BANGKOK — In case you can’t get enough of the little pygmy hippo Moo Deng from Thailand, there’s now an official song featuring the internet’s favorite baby animal — released in four languages for her global fans.

The upbeat 50-second song Moodeng Moodeng, available in Thai, English, Chinese and Japanese versions, features simple lyrics like “Moo Deng Moo Deng, boing boing boing/ Mommy Mommy, play with me.” Its music video consists of short clips of the baby hippo bouncing, playing with her keeper or hanging out with her mom, Jona.

The catchy number was produced and written by well-known Thai composer Mueanphet Ammara, and released by one of Thailand’s largest music companies, GMM Music.

Moo Deng — the name literally means “bouncy pork,” a type of meatball, in Thai — became a global phenomenon just a month after she was unveiled on Facebook by the Khao Kheow Open Zoo in Thailand’s southern Chon Buri province.

Fans say her name compliments her chaotic personality. Moo Deng likes to “deng,” or bounce, and her giddy bouncing has appeared all over social media in countless memes. Her image has been used by sports teams and businesses.

The hippo, now 4 months old, has drawn a huge number of visitors to the zoo, which is around a two-hour drive away from the capital of Bangkok. The zoo estimated it has received 3,000 to 5,000 visitors a day on average in the past few months, and it’s selling clothes, bedding and other merchandise based on Moo Deng.

Zoo director Narongwit Chodchoi has said the increasing income from Moo Deng will help its breeding programs for many endangered species like the pygmy hippopotamus, which is threatened by poaching and loss of habitat. The species is native to West Africa and there are only 2,000-3,000 of them left in the wild.

The zoo sits on 800 hectares of land and is home to more than 2,000 animals.

All four versions of the Moo Deng song are available on YouTube and streaming platforms including Spotify and Apple Music.
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Bela Karolyi, the charismatic if polarizing gymnastics coach who turned young women into champions and the United States into an international power in the sport, has died. He was 82.

USA Gymnastics said Karolyi died Friday. No cause of death was given.

Karolyi and wife, Martha, trained multiple Olympic gold medalists and world champions in the U.S. and Romania, including Nadia Comaneci and Mary Lou Retton.

“A big impact and influence on my life,” Comaneci, who was just 14 when Karolyi coached her to gold for Romania at the 1976 Montreal Olympics, posted on Instagram.

Yet Karolyi’s strident methods sometimes came under fire, most pointedly during the height of the Larry Nassar scandal.

When the disgraced former USA Gymnastics team doctor was effectively given a life sentence after pleading guilty to sexually assaulting gymnasts and other athletes with his hands under the guise of medical treatment, over a dozen former gymnasts came forward saying the Karolyis were part of a system that created an oppressive culture that allowed Nassar’s behavior to run unchecked for years.

While the Karolyis denied responsibility — telling CNN in 2018 they were unaware of Nassar’s behavior — the revelations led to them receding from the spotlight. USA Gymnastics eventually exited an agreement to continue to train at the Karolyi Ranch north of Houston, though only after American star Simone Biles took the organization to task for having them train at a site where many experienced sexual abuse.

The Karolyis receded from the spotlight in the aftermath after spending 30-plus years as a guiding force in American gymnastics, often basking in success while brushing with controversy in equal measure.

The Karolyis defected from Romania to the United States in 1981. Three years later Bela helped guide Retton — all of 16 — to the Olympic all-around title at the 1984 Games in Los Angeles. At the 1996 Games in Atlanta, he memorably helped an injured Kerri Strug off the floor after Strug’s vault secured the team gold for the Americans.

Karolyi briefly became the national team coordinator for USA Gymnastics women’s elite program in 1999 and incorporated a semi-centralized system that eventually turned the Americans into the sport’s gold standard. It did not come without a cost. He was removed from the position after the 2000 Olympics when it became apparent his leadership style simply would not work, though he remained around the sport after Martha took over for her husband in 2001.

While the Karolyis approach helped the U.S. become a superpower — an American woman has won each of the last six Olympic titles and the U.S. women earned the team gold at the 2012 and 2016 games under Martha Karolyi’s leadership — their methods came under fire.

Dominique Moceanu, part of the “Magnificent 7” team that won gold in Atlanta, talked extensively about her corrosive relationship with the Karolyis following her retirement. In her 2012 memoir, Moceanu wrote Bela Karolyi verbally abused her in front of her teammates on multiple occasions.

“His harsh words and critical demeanor often weighed heavily on me,” Moceanu posted on X Saturday. “While our relationship was fraught with difficulty, some of these moments of hardship helped me forge and define my own path.”

Some of Karolyi’s most famous students were always among his staunchest defenders. When Strug got married, she and Karolyi took a photo recreating their famous scene from the 1996 Olympics, when he carried her onto the medals podium after she vaulted on a badly sprained ankle.

Being a gymnastics pied piper was never Karolyi’s intent. Born in Clug, Hungary, (now Romania) on September 13, 1942, he wanted to be a teacher, getting into coaching in college simply so he could spend more time with Martha.

After graduating, the couple moved to a small coal-mining town in Transylvania. Looking for a way to keep their students warm and entertained during the long, harsh winters, Karolyi dragged out some old mats and he and his wife taught the children gymnastics.

The students showed off their skills to their parents, and the exhibitions soon caught the eye of the Romanian government, which hired the Karolyis to coach the women’s national team at a time when the sport was done almost exclusively by adult women, not young girls.

Karolyi changed all that, though, bringing a team to the Montreal Olympics with only one gymnast older than 14.

It was in Montreal, of course, where the world got its first real glimpse of Karolyi. When a solemn, dark-haired sprite named Nadia Comaneci enchanted the world with the first perfect 10 in Olympic history, a feat she would duplicate six times, Karolyi was there to wrap her in one of his trademark bear hugs.

Romania, which had won only three bronzes in Olympic gymnastics before 1976, left Montreal with seven medals, including Comaneci’s golds in the all-around, balance beam and uneven bars, and the team silver. Comaneci became an international sensation, the first person to appear on the covers of Sports Illustrated, Time and Newsweek in the same week.

Four years later, however, Karolyi was in disgrace.

He was incensed by the judging at the Moscow Olympics, which he thought cost Comaneci a second all-around gold, and the Romanian government was horrified that he had embarrassed the Soviet hosts.

“Suddenly, from a position where we’ve been praised and considered the foremost athletes in the country, I was stigmatized,” he once said. “I thought they could put me away for political misconduct.”

When he and Martha took the Romanian team to New York for an exhibition in March 1981, they were tipped off that they were going to be punished upon their return. Despite not speaking any English and with their then-6-year-old daughter, Andrea, still in Romania, they decided to defect.

“We knew what kind of risks we were taking, because nobody was guaranteeing us anything,” Martha Karolyi once said. “We started out with a suitcase and a little motel room. From there, it’s gradually improved.”

The couple made their way to California, where they learned English by watching television and Bela did odd jobs. A chance encounter with Olympic gold medalist Bart Conner — who would later marry Comaneci — at the Los Angeles airport a few months later led to the Karolyis’ first coaching job in the United States.

Within a year, their daughter had arrived in the U.S. and the Karolyis had their own gym in Houston. It soon became the center of American gymnastics, turning out eight national champions in 13 years.

Three years after the Karolyis left Romania, Retton became the first American to win the Olympic all-around title, scoring a perfect 10 on vault to claim gold at the 1984 Games in Los Angeles. Retton also posted the highest score in the team competition as the Americans won the silver, their first team medal since 1948.

Four years later, Phoebe Mills, another Karolyi gymnast, won a bronze on balance beam. It was the first individual medal for an American woman at a non-boycotted games. And in 1991, Kim Zmeskal — “the little Kimbo,” as Bela Karolyi called her — became the first American to win the world all-around title.

“My biggest contribution was giving the kids the faith that they can be the best among the best,” Karolyi once said. “I knew that if the Americans could understand they were not inferior … then they can be groomed like international, highly visible athletes.”

But as Karolyi’s resume grew, so did the criticism.

Other coaches were irritated by his brash personality and ability to always find his way into the spotlight. When Retton won gold, Karolyi leaped a barrier — he had an equipment manager’s credential, not a coach’s — so he could scoop Retton up in a hug — right in front of the TV cameras, of course.

He could be a harsh taskmaster, calling his gymnasts names, taunting them for their weight and pushing them to their limits.

Even those warm embraces weren’t always quite what they seemed.

“A lot of those big bear hugs came with the whisper of ‘Not so good,’ in our ears,” Retton wrote.

Yet Retton and Comaneci remained close with Karolyi, making appearances with him at gymnastics events or sitting with him at competitions. Zmeskal had her wedding at the Karolyi ranch.

