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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Venice, Italy — Hollywood heavyweights George Clooney and Brad Pitt admit they are disappointed their latest comedy “Wolfs” is not getting a broad cinema release and instead heading almost straight onto Apple TV.

“It is a bummer,” Clooney said on Sunday, adding that television streamers, such as Apple AAPL.O, were nevertheless vital to the future of filmmaking, presenting actors with opportunities and generating bigger audiences for their work.

“Streaming, we need it, our industry needs this,” he said.

Written and directed by Jon Watts, “Wolfs” is an old-fashioned crime caper with Clooney and Pitt playing lone-wolf professional fixers who are forced to work together with comically unfortunate consequences.  

Apple originally signaled it would place the film in a large number of cinemas before the TV release, but instead opted to show it briefly in a restricted number of U.S. movie theatres and then run it on its global TV service.

“We’ll always be romantic about the theatrical experience. At the same time, I love the existence of the streamers because we get to see more story, we get to see more talent, it gets more eyes,” said Pitt. “It’s a delicate balance right now and it’ll right itself.”

Asked what it meant if two of the biggest names in the business could not get a broad cinema release, as they had requested, Clooney quipped: “Clearly we’re declining.”

Sixteen years after last appearing together in 2008’s Coen brothers’ comedy “Burn After Reading,” Pitt and Clooney said they jumped at the chance to reunite when they read Watts’ script for “Wolfs.”

“I got to say, just as I get older, just working with the people that I just really enjoy spending time with has really become important to me,” said Pitt, who turned 60 last year.

In a news conference full of light-hearted banter, Clooney, said Pitt, was fortunate still to be offered parts. “He’s 74 years-old and he’s very lucky at this age to still be working.”

On a more serious note, he denied a New York Times story in August that said both he and Pitt had been paid more than $35 million each to appear in the film.

“I’m only saying that because I think it’s bad for our industry if that’s what people think is the standard bearer for salaries. I think that’s a terrible thing. It will make it impossible to make a film,” he said.

“Wolfs” is showing out of competition at the Venice Film Festival, which runs until Sept. 7.
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Blantyre, Malawi — A 72-year-old woman has shot to music stardom in Malawi, challenging societal norms in a country where elderly people are often abused, tortured or even killed over false accusations of witchcraft.

Christina Malaya, now popularly known by her stage name, Jetu, is breaking the internet with her amapiano-style tracks.

Jetu started her music career last year, at the age of 71 — soon after the death of her husband, in central Malawi, where she was staying.

Relatives suggested she go to Blantyre to stay with grandchildren. Those grandchildren were “doing music,” she said, and asked her to join them as a way to overcome her loneliness and boredom.

Under the management of her grandson, musician Blessings Kazembe, popularly known as Emmu Dee, Jetu has released three powerful singles: “Wakalamba Wafuna,” “Chakwaza” and “Simunatchene.”

Her fans and admirers have crowned her the Malawian queen of amapiano — a subgenre of South African house music — which dominates the music scene in Malawi.

Jetu is excited that music has allowed her to go places she never dreamed of visiting, including Johannesburg and Cape Town when she performed in South Africa in June.

Her talent has earned her recognition as an ambassador for elderly people in Malawi, helping to reduce attacks and killings. Older people in Malawi are faced with attacks and killings on suspicion of practicing witchcraft even though Malawi law does not recognize witchcraft.

Andrew Kavala, executive director of the Malawi Network of Older Persons’ Organizations, told VOA that in 2023, his organization recorded 25 killings and 87 cases of violence, including setting fire to homes and assault. That was up from 2022’s 17 deaths.

So far in 2024, he said, 17 elderly people have been killed and 89 have been abused.

Kavala said his organization chose Jetu as an ambassador for elderly Malawians because of her strong appeal to youth, who studies show make 86% of the witchcraft accusations.

“We are trying to explore means through which Jetu can use her platform to convey the message to the youth, ‘Stop bullying, stop abusing elderly persons,’” he said.

Malawi’s youthful and renowned fashion designer Xandria Kawanga, owner of the House of Xandria fashion brand, has started to dress Jetu for events.

“Most people at her age have already given up or they feel they cannot do anything, entertainment or arts, because they are old now,” Kawanga said “So, I thought one of the best ways [to help] is to complement her art and to give her that push.”

Jetu and her grandson/manager, Emmu Dee, are working to promote their new song, which has a video that was was produced this month.
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New York — Does American tennis have a pickleball problem?

Even as the U.S. Open opened this week with more than a million fans expected for the sport’s biggest showcase, the game’s leaders are being forced to confront a devastating fact — the nation’s fastest-growing racket sport (or sport of any kind) is not tennis but pickleball, which has seen participation boom 223% in the past three years.

