Category: Entertainment

A drawing of a nude Donald Trump. A punching bag sculpture shaped like a woman’s torso. A display of women’s party shoes standing proudly on prayer rugs. All are pieces of contemporary art that have provoked debate and, sometimes, violent reactions. 

These pieces and dozens more that were subjected to some sort of censorship have found a home in Spain at Barcelona’s Museum of Forbidden Art, or “Museu de l’Art Prohibit” in Catalan. The collection of over 200 works, including ones by well-known creators such as American photographer Robert Mapplethorpe and Spain’s own Pablo Picasso, is intended to challenge visitors and question the limits imposed on artists in an increasingly polarized world. 

Director Rosa Rodrigo said the museum is the only one in the world dedicated exclusively to art that faced petitions — often successful ones — for their removal from public view on moral, political, religious, sexual or commercial grounds. 

“The museum gives an opportunity to works of art that, for whatever reason, at some point had been banned, attacked, censored, or canceled, because there are so many,” Rodrigo told The Associated Press. 

The museum is the creation of Catalan art collector Tatxo Benet, who owns all but one of the 42 works currently on display — and the 200 more in storage. He was already collecting contemporary art when he began gathering “banned” works. 

Five years later, Benet’s idea became the Museum of Forbidden Art, which opened its doors in October. Since then, over 13,000 people have visited its galleries. 

Museum is “imperative”

As more works come under attack, people like art critic and curator Gabriel Luciani say the exhibit is essential. “I think it’s imperative to have a place like this in Europe and around the world. Especially in these moments of censorship that we’re seeing. Not only in the arts but also in other political contexts,” he said. 

In March, a Hong Kong department store took down a digital artwork that contained hidden references to jailed dissidents. The same month on the other side of the world, a Florida charter school principal was forced to resign after a parent complained about a lesson on Renaissance art that included Michelangelo’s David sculpture. 

Barcelona’s new museum features well-known works of contention, including “Piss Christ” by Andres Serrano, a photo of a crucifix plunged into a vat of the artist’s urine; as well as Mapplethorpe’s “X Portfolio,” photos of sadomasochism that were challenged in court for obscenity. 

“I think the collection could even be more shocking,” Luciani said. 

But the works by women, which have drawn ire from conservative religious groups or been repressed for their feminist content, are among the most powerful of the collection. 

“Silence,” an installation by French Algerian artist Zoulikha Bouabdellah that displays 30 pairs of stiletto heels on the same number of Islamic prayer rugs, dominates the center of a room. Bouabdellah agreed to have her work removed from a museum in Clichy, France, after the 2015 attacks in Paris against the staff of the Charlie Hebdo satirical newspaper, which had published cartoons of the Prophet Muhammad. 

Modern and classic

The physical abuse of women is captured by Kazakh artist Zoya Falkova in Evermust, a leather sculpture of a woman’s torso as a boxer’s punching bag. It was one of six works removed from a museum in Kyrgyzstan when an exhibition of feminist art came under fire from officials who said it went against traditional values. 

While most of the works are from the 21st century, Goya, Picasso and Klimt all have their place in the halls of the elegant modernist mansion that houses the museum. Goya had to sell his late-1790s “Los Caprichos” prints to the Spanish crown when he feared they could come under the scrutiny of the Inquisition, while Picasso saw his “Suite 347” of erotic drawings displayed in a private room in 1960s Paris. 

Although censorship has taken many forms, the museum shows that the drive to silence artists who make challenging works is alive and kicking. 

“Censorship in art has always existed because artists are always forerunners and touch on different themes,” Rodrigo said. “[But] it is true that most of the works on display are from the years 2010 to 2020. In those 10 years, in many different areas of the world, I think that societies themselves have undergone a regression of values, because it has not necessarily been governments which have acted [against artworks], but rather it has been society itself.” 

In 2016, the Australian artist Illma Gore posted her full-monty drawing of Trump on Facebook and had her account shut down for obscenity and nudity. Gore believes the piece led to her being assaulted on a Los Angeles street. 

Following a series of canceled shows after he was accused of making inappropriate sexual comments to potential models, the late American painter Chuck Close, a master of photorealism, has a self-portrait on display at the Museum of Forbidden Art. 

Hoping for no attacks

Commercial interests have also played a role in muzzling free expression. 

Yoshua Okón’s video of an obese woman lying nude on a table in McDonald’s, called “Freedom Fries,” was removed from a gallery in London after, according to the Barcelona museum, members of gallery’s board were worried about damaging the fast-food chain’s reputation. 

The museum also houses several works that have come under physical attack, including “Piss Christ.” 

Spanish artist Charo Corrales’ “With Flowers for Mary,” which depicts a Virgin Mary masturbating, was slashed while exhibited in southern Spain after Catholic legal groups filed a lawsuit against the work for offending religious sensibilities. It is now on display in Barcelona with an open gash in the canvas. 

Rodrigo said her museum hopes it won’t see any attacks because visitors should come prepared to be shocked. She also believes that by grouping these works, they produce a more balanced impact. Plus, she has faith that the spectator will show respect and restraint when granted the freedom to come in contact with provocative artwork. 

“We want our visitors to feel comfortable, not that they are in a fortress,” Rodrigo said, “because if we did that, we would be sending the wrong message.”
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Many of Malaysia’s urban communities are adding a rural touch. Community gardens are popping up as residents look for ways to bring the great outdoors closer to home. Dave Grunebaum has the story.
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British author A.S. Byatt, who wove history, myth and a sharp eye for human foibles into books that included the Booker Prize-winning novel Possession, has died at the age of 87.