Karolyi briefly retired after the 1992 Games in Barcelona, where he led the Americans to their first team medal, a bronze, at a non-boycotted Olympics in 44 years. But he kept his gym and summer camps, and by 1994 was again coaching elite-level gymnasts after Zmeskal asked him to help in her attempt to make the Atlanta Games.

Zmeskal didn’t make the Atlanta squad. But two of Karolyi’s other gymnasts, Strug and Moceanu, did, and it was Strug who provided one of the signature moments of the Olympics.

The Americans went into their final event in team finals, vault, trying to hold off Russia for their first-ever title at an Olympics or world championships. Despite injuring her left ankle when she fell on her first vault attempt, Strug went ahead with her second attempt, believing — wrongly — the Americans needed her score to clinch the gold.

With Karolyi shouting, “You can do it!” Strug sprinted down the runway, soared high above the vault and landed on both feet — ensuring it was a clean vault — before pulling her left leg up. After saluting the judges, she fell to her knees and had to be carried off the podium. Tests would later show she had two torn ligaments in her ankle.

As the rest of the Americans gathered on the podium to receive their gold medals, Karolyi carried Strug back into the arena, cradling her in his arms.

But even that drew criticism. Many said Karolyi never should have encouraged Strug to vault on her injured ankle in the first place and then should have stayed out of the spotlight rather than carrying her to the podium.

“Bela is a very tough coach and he gets criticism for that,” Strug said at the time. “But that’s what it takes to become a champion. I don’t think it’s really right that everyone tries to find the faults of Bela. Anything in life, to be successful, you’ve got to work really hard.”

The Karolyis retired again after the Atlanta Olympics. But after the U.S. women finished last in the medal round at the 1997 world championships, USA Gymnastics asked Bela Karolyi to come back.

He agreed — but only if he could implement a semi-centralized training system. Rather than a patchwork system of individual coaches who had their own philosophies, Karolyi would oversee the entire U.S. program. Gymnasts could still train with their own coaches, but there would be regular national team camps to ensure they were meeting established training and performance standards.

Though the idea was sound, Karolyi was not the right person to be in charge. Coaches who had been his equal chafed at his heavy-handedness, and were annoyed by his grandstanding. Gymnasts resented his bluster and demands.

By the time the Americans left the Sydney Olympics, about the only thing everyone agreed on was that Karolyi needed to step away.

He stepped aside and was replaced by his wife. Martha Karolyi’s standards were just as high — if not higher — than her husband’s, but on the surface, she was more willing to listen to other opinions.

“She’s more diplomatic. Absolutely,” Bela Karolyi said before the 2012 Olympics. “I’m wild. The opposite.” 
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ARLINGTON, TEXAS — Jake Paul beat boxing legend Mike Tyson by unanimous decision to win an intergenerational heavyweight battle in Texas on Friday that failed to live up to its enormous hype.

The bout between the 27-year-old social media influencer-turned-prizefighter Paul and the 58-year-old former heavyweight champion Tyson was streamed live on Netflix and played out in front of a sold-out crowd at AT&T Stadium in Arlington.

Those fans were left largely disappointed as Tyson showed his age and was never able to generate any offense against his younger opponent, landing just 18 punches to Paul’s 78.

“First and foremost, Mike Tyson — it’s an honor to be able to fight him,” said Paul. “It was as tough and hard as I thought it would be.”

Tyson, who wore a knee brace, never mounted much of a challenge after being wobbled by some left hands in the third round but did enough defensively to avoid taking any serious damage.

He acknowledged after the contest to fighting through a leg injury.

“Yeah, but I can’t use that as an excuse. If I did, I wouldn’t be in here,” Tyson said. “I knew he was a good fighter. He was prepared, I came to fight. I didn’t prove nothing to anybody, only to myself. I’m not one of those guys that live to please the world. I’m just happy with what I can do.”

Tyson, one of the most fearsome heavyweight champions during his heyday in the late 1980s and early 1990s, was in his first professional fight in nearly 20 years. He was noncommittal when asked if he would return to the ring again.

“I don’t know. It depends on the situation,” he said.

Paul (11-1) said he can now fight anyone he wants, possibly even Mexican Canelo Alvarez, after being the main attraction in the mega event that brought out a star-studded crowd and 72,300 fight fans.

“This is the biggest event, over 120 million people on Netflix,” he said. “We crashed the site, the biggest U.S. boxing gate, $20 million, in U.S. history, and everyone is next on the list.”

Taylor beats Serrano

In the co-main event earlier in the evening, Ireland’s Katie Taylor retained her super lightweight title by beating Puerto Rico’s Amanda Serrano in a controversial unanimous decision after a violent affair.

Serrano came forward throughout the fight, but their heads crashed together hard in the early stages, resulting in a deep cut over Serrano’s right eye. The referee later took a point off Taylor for head butts.

In the end all three judges scored it 95-94 for Taylor, who denied accusations from Serrano’s corner that she was fighting dirty.

Taylor won the pair’s previous meeting, at New York’s Madison Square Garden in April 2022, and said there would be a third meeting.
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OME, Japan — Deep in a dark warehouse the sake sleeps, stored in rows of giant tanks, each holding more than 10,000 liters of the Japanese rice wine that is the product of brewing techniques dating back more than 1,000 years.

Junichiro Ozawa, the 18th-generation head of Ozawa Brewery, founded in 1702, hopes sake-brewing will win recognition as a UNESCO Intangible Cultural Heritage, when the decision is made next month.

“We always think about the people who’re enjoying our sake when we make it. I’m now so excited, imagining the faces of all the people around the world,” he told reporters Wednesday during a tour of his brewery on the pastoral outskirts of Tokyo.

Sake, the drink of choice for the nobility in “The Tale of Genji” — Japan’s most celebrated work of literature — has been widening its appeal, boosted by the growing international popularity of Japanese cuisine.

Sake exports from Japan total more than 41 billion yen ($265 million) a year, with the biggest destinations being the U.S. and China, according to the Japan Sake and Shochu Makers Association.

That’s up from about 22 billion yen in 2018. But exports still make up a tiny fraction of overall sake production in Japan. Brazil, Mexico and Southeast Asia, as well as France and the rest of Europe, all places where Japanese restaurants are gaining popularity, are starting to take a liking to sake.

What’s key to sake-making, which takes about two months, including fermentation and pressing, are the rice and the water.

For a product to be categorized Japanese sake, the rice must be Japanese. The relatively soft quality of freshwater in Japan, like the supplies provided by the two wells at Ozawa Brewery, is also critical.

Among Ozawa’s sake is the full-bodied aromatic Junmai Daiginjo, one of the top offerings, with 15% alcohol content and costing about 3,630 yen ($23) for a 720-milliliter bottle.

Karakuti Nigorizake is unrefined sake, murky and not clear like usual sake, with 17% alcohol content and a rugged no-nonsense taste. It sells for 2,420 yen ($16) for a 1,800 milliliter bottle.

The religious connotations of sake are evident at the brewery. The big cedar-leaves ball hanging under the eaves is a symbol of a shrine for the god of sake-making. In Japan, sake is used to purify and to celebrate. Sips from a cup signify the sealing of a marriage.

“Sake is not just an alcoholic beverage. It is Japanese culture itself,” said Hitoshi Utsunomiya, director of the Japan Sake and Shochu Makers Association.

The UNESCO Intangible Cultural Heritage designation is given to not just historical monuments but also practices passed down generations, such as oral traditions, performing arts, rituals and festivals.

It’s not meant to be used for commercial purposes. But sake officials make no secret of their hope that it will boost global sales, helping the tradition stay alive amid competition from beer, wine and other modern beverages.

Among previous Intangible Cultural Heritage inclusions are Kabuki theater and Gagaku court music from Japan, as well as Sona, which are drawings on sand in Angola; the Chinese zither called guqin and Cremonese violin craftsmanship from Italy. Washoku, or Japanese cuisine, won the honors in 2013.

One reason for sake’s growing popularity around the world is that its smooth flavor goes well with varieties of food, including sushi, spicy Asian and Western dishes, says Max Del Vita, a certified sake sommelier and co-founder of The Sake Company, an import and distribution retailer in Singapore.

“These brewers are cultural stewards, passing down techniques through generations and blending ancient practices with quiet innovation,” he told The Associated Press. “Sake is more than a drink. It is a living embodiment of Japan’s seasonal rhythms, community values and artistic heritage.” 
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CHANGCHUN, China — Crouch through the small metal door and walk down the dark tunnel, and even before you step into the abandoned air raid shelter, the air reverberates with pounding techno beats. Young Chinese holding booze and cigarettes shake and sway in a red-lit passageway, below a big screen rolling through quotations from Chairman Mao.

This is an underground rave in China, part of a subculture growing in hidden corners of the nation’s cities, even as its political and cultural mainstream grow increasingly controlled, staid and predictable.

