NEW YORK — Belarusian Aryna Sabalenka beat American sixth seed Jessica Pegula 7-5, 7-5 in the U.S. Open women’s final on Saturday.

Sabalenka blocked out the wild cheers of the home crowd in Arthur Ashe Stadium to break Pegula in the final game and win her first title at Flushing Meadows.

A year after coming up short in the final, the second seed fought back from a break down in both sets to claim victory and fell to the court in her moment of triumph.

The 30-year-old Pegula had waited a long time to reach her first major final but could not match her opponent’s raw power despite the noisy backing of the New York crowd.

The roof on Arthur Ashe Stadium was closed because of heavy rain, and the players traded breaks twice as they settled into the stormy affair in front of a celebrity-packed house.

Sabalenka held her serve through a four-deuce 11th game and fought through a spine-tingling 12th, mixing precision at the net with her usual power from the baseline before breaking her opponent on the fifth set point.

Pegula struggled with her rackets throughout the match, complaining to her coaches as she seemed unable to find the right tension on her strings, and it looked as though she would not put up a fight in the second set when Sabalenka went 3-0 up.

But the American found another level and brought the fans to their feet when she won the next five games in a furious fight back.

Sabalenka leveled when she sent over a forehand winner that just kissed the line on break point in the 10th game and sought to bring a swift end to the contest, holding serve and then applying pressure from the baseline in the final game.

The tears flowed immediately for Sabalenka as she claimed her third Grand Slam title after winning the Australian Open twice, and she high-fived fans as she ran up the stands to share a joyful celebration with her team.
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Six years after Jifeng Bookstore was forced to close its doors in Shanghai, the shop has reopened in Washington to bring debate and literature to a new audience. Liam Scott has the story for VOA News. Videographer: Yi Ruokun
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RIO DE JANEIRO — Sergio Mendes, the celebrated Brazilian musician whose 1966 hit “Mas Que Nada” made him a global superstar and helped launch a long, Grammy-winning career, has died after months battling the effects of long COVID. He was 83.

The death Thursday of the Brazilian pianist, songwriter and arranger was confirmed in a statement by his family.

“His wife and musical partner for the past 54 years, Gracinha Leporace Mendes, was by his side, as were his loving children,” the statement said Friday. “Mendes last performed in November 2023 to sold out and wildly enthusiastic houses in Paris, London and Barcelona.”

Mendes was born in Niteroi, Rio de Janeiro’s sister city, and studied classical music at a conservatory before joining jazz groups. In the late 1950s and early 1960s, he began playing Bossa Nova as the genre was heating up in Rio’s nightclub scene with Antonio Carlos Jobim, Joao Gilberto and others.

In 1962, they traveled to New York for a Bossa Nova festival at Carnegie Hall. During the trip, Cannonball Adderley invited Mendes to collaborate on the album “Cannonball Adderley and The Bossa Rio Sextet,” leading to his first American record, “The Swinger from Rio,” after signing with Atlantic Records.

Two years later, Mendes moved to California and formed Brazil ’64, which evolved into Brazil ’66 after he added two female vocalists. The group’s debut album, produced by Herb Alpert, featured “Mas Que Nada.” Sung entirely in Portuguese, “Mas Que Nada” was a mid-tempo Samba number originally released in 1963 by composer Jorge Ben Sor and updated three years later by Mendes, who had been playing the song in clubs and gave it a jazzier, more hard-hitting feel.

“I put a band together called Brasil ’66,” he told The Guardian in 2019. “I’d always had instrumental groups, but when I added the two female singers — Lani Hall and Bibi Vogel — it made a different kind of sound. We recorded the song in Los Angeles, with me, the drums, bass and guitar all performing live.”

Mendes’ version was a worldwide hit that helped perpetuate the Brazilian music boom of the 1960s. In 2006, a modern version of the song topped U.S. charts, as performed by the Black Eyed Peas. It was included in his album “Timeless,” produced by will.i.am and also featuring Stevie Wonder, Justin Timberlake and John Legend, among others.