Byatt’s publisher, Chatto & Windus, said Friday that the author, whose full name was Antonia Byatt, died “peacefully at home surrounded by close family” on Thursday.

Byatt wrote two dozen books, starting with her first novel, The Shadow of the Sun, in 1964. Her work was translated into 38 languages.

Possession, published in 1990, follows two young academics investigating the lives of a pair of imaginary Victorian poets. The novel, a double romance which skillfully layers a modern story with mock-Victorian letters and poems, was a huge bestseller and won the prestigious Booker Prize.

Accepting the prize, Byatt said Possession was about the joy of reading.

“My book was written on a kind of high about the pleasures of reading,” she said.

“Possession” was adapted into a 2002 film starring Gwyneth Paltrow and Aaron Eckhart. It was one of several Byatt books to get the film treatment. Morpho Eugenia, a gothic Victorian novella included in the 1992 book Angels and Insects, became a 1995 movie of the same name, starring Mark Rylance and Kristin Scott Thomas.

Her short story The Djinn in the Nightingale’s Eye, which won the 1995 Aga Khan Prize for Fiction, inspired the 2022 fantasy film Three Thousand Years of Longing. Directed by Mad Max filmmaker George Miller, it starred Idris Elba as a genie who spins tales for an academic played by Tilda Swinton.

Byatt’s other books include four novels set in 1950s and ’60s Britain that together are known as the Frederica Quartet: The Virgin in the Garden, published in 1978, followed by Still Life, Babel Tower and A Whistling Woman. She also wrote the 2009 Booker Prize finalist The Children’s Book, a sweeping story of Edwardian England centered on a writer of fairy tales.

Her most recent book was Medusa’s Ankles, a volume of short stories published in 2021.

Byatt’s literary agent, Zoe Waldie, said the author “held readers spellbound” with writing that was “multilayered, endlessly varied and deeply intellectual, threaded through with myths and metaphysics.”

Clara Farmer, Byatt’s publisher at Chatto & Windus — part of Penguin Random House — said the author’s books were “the most wonderful jewel-boxes of stories and ideas.”

“We mourn her loss, but it’s a comfort to know that her penetrating works will dazzle, shine and refract in the minds of readers for generations to come,” Farmer said.

Born Antonia Susan Drabble in Sheffield, northern England, in 1936 – her sister is novelist Margaret Drabble – Byatt grew up in a Quaker family, attended Cambridge University and worked for a time as a university lecturer.

She married economist Ian Byatt in 1959 and they had a daughter and a son before divorcing. In 1972, her 11-year-old son, Charles, was struck and killed by a car while walking home from school.

Charles died shortly after Byatt had taken a teaching post at University College London to pay for his private school fees. After his death, she told The Guardian in 2009, she stayed in the job “as long as he had lived, which was 11 years.” In 1983, she quit to become a full-time writer.

Byatt lived in London with her second husband, Peter Duffy, with whom she had two daughters.

Queen Elizabeth II made Byatt a dame, the female equivalent of a knight, in 1999 for services to literature, and in 2003 she was made a chevalier (knight) of France’s Order of Arts and Letters.

In 2014, a species of iridescent beetle was named for her — Euhylaeogena byattae Hespenheide — in honor of her depiction of naturalists in Morpho Eugenia.
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Tahir Hamut Izgil witnessed firsthand, China’s repressive treatment of the Uyghur ethnic minority group and experienced how society changed over time in Xinjiang, an autonomous region in northwest China. His memoir, published this year has gained attention by readers and recognition by two prominent U.S.  publications this week, while China describes accusations of repression as a false narrative.

Izgil’s memoir, Waiting to be Arrested at Night: A Uyghur Poet’s Memoir of China’s Genocide, has been listed as one of the “50 notable works of nonfiction,” by The Washington Post and as the “100 Must-Read Books of 2023,” by Time magazine.   

Now living in the U.S., Izgil, a Uyghur, was born in Kashgar in 1969 and lived through some of the most drastic changes in Xinjiang in the region’s modern history. While preparing to leave for Turkey to study in 1996, the Chinese government accused him of “trying to take illegal and confidential materials out of the country” and he was imprisoned for three years. He was able to establish a career in filmmaking after his confinement.   

In his book, Izgil wrote about people he knew disappearing and described what he did — fearing he would be next.   

“As the situation worsened, like many others, I spent hours ‘cleaning out’ my phone, just as I had cleaned out my computer three years earlier,” Izgil wrote in his book. “I deleted pictures, videos, audio records, and even chat records on QQ and WeChat one after another.”   In 2017, as the Chinese government intensified its crackdown on Uyghurs in Xinjiang, Izgil and his family managed to flee the region and seek asylum in the United States.   

China’s response

Beijing has repeatedly denied any wrongdoing in Xinjiang and dismissed genocide and crimes against humanity allegations as “lies and fabrications,” asserting that Xinjiang has achieved remarkable economic growth and social development in recent years.    

“People of all ethnic backgrounds in Xinjiang are entitled to the rights and interests under China’s Constitution and other laws,” wrote Liu Pengyu the spokesperson from the Chinese Embassy in Washington, in an email response to VOA’s inquiry.

“In recent years, China’s Foreign Ministry and the government of Xinjiang have held multiple press briefings for domestic and international media to learn more about real life in Xinjiang. Regrettably, however, a few people in some Western countries, including in the U.S., would rather buy into false narratives than acknowledge the truth and the real progress in Xinjiang,” wrote Liu.

Concerns of Chinese repression  

President Joe Biden “raised concerns regarding PRC (People’s Republic of China) human rights abuses, including in Xinjiang, Tibet, and Hong Kong,” during his meeting with Chinese leader Xi Jinping on the sidelines of the Asia-Pacific Economic Cooperation (APEC) meeting in San Francisco this week.  The U.S. has accused China of “genocide and human rights abuses” and called on China “to address forced labor in Xinjiang.”  