“Quite frankly, it’s obnoxious to hear that pickleball noise,” U.S. Tennis Association President Dr. Brian Hainline grumbled at a recent state-of-the-game news conference, bemoaning the distinctive pock, pock, pock of pickleball points.

Pickleball, an easy-to-play mix of tennis and ping pong using paddles and a wiffleball, has quickly soared from nearly nothing to 13.6 million U.S. players in just a few years, leading tennis purists to fear a day when it could surpass tennis’ 23.8 million players. And most troubling is that pickleball’s rise has often come at the expense of thousands of tennis courts encroached upon or even replaced by smaller pickleball courts.

“When you see an explosion of a sport and it starts potentially eroding into your sport, then, yes, you’re concerned,” Hainline said in an interview with The Associated Press. “That erosion has come in our infrastructure. … A lot of pickleball advocates just came in and said, ‘We need these tennis courts.’ It was a great, organic grassroots movement but it was a little anti-tennis.”

Some tennis governing bodies in other countries have embraced pickleball and other racket sports under the more-the-merrier belief they could lead more players to the mothership of tennis. France’s tennis federation even set up a few pickleball courts at this year’s French Open to give top players and fans a chance to try it out.

But the USTA has taken a decidedly different approach. Nowhere at the U.S. Open’s Billie Jean King National Tennis Center is there any such demonstration court, exhibition match or any other nod to pickleball or its possible crossover appeal.

In fact, the USTA is flipping the script on pickleball with an ambitious launch of more than 400 pilot programs across the country to broaden the reach of an easier-to-play, smaller-court version of tennis called “red ball tennis.” Backers say it’s the ideal way for people of all ages to get into tennis and the best place to try it is (wait for it) on pickleball courts.

“You can begin tennis at any age,” USTA’s Hainline said. “We believe that when you do begin this great sport of tennis, it’s probably best to begin it on a shorter court with a larger, low-compression red ball. What’s an ideal short court? A pickleball court.”

And instead of the plasticky plink of a pickleball against a flat paddle, Hainline said, striking a fuzzy red tennis ball with a stringed racket allows for a greater variety of strokes and “just a beautiful sound.” Players can either stick with red ball tennis or advance through a progression of bouncier balls to full-court tennis.

“Not to put it down,” Hainline said of pickleball, “but compared to tennis … seriously?”

So what does the head of the nation’s pickleball governing body have to say about such comments and big tennis’ plans to plant the seeds of its growth, at least in part, on pickleball courts?

“I don’t like it but there is so much going on with pickleball, so many good things, I’m going to stick to what I can control, harnessing the growth and supporting this game,” said Pickleball USA CEO Mike Nealy.

Among the positive signs, Nealy said, is the continuing construction of new pickleball courts across the country, raising the total to more than 50,000. There’s also growing investment in the game at clubs built in former big-box retail stores, pro leagues with such backers as Tom Brady, LeBron James and Drake, and the emergence of “dink-and-drink” establishments that tap into the social aspect of the game by allowing friends to enjoy pickleball, beer, wine and food under the same roof.

“I don’t think it needs to be one or the other or a competition,” Nealy said of pickleball and tennis. “You’re certainly going to have the inherent frictions in communities when tennis people don’t feel that they’re getting what they want. … They’re different games but I think they are complimentary. There’s plenty of room for both sports to be very successful.”

Top-ranked American tennis player Taylor Fritz agreed. “There are some people in the tennis world that are just absolute pickleball haters, and that’s fine. But for me, I don’t really have an issue with pickleball. I like playing sometimes. … I don’t see any reason why both of them can’t exist.”
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CAIRO — It was another day of war in Gaza, another day of what 19-year-old Palestinian TikTok star Medo Halimy called his “Tent Life.”

As he often did in videos documenting life’s mundane absurdities in the enclave, Halimy on Monday walked to his local internet cafe — rather, a tent with Wi-Fi where displaced Palestinians can connect to the outside world — to meet his friend and collaborator Talal Murad.

They snapped a selfie — “Finally Reunited” Halimy captioned it on Instagram — and started catching up.

Then came a flash of light, 18-year-old Murad said, an explosion of white heat and sprayed earth. Murad felt pain in his neck. Halimy was bleeding from his head. A car on the coastal road in front of them was engulfed in flames, the apparent target of an Israeli airstrike. It took 10 minutes for an ambulance to arrive. Hours later doctors pronounced Halimy dead.

“He represented a message,” Murad said on Friday, still recovering from his shrapnel wounds and reeling from the Israeli airstrike that killed his friend. “He represented hope and strength.”

The Israeli military said it was not aware of the strike that killed Halimy.

Israel’s campaign in Gaza has killed more than 40,000 Palestinians — according to Gaza’s Health Ministry, which doesn’t distinguish between civilians and militants — and spawned a humanitarian disaster. It has also transformed legions of ordinary teenagers, who have nothing to do every day but survive, into war correspondents for the social media age.