“Sergio Mendes was my brother from another country,” trumpet player Alpert wrote on Facebook, along with a photo from decades ago, sitting next to Mendes at the piano. “He was a true friend and extremely gifted musician who brought Brazilian music in all its iterations to the entire world with elegance.”

Mendes’ other hits were an eclectic blend ranging from covers of the Beatles’ “The Fool on the Hill” and “With a Little Help from My Friends,” to his own Brazilian chant, “Magalenha.” Mendes also composed the soundtrack for the film “Pele,” featuring saxophonist Gerry Mulligan, and even produced an album recorded by the great Brazilian soccer player.

Mendes won the 1992 Grammy Award for Best World Music Album for “Brasileiro” and two Latin Grammy Awards. He also received an Oscar nomination in 2012 for Best Original Song for “Real in Rio,” from the animated film “Rio.”

“Brazilian soul was there,” pianist, singer, and songwriter Marcos Valle told GloboNews about Mendes’ music. Valle also noted that it was Mendes who helped open doors for other Brazilian artists of his generation, including himself, to reach foreign audiences.
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Music cassette tapes are making a comeback in the U.S, with more than 430,000 sold in 2023 – about five times the number sold just a decade ago. Cassette tapes are especially popular with younger generations who grew up with digital music. Karina Bafradzhian has the story. Videographer: Sergii Dogotar
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LONDON — Disgraced Hollywood producer Harvey Weinstein won’t face charges of indecent assault in Britain, prosecutors announced on Thursday.

The Crown Prosecution Service, which in 2022 authorized two charges of indecent assault against Weinstein, said it decided to discontinue proceedings because there was “no longer a realistic prospect of conviction.”

“We have explained our decision to all parties,” the CPS said in a statement. ”We would always encourage any potential victims of sexual assault to come forward and report to police, and we will prosecute wherever our legal test is met.”

Weinstein became the most prominent villain of the #MeToo movement in 2017 when women began to go public with accounts of his behavior. After the revelations emerged, British police said they were investigating multiple allegations of sexual assault that reportedly took place between the 1980s and 2015.

In June 2022, the Crown Prosecution Service said it had authorized London’s Metropolitan Police Service to file two charges of indecent assault against Weinstein in relation to an alleged incident that occurred in London in 1996. The victim was in her 50s at the time of the announcement.

Unlike many other countries, Britain does not have a statute of limitations for rape or sexual assault.

Weinstein, who has denied that he raped or sexually assaulted anyone, remains in custody in New York while awaiting retrial in Manhattan, prosecutors said in August.

After the retrial, he is due to start serving a 16-year sentence in California for a separate rape conviction in Los Angeles, authorities said. Weinstein was convicted in Los Angeles in 2022 while already serving a 23-year sentence in New York.

His 2020 conviction in Manhattan was thrown out earlier this year when the state’s top court ruled that the judge in the original trial unfairly allowed testimony against Weinstein based on allegations that weren’t part of the case.

Weinstein, the co-founder of the Miramax entertainment company and The Weinstein Company film studio, was once one of the most powerful people in Hollywood, having produced films such as “Pulp Fiction” and “The Crying Game.”
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When people think about the US state of Texas, they often think of cowboys in big hats and pointy-toed boots. But Texas is more than that. A study found that its biggest city, Houston, is the most diverse large city in the US. This is reflected in the immigrants and the many cuisines and cultures they brought with them to Texas. VOA’s Elizabeth Lee reports.
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SEOUL, South Korea — An Apple TV+ documentary series, “K-pop Idols,” premiering Friday, offers an intimate look at how the K-pop industry is embracing diversity while grappling with challenges in a field that demands perfection.

The six-part series features Korean American star Jessi and up-and-coming K-pop bands like Cravity and Blackswan, documenting the highs and lows of their careers.