Last year, the U.N. Human Rights Office of the High Commissioner released a report which documented credible evidence of torture or other ill-treatment and sexual and gender-based violence against the Uyghurs. The report stated the violations may constitute crimes against humanity. 

The European Parliament also adopted a resolution in 2022 condemning “in the strongest possible terms the fact that the Uyghur community in the People’s Republic of China has been systematically oppressed by brutal measures, including mass deportation, political indoctrination, family separation…”    

Personal testimony and beyond    

“As the world takes notice of my storytelling, my memoir stands as a testament to the resilience of the Uyghur people amid the challenges posed by China’s genocide,” Izgil told VOA. 

He said he is preparing to write another book on his firsthand experience in a Chinese prison. 

“I am now writing the book because nowadays, when I attend book interviews and other gatherings on my book, a lot of readers mention that my years in a Chinese prison in the second half of the 1990s were largely absent in my book. Now I want to fill that gap and inform the world about Chinese prison life in the 1990s.”   

Izgil said his memoir is contracted to be translated into 15 languages.
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Leaders of the union representing Hollywood actors announced a tentative deal recently with film and television studios to end a strike that started in July. It includes pay raises, streaming bonuses for actors, and the industry’s first protections against the use of artificial intelligence. From Los Angeles, Genia Dulot has our story.
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Marvel Comics’ first Muslim superhero is making her big-screen debut in “The Marvels” movie. From Los Angeles, Genia Dulot brings us the story of the teenage Ms. Marvel.
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Designers in the Western U.S. state of Colorado are mixing modern fashion with cultural textiles from Iran, Afghanistan, Turkey and Tibet. VOA’s Scott Stearns has our story.
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Since 2008’s “Iron Man,” the Marvel machine has been one of the most unstoppable forces in box-office history. Now, though, that aura of invincibility is showing signs of wear and tear. The superhero factory hit a new low with the weekend launch of “The Marvels,” which opened with just $47 million, according to studio estimates Sunday.

The 33rd installment in the Marvel Cinematic Universe, a sequel to the 2019 Brie Larson-led “Captain Marvel,” managed less than a third of the $153.4 million its predecessor launched with before ultimately taking in $1.13 billion worldwide.

Sequels, especially in Marvel Land, aren’t supposed to fall off a cliff. Yet “The Marvels” debuted with more than $100 million less than “Captain Marvel” opened with — something no sequel before has ever done. David A. Gross, who runs the movie consulting firm Franchise Research Entertainment, called it “an unprecedented Marvel box-office collapse.”

The previous low for a Walt Disney Co.-owned Marvel movie was “Ant-Man,” which bowed with $57.2 million in 2015. Otherwise, you have to go outside the Disney MCU to find such a slow start for a Marvel movie — releases like Universal’s “The Incredible Hulk” with $55.4 million in 2008, Sony’s “Morbius” with $39 million in 2022 or 20th Century Fox’s “Fantastic Four” reboot with $25.6 million in 2015.

But “The Marvels” was a $200 million-plus sequel to a billion-dollar blockbuster. It was also an exceptional Marvel release in numerous ways. The film, directed by Nia DaCosta, was the first MCU release directed by a Black woman. It was also the rare Marvel movie led by three women — Larson, Teyonah Parris and Iman Vellani.

Reviews weren’t strong (62% fresh on Rotten Tomatoes) and neither was audience reaction. “The Marvels” is only the third MCU release to receive a “B” CinemaScore from moviegoers, following “Eternals” and “Ant-Man and the Wasp: Quantamania.”

“The Marvels,” which added $63.3 million in overseas ticket sales, may go down as a turning point in the MCU. Over the years, the franchise has collected $33 billion globally — a point Disney noted in reporting its grosses Sunday.

But with movie screens and streaming platforms increasingly crowded with superhero films and series, some analysts have detected a new fatigue setting in for audiences. Disney chief executive Bob Iger himself has spoken about possible oversaturation for Marvel.

“Over the last three and a half years, the growth of the genre has stopped,” Gross wrote in a newsletter Sunday.

Either way, something is shifting for superheroes. The box-office crown this year appears assured to go to “Barbie,” the year’s biggest smash with more than $1.4 billion worldwide for Warner Bros.

Marvel has still produced recent hits. “Guardians of the Galaxy Vol. 3” launched this summer with $118 million before ultimately raking in $845.6 million worldwide. Sony’s “Spider-Man: Across the Spider-Verse” earned $690.5 million globally and, after rave reviews, is widely expected to be an Oscar contender.

The actors strike also didn’t do “The Marvels” any favors. The cast of the film weren’t permitted to promote the film until the strike was called off late Wednesday evening when SAG-AFTRA and the studios reached agreement. Larson and company quickly jumped onto social media and made surprise appearances in theaters. And Larson guested on “The Tonight Show” on Friday.

The normally orderly pattern of MCU releases has also been disrupted by the strikes. After numerous strike-related delays, the only Marvel movie currently on the studio’s 2024 calendar is “Deadpool 3,” opening July 26.

Separately, after two weeks atop the box office, Universal Pictures’ “Five Nights at Freddy’s” slid to second place with $9 million in its third weekend of release. The Blumhouse-produced videogame adaptation has accumulated $127.2 million domestically.

Taylor Swift’s “The Eras Tour” concert film came in third with $5.9 million from 2,484 venues in its fifth weekend of release. The film, produced by Swift and distributed by AMC Theatres, has made $172.5 million domestically and $240.9 million worldwide.