“We worked together, it was a kind of resistance that I hope to continue,” said Murad, who collaborated with Halimy on “The Gazan Experience,” an Instagram account that answered questions from followers around the world trying to understand their lives in the besieged enclave, which is inaccessible to foreign journalists.

Halimy launched his own TikTok account after taking refuge with his parents, four brothers and sister in Muwasi, the southern coastal area that Israel has designated a humanitarian safe zone. They had fled Israel’s invasion of Gaza City to the southern city of Khan Younis before escaping the bombardment again for the dusty encampment.

Sparked by Hamas’ surprise attack on Israel on October 7 that killed 1,200 people and resulted in about 250 people taken hostage, the Israel-Hamas war has produced a torrent of images now numbingly familiar to viewers around the world: Bombed-out buildings, contorted bodies, chaotic hospital halls.

Turning his camera on the intimate details of his own life in Gaza, Halimy reached viewers far and wide, revealing a maddening tedium that’s largely left out of news coverage about the war.

He filmed himself going about his day: waiting restlessly in long lines for drinking water, showering with a jar and a bucket (“there’s no shampoo or soap, of course”), scavenging ingredients to make a surprisingly tasty baba ganoush, the Middle East’s smoky eggplant dip (“Mama mia!” he marvels at his creation), and becoming very, very bored (“then I went back to the tent, and did nothing”).

Hundreds of thousands of people around the world were captivated. His videos went viral — some amassing more than 2 million views on TikTok.
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KINGSTON, New York — On a residential block in upstate New York, college students dug and sifted backyard dirt as part of an archeological exploration this summer of a centuries-old cemetery for African Americans.

Now covered with green lawns in the city of Kingston, this spot in 1750 was part of a burial ground for people who were enslaved. It was located on what was then the outskirts of town. An unknown number of people who were denied church burials were interred here until the late 19th century, when the cemetery was covered over as the city grew.

The site is now being reclaimed as the Pine Street African Burial Ground, one of many forgotten or neglected cemeteries for African Americans getting fresh attention. In the last three summers, the remains of up to 27 people have been located here.

Advocates in this Hudson River city purchased a residential property covering about half the old cemetery several years ago and now use the house there as a visitor center. Money is being raised to turn the urban backyard into a respectful resting place. And while the names of people buried here may be lost, tests are planned on their remains to shed light on their lives and identify their descendants.

“The hardships of those buried here cannot just go down in vain,” said Tyrone Wilson, founder of Harambee Kingston, the nonprofit community group behind the project. “We have a responsibility to make sure that we fix that disrespect.”

While the more-than-0.2 hectares site was designated as a cemetery for people who were enslaved in 1750, it might have been in use before then. Burials continued through about 1878, more than 50 years after New York fully abolished slavery. Researchers say people were buried with their feet to the east, so when they rise on Judgment Day they would face the rising sun.

Remains found on the Harambee property are covered with patterned African cloths and kept where they are. Remains found on adjoining land are exhumed for later burial on the Harambee property.

Students from the State University of New York at New Paltz recently finished a third summer of supervised backyard excavations in this city 129 kilometers upriver from Manhattan. The students get course credit, though anthropology major Maddy Thomas said there’s an overriding sense of mission.

“I don’t like when people feel upset or forgotten,” Thomas said on a break. “And that is what’s happened here. So we’ve got to fix it.”

Harambee is trying to raise $1 million to transform the modest backyard into resting spot that reflects the African heritage of the people buried there. Plans include a tall marker in the middle of the yard.

While some graves were apparently marked, it’s still hard to say who was buried there.

“Some of them, it’s obvious, were marked with just a stone with no writing on it,” said Joseph Diamond, associate professor of anthropology at New Paltz.

The only intact headstone recovered with a name visible was for Caezar Smith, who was born enslaved and died a free man in 1839 at age 41. A researcher mined historical records and came up with two more people potentially buried there in 1803: a man identified as Sam and a 16-year-old girl named Deyon who was publicly hanged after being convicted of murdering the 6-year-old daughter of her enslavers.

The cemetery was at first covered by a lumberyard by 1880, even though some gravestones were apparently still standing by that date.

In 1990, Diamond was doing an archaeological survey for the city and noticed the cemetery was marked on a map from 1870. He and the city historian went out to find it.

Coincidentally, Pine Street building owner Andrew Kirschner had just discovered buried bone chips while digging in front of the building in search of a sewer pipe. He put the pieces in a box. Kirschner said he was still digging when Diamond told him what they were looking for.

“The conversation begins and then I go, ‘Well, let me show you what I found.’ Of course, they were amazed,” said Kirschner, who had owned the building next to the current Harambee property.

Even after the discovery, Diamond said it was difficult to convince people there were graves on Pine Street. There were even plans in 1996 to build a parking lot over much of the site. Advocates purchased the property in 2019.

