBT campaigners said on Monday.

Hollywood star Johansson had agreed to play Dante “Tex” Gill in the film Rub & Tug, but last week said she had decided to leave the role after realizing the casting was “insensitive.”

Her initial casting sparked a backlash on social media as the lesbian, gay, bisexual and transgender (LGBT) community criticized the lack of opportunities for transgender actors.

“Trans exclusion in the media is endemic and not something that’s going to change without pressure on the industry,” said Lily Madigan, a transgender activist and women’s rights official for Britain’s opposition Labour Party.

“My hope is the attention brought to the issue by this recent event will be enough to kick-start a more diverse casting standard,” Madigan told Reuters.

Hollywood has long favored casting non-transgender actors in gender fluid roles, including Jared Leto who won an Oscar for playing a transgender woman in Dallas Buyers Club, and Jeffrey Tambor who has nabbed several awards for playing a father who transitions to a woman in the television series Transparent.

Juno Roche, an author and transgender rights campaigner, said there would be “absolute outrage” if a white actor was cast to play a black person.

“It just seems completely illogical,” she said of casting of Johansson as Gill, a real-life crime kingpin who used a massage parlor as a front for prostitution during the 1970s and 1980s.

None of the 109 movies released by Hollywood’s seven biggest studios in 2017 included a transgender character, according to data from U.S-based LGBTQ advocacy group GLAAD.

“One of the issues we tend to have is people who are openly trans only being considered for trans role,” said Ian Manborde, equality and diversity organizer at Equity, a Britain-based trade union for actors and performers.

“The issue is that some people [who have transitioned] might not want to identify or self-identify as trans. There is still a stigma within the sector,” he said, adding that Equity planned to advise industry employers on how to treat transgender actors.

Filming has yet to begin on Rub & Tug and no replacement for Johansson was immediately announced.

“I can now only hope that the part goes to a trans person or — at the very least — someone who identifies as a member of the LGBTQI [queer and intersex] community,” said Rebecca Root, one of the only openly transgender actresses in Britain.

From the Johansson controversy to Chilean actress Daniela Vega becoming the first transgender presenter at the Oscars and a Cannes Film Festival award for Girl — about a transgender teenage girl’s quest to become a ballerina — this year has seen debates on transgender representation in film come to the fore.

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Cardi B Crowns Break-Out Year With Leading 10 MTV VMA Nominations

Rapper Cardi B earned a leading 10 nominations on Monday for the MTV Video Music Awards (VMA), reflecting a break-out year that has seen her become one of the industry’s most successful and sought-after performers.

The New York singer, 25, earned nominations in all the top categories, including both best artist and best new artist, as well as best video, collaboration and choreography mostly for her work with Bruno Mars on “Finesse.”

Cardi B, who shot to fame in August 2017 with her brash female empowerment song “Bodak Yellow,” led a VMA contenders field that included Drake, Camila Cabello, Beyonce and husband Jay-Z.

Performing as The Carters, the power music duo earned eight nominations for their “APES**T” video, which was shot inside the Louvre in Paris against the backdrop of some of the world’s most famous art works.

Childish Gambino, the music stage name of actor Donald Glover, earned seven nominations for his hard-hitting video “This Is America” about black identity and police brutality.

Cardi B and Bruno Mars, The Carters, and Childish Gambino will face off for the top prize — video of the year — against Ariana Grande’s “No Tears Left to Cry,” Camila Cabello’s “Havana,” and Drake’s “God’s Plan.”

Monday’s nominations reflected the popularity of rap, which in 2017 surpassed rock as the most dominant music genre in the United States, and R&B.

Pop singer Taylor Swift managed only three nominations, all in technical categories, for “Look What You Made Me Do,” despite her album “Reputation” being the biggest seller in the United States in 2017.

Britain’s Ed Sheeran got four nominations, including song of the year, for his romantic ballad “Perfect,” which was a worldwide hit.

The fan-voted, youth-oriented VMA awards ceremony with a reputation for irreverence and outrageous stunts will be broadcast live on MTV from New York City on August 20.

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Boxer Mayweather, George Clooney Lead World’s Highest Paid Entertainers

American boxer Floyd Mayweather was named the world’s highest-paid entertainer on Monday on a list that saw actor George Clooney take the No. 2 spot with the highest annual pay of his career.

Reality star Kylie Jenner, 20, came in third on the annual Forbes Celebrity 100 list, largely thanks to her booming cosmetics line that Forbes said put her on track to become the youngest self-made billionaire in the United States.

Forbes compiled its 2018 list estimating pre-tax earnings from June 2017-June 2018, before deducting fees for managers, based on data from Nielsen, touring trade publication Pollstar, movie database IMDB, and interviews with industry experts and celebrities themselves.

Mayweather pulled in some $285 million in the period, largely thanks to his August 2017 comeback fight win over mixed martial arts champion Conor McGregor.

Oscar-winning star Clooney earned an estimated $239 million after selling the Casamigos tequila company he co-founded to British spirits company Diageo in June 2017. Forbes said the sale gave Clooney the best annual earnings of his 35-year career in film and television.

 

Forbes said entertainers on its 2018 Celebrity 100 list earned a combined $6.3 billion before tax, up 22 percent from last year’s list. Many of the highest earners came from celebrities leveraging their brands through side ventures and through their social media presence.