Sofia Coppola’s “Priscilla” held strongly in its second weekend of wide release. The A24 film, starring Cailee Spaeny as Priscilla Presley and Jacob Elordi as Elvis, remained in fourth place with $4.8 million, dipping only 5% from the week prior.

Martin Scorsese’s “Killers of the Flower Moon,” an Apple Studios production being theatrically distributed by Paramount Pictures, took in $4.7 million on its fourth weekend, to bring its domestic haul to about $60 million. While quite low for a $200 million movie, “Killers of the Flower Moon” is primarily an awards-season statement by Apple of its growing moviemaking ambitions.

In its first weekend of expanded release, Alexander Payne’s acclaimed “The Holdovers,” starring Paul Giamatti as a curmudgeonly boarding-school instructor, launched with $3.2 million from 778 locations. The Focus Features release, an expected Oscar contender, will hope for strong legs as it plays through the fall.

“Journey to Bethlehem,” a release from Sony’s Christian subsidiary Affirm Films, debuted with $2.4 million in about 2,000 locations.

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

1. “The Marvels,” $47 million.

2. “Five Nights at Freddys,” $9 million.

3. “Taylor Swift: The Eras Tour,” $5.9 million.

4. “Priscilla,” $4.8 million.

5. “Killers of the Flower Moon,” $4.7 million.

6. “The Holdovers,” $3.2 million.

7. “Journey to Bethlehem,” $2.4 million.

8. “Tiger 3,” $2.3 million.

9. “Paw Patrol: The Mighty Movie,” $1.8 million.

10. “Radical,” $1.8 million.
    …

Millions of Indians celebrated Diwali on Sunday with a new Guinness World Record number of bright earthen oil lamps as concerns about air pollution soared in the South Asian country.

Across the country, dazzling multicolored lights decked homes and streets as devotees celebrated the annual Hindu festival of light symbolizing the victory of light over darkness.

But the spectacular and much-awaited massive lighting of the oil lamps took place — as usual —at Saryu River, in Ayodhya in Uttar Pradesh state, the birthplace of their most revered deity, the god Ram.

At dusk on Saturday, devotees lit over 2.22 million lamps and kept them burning for 45 minutes as Hindu religious hymns filled the air at the banks of the river, setting a new world Record. Last year, over 1.5 million earthen lamps were lit.

After counting the lamps, Guinness Book of World Records representatives presented a record certificate to the state’s top elected official Yogi Adityanath.

Over 24,000 volunteers, mostly college students, helped prepare for the new record, said Pratibha Goyal, vice chancellor of Dr. Ram Manohar Lohia Avadh University, in Ayodhya.

Diwali, a national holiday across India, is celebrated by socializing and exchanging gifts with family and friends. Many light earthen oil lamps or candles, and fireworks are set off as part of the celebrations. In the evening, a special prayer is dedicated to the Hindu goddess Lakshmi, who is believed to bring luck and prosperity.

Over the weekend, authorities ran extra trains to accommodate the huge numbers trying to reach their hometowns to join family celebrations. The festival came as worries about air quality in India rose. A “hazardous” 400-500 level was recorded on the air quality index last week, more than 10 times the global safety threshold, which can cause acute and chronic bronchitis and asthma attacks.

But on Saturday, unexpected rain and a strong wind improved the levels to 220, according to the government-run Central Pollution Control Board.

Air pollution levels are expected to soar again after the celebrations end Sunday night because of the fireworks used.

Last week, officials in New Delhi shut down primary schools and banned polluting vehicles and construction work in an attempt to reduce the worst haze and smog of the season, which has posed respiratory problems for people and enveloped monuments and high-rise buildings in and around India’s capital.

Authorities deployed water sprinklers and anti-smog guns to control the haze and many people used masks to escape the air pollution.

New Delhi tops the list almost every year among the many Indian cities with poor air quality, particularly in the winter, when the burning of crop residues in neighboring states coincides with cooler temperatures that trap deadly smoke.

Some Indian states have banned the sale of fireworks and imposed other restrictions to stem the pollution. Authorities have also urged residents to light “green crackers” that emit less pollutants than normal firecrackers. But similar bans have often been disregarded in the past.

The Diwali celebrations this year were marked as authorities prepared to inaugurate in January an under-construction and long-awaited temple of the Hindu god Ram at the site of a demolished 16th-century Babri mosque in Ayodhya city in Uttar Pradesh state.

The Babri Masjid mosque was destroyed by a Hindu mob with pickaxes and crowbars in December 1992, sparking massive Hindu-Muslim violence that left some 2,000 people dead, most of them Muslims. The Supreme Court’s verdict in 2019 allowed a temple to be built in place of the demolished mosque. 
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“Creole isn’t about a specific skin tone or country, it’s about a culture,” said Mona Lisa Saloy, author of the poetry collection Black Creole Chronicles. 

“It’s food, it’s music, it’s architecture, it’s style and it’s traditions,” she told VOA. “There are millions of Creole people in countries across the world and, still, we are all so much more alike than we are different. We create beautiful cultures everywhere we go, and I think that’s evident here in Louisiana.”

Linguists estimate as many as 10,000 people still speak the French-based language Louisiana Creole. Many more in New Orleans and across the state consider themselves part of a culture that draws tens of thousands of people to events including last month’s Festivals Acadiens et Creoles, summer’s Creole Tomato Festival, and spring’s Tremé Creole Gumbo & Congo Square Rhythms Festival.

But for many locals and visitors alike, it’s the everyday evidence that demonstrates how pervasive Creole culture really is in Louisiana. The state’s stages and airwaves are frequented by the driving, rhythmic scrape of a washboard virtuoso or by the up-tempo syncopation of zydeco music accompanying an accordionist. Its restaurants emanate mouthwatering scents from rich, complex flavors including gumbo, hot sausage, red beans and rice, and shrimp étouffée.