Similar stories of disregard and rediscovery have played out elsewhere.

In Manhattan, the African Burial Ground National Monument marks the site where an estimated 15,000 free and enslaved Africans were buried until the 1790s. It was discovered in 1991 during excavations for a federal building. Farther up the Hudson River, the renovation in Newburgh of a century-old school into a courthouse in 2008 led to the discovery of more than 100 sets of remains.

Antoinette Jackson, founder of The Black Cemetery Network, said many of the 169 sites listed in their online archive had been erased.

“A good deal of them represent sites that have been built over — by parking lots, schools, stadiums, highways. Others have been under-resourced,” said Jackson, a professor of anthropology at the University of Southern Florida.

She added that the cemeteries listed on the archive are just the “tip of the iceberg.”

Given the meager historical record in Kingston, advocates hope tests on the remains will help fill in some gaps. Isotopic analyses could provide information on whether individuals grew up elsewhere — like South Carolina or Africa — and then moved to the region. DNA analyses could provide information on where in Africa their ancestors came from. The DNA tests also might be able to link them to living descendants.

Wilson said local families have committed to providing DNA samples. He sees the tests as another way to connect people to heritage.

“One of the biggest issues that we have in African culture is that we don’t know our history,” he said. “We don’t have a lot of information of who we are.”
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WASHINGTON — Movie ticket sales in China have generated more than $1.5 billion so far this summer, a little more than half of last year’s record total of $2.89 billion, according to China’s Film Data Information Network, an institution directly under the Central Propaganda Department. 

Summer is usually one of three lucrative periods for China’s movie industry, but industry analysts, observers and customers say a slower economy and a lack of creative domestic films are to blame for the decline.

Some would-be moviegoers explained why they are staying home this summer.

One posted on social media: “The impact from last year’s economic downturn officially appeared this year. Everyone thinks 40-80 yuan ($5-$11) per ticket is expensive.” 

“Many movies in theaters in July are on streaming services in August,” another posted. “We’d rather watch them at home than go to the theater.”

A moviegoer in Beijing who identified herself as Ms. Yu, told VOA that this year’s film market is sluggish because the themes are plain, and streaming services allow everyone to watch movies at home without spending money.

“Everyone’s life is already miserable,” she said, “so we don’t want to watch sad movies.”

Although the streaming services have become theaters’ biggest competitors, the economic downturn may be the main reason for the ticket sales plunge, said Shenzhen-based film director Zhang, who did not want to be named due to the sensitivity of the issue.

 

“The spending power of young people and parents has decreased,” Zhang told VOA. “One [reason] is that young people don’t date, and parents whose income has been reduced are under great pressure to raise children, so they naturally cut the consumption activities except eating and drinking, not just movies.”

China’s economy has been struggling to stabilize since the pandemic, according to the World Bank, with growth falling to 3% in 2022 before a moderate recovery to 5.2% in 2023. The global lender expects China’s growth rate to drop back below 5% this year, while youth unemployment has surged.

China’s National Bureau of Statistics removed students from its unemployment calculation after China hit a record high 21.3% youth unemployment rate in June 2023, prompting authorities to temporarily suspend publication of the statistic. 

Darson Chiu, director-general of the Confederation of Asia-Pacific Chambers of Commerce and Industry in Taiwan, told VOA that China’s controls on film and creativity have also contributed to the lackluster box office figures.

“China has a very strict censorship system,” Chiu said. “Cultural activities need creativity, and it must be bottom-up. But it is obviously a top-down [censorship] mechanism, so it [the Chinese film industry] is not as creative as it is in other more open and free economies.”

Lee Cheng-liang, an assistant professor of communications at National Chengchi University in Taipei, Taiwan, said Chinese cinemas in the summer mainly show domestic movies, which are struggling to find investors.

“The economy is declining; investors are more cautious to minimize risks. So they diversify the movie themes they invest in,” Lee told VOA. “If you focus on the Chinese market, you will not necessarily make money unless you are at the top of the pyramid.”

Director Zhang said the Chinese summer comedies “Successor,” which critiques the Chinese social education system, and “Upstream,” which portrays package deliverers, are movies that do not “empathize with the general public.” 

Commercial movies are often condescending, he said, with hypocritically fabricated plots to show the suffering of people at the bottom. “It is actually a very deformed route,” Zhang added.

Other film critics, however, find “Upstream” a great work with increasing favorable audience feedback, which uncovers China’s immense economic problems and the struggle of its army of gig workers.

China’s state Xinhua News agency said “Successor,” grossing nearly 3.2 billion yuan as of Aug 20, accounted for almost 30% of China’s summer box office sales.

Zhang said the more depressed the social and historical period is, the more popular comedy is because the audience wants to feel “dreamy and painless.”

Despite the poor summer box office showing, not all critics are negative about China’s film industry.  