For Chinese ravers, these gatherings — often called “ye di,” or “wild dances” — not only offer a rare space for unfettered fun, but signal resistance to the narrowly prescribed future a rigid society expects for them.

By day, Xing Long works in the office of a state-owned company in Changchun, an industrial city in China’s northeastern rust belt region.

By night, he’s a DJ and underground rave organizer, a side gig that offers an escape from the humdrum of reviewing corporate contracts.

“My job cannot make me feel I fulfilled my values,” he said. “Going to work is like executing a prewritten program.”

Chinese young people face intense pressure and high expectations from the society around them. In recent years, facing bleak economic prospects, Chinese youth culture has been swept by a series of viral slang terms to describe frustration and hopelessness: ” 996 ” — the brutal 9 a.m. to 9 p.m., six days a week work schedule many companies ask of employees. “Involution” — an endless treadmill of pointless competition that fresh graduates face. ” Lying flat” — the growing trend among young people of giving up all ambition and aiming to do as little as possible.

Techno dance parties are an escape from all that for people like Xing. Every time he walks into a rave, the 31-year-old said, his brain “jolts awake like a bang.”

Xing first learned about techno music from a documentary made by the American media company Vice.

“My eyes brightened up when I heard it,” he said. “I should’ve listened to this kind of music earlier.”

Xing began going to raves in Shenzhen, a southern city with a population of 17 million, but when he moved home in 2021 he realized no one else was organizing them.

“I want this city to have an underground techno music scene,” he said. “I want to listen to it myself, so I want to make it happen.”

Xing said that the underground techno scene fascinated him because it’s “real” even if not perfect, bad, not in the right order, or broken.

“It’s not a beautiful thing that was deliberately produced into a mold to present to the mainstream.”

In recent years, space for culture and creativity has been shrinking in China as the authorities have ramped up censorship of concerts, shows, and other cultural events. Comedians have been silenced after joking about topics considered politically sensitive. A growing number of independent bookstores and creative spaces have shut down under pressure, while state-sanctioned media promotes uplifting, often saccharine narratives.

Yet underground raves are free from all those limitations because they sprout in gray zones. Hidden from public view, they skirt formal approval processes, neither supported nor suppressed by the state.

Feng Zhe, 27, a rave organizer in Shenyang, a northeastern city about 400 miles from Beijing, said raves are about “refusing to be disciplined by society.”

“This is probably not how the world functions nowadays,” he said, adding that societies want to make people follow their rules and be useful but “underground culture is useless.”

“Most people are going to be repressed,” Feng said.

But for most rave organizers, the real meaning of underground rave culture is simply having fun. Loong Wu, a 26-year-old art student, started organizing raves in 2021 during COVID-19 lockdowns out of boredom.

“My original intention was just to break through the boredom,” she said. “When you are truly enjoying it, you don’t think about meanings.”

On one recent Saturday night, civil servants, students, an ex-firefighter, girls with dyed hair, and a man with a full-face mask and goggles filed into a bar tucked behind a flower shop in downtown Changchun to attend one of Xing’s raves.

They danced to fast-paced industrial techno spun by Du Jizhe, a local part-time DJ who works in HR by day.

He said it’s the natural soundtrack of auto manufacturing cities like Changchun and Detroit, which prides itself on being the birthplace of techno. For Du, techno evokes childhood memories of the auto factory where his father worked.

“Techno is basically industrial noise like hammering and mechanical sounds,” Du said “These noises exert a subtle influence on people’s ears in industrial cities.”

Chen Xiangyu, a fashion student in an oversized black T-shirt with hair dyed blond, a black leather choker, a lip piercing, and smoky eye makeup, said raves are a pure release.

“The first time I came, I thought to myself, I don’t know anyone, no one knows me, so nobody’s paying any attention to how I dance, so long as I’m happy, it’s all good,” she said. “I shouldn’t care too much about what others think.”

Even at raves, illegal drugs are rarely seen in China, but promoters still face risks from authorities who have little patience for unapproved social gatherings.

Advertisements promoting raves are often cryptic, with only a date, a DJ line-up, and the cost of admission. Sometimes, the location won’t be revealed until an hour ahead of the party. Some organizers require guests to cover their phone’s camera with a sticker.

Loong Wu said her requirements for a rave spot were no CCTV cameras, no security, and no nearby residents. Even those aren’t a guarantee — local police once busted one of her raves in an industrial port.

“It was pathetic how few such places exist in the city,” she said.

Frustrated with how hard it was to find a good rave spot, she once organized a public party where she put her DJ equipment on a cart and pushed it through city streets as revelers danced alongside.

“Restrictions exist for sure, but that’s exactly why we need to create our own scene,” she said. “We always need ‘wild dances.’ We always need to dance outside of set rules.” 
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ROME — The ancient Roman Colosseum will be the venue of gladiator fights — albeit staged — for the first time in two millennia under a $1.5 million sponsorship deal with Airbnb that aims to promote “a more conscious tourism.”

But some visitors to the monument Thursday, as well as housing activists, were skeptical about the value of the arrangement, citing ongoing controversies in many cities over the role of short-term rental platforms in fueling overtourism and limiting affordable housing for residents and students.

Under the deal announced by Airbnb and the Colosseum on Wednesday, the sponsorship by the short-term rental giant will cover the renewal of an educational program inside the ancient Roman amphitheater covering the history of the structure and gladiators.

Eight of the platform’s users and their plus-ones will be able to participate in faux gladiator fights after the Colosseum’s closing time on May 7-8, taking the same underground route used by gladiators in ancient Rome to reach the arena. People can apply for the experience on November 27 at no cost, and the “gladiators” will be chosen by lottery.

The superintendent of the Colosseum Archaeological Park, Alfonsina Russo, told The Associated Press that the deal is in conjunction with the release of Ridley Scott’s new film “Gladiators II,” which opened in Italy on Thursday.

Russo characterized the sponsorship arrangement as one of the many such deals to help finance projects at the park.

The Italian fashion brand Tod’s, for example, has funded a multimillion renovation of the Roman monument, including a cleaning, replacing the locking system of arches with new gates and redoing the subterranean areas.

Alberto Campailla, the coordinator of the Nonna Roma nonprofit organization that focuses on housing and food for the poor, called the campaign with Airbnb “a disgrace,” and a form of “touristification.”

Airbnb and other platforms offering short-term rentals “are literally driving people out of not only the city center, but also the outskirts and suburban neighborhoods,” Campailla said.

Tourists from other European cities grappling with overtourism also took issue with the deal.

“It seems to me that the purpose of the Colosseum today is to be a tourist attraction, but not to create an amusement park within it,” said Jaime Montero, a tourist visiting from Madrid. “In the end, tourism eats the essence of the cities, here in Rome, as in other capitals.”

Visiting from Naples, Salvatore Di Matteo saw the deal as “yet another takeover of the territory” by big companies.

“If they start to touch sacred monuments such as the Colosseum here in Rome, it is obviously something that should make us think and is, in any case, a bit worrying,” he said.

The Colosseum is the most important and largest amphitheater constructed by the ancient Romans. Built in the 1st century, it was the center of popular entertainment, hosting hunts and gladiator games, until the 6th century. 
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LONDON — British writer Samantha Harvey won the Booker Prize for fiction on Tuesday with “Orbital,” a short, wonder-filled novel set aboard the International Space Station that ponders the beauty and fragility of the Earth.

Harvey was awarded the 50,000-pound ($64,000) prize for what she has called a “space pastoral” about six orbiting astronauts, which she began writing during COVID-19 pandemic lockdowns. The confined characters loop through 16 sunrises and 16 sunsets over the course of a day, trapped in one another’s company and transfixed by the globe’s ever-changing vistas.

“To look at the Earth from space is like a child looking into a mirror and realizing for the first time that the person in the mirror is herself,” said Harvey, who researched her novel by reading books by astronauts and watching the space station’s live camera. “What we do to the Earth we do to ourselves.”

She said the novel “is not exactly about climate change, but implied in the view of the Earth is the fact of human-made climate change.”

She dedicated the prize to everyone who speaks “for and not against the Earth, for and not against the dignity of other humans, other life.”

“All the people who speak for and call for and work for peace — this is for you,” she said.

Writer and artist Edmund de Waal, who chaired the five-member judging panel, called “Orbital” a “miraculous novel” that “makes our world strange and new for us.”

Gaby Wood, chief executive of the Booker Prize Foundation, noted that “in a year of geopolitical crisis, likely to be the warmest year in recorded history,” the winning book was “hopeful, timely and timeless.”

Harvey, who has written four previous novels and a memoir about insomnia, is the first British writer since 2020 to win the Booker. The prize is open to English-language writers of any nationality and has a reputation for transforming writers’ careers. Previous winners include Ian McEwan, Margaret Atwood, Salman Rushdie and Hilary Mantel.