“To celebrate Creole culture is to wake up and live in New Orleans,” said Christina Bragg, a member of the Mahogany Blue Babydolls, a parading group for Black and mixed-race women.

“Celebrating ‘Creole’ is celebrating our day-to-day lives. The food we eat. The music we dance to. The way we gather with friends to parade during Mardi Gras,” she said. “Every day I open my eyes and breathe, it’s a celebration of Creole culture, because that’s who I am.”

Difficult to define

“No matter where in the world you find Creole culture, you’ll see key similarities to what we have here in Louisiana,” said Saloy, who was Louisiana’s poet laureate from 2021 to 2023.

“Architectural styles common in New Orleans like the Creole Cottage or the Shotgun home can be found in other places with Creoles, such as in other parts of the American South and the Caribbean,” she said. “Much of our music derives from the rhythms of Africa and the Caribbean, as does much of our food — elements of gumbo such as the long rice and okra, for example, or the prevalence of beans.”

While certain elements of Creole culture bridge oceans, how one defines the word “Creole” — and specifically the inclusivity of that definition — changes from region to region, and even from person to person.

It comes from the Portuguese word crioulo, which itself derives from the Latin creare, meaning “to create.” It was used during the European slave trade to denote a slave born in the New World as opposed to someone born in Africa. The word then took on different meanings in different places. Creole cultures in much of Africa and part of the Caribbean, for example, came to define an ethnic group made of people with a mix of African and non-African heritage.

In Louisiana, the definition has shifted over the years, and among households.

“Here, the definition kind of depends on who you ask,” said Vance Vaucresson, a New Orleans-based Creole and owner of a local restaurant, the Vaucresson Sausage Company.

“I prefer an inclusive definition,” he said. “By that definition, anyone born in Louisiana could be Creole. During our colonial era, it was meant to differentiate people born in the Americas — usually of French, Spanish or African descent — from those born in Europe or Africa who now found themselves here.

“I like that better than the other definition,” he added, “which says that Creole people in Louisiana are specifically related to the ‘free people of color.’ I like the more inclusive definition better because it unifies us by culture. Black, white or mixed race, it doesn’t matter. If you’re born here and embrace the culture, you can be Creole.”

An evolving term

In 18th- and 19th-century Louisiana, that more inclusive definition was the most accepted. White people with recent European ancestry were just as likely to call themselves Creole as mixed-race residents with African ancestry.

White Creoles claimed the term because it differentiated them from white people who were coming from Northern states after Louisiana was purchased from France in 1803. Mixed-race Creoles, too, claimed the term because it differentiated them from slaves.

“Slavery was so entrenched in the United States, Louisiana included, so I think free people of color or mixed-race people were happy to have a term that raised their social standing,” said Don Vappie, a Creole jazz musician in New Orleans. “It was more of a three-tier racial hierarchy here, instead of the two-tiered Black-or-white experienced elsewhere in the U.S.”

After the American Civil War, however, much of that racial nuance in New Orleans disappeared.

“Creole or not, white people had more in common with white people and Black people had more in common with Black people,” Vappie told VOA. “And white people didn’t want to use a term for themselves that was claimed by anyone who was Black.”

As a result, it’s rare to find a white person in Louisiana today who identifies as Creole.

“Nowadays, it’s definitely more of a Black person thing,” said Bragg of the Mahogany Blue Babydolls. “But there’s still so much diversity in Creole culture. You have Creoles with very dark skin, Creoles who basically look white, Creoles with Black features, Creoles with lighter brown skin and green eyes. It’s people who have been from the region for a long time, and it’s a unique thing.”

And while French Creole is spoken less frequently as older generations pass, there are still many Louisianians who are proudly Creole and want to see its traditions survive.

“I want to see more people learn about Creole culture, no matter what their skin color is,” Vaucresson said. “New Orleans has Irish Creoles, Italian Creoles, African Creoles, French and Spanish Creoles, and more. And they all have their different versions of food. At my restaurant, we try to keep those old Creole dishes on the menu so our past never disappears.”

Saloy believes Creole is firmly connected to African culture and should stay that way.

“The ingredients in our food, the rhythm in our music and dance, the details in our architecture — it’s all connected to West African culture,” she said. “And when those Africans were taken from their lands and shipped across an ocean, even though they were enslaved, they managed to make something beautiful again. That’s our heritage.

“For years, white people didn’t want to have anything to do with Creole,” she added. “So I don’t think they should be able to claim it now that it’s become in vogue.”
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Pope Francis on Saturday forcibly removed from office the bishop of Tyler, Texas, a conservative active on social media who has been a fierce critic of the pontiff and some of his priorities.

A one-line statement from the Vatican said Francis had “relieved” Bishop Joseph Strickland of the pastoral governance of Tyler and appointed the bishop of Austin as the temporary administrator.

Strickland, 65, has emerged as a critic of Francis, accusing him in a tweet earlier this year of “undermining the deposit of faith.” He has been particularly critical of Francis’ recent meeting on the future of the Catholic Church during which hot-button issues were discussed, including ways to better welcome LGBTQ+ Catholics.

The Vatican earlier this year sent in investigators to investigate his governance of the diocese, amid reports he was making doctrinally unorthodox claims.

The Vatican has not released the findings of the investigation, and Strickland had insisted he wouldn’t resign voluntarily. He had said in media interviews that he was given a mandate to serve by the late Pope Benedict XVI and couldn’t abdicate that responsibility, and he had complained that he hadn’t been told what the pope’s investigators were looking into.