“The ticket sales are not good this summer, but it does not mean that their [China’s] movies are bad,” Michael Mai, a film critic based in Taipei, told VOA. “Their audience is hard to please. Why? Because their appetite is too big. They have all kinds of movies.”

Mai noted that there are three major periods in the Chinese movie market: the Lunar New Year, in January and February; the summer season, from June to August; and the weeklong National Day season from Oct. 1.  

Movie ticket sales always have seasonal ups and downs, Mai said, so people should be focusing more on long-term trends.      

Adrianna Zhang contributed to this report.
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Paris — The Opening Ceremony of the Paris Paralympics got underway Wednesday in the center of the French capital, firing the starting gun on 11 days of intense competition.

Just as for the Opening Ceremony of the Olympics on the River Seine in July, it took place away from the main stadium for the first time at a Paralympics.

In balmy weather — in contrast to the heavy rain that blighted the opening of the Olympics on July 26 — the Games opened in Place de la Concorde, in the presence of French President Emmanuel Macron.

The ceremony culminates with the lighting of the cauldron, which has already become a highly popular point of interest in the city since its debut at the Olympics.

When the sporting action begins on Thursday, a new generation of Paralympians will join seasoned veterans competing in many of the same venues that hosted Olympic sports.

Eighteen of the 35 Olympic venues will be used for the Paralympics, which run until September 8, including the Grand Palais, which scored rave reviews for its hosting of fencing and taekwondo under an ornate roof.

The La Defense Arena will again host the swimming events, and track and field will take place on the purple track of the Stade de France.

Sluggish ticket sales have picked up since the Olympics, and more than 2 million of the 2.5 million available have been sold, with several venues sold out.

The Paralympic flame was lit at Stoke Mandeville hospital in England, the birthplace of the Games, and brought to France through the Channel Tunnel before touring French cities.

Theater director Thomas Jolly, who also oversaw the Olympics Opening Ceremony, said there was a deep symbolism in having the Paralympics ceremony in the center of Paris — a city whose Metro system is not adapted to the needs of wheelchair users.

“Putting Paralympic athletes in the heart of the city is already a political marker in the sense that the city is not sufficiently adapted to every handicapped person,” Jolly said earlier this week.

Organizers say wheelchair users can take Paris buses, and they have laid on 1,000 specially adapted taxis as well.

Paralympic powerhouse China will send a strong squad — the Chinese dominated the medals table at the Covid-delayed Games in Tokyo three years ago, winning 96 golds. Britain was second with 41 golds.

Riding the wave of its Olympic team’s success, host nation France will be aiming for a substantial upgrade on the 11 golds it won in 2021, which left it in 14th position. French Sports Minister Amelie Oudea-Castera said she wants France to finish in the top eight of the medals table.

Ukraine, traditionally one of the top medal-winning nations at the Paralympics, have sent a team of 140 athletes spread over 17 sports despite the challenges they face in preparing as the war against Russian forces rages at home.

Russia and Belarus are sending a total of 96 athletes, who will compete under a neutral banner but are barred from the opening and closing ceremonies because of the invasion of Ukraine.

Every Games produces new stars, and in this edition, look to American above-the-knee amputee sprinter/high jumper Ezra Frech to make the headlines.

Away from the track, Iranian sitting volleyball legend Morteza Mehrzad, who stands 8 feet, 1 inch tall, will attempt to take gold again.

International Paralympic Committee President Andrew Parsons told AFP earlier this year he hopes the Paris edition will restore the issues facing disabled people to the top of the list of global priorities.

Parsons believes the Games “will have a big impact in how people with disability are perceived around the world.”

“This is one of the key expectations we have around Paris 2024; we believe that we need people with disability to be put back on the global agenda,” the Brazilian said.

“We do believe people with disability have been left behind. There is very little debate about persons with disability.”
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Before Russia invaded in February 2022, American football was becoming popular in Ukraine. Today, most of the players are on the front lines. A gentler version of the game — flag football — is gaining ground in the meantime among kids and youth. Tetiana Kukurika has the story, narrated by Anna Rice. VOA footage by Sergiy Rybchynski
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rome — Stars from Angelina Jolie to George Clooney will gather this week at the Venice Film Festival, bringing a high dose of Hollywood pizzazz back to the watery city’s sandy Lido. 

With 21 films vying for the top Golden Lion prize, the 81st edition of the prestigious festival kicks off Wednesday, with Lady Gaga, Daniel Craig and Brad Pitt expected on the red carpet during the 10-day affair. 

The dazzle is welcome after the Hollywood strikes last year kept most studio films and their A-lister stars away from the world’s longest-running festival, known as “La Mostra.” 

In the spotlight, but out of competition, is “Beetlejuice Beetlejuice,” the long-anticipated sequel to Tim Burton’s 1988 cult classic that opens the festival Wednesday, with Michael Keaton, Catherine O’Hara and Winona Ryder reprising their original roles.  