De Waal praised the “crystalline” writing and “capaciousness” of Harvey’s succinct novel — at 136 pages in its U.K. paperback edition, one of the shortest-ever Booker winners.

“This is a book that repays slow reading,” he said.

He said the judges spent a full day picking their winner and came to a unanimous conclusion. Harvey beat five other finalists from Canada, the United States, Australia and the Netherlands, chosen from among 156 novels submitted by publishers.

American writer Percival Everett had been the bookies’ favorite to win with “James,” which reimagines Mark Twain’s “Huckleberry Finn” from the point of view of its main Black character, the enslaved man Jim.

The other finalists were American writer Rachel Kushner’s spy story “Creation Lake”; Canadian Anne Michaels’ poetic novel “Held”; Charlotte Wood’s Australian saga “Stone Yard Devotional”; and “The Safekeep” by Yael van der Wouden, the first Dutch author to be shortlisted for the Booker.

Harvey is the first female Booker winner since 2019, though one of five women on this year’s shortlist, the largest number in the prize’s 55-year history. De Waal said issues such as the gender or nationality of the authors were “background noise” that did not influence the judges.

“There was absolutely no question of box ticking or of agendas or of anything else. It was simply about the novel,” he said before the awards ceremony at Old Billingsgate, a grand former Victorian fish market in central London.

Founded in 1969, the Booker Prize is open to novels originally written in English published in the U.K. or Ireland. Last year’s winner was Irish writer Paul Lynch for post-democratic dystopia “Prophet Song.”

Lynch handed Harvey her Booker trophy at the ceremony, warning her that her life was about to change dramatically because of the Booker publicity boost.

Harvey said she was “overwhelmed” but remained down-to-earth about spending her prize money.

She said she’d disburse “some of it on tax. I want to buy a new bike. And then the rest — I want to go to Japan.”
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new york — Lou Donaldson, a celebrated jazz saxophonist with a warm, fluid style who performed with everyone from Thelonius Monk to George Benson and was sampled by Nas, De La Soul and other hip-hop artists, has died. He was 98. 

Donaldson died Saturday, according to a statement on his website. Additional details were not immediately available. 

A native of Badin, North Carolina, and a World War II veteran, Donaldson was part of the bop scene that emerged after the war, and early in his career recorded with Monk, Milt Jackson and others. Donaldson also helped launch the career of Clifford Brown, the gifted trumpeter who was just 25 when he was killed in a 1956 road accident. Donaldson also was on hand for some of pianist Horace Silver’s earliest sessions. 

Over more than half a century, he would blend soul, blues and pop and achieve some mainstream recognition with his 1967 cover of one of the biggest hits of the time, “Ode to Billy Joe,” featuring a young Benson on guitar. His notable albums included “Alligator Bogaloo,” “Lou Donaldson at His Best” and “Wailing With Lou.” Donaldson would open his shows with a cool, jazzy jam from 1958, “Blues Walk.” 

“That’s my theme song. Gotta good groove, a good groove to it,” he said in a 2013 interview with the National Endowment for the Arts, which named him a Jazz Master. Nine years later, his hometown renamed one of its roads Lou Donaldson Boulevard.
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IQUIQUE, Chile — Over a thousand years ago, the hundreds of giant geoglyphs carved into the desert in northern Chile were a bustling scene. They marked sources of water in the vast arid landscape and were where locals came together to trade skins, animals and fish.

Now the carvings are scarred with hundreds of tire tracks from motorcycles and off-road vehicles tearing through the art creations in the landscape and permanently disfiguring them.

“It’s practically destroyed by motorcycles, off-roaders,” said Jose Barraza, general director of the regional national patrimony office.

He said various groups were trying to preserve the site to prevent any more destruction – but also without restoring it to its former glory, to show the error of people’s ways in the future.

“[It] will be an example that shows future generations what not to do with our heritage, no matter how painful or how much anger, discomfort or resentment we feel towards it,” he said.

Local resident Angelo Araya says the community has been working with a local museum and authorities to try and “put an end to the destruction.”

The goal, Araya says, is to stop motorcycle and off-road vehicles from damaging the site further and “to make everyone aware that this is not just a heritage site, but that it belongs to all of us.”

The site has gone through many phases, going from a place to barter, to an abandoned site, to one where people were looking for gold. Eventually Chile’s national forests association CONAF turned the area into part of the Pampa del Tamarugal National Reserve.

Sand board instructor Franco Diaz said the government should physically close off access to the sites as the geoglyphs are difficult to spot.

“If a jeep driver goes behind the hill, he won’t notice if there’s a geoglyph,” Diaz said. “They should close the perimeter and protect these sites that are over 1,000 years old.”
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Manchester, England — Taylor Swift came out top at the 2024 MTV EMAs on Sunday, walking away with best artist, best U.S. act, best live act and best video for “Fortnight” (featuring Post Malone). 

Swift, who is currently finishing up her Eras tour on the other side of the Atlantic, thanked the fans for the bounty of prizes via video message. 

The U.K. show opened with an acrobatic Benson Boone suspended in the air on a gold grand piano performing his viral hit “Beautiful Things” and latest release “Slow it Down.” Boone also accepted his first EMA for best new act. 

South African newcomer Tyla gave Swift a run for her money picking up three awards for best afrobeats, best R&B and best African act. 

Tyla performed her smash hit “Water” for the EMA audience at the Co-op Live, Manchester, flanked by a host of dancers, as well as singing energetic new track “Push 2 Start.” 

British singer Rita Ora, who hosted the show for a record third time, paid tribute to former One Direction star Liam Payne, who died last month after falling from a balcony in Buenos Aires. 

Ora had a close relationship with the singer and the pair recorded a song together in 2018, “For You (Fifty Shades Freed).” She addressed the audience saying, “I want to take a moment to remember someone. Liam Payne was one of the kindest people I knew.” Her voice broke as she asked the crowd to take a moment to remember Liam saying, “He had the biggest heart and he left such a mark on this world.” 

Hip-hop legend Busta Rhymes was awarded the EMAs global icon award from British rapper Little Simz telling the crowd that in 34 years of professionally recording this was his first award from MTV and it felt incredible. The 12-time Grammy Award nominee, who has more than 10 million album sales under his belt, performed a mega medley of his greatest hits “Break ya Neck,” “Touch it” and “Put Your Hands Where the Eyes can See” accompanied by dancers wearing tracksuits with giant dragon heads. 

Shawn Mendes gave an intimate and heartfelt performance and also received the award for best Canadian act. Sabrina Carpenter picked up the honors for best song for her hit “Espresso,” while Ariana Grande was crowned best pop act and Eminem took away best hip hop act. 

U.K. duo Pet Shop Boys were honored with the inaugural Pop Pioneers Award for their contribution to pop music and closed out the show accompanied by local orchestra Manchester Camerata with a cover of David Bowie’s “All the Young Dudes” followed by their iconic hit “West End Girls” in celebration of the song’s 40th anniversary. 

Other performers on the night included K-Pop quintet Le Sserafim, Mexican singer and rapper Peso Pluma, English singer and songwriter Raye, multi-platinum singer-songwriter Shawn Mendes, American powerhouse Teddy Swims, Mexican rock sisters the Warning. 

LL Cool J, Bush frontman Gavin Rossdale, mother-and-daughter musicians Neneh Cherry and Mabel and TV and film stars Aaron Taylor-Johnson, Jodie Turner-Smith and Lucien Laviscount all presented awards. 
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New York — “Venom: The Last Dance” has not been a blockbuster in North American theaters. But in a lethargic fall moviegoing season, even a so-so performing superhero sequel can rule the box office for three straight weeks.

For the third weekend in a row, “Venom: The Last Dance” was the No. 1 movie at the box office, collecting $16.2 million in ticket sales in U.S. and Canadian theaters, according to studio estimates Sunday. It fended off a pair of new challengers in the Hugh Grant horror thriller “Heretic” and the feel-good holiday movie “The Best Christmas Pageant Ever.”

With the election Tuesday, the major studios opted not to put any new releases into theaters. That allowed Sony Pictures’ “Venom: The Last Dance,” the third entry in the Tom Hardy-led franchise, to hold its position.

While “The Last Dance” hasn’t been a huge hit domestically — opening below expectations in late October — it has thrived overseas, grossing almost triple what it has in North America. The “Venom” sequel has grossed $279.4 million internationally, bringing its global total to $394.2 million.

“Heretic” and “The Best Christmas Pageant Ever” were neck and neck for second place. Counting only Friday-Sunday ticket sales, the edge went to “Heretic,” which debuted with $11 million. “The Best Christmas Pageant Ever,” though, factored in $2.2 million in sneak-peak screenings from last weekend to claim a reported opening gross of $11.1 million.