It is rare for the pope to forcibly remove a bishop from office. Bishops are required to offer to resign when they reach 75. When the Vatican uncovers issues with governance or other problems that require a bishop to leave office before then, the Vatican usually seeks to pressure him to resign for the good of his diocese and the church.

That was the case when another U.S. bishop was forced out earlier this year following a Vatican investigation. Knoxville, Tennessee, Bishop Richard Stika resigned voluntarily, albeit under pressure, following allegations he mishandled sex abuse allegations and his priests complained about his leadership and behavior.

But with Strickland, the Vatican statement made clear that he had not offered to resign, and that Francis had instead “relieved” him of his job.

Most recently, Strickland had criticized Francis’ monthlong closed-door debate on making the church more welcoming and responsive to the needs of Catholics today. The meeting debated a host of previously taboo issues, including women in governance roles and welcoming LGBTQ+ Catholics, but in the end, its final document didn’t veer from established doctrine.

Ahead of the meeting, Strickland said it was a “travesty” that such things were even on the table for discussion.

”Regrettably, it may be that some will label as schismatics those who disagree with the changes being proposed,” Strickland wrote in a public letter in August. “Instead, those who would propose changes to that which cannot be changed seek to commandeer Christ’s Church, and they are indeed the true schismatics.”

There was no immediate comment from the diocese, and the U.S. Conference of Catholic Bishops merely posted an English translation of the Vatican statement with data about the size of the diocese.

In a social media post sent a few hours before the Vatican’s noon announcement, Strickland wrote a prayer about Christ being the “way, the truth and the life, yesterday, today and forever.”
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Board members from Hollywood’s actors union voted Friday to approve the deal with studios that ended their strike after nearly four months, with the union’s leadership touting the gains made in weeks of methodical negotiations.

Duncan Crabtree-Ireland, Screen Actors Guild-American Federation of Television and Radio Artists’ executive director and chief negotiator, announced at a Friday news conference that the tentative agreement was approved with 86% of the vote.

The three-year contract agreement next goes to a vote from the union’s members, who are now learning what they earned through spending the summer and early fall on picket lines instead of on film and television sets. That vote begins Tuesday and continues into December.

Crabtree-Ireland said the deal “will keep the motion picture industry sustainable as a profession for working-class performers.”

SAG-AFTRA President Fran Drescher said the studios believed they could outlast actors by waiting more than two months before initiating talks.

“What were they doing? Were they trying to smoke us out?” she said. “Well honey, I quit smoking a long time ago.”

Crabtree-Ireland and Drescher would not give specifics on who disapproved of the deal, and why. The board vote was weighted, so it’s not immediately clear how many people voted against approval.

Overall, the happy scene at SAG-AFTRA’s Los Angeles headquarters was as different as can be from the defiant, angry tone of a news conference in the same room in July, when guild leaders announced that actors would join writers in a historic strike that shook the industry.

The successful vote by the board, whose members include actors Billy Porter, Jennifer Beals, Sean Astin and Sharon Stone, was expected, as many of the same people were on the committee that negotiated the deal. And it was in some ways drained of its drama by union leaders declaring the strike over as soon as the tentative deal was reached with the Alliance of Motion Picture and Television Producers on Wednesday, rather than waiting for the approval.

But it was still an essential step in returning to business as usual in Hollywood, if there is any such thing.

Actors need not wait for the ratification to start acting again — “in fact some of them already have,” Crabtree-Ireland said.

Contract provisions surrounding the control of artificial intelligence were among the last sticking points in the agreement.

“AI was a dealbreaker,” Drescher said. “If we didn’t get that package, then what are we doing to protect our members?”
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The Beatles returned to the top of the U.K. music charts Friday with the record-breaking track “Now And Then,” making history as the act with the longest gap between its first and last No. 1 single. 

Billed as the last Beatles song, “Now And Then” features the voice of the late John Lennon and was developed using artificial intelligence. It also features parts recorded by surviving members Paul McCartney and Ringo Starr as well as the late George Harrison. 

The group’s 18th U.K. No. 1 hit, it brings the Beatles back to the top of the Official Singles Chart 60 years after the group’s first No. 1 single, “From Me to You.” The feat also extends the Beatles’ record as the British act with the most U.K. No. 1 singles in Official Charts history. 

“It’s mind-boggling. It’s blown my socks off,” McCartney said in a statement. “It’s also a very emotional moment for me. I love it!” 

The song is the fastest-selling single of the year to date in Britain with 48,600 physical and download sales based on its first seven days, the Official Charts Company said. 

It is also the fastest-selling vinyl single of the century so far in Britain with more than 19,400 copies sold on vinyl, and the most-streamed Beatles track in one week, with 5.03 million streams, it added. 

The group is also the act with the longest gap between No. 1 singles — 54 years — and the oldest band to score a U.K. No. 1 single, the Official Charts Company said. McCartney is 81 while Starr is 83.  

“Beatlemania has returned this week,” Official Charts Company Chief Executive Officer Martin Talbot said. 

“The return of John, Paul, George and Ringo with the last ever Beatles single … has cemented their legend by breaking a catalog of records — and in doing so underlined the extraordinary scope of their enduring appeal, across all the generations.” 
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An exhibition featuring the work of Simone Leigh — one of America’s most influential contemporary female artists — is now on display at the Hirshhorn Museum in Washington. Leigh, known for her focus on feminism, gender equality and racial justice, became the first Black artist in history to represent the U.S. at the Venice Biennale in 2022, where she was awarded the coveted Golden Lion. Maxim Adams has the story. Camera: Sergii Dogotar.
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One of Pablo Picasso’s masterpieces, Woman with a Watch, was sold at auction Wednesday night for $139.3 million by Sotheby’s in New York, the second-highest price ever achieved for the artist.