High-profile contenders in the main competition include Todd Phillips’ “Joker: Folie a Deux,” the sequel to the U.S. director’s 2019 Venice-winning film that sees Joaquin Phoenix paired with Lady Gaga; and “Queer” from Italy’s Luca Guadagnino, starring Craig and based on the William Burroughs novel set in 1940s Mexico City. 

Jolie headlines “Maria,” a Maria Callas biopic from Chile’s Pablo Larrain, who returns to Venice following his Diana drama “Spencer” in 2021, while Nicole Kidman and Antonio Banderas star in the erotic thriller “Babygirl” from Dutch director Halina Reijn. 

To keep the drama on the screen — and avoid it behind the scenes — “Maria” will premiere on the festival’s first full day Thursday, while “Wolfs” starring Jolie’s ex, Brad Pitt, will screen out of competition Sunday. 

Joining Pitt in the Apple TV+ film from “Spider-Man” director Jon Watts is Clooney, with the actors playing rival professional fixers in the action comedy. 

The main competition also includes the first full-length film in English for a Venice regular, Spain’s Pedro Almodovar — “The Room Next Door” with Tilda Swinton and Julianne Moore — while “The Order” from Australian director Justin Kurzel sees Jude Law playing an FBI agent investigating a terror ring in the Pacific Northwest. 

 

Weaver, Costner and Kline  

Wednesday’s opening night will feature the introduction of the international jury led by its president, French actress Isabelle Huppert, and the awarding of an honorary Golden Lion for lifetime achievement to “Alien” star Sigourney Weaver. 

Also having its out-of-competition debut is the second chapter of Kevin Costner’s “Horizon: An American Saga.” The first part of the actor-director’s Western epic premiered at Cannes in May.  

Running until September 7, the international festival has increasingly become known for showcasing films that go on to Oscar glory for its directors and cast members, including former Golden Lion winners “Poor Things,” “Nomadland” and “Joker.”  

Unlike at the rival Cannes Film Festival, Venice accepts films produced by streaming services in competition, especially Netflix, which has found great success launching titles such as “Maestro” and “Roma” at the Italian festival.  

Besides “Wolfs,” Apple TV+ also produced “Disclaimer,” a thriller series starring Cate Blanchett, Kevin Kline and Sacha Baron Cohen, which is also having its premiere in Venice. 
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Los Angeles — In a sleepy summer weekend at the box office, holdovers reigned supreme as newcomers landed without a splash.

“Deadpool & Wolverine” reclaimed first place at the North American box office in its fifth weekend with $18.3 million. Its cumulative international earnings now sit at over $1.2 billion.

The Walt Disney Co., which owns 20th Century Studios, claimed the top two spots on the charts for the second weekend in a row with “Alien: Romulus” following close behind the foul-mouthed superhero movie. The latest installment in the 45-year-old franchise brought in $16.2 million in its second weekend after a promising opening. Disney’s “Inside Out 2” also remained on the charts, raking in $2.1 million domestically in its 11th weekend. Its global earnings are now over $1.6 billion.

“This is an incredible turnaround for Disney, who almost fell off the radar, shockingly enough, last year and over the course of the pandemic,” said Paul Dergarabedian, the senior media analyst for Comscore. “They got a couple of billion-dollar films out so far and ‘Moana 2’ is still up on the way. This is a huge comeback year for Disney – no question about it.”

Romantic drama “It Ends With Us,” another repeat chart-topper, landed in third place for the second consecutive weekend with $11.9 million. The Sony movie starring Blake Lively and Justin Baldoni, who also directed, has made $242.6 million to date globally. It cost only $25 million to produce.

The new releases were victim to the crowded movie marketplace, resulting in what Dergarabedian called “box office deja vu,” with the familiar films dominating and making it harder for the new releases to find their footing. Dergarabedian says the upcoming Labor Day holiday will likely benefit the newer titles as word-of-mouth spreads and more people head to theaters during the long weekend.

“Blink Twice,” directed by Zoe Kravitz and starring her life partner Channing Tatum, saw a modest opening, taking in $7.3 million and claiming fourth place on the charts. The Amazon MGM Studios psychological thriller follows Tatum as tech magnate Slater King, who whisks two women away to his private island.

While it may seem like a picture-perfect vacation at first, much more sinister events unfold as the visitors learn the truth about the island and the billionaire. The film’s budget has been reported at $20 million.

Reviews have been mixed, with audiences giving the film a B- CinemaScore, but the film has been deemed Certified Fresh on Rotten Tomatoes with a 79% score.

Rounding out the top five was “The Forge,” a faith-focused coming-of-age movie about a young man finding his way through Christianity. The film opened with $6.6 million and received an A+ CinemaScore from audiences. It was released by Affirm Films, Sony’s faith-based banner.