A24’s “Heretic,” directed by Scott Beck and Bryan Woods, follows two Mormon missionaries (Sophie Thatcher and Chloe East) who knock on the door of a man (Grant) they’ll regret trying to evangelize to. Though “Heretic” has been critically acclaimed for the darkest turn yet by Grant, audiences were less impressed, giving it a “C+” CinemaScore. Regardless, with a budget under $10 million, “Heretic” will easily turn a profit.

“The Best Christmas Pageant Ever,” released by Lionsgate and Kingdom Story Company, which specializes in Christian entertainment, is about six siblings with a bad reputation who take over the local church pageant. The film, an adaptation of Barbara Robinson’s 1972 children’s book directed by Dallas Jenkins, did well with audiences, who gave it an “A” CinemaScore. It, too, was modestly budgeted at about $10 million.

In its seventh week of release, Universal and DreamWorks Animation’s “The Wild Robot” continues to show little rust in theaters. It landed in fourth place with $6.6 million, bringing its domestic haul to $130.2 million and its worldwide gross to $292 million.

Sean Baker’s acclaimed “Anora,” starring Mikey Madison as a Brooklyn sex worker, expanded into wide release. The Neon film, an expected best-picture contender, collected $2.4 million in 1,104 theaters. Its four-week total stands at $7.2 million.

The papal thriller “Conclave,” starring Ralph Fiennes, continues to perform exceptionally well for an adult-oriented drama. The Focus Features release, in its third weekend of release, added 487 theaters and dipped a modest 19% to earn $4.1 million. It has collected $21.5 million. Similarly, A24’s “We Live in Time,” starring Andrew Garfield and Florence Pugh, has stayed strong, grossing $2.2 million in its fifth weekend for a $21.8 million total.

Overall ticket sales, though, remain sluggish. Box office is running about 11% behind last year, according to Comscore. In the last two weeks, overall ticket sales are down about 50% from the pre-pandemic average, according to David A. Gross, a film consultant who publishes a newsletter for Franchise Entertainment.

The good news for theaters: The next few weeks are lined up for several big new releases, including the Amazon MGM Christmas comedy “Red One” (Nov. 15), Paramount Pictures’ “Gladiator II” (Nov. 22), Universal’s “Wicked” (also Nov. 22) and the Walt Disney Co.’s “Moana 2” (Nov. 27).

“Better late than never is the rule of the day and we can expect some positive success stories coming out of the Thanksgiving corridor, which looks to be on par with some of the biggest such frames over the past many years,” said Paul Dergarabedian, senior media analyst for Comscore.

Before opening in U.S. theaters, “Red One,” starring Dwayne Johnson and Chris Evans, kicked off in 75 overseas markets, collecting $26.6 million. The film carries a hefty price tag of about $250 million to make.

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

1. “Venom: The Last Dance,” $16.2 million. 

2. “Heretic,” $11 million. 

3. “The Best Christmas Pageant Ever,” $8.9 million. 

4. “The Wild Robot,” $6.7 million. 

5. “Smile 2,” $5 million. 

6. “Conclave,” $4.1 million. 

7. “Anora,” $2.5 million. 

8. “Here,” $2.4 million. 

9. “We Live in Time,” $2.2 million. 

10. “Terrifier 3,” $1.4 million. 
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NEW YORK — For some television viewers, size apparently does matter.

Forget the 165-centimeter TVs that were considered bigger than average a decade ago. In time for the holidays, manufacturers and retailers are rolling out more XXL screens measuring more than 2.4 meters diagonally. That’s wider than a standard three-seat sofa or a king-size bed.

Supersize televisions only accounted for 1.7% of revenue from all TV set sales in the U.S. during the first nine months of the year, according to market research firm Circana. But companies preparing for shoppers to go big for Christmas, Hanukkah and Kwanzaa have reason to think the growing ultra category will be a bright spot in an otherwise tepid television market, according to analysts.

The 38,100 televisions of at least 246 centimeters sold between January and September represented a tenfold increase from the same period last year, Circana said. Best Buy, the nation’s largest consumer electronics chain, doubled the assortment of hefty TVs — the 19 models range in price from $2,000 to $25,000 — and introduced displays in roughly 70% of its stores.

“It’s really taken off this year,” Blake Hampton, Best Buy’s senior vice president of merchandising, said.

Analysts credit the emerging demand to improved technology and much lower prices. So far this year, the average price for TVs spanning at least 246 centimeters was $3,113 compared to $6,662 last year, according to Circana. South Korean electronics manufacturer Samsung introduced its first 249-centimeter TV in 2019 with a hefty price tag of $99,000; it now has four versions starting at $4,000, the company said.

Anthony Ash, a 42-year-old owner of a wood pallet and recycling business, recently bought a 949-centimeter Sony for his 1,300-square-meter house in Bristol, Wisconsin. The device, which cost about $5,000 excluding installation fees, replaced an 216-centimeter TV in the great room off his kitchen. Ash now has 17 televisions at home and uses some to display digital art.

“We just saw that the price was affordable for what we were looking for and thought, ‘Why not?'” he said of deciding to upsize to the Sony. “You get a better TV experience with a bigger TV. You’re sitting watching TV with a person on TV that is the same size as you. You can put yourself in the scene.”

The amount of time that many people spend staring at their cellphones and tablets, including to stream movies and TV shows, is another factor driving the growth of widescreen TV screens. Overall TV sales revenue fell 4%, while the number of units sold rose 1% from the January through September period, Circana said.

Most people only invest in a television every seven years, but when they do, they typically choose bigger ones, according to Rick Kowalski, the senior director of business intelligence at the Consumer Technology Association. In the past 15 years, the size of flat-panel TVs that were shipped to U.S. retailers and dealers grew an average of one inch a year, Kowalski said.

The coronavirus pandemic accelerated the elongation trend as people spent more time at home. In fact, screen sizes increased an average of 5 centimeters in both 2021 and 2022, and 216-centimeter TVs began gaining traction with consumers, Kowalski said. Shipments of 249-centimeter TVs to the U.S. are picking up pace this year, and models as huge as 279-292 centimeters are on the market right now, he said.

“You get better resolution over time,” Kowalski said. “You get better picture quality. And so just over time, it’s easier to produce those sets and improve the technology.”

Best Buy’s Hampton said a benefit of a colossal TV is the viewer can watch multiple shows at once, an experience he described as “incredible.”

“If you’re watching YouTube TV content or ‘ NFL Sunday Ticket,’ you can actually get four screens up, and that’s four 48-inch (122-centimeter) screens on it,” he said.

Manufacturers are also adding new features. Samsung said it designed its 249-centimeter lineup with a component that analyzes what the viewer is watching to increase sharpness and reduce visible noise across every scene.

James Fishler, senior vice president of the home entertainment division of Samsung’s U.S. division, said the way people watch TV and experience content is shifting.

“It’s even more so about watching TV as a shared experience,” Fishler said. “They want to host a watch party and gather around their TV to watch the big game, or set up a cinematic movie experience right at home. ”

Walmart, the nation’s largest retailer, its Sam’s Club division, and Chicago retailer Abt Electronics, also say they are expanding their TV ranges to meet customer demand for supersize screens.

TV industry experts say these monster TVs are beginning to encroach on home theater projectors, which create a 254- to 305-centimeter image that is less sharp and require rooms with blackout curtains or without windows.

“A dedicated viewing room for watching movies was exclusively the purview of projectors,” Andrew Sivori, vice president in the entertainment division of LG Electronics, another Korean manufacturer. “But you can get a much better viewing experience with direct TV.”

Retailers and TV makers said the buyers trading up range from millennials and members of Generation X to the tech-native Gen Z crowd. But as Jon Abt, co-president of Abt Electronics said, “It’s still a niche business.”

“A lot of people just don’t have the space to put one of those in,” he added.

Before dreaming big for the holidays, shoppers therefore should make sure a 249-centimeter TV will fit. Best Buy said its Geek Squad team asks if stairwells and entry halls are large enough to accommodate delivery and installation. An augmented reality feature on the Best Buy app that allows customers to see if products are the right size has been especially helpful for XXL TVs, the retailer said.

But for those worried about having the space for viewing, the good news is that the recommended distance for a 249-centimeter TV is actually just 1.8-3.6 meters feet from the seating area. The rule of thumb is to multiple the diagonal length of the TV by 1.2 to determine the ideal viewing distance, Samsung’s Fishler said.

If bigger is better in the TV department, how big can they go?

“I think we’ll have to wait and see,” Fishler said.
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MEXICO CITY — Cassandra Garduño squinted in the sunlight, her pink boots smudged by dirt as she gazed out over her family’s chinampa — one of the islands first built up by the Aztecs with fertile mud from the bottom of a lake that, later drained, would one day become Mexico City.