“There’s never been a more lucrative time to be famous than now, with 11 superstars earning $100 million or more over the past year,” Zack O’Malley Greenburg, senior entertainment editor at Forbes, said in a statement.

“Entertainers have found all sorts of new ways to monetize their audiences, especially with the help of social media,” he added. 

Dwayne “The Rock” Johnson almost doubled his earnings from  the previous year to land in 5th place with estimated earnings of $124 million. Forbes said the earnings of the “Jumanji” and “Fast & Furious” star were the largest acting-related earning it had recorded in 20 years.

The top earner on last year’s list, musician Sean Diddy Combs, dropped to No. 32 on the current list. His earnings on the 2017 list were inflated by a tour and the sale of part of his Sean John clothing line, Forbes said.

Musicians and athletes fared well, with Irish band U2, British band Coldplay and British singer Ed Sheeran appearing in the top 10. Soccer players Lionel Messi and Cristiano Ronaldo also earned more than $100 million, Forbes said. 

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China Suffers Setback in Its EU Trade Rapprochement

As the United States ratchets up trade threats, China suffered a setback on Monday for its calls for international cooperation in counteracting  what it calls U.S. President Donald Trump’s protectionist policies.

 

Luca Jahier, the president of the European Economic and Social Committee, said that the European Union won’t “gang up” on America with China even if the trade bloc opposes the U.S. leader’s tariff measures.

 

Jahier said, ahead of Monday’s annual China-EU summit in Beijing, he strongly opposes protectionism, but escalating the situation would not be the appropriate response, the South China Morning Post reported.

 

Analysts say that China is probably barking up the wrong tree if it plans to seek a united trade front with European countries.

 

China’s unfair practice

 

Like the U.S., the European Union is firm in its fight against China’s unfair trade practice and intellectual property rights infringement, although it disagrees with Trump’s aggressive tariff measures, said Darson Chiu, a research fellow at the Taiwan Institute of Economic Research.

 

The researcher added that there’s not much China can do to hit back but play the victim’s game internationally should the U.S. next escalate with an extra 10 percent tariffs on US$200 billion-worth of Chinese goods in two months.

 

“China only imports $130 billion in American goods [annually], so, it is already out of elbows when it comes to the imposition of retaliatory tariffs,” Chiu said, adding that any talks in China about dumping U.S. treasuries it holds as a retaliatory move will only backfire and hurt its own economy.

 

Ball in US court?

 

The ball is thus in the U.S. court, and only a poor performance in the U.S. midterm elections in November will force Trump to re-evaluate his trade strategies against China, Chiu added.

The dispute, moreover, has escalated from trade volume to the broad economic interests of both countries, said Raymond Yeung, senior economist of Greater China at the Australia and New Zealand Banking Group.

“The tension between the two countries is not simply on trade, but in anything that the Chinese government thinks happens to the U.S. economic interests” Yeung said.

 

In other words, there is yet no end in sight to Trump’s trade war with China.

 

Protracted trade war

 

In preparation for a protracted trade war, China continues to put the blame on the U.S. and play down the tariffs’ impact at home, while tightening media censorship.

 

Chinese officials had nothing but angry words before any official efforts to seek rapprochement or renew negotiations with the U.S.

 

China’s Vice Minister of Commerce Wang Shouwen, representing Beijing during the country’s policy review at the World Trade Organization last week, called Washington a “trade bully,” which should “keep its gun” off China’s head.

 

In a statement last week, China’s Ministry of Commerce argued that the U.S. practice would drag the global economy into the “cold war,” “recession trap” and “the trap of uncertainly to worsen global trade environment and industrial supply chains.”

 

Controlling the narrative

 

Chinese censors have also stepped up efforts to control the narrative and public discussion about the trade dispute.

 

Most media in China were reportedly told not to hype up the trade war or link it to stock market fluctuation, the Chinese yuan’s depreciation, or the country’s economic and financial vulnerability to avoid spreading panic.

In its editorial, state media Global Times, on Sunday, heralded “China’s advantages in a protracted trade war.”

“Some are concerned that … China seems to have no tools with which to hit back. This is a huge misconception. The tariffs on $200 billion of Chinese goods are meant to be a bluff,” the editorial read.

 

‘Strategic risk’

The paper called the Trump administration complacent in telling its society that the U.S. will clench an easy win and hence “against this backdrop, arrogant Washington has created a tremendous strategic risk for itself.”

 

And it concluded that “China will likely find losses lower than expected while the U.S. will be shocked by unexpected real losses.… China has to play hardball and knock the Trump administration forcibly out of its dream to conquer us.”

 

State censorship on social media appeared to have also reached its peak to silence unwanted comments since late last week.

 

On Friday, the Sino-U.S. trade war was the second top-trending censored topic on freeweibo.com.

 

The screening of critical voices continued this week with most online postings share the similar nationalistic nature.

 

Echoing the Chinese official statement, one Weibo user on Monday wrote “the U.S. is shooting itself in the foot and got so scared that it peed its pants. China will be the biggest winner.”

 

Another user said that he will always support China. “Maybe after the war [with the U.S.], we will also be able to reclaim Taiwan.”

 

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