Another new release, “The Crow,” was beat out by “Twisters” and “Coraline” in the rankings. “Twisters” entered its sixth week with $6.2 million in domestic earnings and “Coraline,” which was re-released for its 15th anniversary last week, brought in an additional $5.1 million in its second weekend.

Lionsgate’s “The Crow,” an R-rated adaptation of the acclaimed graphic novel and a remake of the 1994 film of the same name, opened with $4.6 million. The studio also floundered in August with the release of “Borderlands,” an adaptation of the video game, which made $15.2 million over three weekends compared to its reported $120 million budget.

To complete the “tale of the holdovers,” as Dergarabedian put it, “Despicable Me 4” and “Inside Out 2” closed out the top 10 films of the weekend, bringing in $4.4 million and $2.1 million, respectively. “Inside Out 2” has been on the charts for 11 consecutive weekends and remains the No. 1 animated film of all time globally.

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

1. “Deadpool & Wolverine,” $18.3 million.

2. “Alien: Romulus,” $16.2 million.

3. “It Ends With Us,” $11.9 million.

4. “Blink Twice,” $7.3 million.

5. “The Forge,” $6.6 million.

6. “Twisters,” $6.2 million.

7. “Coraline,” $5.1 million.

8. “The Crow,” $4.6 million.

9. “Despicable Me 4,” $4.4 million.

10. “Inside Out 2,” $2.1 million.
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Dubai, United Arab Emirates — U.S. rapper Macklemore has announced he is cancelling an upcoming show in Dubai over the UAE’s involvement in the conflict in Sudan, charges the Gulf state has denied.

The rapper best known for hits like 2012’s “Thrift Shop” made the announcement in a post on social media on Saturday.

“I have decided to cancel my upcoming show in Dubai this October,” he said.

“Over the last several months I’ve had a number of people reach out to me, sharing resources and asking me to cancel the show in solidarity with the people of Sudan,” he said.

“Until the UAE stops arming and funding the RSF I will not perform there,” Macklemore added, referring to the paramilitary Rapid Support Forces that have been battling the Sundanese army.

War has raged since April 2023 between the Sudanese army, under the country’s de facto ruler Abdel Fattah al-Burhan, and the RSF, which is commanded by Burhan’s former deputy Mohamed Hamdan Daglo.

For months, the army has accused the UAE of supporting the RSF.

In June, Sudan’s ambassador to the United Nations Al-Harith Idriss al-Harith Mohamed called Abu Dhabi’s financial and military support for the RSF the “main reason behind this protracted war.”

The UAE has denied allegations of RSF support as “disinformation,” saying that it’s efforts are focused exclusively towards de-escalation and alleviating Sudan’s humanitarian suffering.

Macklemore has released socially aware music in the past, supporting LGBTQ+ rights while also criticizing ills including poverty and consumerism.

In his latest track released in May, Macklemore voices support for Palestinians and also praises students across the United States protesting against Israel’s war in Gaza.

The song, “Hind’s Hall,” is named after a building at Columbia University that students recently occupied and renamed after Hind Rajab, a six-year-old Palestinian girl killed in Gaza. 
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Herat, Afghanistan — Seated in front of a searing furnace, Ghulam Sakhi Saifi teases forth sinews of molten blue glass — the guardian of an Afghan glassblowing trade refusing to break with tradition.

“This is our art, our inheritance. It has fed us for a long time,” he told AFP, resting from the work that has singed his knuckles and calloused his palms.

“We are trying to make sure it is not forgotten. If we do not pass it down, it will disappear from the whole world,” said Saifi, who guesses his age is around 50.

Glassblowing in Afghanistan’s western city of Herat is an ancient craft. Saifi says it has run in his family for about three centuries.

The last two furnaces in the windswept metropolis near the border with Iran are in his family home and a mud-and-straw shed with a holey roof in the shadow of Herat’s citadel.

‘Slow suffocation’

Saifi now lights one of the furnaces only once a month — eking out around $30 from his stock of cups, plates and candleholders after expensive wood for fuel, dyes and other raw materials are accounted for.

He attributes the dramatic downturn to the exodus of already low numbers of foreign customers during the COVID-19 pandemic followed by the 2021 Taliban takeover, which saw many diplomats and aid workers pack up and leave.

Cheaper Chinese-made imports have also dented demand.

“There have been times when we haven’t worked for three months — we sit at home forever,” he said.

“Locals have no use for these products, for the price they would first think to buy two loaves of bread for their children.”

But when the furnace is lit, Saifi is in his element.

With a crude kitchen knife and a blowpipe he pulls glowing globs of glass out of the mud furnace and inflates them into household wares.

Unlike in the past, when they used quartz, the glassblowers now use easier-to-find recycled bottles shattered into shards and superheated back into their liquid state.