Food from these islands has fed people for hundreds of years, but the chinampas are under threat from urbanization. The produce grown here doesn’t fetch much money, and many families are abandoning the ancient practice to rent out or sell their land for more lucrative uses such as soccer fields.

“People don’t want to farm anymore,” said Garduño. “They don’t see it as a necessity, they don’t want to produce, and people don’t want to buy the products.”

Some of those remaining, like Garduño, are banding together to preserve and promote the traditional use of the chinampas.

“None of this can exist without human hands, the hands of those who worked here and created the chinampa a thousand years ago,” she said on a recent morning as the smell of celery growing nearby filled the air.

The gardens crisscrossed by canals in the capital’s southern Xochimilco borough are built up from layers of dredged soil, held together by tall, thin ahuejotes — a kind of willow tree — planted around their perimeter. Xochimilco has more than 2,500 acres of protected land owned by generations of local chinamperos, as those who farm the islands are known.

Garduño’s earliest memories of her family’s chinampa came from peering through her grandparents’ window at the plot of land and watching canoes weave in and out of the canals. Even then, she saw how the chinampas were deteriorating under pressure from urbanization and as some farmers began to drop the practice.

When her grandfather died in 2010 and her uncles didn’t want to carry on, Garduño took it upon herself to learn and conserve generations of farming. Her neighbors and relatives were skeptical at first, but she bought land for her own chinampa from a friend’s uncle in 2020 and now grows an assortment of produce, including sunflowers, eggplant, and the Mexican marigold “cempasuchil.”

Now the 32-year-old Garduño is one of the growing collective called Chinampa Refuge, started by the National Autonomous University of Mexico, and she and other famers encourage chinamperos to preserve their land. They follow ancient growing techniques but are trying new commercial approaches to compete with cheaper produce grown on massive farms elsewhere in Mexico. That includes a special tag — Etiqueta Chinampera — that tells buyers the produce came from a chinampa, and may tout things like water quality or the chinampa’s status as a biodiversity refuge.

“Change comes with educating the new generations,” said Garduño. “Talking about the origins and efforts to conserve and why it’s important to do it.”

Luis Zambrano, an ecologist from the National Autonomous University of Mexico who has worked in Xochimilco for decades, said the fields are largely self-sustaining. Nourished by the lake, they can produce three to five crops of vegetables a year without the need of chemicals or irrigation, he said.

Moreover, the ecosystem of Xochimilco benefits the sprawling city. Many different species of birds and fish thrive there, and the extensive canals help reduce the city’s overall temperature, he said.

But now, on weekends, it’s common to see more soccer players boating to islands in their jerseys and cleats than farmers tending their crops. The soccer fields stretch for miles along the canals after what Zambrano called “a massive increase” over the past two to three years.

In Xochimilco, many people are reluctant to talk about transforming their chinampas to soccer fields. One landowner who declined to be identified for fear of legal or community backlash said keeping the chinampas productive required more work and financial investment and yielded less revenue. Instead, she has established multiple businesses on her land — a soccer field for weekend games, a food stand and kayaking tours for foreign visitors.

“If you do well (farming) you could earn $5,000 to $10,000 (100,000 to 200,000 pesos) a year,” Garduño said. “In the tourist area you could have that within a couple of weekends.”

But converting the agricultural fields carries ecological impact. While traditional farming methods avoid insecticides and fertilizers, the soccer fields are another story.

“It doesn’t look that detrimental because there’s no construction,” said Zambrano. But “it’s just as damaging because the amount of chemicals that are used, the amount of pollution that is generated is very, very large.”

The chinampas are among the significant features that led Mexico City’s historic center and Xochimilco to be recognized as a world heritage site by UNESCO. But any protective measures are up to federal, state and local authorities. Carlos Vasquez, director of the Natural Protected Areas under Mexico City’s Environmental Department, said they are working on proposals to address the soccer fields.

“Many are counter to the conservation of the ecosystems,” he said. “We’re looking to regulate these activities.”

After a long day’s work out in the sun, Garduño and some neighboring farmers congregate under Garduño’s makeshift hut for a feast of chicken and tortillas. They catch up on their tasks and outline what’s left to do.

Juan Ávalos, 63, and his brother Salvador Gonzalez Ávalos, 55, have been working on chinampas all their lives. Their family has several plots in Xochimilco’s San Gregorio neighborhood. A year ago, after some convincing by Garduño, the brothers joined Chinampa Refuge to adopt a more holistic approach to their farming.

Salvador said the approach is a continuous reminder of his family’s legacy in maintaining the ancient practices — something they want to pass on to their grandchildren.

“That’s something we need to work on as grandparents,” he said. “That they integrate themselves with a taste for this earth.” 
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NEW DELHI — The decadeslong ban of Salman Rushdie’s The Satanic Verses in his native India is now in doubt — not because of a change of heart more than two years after the author’s near-fatal stabbing, but because of what amounts to some missing paperwork.

Earlier this week, a court in New Delhi closed proceedings on a petition filed five years ago that challenged the then-government’s decision to ban the import of the novel, which enraged Muslims worldwide because of its alleged blasphemy, just days after its 1988 publication. In a ruling issued Tuesday, according to the Press Trust of India news agency, a bench headed by Justice Rekha Palli said authorities had failed to produce the notification of the ban.

“We have no other option except to presume that no such notification exists,” the judges concluded.

The petitioner, Sandipan Khan, had argued that he couldn’t buy the book because of a notification issued by the Central Board of Indirect Taxes and Customs on October 5, 1988, which forbade its import into India, adding that he was unable to locate the notification on any official website or through officials. Khan’s lawyer, Uddyam Mukherjee, said that the court’s ruling meant that as of now, nothing prohibits anybody from importing the novel into India.

“But whether this means it will be sold in bookstores — I don’t know, that depends on the publishers or sellers,” he told The Associated Press.

When reached by phone, several bookstores in the country’s capital were unaware of the news. An employee of Jain Book Agency in New Delhi said that they did not know whether this news meant that the novel would be available again in stores in India, adding that if that was the case, it could still take time and that they would need to hear from the publisher.

“What the ruling does is open up a potential path for the book to become available here,” Mukherjee said, but added that any aggrieved individual, group or the government can also appeal against it.

Rushdie’s literary agent, Andrew Wylie, declined comment to the AP. Rushdie, now a citizen of the United Kingdom and the United States, has yet to comment publicly. He has more than 1 million followers on his X account, on which he last posted in September.

Rushdie’s publisher in India, Penguin Random House India, issued a statement Friday called the ruling a “significant new development” and adding that it was “thinking through next steps.”

This week’s ruling adds a new twist to Rushdie’s complex relationship with India, where he was born in 1947, just before the country’s independence. He left as a child and was living in the United Kingdom at the time of his breakout novel, Midnight’s Children, which came out in 1981 and infuriated India’s prime minister at the time, Indira Gandhi, who was satirized in the book. After she sued over a reference to her having caused her husband’s death, Rushdie agreed to remove it, and the case was settled.

When India banned The Satanic Verses, Rushdie condemned the action and doubted whether his censors had even read the novel. In an open letter to then-Prime Minister Rajiv Gandhi, published in The New York Times in 1988, he alleged the book was “being used as a political football” and called the ban not only “anti-democratic, but opportunistic.” Over the years, Rushdie has made private trips to India and attended the Jaipur Literary Festival in 2007. But five years later, he canceled plans to attend the Jaipur gathering because of security concerns. The festival did not immediately respond to a request for comment on the ruling.

Besides the ban in his native country, The Satanic Verses elicited a fatwa calling for Rushdie’s death from Iran’s Ayotollah Ruhollah Khomeini, forcing the author into hiding in 1989. He gradually resumed a normal life, especially after Iranian officials announced in 1998 that the government had no plans to enforce it. But his relative calm abruptly ended in 2022, when he was stabbed repeatedly onstage by a young assailant during a literary festival in western New York. Rushdie survived the attack, which left him blind in one eye, and wrote about it in the memoir Knife, a finalist this year for the National Book Award.

On Friday, Khan’s lawyer said that his client was an avid book reader driven to find answers after he found out the novel was banned. He filed numerous requests for information with various authorities — and tried for over a year to get a hold of the notification. Mukherjee said Khan was told by authorities that it was not traceable.

“When we realized there was no hope, we proceeded to go to court and challenge the notification,” Mukherjee added.

The court also said that Khan has the right under law to procure this book. So how does he plan to get it now?

“He doesn’t have a clear answer to this yet — if it becomes available in India, he will buy a copy of it,” Mukherjee said. “But he can also potentially buy it from international booksellers online, as it’s no longer illegal to import the book into the country.” 
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paris — As dusk falls over the City of Light, a new spectacle is illuminating Saint-Sulpice church, a monument whose interiors are even larger than Notre Dame’s — and arguably just as breathtaking. 