In a jam-packed room at the venerable auction house, it only took a few minutes of telephone bidding for the 1932 painting depicting one of the Spanish artist’s companions and muses, the French painter Marie-Therese Walter, to be sold.

Femme a la montre had been valued at over $120 million before going on the block, according to Sotheby’s.

It was part of the house’s special sale this week of the collection of New York arts patron Emily Fisher Landau, who died this year at age 102.

Julian Dawes, Sotheby’s head of impressionist and modern art, called the Picasso canvas — which hung in Landau’s living room — “a masterpiece by every measure.”

“Painted in 1932 — Picasso’s ‘annus mirabilis’ — it is full of joyful, passionate abandon yet at the same time it is utterly considered and resolved,” he said.

Walter was regarded as Picasso’s “golden muse,” and features in another of his works going under the hammer on Thursday at Christie’s: Femme endormie, or Sleeping Woman, estimated to sell for $25 million-$35 million.

She also featured in Femme assise pres d’une fenetre (Marie-Therese), or Woman Sitting Near a Window, which was sold in 2021 for $103.4 million.

Walter met Picasso in Paris in 1927, when she was just 17 and the Spanish artist was still married to Russian-Ukrainian ballet dancer Olga Khokhlova. The couple had a daughter, who died last year.

Another Picasso from 1932 was sold for $106 million in 2010.

The record sale for one of his works was of The Women of Algiers (Version O), a 1955 oil painting which sold for $179.4 million.

When it went under the hammer at Christie’s New York in 2015, it was also the record for any work of art sold at auction.

It was dethroned in November 2017 by the sale of Salvator Mundi attributed to Leonardo da Vinci, which went for $450 million and holds the record to this day.

Hot market

Fifty years after his death in 1973 at age 91, Picasso remains one of the most influential artists of the modern world, often hailed as a dynamic and creative genius.

But following the #MeToo movement against sexual harassment and assault, his reputation has been tarnished by accusations he exerted a violent hold over the women who shared his life and inspired his art.

Sotheby’s has already netted $406 million in sales from Landau’s collection, which also includes works by Jasper Johns, Willem de Kooning, Mark Rothko and Andy Warhol.

Flags by the 93-year-old Johns sold for $41 million, while Securing the Last Letter (Boss) by painter and photographer Ed Ruscha sold for $39.4 million.

Auction houses are enjoying a healthy art and luxury goods market, driven by China and showing no signs of a slowdown, said Kelsey Reed Leonard, head of contemporary art sales at Sotheby’s.

Against a backdrop of wars in Ukraine and Gaza, as well as worldwide inflation, the two titans of the sector — Sotheby’s and Christie’s — will be moving a host of big-ticket lots in the autumn sales, though they may still have a hard time topping last year, when total sales hit a record $16 billion.
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The SAG-AFTRA actors’ union reached a tentative agreement with Hollywood studios to resolve the second of two strikes that rocked the entertainment industry as workers demanded higher pay in the streaming TV era, the union said Wednesday.

The 118-day strike will end officially just after midnight, SAG-AFTRA said in a statement. The group’s national board will consider the deal on Friday, and the union said it would release further details after that meeting.

Members of SAG-AFTRA walked off the job in mid-July asking for an increase in minimum salaries, a share of streaming service revenue and protection from being replaced by “digital replicas” generated by artificial intelligence (AI).

The union said negotiators had reached a preliminary deal on a new contract with the Alliance of Motion Picture and Television Producers (AMPTP), which represents Walt Disney DIS.N, Netflix NFLX.O and other media companies.

An AMPTP representative did not immediately respond to a request for comment.

The breakthrough means Hollywood can ramp up to full production for the first time since May, once union members vote to ratify the deal in the coming weeks.

“I’m relieved,” actor Fanny Grande said in an interview. “It’s been really difficult for most people in the industry, especially people of color. As it is, we don’t have as many opportunities. We aren’t big celebrities that have money in the bank for months. I just really hope that it’s a fair deal.”

Actors had similar concerns to film and television writers, who argued that compensation for working-class cast members had dwindled as streaming took hold, making it hard to earn a living wage in cities such as Los Angeles and New York. TV series on streaming did not offer the same residual payments that actors enjoyed during the heyday of broadcast TV.

Performers also became alarmed by recent advances in artificial intelligence, which they feared could lead to studios manipulating their likenesses without permission or replacing human actors with digital images.

George Clooney and other A-list stars voiced solidarity with lower-level actors and had urged union leadership, including SAG-AFTRA President and The Nanny actor Fran Drescher, to reach a resolution.

Many film and TV sets shut down when the Writers Guild of America (WGA) called a strike in the spring. While WGA members returned to writing scripts in late September, the ongoing SAG-AFTRA work stoppage left many productions dark.

The disruptions cost California more than $6 billion in lost output, according to a Milken Institute estimate.

With little work available, many prop masters, costume designers and other crew members struggled to make ends meet. FilmLA, the group that approves filming permits, reported scripted production during the week of Oct. 29 had fallen 77% from the same time a year earlier.

The Hollywood strikes came during a year of other high-profile job actions. The United Auto Workers recently ended six weeks of walkouts at Detroit carmakers. Teachers, nurses and healthcare workers also walked off the job.

Hollywood’s work stoppages forced broadcast networks to fill their fall lineups with re-runs, games shows and reality shows. It also led movie studios to delay big releases such as Dune: Part 2 because striking actors could not promote them.

Other major films, including the latest installment of the Mission: Impossible franchise and Disney’s live-action remake of animated classic Snow White, were postponed until 2025.
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The North American box office had one of its slowest weekends of the year, due in large part to “Dune: Part Two’s” absence from the lineup. 