K-pop is known for its blend of vocals with precise choreography.

Blackswan members Fatou and Nvee told The Associated Press they practice up to 10 hours daily, including choreography and vocal sessions before the “comeback” season which refers to a string of events to promote their latest songs.

The grueling practice starts early.

Once under contract, K-pop trainees enter a system that includes classes in manners, language, dance, and choreography. As of 2022, there were 752 K-pop trainees under entertainment labels, according to a Korea Creative Content Agency report.

Despite recent pushback against the perennial “dark side of K-pop” narrative, the documentary shows that some industry problems persist.

Former Blackswan member Youngheun said members had a curfew and were not allowed to drink or date. “We even had to report when we were getting our nails done and going to the convenience store in front of our house,” she shared in the documentary.

Rigid control extends to diet.

Blackswan member Gabi is seen eating a meal of egg, chicken breast and what resembles sweet potato sticks during her trainee period. “I am dieting because Mr. Yoon [the label’s head] told me I need to lose weight,” Gabi said.

The pressure applies to boy bands, too.

Cravity member Wonjin shared that he was given two weeks to lose weight to join the label. “I would eat like one egg a day […] I lost about 7kg,” he said in the documentary.

Bradley Cramp, one of executive producers of the documentary, noted that such restrictions exist in other competitive industries as well.

“I honestly don’t know one idol or elite sports athlete or entertainer that doesn’t deal with the issue of diet and self-image and mental health to some degree or another,” he told The Associated Press.

The documentary also touches on K-pop’s new challenge: embracing diversity.

Following BTS’ international success, K-pop labels have been actively recruiting foreign talents, which sometimes brings unfamiliar challenges.

In the documentary, Yoon Deung Ryong, the founder of Blackswan’s label DR Music, struggles to settle internal conflicts among members, which later escalated to online clashes between fans.

“If the company says, ‘don’t fight,’ they won’t fight,” he said, referring to traditional K-pop groups. He added that he can’t control a “multinational group” the same way because of language and cultural differences. There are currently no Korean members in Blackswan after member changes.

With K-pop’s global expansion, fundamental questions remain about the essence of K-pop.

“In a K-pop group, if there are no Korean members, I feel like it’s just a K-pop cover group, isn’t it?” Blackswan’s former Korean member Youngheun said in the documentary.

However, Cravity’s Hyeongjun disagrees. “If foreigners come to Korea and sing in other languages, I am not sure if I can call that K-pop, but since they [Blackswan members] are active in Korea and use Korean, they are K-pop.”

Cramp said social media has impacted K-pop’s ecosystem in various ways, including creating a “symbiotic relationship” between K-pop stars and fans, and forcing stars to live their lives “under a microscope.”

“There’s a desire to be real. But on the other hand, you have to obviously keep certain things kind of out of the public spotlight,” he told the AP. “You want to be famous, but yet at the same time, you still want your privacy and you want to be able to go and have dinner with your friends and have a good time and not be filmed doing it.”

“K-Pop Idols” is now available on Apple TV+.
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New York is one of the fashion capitals of the world, but the industry has made fewer strides in advancing and promoting minorities. In the uptown neighborhood of Harlem, a program is tapping into community talent, led by a local who almost missed out on the industry entirely. Tina Trinh reports. Videographer: Ting-Yi Hsu
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NEW YORK — Parisa Imanirad, a scientist and cancer researcher from San Francisco, is married and has a wide circle of friends. But once or twice a week, she goes to a restaurant by herself.

Imanirad said dining alone gives her time to think or read. She tries not to touch her phone and relishes the silence. “It’s like a spa, but a different type,” Imanirad said during a recent solo lunch at Spruce, an upscale restaurant in San Francisco.

Imanirad isn’t alone in her desire to be alone. In the United States, solo dining reservations have risen 29% over the last two years, according to OpenTable, the restaurant reservation site. They’re up 18% this year in Germany and 14% in the United Kingdom.