The cavernous walls of the neoclassical gem on Paris’ Left Bank are coming alive with 360-degree video projections, sparkling cutting-edge technology and actors, all telling the story of the church and its place in French history. 

Blending centuries of intrigue, revolution and family drama, the show reimagines the Saint-Germain district during the Fronde, the 17th-century civil war, and the lead-up to the French Revolution. 

“Paris Cœur de Lumières” (Paris Chancel of Lights), which runs until November 23, transforms the church’s sprawling 6,000-square-meter (65,000-square-foot) interior into a digital stage through advanced video mapping. 

“From a technological standpoint, it’s a laser scan of the entire building that allows us to reconstruct the space in three dimensions,” director Damien Fontaine explained. 

“We then ‘unfold’ it like origami … and put it back into 3D to be projected as a single unified image. We have over 45 projectors, each covering a part of the vaults, a section of a pillar, or a piece of the nave. It’s … a mosaic of images to form one large picture.” 

Projections transform stone carvings into animated storytellers, while immersive soundscapes, paired with an original score, wrap the audience in a sensory experience. 

The actors brought history to life. Over 350 performers and volunteers, clad in more than 500 historical costumes, move among the audience portraying local families and rivalries, threading personal narratives into the broader history. 

Many of those who volunteered themselves marveled at learning about little known aspects of French history. 

Anne Dubosc, a 65-year-old amateur actress, played Anne of Austria, mother of Sun King Louis XIV. 

“She was a remarkable woman, very involved in politics and religion,” Dubosc said. “I hadn’t realized how important she was. If Louis XIV became the man he was, it was partly thanks to this woman, this mother who was like a tigress, doing everything to protect her son and teaching him to be a great statesman.” 

Performing in Saint-Sulpice, she added, was extraordinary: “It’s exceptional. You lose track of what’s happening, of where fiction ends and history begins.” 

Her historic costume shaped her performance — literally. 

“I have a corset that squeezes me so tightly,” she said. “You realize there’s a very 18th-century way of holding yourself, of carrying your shoulders and neck, which gives a natural majesty. The costume really impacts how you carry your body, and that posture influences your mind, giving character to this woman of state.” 

The production underscored a growing trend in Paris of using light technology to show off the city’s storied church interiors. A similar illuminations display took place at Saint-Eustache church until September, featuring video projections, lighting effects and spatialized electronic soundtrack. 
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Washington/Istanbul — Local authorities in Turkey’s metropolitan Istanbul province banned a screening of the LGBTQI-themed movie “Queer” on Thursday because of concerns that it would endanger public peace and security.

The screening of “Queer,” a film directed by Italian director Luca Guadagnino and starring Daniel Craig and Drew Starkey, was scheduled to open a film festival in Istanbul’s Kadikoy district on Thursday. The festival was organized by Mubi, an international streaming platform and film production and distribution company.

Mubi canceled the entire festival, noting “This ban not only targets a single film but also undermines the very essence and purpose of the festival.”

In a statement shared on X, Mubi announced that the Kadikoy District Governor’s Office had notified them of the ban hours before the festival was set to begin.

“The decision states that the film is prohibited on the grounds that it contains provocative content that could endanger public peace, with the ban being imposed for security reasons,” Mubi wrote.

“We believe this ban is a direct restriction on art and freedom of expression,” Mubi added.

The Kadikoy District Governor’s Office has not made a public statement on the ban and has not responded to VOA’s inquiry at the time of this story’s publication.

Rising anti-LGBTQI+ rhetoric

The Turkish government has toughened rhetoric against its LGBTQI+ community in recent years, with Turkish President Recep Tayyip Erdogan repeatedly calling its members “perverts” or “deviants.”

Authorities have banned pride marches throughout the country since 2015, citing security concerns. At least 15 people were detained in Istanbul in June for taking part in a pride rally.

Yıldız Tar, editor in chief of the LGBTQI news portal KaosGL, does not find the ban surprising considering the government’s anti-LGBTQI stance.

“The reason for the ban on ‘Queer’ is of course that it is a film about LGBTI+ people. When you try to organize any LGBTI+-themed event in Turkey since 2015, you already encounter such bans,” Tar told VOA.

Tar noted that the Kadikoy District Governor’s Office banned the screening of another movie, “Pride,” as part of Pride Month events in June 2023.

The Istanbul festival, which was scheduled to take place November 7 to 10, included a variety of film screenings, talks and performances. According to Mubi, tickets for the festival had sold out days in advance.

Tar views Mubi’s decision to cancel the festival after the ban as “an important and valuable message” and argues that the platform’s decision should be exemplary.

“If LGBTI+ themed films are being censored so openly at this point, then festivals and the world of culture and arts need to raise a very strong voice against this censorship,” Tar said.

Academic and film critic Yeşim Burul also sees the district governor’s ban as censorship.

“We are talking about unacceptable censorship here. It is truly absurd that a district governorship would make such decisions to prevent a film from reaching the audience,” Burul told VOA.

“We, as adults, can decide which film we can and cannot watch. Such festivals are already organized for those over the age of 18, and tickets are sold that way,” Burul added.

The 2024 film “Queer,” with a screenplay adapted from William S. Burroughs’ 1985 novel, tells the story of an American expatriate living in Mexico City in the 1950s who establishes an intimate connection with a younger man.

In October, Mubi acquired distribution rights for the film in multiple territories, including Turkey, India, the United Kingdom, Germany and Latin America.

Reactions

Several rights groups and organizations reacted to the ban on the screening.

According to the LGBTI+ Rights Commission of the Istanbul branch of the Human Rights Association, the ban is “a continuation of criminalizing LGBTI+ individuals.”

In a post on X, the rights group argued that the ban violates not only domestic law but also the “protection from discrimination” principle of the European Convention on Human Rights, to which Turkey is a signatory.

The Actors’ Union of Turkey called the ban “clearly an application of censorship.”

“The duty of art and artists is to broaden the horizons of societies and offer them new perspectives while telling their own stories,” the union said in a statement published on X. The union also reminded that the law on freedom of expression protects artistic activities in Turkey.
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AMSTERDAM — Antisemitic rioters “actively sought out Israeli supporters to attack and assault them” after a football match, Amsterdam authorities said Friday as Israel said it was sending planes to the Dutch capital to fly fans home.

An unknown number of Israeli supporters were injured in the Thursday night violence that was condemned by the leaders of both the Netherlands and Israel as antisemitic.

A statement issued by the Dutch capital’s municipality, police and prosecution office said that the night after the Europa League match between Ajax and Maccabi Tel Aviv “was very turbulent with several incidents of violence aimed at Maccabi supporters.”

There was no immediate word on the number of injured or arrests.

The violence erupted Thursday despite a ban on a pro-Palestinian demonstration near the football stadium imposed by Amsterdam Mayor Femke Halsema, who had feared that clashes would break out between protesters and supporters of the Israeli football club.

Israel ordered that two planes be sent to the Dutch capital to bring the Israelis home.

“The prime minister has directed that two rescue planes be sent immediately to assist our citizens,” said a statement from Benjamin Netanyahu’s office.

It added that “the harsh pictures of the assault on our citizens in Amsterdam will not be overlooked,” and that Netanyahu “views the horrifying incident with utmost gravity.” He demanded that the Dutch government take “vigorous and swift action” against those involved.

Netanyahu’s office added that he had called for increased security for the Jewish community in the Netherlands.

Dutch Prime Minister Dick Schoof said on X that he followed reports of the violence “with horror.”

“Completely unacceptable anti-Semitic attacks on Israelis. I am in close contact with everyone involved,” he added, saying that he had spoken to Netanyahu and “emphasized that the perpetrators will be tracked down and prosecuted. It is now quiet in the capital.”

Geert Wilders, the hard right nationalist lawmaker whose Party for Freedom won elections in the Netherlands last year and who is a staunch ally of Israel, reacted to a video apparently showing a Maccabi fan being surrounded by several men.

“Looks like a Jew hunt in the streets of Amsterdam. Arrest and deport the multicultural scum that attacked Maccabi Tel Aviv supporters in our streets. Ashamed that this can happen in The Netherlands. Totally unacceptable,” Wilders said.

Israel’s Ambassador to the United Nations, Danny Danon, also condemned the violence in a post on the social media platform X.

Ajax won the Europa League match 5-0. 
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NEW DELHI — Tens of thousands of Hindu devotees flocked to rivers and bodies of water across India to pray to the sun god as part of the Chhath festival this week.

In Noida, on the outskirts of the capital New Delhi, families gathered at the Yamuna river, which is covered with white toxic foam as a result of pollutants discharged from nearby industries.

Women in brightly colored saris waded into the knee-deep water flecked with blobs of white foam. Some carried a coconut or other fruits as an offering to thank Lord Surya, the god of the sun, for sustaining life on earth as they sought divine blessings.