Moviegoers had many other options to choose from. The video game adaptation “Five Nights at Freddy’s” repeated its first-place ranking, followed by “Taylor Swift: The Eras Tour,” still going strong. Sofia Coppola’s “Priscilla ” expanded nationwide and “Oppenheimer” returned to IMAX screens. Several well-received indies opened as well. 

But this was the weekend that Warner Bros. and Legendary’s ” Dune: Part Two” was supposed to open, before the SAG-AFTRA strike prompted many studios to shuffle release dates in anticipation of a lengthy dispute that has stopped movie stars from promoting their films. The “Dune” sequel starring Timothee Chalamet and Zendaya was pushed to March 2024, and no major blockbusters moved in to take its November 3 spot. 

Even with “Taylor Swift: The Eras Tour” still bringing Swifties to the multiplex, and prestige offerings including Martin Scorsese’s “Killers of the Flower Moon” and Alexander Payne’s “The Holdovers,” overall ticket sales are likely to be around $64 million for the weekend, making it one of the slowest of the year. 

“It’s hard to reverse engineer, but ‘Dune 2’ would have certainly been the No. 1 movie and it would have been a bigger overall weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “The strikes have had a profound impact on this marketplace. But this left a lot of opportunity for films like ‘Priscilla,’ ‘The Holdovers’ and ‘Radical’ to get more of a spotlight.” 

In its second weekend, “Five Nights at Freddy’s” picked up an additional $19.4 million to take first place, according to studio estimates Sunday. It’s a hefty 76% drop from its first weekend. That’s not unexpected given that the movie is also streaming on Peacock and that viewership for films targeting intense and niche fandoms are often wildly frontloaded. But taking in $217 million globally against a reported $20 million production budget makes it a hit for Universal Pictures and Blumhouse. 

“Taylor Swift: The Eras Tour” took second place, with fourth weekend earnings at an estimated $13.5 million for the AMC release. Playing only on Thursdays through Sundays, the film has made an astonishing $231.1 million globally to date. 

In third place, “Killers of the Flower Moon” was down only 25% in its third weekend, with $7 million from 3,786 screens, which brings its domestic total to $52.3 million. The $200 million film was financed by Apple Original Films with Paramount overseeing its theatrical run. 

After a healthy opening in New York and Los Angeles last weekend, “Priscilla,” based on Priscilla Presley’s 1985 memoir Elvis and Me, expanded to 1,359 screens where it earned $5.1 million over the weekend to take fourth place. Coppola’s well-reviewed film starring Cailee Spaeny and Jacob Elordi attracted an audience that was predominately younger (75% under 35) and female (65%).

“The Holdovers,” a Focus Features release, also expanded slightly to 64 theaters this weekend, where it grossed an additional $600,000. Next weekend the New England-set period drama starring Paul Giamatti as a curmudgeonly prep school teacher will expand to over 800 locations. 

A handful of smaller films made their theatrical debuts this weekend, including Meg Ryan’s “What Happens Later,” released by Bleecker Street; and Sundance gems “Radical” and “All Dirt Roads Taste of Salt.” 

The biggest of the batch was “Radical,” which is based on a true story about a teacher in a Mexican border city and stars Eugenio Derbez. The warmly reviewed Pantelion release opened in 419 locations and made $2.7 million. 

“‘Radical’ is a big winner this weekend and a big win for Eugenio Derbez,” Dergarabedian said. “He’s becoming a global superstar.” 

“What Happens Later,” a rom-com starring Ryan and David Duchovny as exes stuck in an airport, made $1.6 million from 1,492 screens. Raven Jackson’s “All Dirt Roads Taste of Salt,” meanwhile, opened on three screens and earned $12,529, according to studio A24. 

“The overall box office is rather quiet, but there are so many interesting films out there,” Dergarabedian said. “Independent film can really shine right now.” 

The effects of the ongoing strike at the box office are not easily quantifiable. Up to this point, it’s mainly meant that stars without interim agreements haven’t been able to promote their films. “Priscilla” was one of the exceptions and Elordi and Spaeny have been able to do interviews and appear on talk shows to drum up awareness. 

Next weekend will be an interesting test, as Marvel and Disney release “The Marvels” without months of appearances from stars like Brie Larson, Teyonah Parris and Lashana Lynch preceding it. It is possible a resolution between the actors’ guild and the major entertainment companies may come this week, but it’s unclear if that will have any impact on “The Marvels.” 

“All eyes will be on ‘The Marvels,’ not only what it represents during the strikes, but what it means for Marvel as a whole, which is always compared to their past successes,” Dergarabedian said. “But the opening weekend isn’t everything anymore. Hopefully it’ll provide an infusion of that blockbuster feeling going into the holiday season.” 

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

1. “Five Nights at Freddy’s,” $19.4 million. 

2. “Taylor Swift: The Eras Tour,” $13.5 million. 

3. “Killers of the Flower Moon,” $7 million. 

4. “Priscilla,” $5.1 million. 

5. “Radical,” $2.7 million. 

6. “The Exorcist: Believer,” $2.2 million. 

7. “After Death,” $2 million. 

8. “Paw Patrol: The Mighty Movie,” $2 million. 

9. “What Happens Later,” $1.6 million. 

10. “Freelance,” $1.3 million. 
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More than a dozen U.S. states have enacted or introduced legislation to restrict drag shows. The moves are the product of socially conservative momentum against shows where performers who are mostly men dress mostly as women. Gustavo Martinez Contreras reports from a unique show in New Mexico. Camera: Gustavo Martinez Contreras.
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