Japan even has a special term for solo dining: “ohitorisama,” which means “alone” but with honorifics spoken before and after the word to make parties of one feel less hesitant. In a recent survey, Japan’s Hot Pepper Gourmet Eating Out Research Institute found that 23% of Japanese people eat out alone, up from 18% in 2018.

As a result, many restaurants in Japan and elsewhere are redoing their seating, changing their menus and adding other special touches to appeal to solo diners.

“Even so-called family restaurants are increasing counter seats for solitary diners, and restaurants are offering courses with smaller servings so a person eating alone gets a variety of dishes,” said Masahiro Inagaki, a senior researcher at the institute.

OpenTable CEO Debby Soo thinks remote work is one reason for the increase, with diners seeking respites from their home offices. But she thinks there are deeper reasons, too.

“I think there’s a broader movement of self-love and self-care and really … enjoying your own company,” Soo said.

The pandemic also made social interactions less feasible and therefore less important while eating out, said Anna Mattila, a professor of lodging management at Penn State University who has studied solo dining. And smartphones help some restaurant patrons feel connected to others even when they’re by themselves, she said.

“The social norms have changed. People don’t look at solo diners anymore and think, ‘You must be a loner,’” Mattila said.

More people live and travel solo

The growth comes as more people are living alone. In 2019, the Pew Research Center found that 38% of U.S. adults ages 25 to 54 were living without a partner, up from 29% in 1990. In Japan, single households now make up one-third of the total; that’s expected to climb to 40% by 2040, according to government data.

Increasing interest in solo travel — particularly among travelers ages 55 and over — is also leading to more meals alone.

On a recent solo trip to Lucerne, Switzerland, Carolyn Ray was stunned when the hostess led her to a beautiful lake-view table set for one, complete with a small vase of flowers. Ray, the CEO and editor of JourneyWoman, a website for solo women travelers over 50, said other restaurants have tried to seat her toward the back or pointedly asked if someone will be joining her.

Ray counsels women planning to dine alone to go somewhere else if they’re treated rudely or given a bad table.

“It’s almost like the world hasn’t caught up with this idea that we are on our own because we want to be on our own and we’re independent and empowered,” she said. “We can go into any restaurant we want and have a table for one and feel good about it.”

Shawn Singh, a Houston-based content creator and restaurant reviewer, said he eats alone about 70% of the time. If the idea of venturing out for a solitary meal is intimidating, he suggests going to lunch instead of dinner — when tables are usually more crowded with groups — or going early on a weekday.

“The best way to see a restaurant you’ve been wanting to see for a long time is definitely going solo,” Singh said. “If I go at 5 p.m. and alone, I haven’t been denied at one place ever.”

Restaurants aren’t always thrilled to seat a single diner at a table that could fit more. A Michelin-starred London restaurant, Alex Dilling at Hotel Cafe Royal, caused a stir last year when it started charging solo patrons the same price as two customers. Its eight-course dinner tasting menu, which includes caviar and Cornish squid, costs 215 pounds ($280) per person.

The restaurant, which has only 34 seats, didn’t respond to a request for comment. But its website doesn’t allow reservations for fewer than two people.

‘Playing the long game’

Other restaurants say it’s worth seating one person at a table made for two because solo diners tend to be loyal, repeat customers.

“While there may be a short-term loss there, I think we’re kind of playing the long game and establishing ourselves as a place that’s truly special,” said Drew Brady, chief operating officer at Overthrow Hospitality, which operates 11 vegan restaurants in New York.

Brady has seen an increase in solo diners since the pandemic, and says they’re evenly split between men and women. At the company’s flagship restaurant, Avant Garden, they make up as much as 8% of patrons.

In response, the restaurant teamed up with Lightspeed, a restaurant tech and consulting company, to develop a solo dining program. Avant Garden now has a spacious table designed for solo diners, with a $65 four-course menu fashioned like a passport to enhance the sense of adventure. If solo diners order a cocktail, a bartender mixes it tableside.