The green and blue pieces cool into charmingly imperfect shapes, shot through with air bubbles, and are sold from clattering piles in shops in Herat and the capital Kabul for around $3 each.

Outside the shed it is already 36 degrees Celsius but stepping over the threshold is like being gripped by a sudden fever.

“Sometimes we really feel the heat, I think I am being slowly suffocated,” Saifi said. “But this is our inheritance, we are used to it.

“Today is a bad day, but maybe it will get better in the future. Maybe the day after tomorrow, we hope to God.”

‘Craft needs to endure’

A gaggle of boys and teenagers assists Saifi in his work, but it is growing hard to tempt the younger generation into a trade they view as a dead end.

His eldest son became an expert in the craft only to abandon it for migrant labor over the border in Iran.

Two cousins who learned to blow glass also saw no future and downed their tools.

His middle son, 18-year-old Naqibullah, vows he will continue the trade, though it’s not clear how.

Before the Taliban takeover there was still enough demand for three days of work a week — a distant prospect for the young man who shares shifts with his father on the rare occasion they light the furnaces.

“We hope that there is a future and that day by day things will get better,” Naqibullah said.

“Even if we’re not making much money the craft needs to endure,” he added. “The art of making things by hand needs to be preserved. We can’t let this skill disappear.”
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NEW YORK — It started a couple of years ago when Juliana Pache was doing a crossword puzzle and got stuck.

She was unfamiliar with the reference that the clue made. It made her think about what a crossword puzzle would look like if the clues and answers included more of some subjects that she was familiar with, thanks to her own identity and interests — Black history and Black popular culture.

When she couldn’t find such a thing, Pache decided to do it herself. In January 2023, she created blackcrossword.com, a site that offers a free mini-crossword puzzle every day. And Tuesday marked the release of her first book, Black Crossword: 100 Mini Puzzles Celebrating the African Diaspora.

It’s a good moment for it, nearly 111 years after the first crossword appeared in a New York newspaper. Recent years have seen an increasing amount of conversation around representation in crossword puzzles, from who’s constructing them to what words can be used for answers and how the clues are framed. There’s been a push to expand the idea of the kinds of “common knowledge” players would have to fill them out.

“I had never made a crossword puzzle before,” Pache, 32, said with a laugh. “But I was like, ‘I can figure it out.’”

And she did.

Made ‘with Black people in mind’

Each puzzle on Pache’s site includes at least a few clues and answers connecting to Black culture. The tagline on the site: “If you know, you know.”

The book is brimming with the kinds of puzzles that she estimates about 2,200 people play daily on her site — squares made up of five lines, each with five spaces. She aims for at least three of the clues to be references to aspects of Black cultures from around the world.

Pache, a native of the New York City borough of Queens with family ties to Cuba and the Dominican Republic, had a couple of goals in mind when she started. Primarily, she wanted to create something that Black people would enjoy.

“I’m making it with Black people in mind,” she said. “And then if anyone else enjoys it, they learn things from it, that’s a bonus but it’s not my focus.”

She’s also trying to show the diversity in Black communities and cultures with the clues and words she uses, and to encourage people from different parts of the African diaspora to learn about each other.

“I also want to make it challenging, not just for people who might be interested in Black culture, but people within Black culture who might be interested in other regions,” she said. “Part of my mission with this is to highlight Black people from all over, Black culture from all over. And I think … that keeps us learning about each other.”

What, really, is ‘general knowledge’?

While on the surface if might just seem like a game, the knowledge base required for crosswords does say something about what kind of knowledge is considered “general” and “universal” and what isn’t, said Michelle Pera-McGhee, a data journalist at The Pudding, a site that focuses on data-driven stories.

In 2020, Pera-McGhee undertook a data project analyzing crossword puzzles through the decades from a handful of the most well-known media outlets. The project assessed clues and answers that used the names of real people to determine a breakdown along gender and race categories.

Unsurprisingly, the data indicated that for the most part, men were disproportionately more likely than women to be featured, as well as white people compared to racial and ethnic minorities.

It’s “interesting because it’s supposed to be easy,” Pera-McGhee said. “You want … ideally to reference things that people, everybody knows about because everyone learns about them in school or whatever. … What are the things that we decide we all should know?”

There are efforts to make crosswords more accessible and representative, including the recently started fellowship for puzzle constructors from underrepresented groups at The New York Times, among the most high-profile crossword puzzles around. Puzzle creators have made puzzles aimed at LGBTQ+ communities, at women, using a wider array of references as Pache is doing.

Bottom line, “it is really cool to see our culture reflected in this medium,” Pache said.

And, Pera-McGhee said, it can be cool to learn new things.

“It’s kind of enriching to have things in the puzzle that you don’t know about,” she said. “It’s not that the experience of not knowing is bad. It’s just that it should maybe be spread out along with the experience of knowing. Both are kind of good in the crossword-solving experience.”
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