Mattila, at Penn State, said restaurants might want to consider additional changes. Her research has found that solo diners prefer angular shapes — in lights, tables or plates, for example — to round ones, which are more associated with the connectedness of groups. They also prefer slow-tempo music.

Jill Weber, the founder of Sojourn Philly, a Philadelphia company that owns two restaurants and a wine bar, said she adds a communal table at special events such as wine tastings so individuals have a place to gather. She also doesn’t offer specials designed for two.

Weber, who is also an archaeologist, loves dining alone when she’s traveling.

“There’s something about not having to agree on where to go and everything that goes with that. You have the freedom to stay as long as you want, order what you want and sit with those things,” she said. “It also feels brave sometimes.”
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los angeles, california — Halloween has arrived earlier than ever at major U.S. theme parks, as operators such as Disney, Six Flags, and Universal Studios seek to expand their reach and build on consumers’ love of spooky costumes and scares. 

Theme park operators have introduced a range of attractions, live performances, merchandise and food and beverages in August — before summer has ended and well before the October 31 holiday — to take advantage of the surging popularity of Halloween. These holiday-themed efforts come at a time when domestic theme park attendance has slumped, following a surge in demand after COVID.  

Edithann Ramey, chief marketing officer at Six Flags, told Reuters that the theme parks saw attendance gains and increases in guest spending in 2023 when it introduced attractions based on the horror films “SAW” and “The Conjuring.” 

The offerings were so successful that the theme park company has been investing more in Halloween experiences, Ramey said. 

“It’s become this time of the year that’s grown in explosive ways,” Ramey said. “It’s become a billion-dollar industry in the last five years.”

Jakob Wahl, chief executive for the International Association of Amusement Parks and Attractions, said Halloween has become one of the strongest selling points for parks that cater to young people and families.  

“We actually see a growth every year in terms of Halloween events, not only North America, but across the world,” Wahl said.  

Disney starts season in August

Walt Disney’s parks started the Halloween season earlier than ever this year with “Mickey’s Not So Scary Party” beginning on August 9 and running through the end of October.  

The Oogie Boogie Bash, a separately ticketed event named for the “Nightmare Before Christmas” villain, sold out this year in 11 days, Disney said. Its popularity prompted the company to push the release date to August 25 from September 5. 

“We’ve seen from our guests in years past that there’s a demand for them to come and enjoy that season with us,” said Tracy Halas, creative director of Disney Live Entertainment.  

Six Flags also kicks off Halloween early this year, on September 14, with a new experience called “Saw: Legacy of Terror” celebrating the 20th anniversary of the “SAW” horror movie franchise.  

Following the $8 billion merger of Six Flags and former rival Cedar Fair, which created the nation’s largest amusement park operator, with 42 parks across 17 states, Six Flags is increasing its investment in Halloween.  

That includes adding Hollywood-themed experiences to Six Flags Fright Fest based on Netflix’s science fiction series, “Stranger Things,” as well as horror films “Texas Chainsaw Massacre,” and “The Conjuring.”

Universal adds ‘Ghostbusters’ haunted house 

Comcast-owned Universal Studios 2024 Halloween Horror Nights in Orlando runs from August 30 to November 3, the longest season they’ve ever had. The company did not immediately respond to a Reuters request for comment. 

Universal is adding a “Ghostbusters: Frozen Empire” haunted house to its Halloween programming alongside the first attraction inspired by horror franchise, “A Quiet Place.”  

Universal also aims to attract guests at Universal Studios Japan with a new 4D show in collaboration with the anime television series “Chainsaw Man.”  

Both Universal Orlando and Japan will add cast members dressed as the antagonists called Death Eaters to haunt Diagon Alley during Horror Nights.  

Disney villain Cruella de Vil hosted a “Let’s Get Wicked” celebration at Hong Kong Disneyland in 2022, which received an industry award and returns this year.  
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