The Yamuna is considered one of India’s most sacred rivers, and Hindu devotees have continued to use it despite warnings about the toxic foam. A court in Delhi on Wednesday forbade worshipers from performing rituals on the bank of the heavily polluted river over health and safety concerns, local media reported, yet thousands gathered on Thursday and Friday at the river banks to immerse themselves in the river and drinks it water.

From the financial capital Mumbai to Hyderabad in the south and Guwahati in the east, thousands of men, women and children did the same.

The Chhath festival, celebrated after the Hindu festival of Diwali, originated in the country’s eastern states, with large celebrations in Bihar and Jharkand, and extends to Nepal. Over the years, it has grown more popular across India, often introduced as migrants from eastern states mark the festival away from home.

The rituals, which stretch over four days, include a holy dip in the river and a period of fasting and abstaining from drinking water. On the last two days, devotees stand in the waters to pray to the sun as it rises and sets, with some families camping out overnight along the banks. 
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BUENOS AIRES — Three people have been charged in connection with the death of Liam Payne, a former member of musical group One Direction who died after falling from the balcony of his hotel room in Buenos Aires last month, Argentine prosecutors said Thursday.

Prosecutor Andrés Madrea charged the three suspects, whose identities were not revealed, with the crimes of “abandonment of a person followed by death” and “supplying and facilitating the use of narcotics,” the prosecutor’s office said. Madrea also requested their arrest to judge Laura Bruniard, who ruled the three cannot leave the country.

Payne fell from his room’s balcony on the third floor of his hotel in the upscale neighborhood of Palermo, in the Argentine capital. His autopsy said he died from multiple injuries and external bleeding.

Prosecutors also said that Payne’s toxicological exams showed that his body had “traces of alcohol, cocaine and a prescribed antidepressant” in the moments before his death.

Investigators said hours after Payne’s death that he was by himself when he fell. But the prosecutors’ office said Thursday that one of the people charged was often with the singer during his time in Buenos Aires. The second is a hotel staffer who allegedly gave Payne cocaine during his stay between October 13 and 16. And the third is a drug dealer.

The charges in Payne’s case bear some resemblance to the U.S. cases stemming from the death of Friends star Matthew Perry a year ago. The actor’s personal assistant and a longtime friend are among those charged with helping supply him with ketamine in the final months of his life, leading up to his overdose on the anesthetic.

Three young men were similarly charged in the opioid-overdose death of rapper Mac Miller in 2018.

Local authorities gathered, among other pieces of evidence, Payne’s cellphone records, material for forensics and testimonies. They are yet to unlock the singer’s personal computer – which is damaged – and other devices that were seized.

Payne’s autopsy showed his injuries were neither caused by self-harm nor by physical intervention of others. The document also said that he did not have the reflex of protecting himself in the fall, which suggests he might have been unconscious.

Prosecutors in Argentina also ruled out the chances of Payne dying by suicide.

One Direction was among the most successful boy bands of recent times. It announced an indefinite hiatus in 2016 and Payne — like his former bandmates Zayn Malik, Harry Styles, Niall Horan, and Louis Tomlinson — pursued a solo career.

The singer had posted on his Snapchat account that he traveled to Argentina to attend Horan’s concert in Buenos Aires on October 2. He shared videos of himself dancing with his girlfriend, American influencer Kate Cassidy, and singing along in the stands. Cassidy had left Argentina after the show, but Payne stayed behind. 
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UNESCO – the U.N. agency for the protection of cultural heritage – says it is concerned that museums in Sudan are being looted during the ongoing civil war. VOA gained access to one damaged and apparently ransacked museum. VOA’s Henry Wilkins has more from The House of the Khalifa in the city of Omdurman.
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Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic “Thriller” album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.

Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family.

“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”

Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and amassing an extraordinary musical catalog that includes some of the richest moments of American rhythm and song. For years, it was unlikely to find a music lover who did not own at least one record with his name on it, or a leader in the entertainment industry and beyond who did not have some connection to him.

Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for “Roots” and “In the Heat of the Night,” organized President Bill Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World,” the 1985 charity record for famine relief in Africa.

Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.”

In a career that began when records were still played on vinyl at 78 rpm, top honors likely go to his productions with Jackson: “Off the Wall,” “Thriller” and “Bad” were albums near-universal in their style and appeal.

Jones’ versatility and imagination helped set off the explosive talents of Jackson as he transformed from child star to the “King of Pop.”

On such classic tracks as “Billie Jean” and “Don’t Stop ‘Til You Get Enough,” Jones and Jackson fashioned a global soundscape out of disco, funk, rock, pop, R&B and jazz and African chants. For “Thriller,” some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-fusing “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.

“Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time.

“If an album doesn’t do well, everyone says ‘it was the producers fault’; so if it does well, it should be your ‘fault,’ too,” Jones said in an interview with the Library of Congress in 2016. “The tracks don’t just all of a sudden appear. The producer has to have the skill, experience and ability to guide the vision to completion.”

The list of his honors and awards fills 18 pages in his 2001 autobiography “Q”, including 27 Grammys at the time (now 28), an honorary Academy Award (now two) and an Emmy for “Roots.” He also received France’s Legion d’Honneur, the Rudolph Valentino Award from the Republic of Italy and a Kennedy Center tribute for his contributions to American culture.

He was the subject of a 1990 documentary, “Listen Up: The Lives of Quincy Jones” and a 2018 film by daughter Rashida Jones. His memoir made him a best-selling author.
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“Venom: The Last Dance” enjoyed another weekend at the top of the box office. The Sony release starring Tom Hardy added $26.1 million in ticket sales, according to studio estimates Sunday.

It was a relatively quiet weekend for North American movie theaters leading up to the presidential election. Charts were dominated by big studio holdovers, like “Venom 3,” “The Wild Robot” and “Smile 2,” while audiences roundly rejected the Tom Hanks, Robin Wright and Robert Zemeckis reunion “Here.” Thirty years after “Forrest Gump,” “Here” opened to only $5 million from 2,647 locations.

“Venom 3” only fell 49% in its second weekend, which is a notably small drop for a superhero film, though it didn’t exactly open like one either. In two weeks, the movie has made over $90 million domestically; The first two opened to over $80 million. Globally, the picture is brighter given that it has already crossed the $300 million threshold.

Meanwhile, Universal and Illumination’s “The Wild Robot” continues to attract moviegoers even six weeks in (and when it’s available by video on demand), placing second with $7.6 million. The animated charmer has made over $121 million in North America and $269 million worldwide. “Smile 2” landed in third place with $6.8 million, helping to push its worldwide total to $109.7 million.

The time-hopping “Here,” a graphic novel that was adapted by “Forrest Gump” screenwriter Eric Roth, was financed by Miramax and distributed by Sony’s TriStar. With a fixed position camera, it takes audiences through the years in one living room. Critics were not on board: In aggregate it has a lousy 36% on Rotten Tomatoes.

Despite playing in almost 1,000 more locations, “Here” came in behind Focus Features’ papal thriller “Conclave” which earned $5.3 million. Playing in 1,796 theaters, “Conclave” dropped only 20% from its debut last weekend and has made $15.2 million so far. Two Indian films also cracked the top 10 in their debuts, “Bhool Bhulaiyaa 3” and “Singham Again.”

Jesse Eisenberg’s film “A Real Pain,” a comedic drama about cousins on a Holocaust tour in Poland, launched in four theaters this weekend in New York and Los Angeles. It made an estimated $240,000, or $60,000 per screen, which is among the top three highest per theater averages of the year. Searchlight Pictures will be expanding the well-reviewed film nationwide in the coming weeks, going wide on Nov. 15 to over 800 theaters.

Box office charts don’t always paint a full picture of the moviegoing landscape, however. This weekend several relatively high-profile films playing in theaters did not report full grosses for various reasons, including the Clint Eastwood film “Juror #2,” Steve McQueen’s WWII film “Blitz” and the Cannes darling “Emilia Pérez.” Netflix, which is handling “Emilia Pérez,” never reports box office figures. Apple Original Films is following suit with “Blitz,” a likely awards contender, which is in theaters before hitting Apple TV+ on Nov. 22. 

“Juror No. 2” is a Warner Bros. release, and a well-reviewed one at that. The film directed by Eastwood stars Nicholas Hoult as a juror on a murder case who faces a big moral dilemma. Domestic ticket sales were withheld. The studio did say that it earned $5 million from international showings, where it played on 1,348 screens.

Even major studios withhold box office numbers occasionally. Earlier this year, Disney did not report on the Daisy Ridley movie “Young Woman and the Sea.” Results were most notably withheld during the COVID-19 pandemic.

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

1. “Venom: The Last Dance,” $26.1 million. 

2. “The Wild Robot,” $7.6 million. 

3. “Smile 2,” $6.8 million. 

4. “Conclave,” $5.3 million. 

5. “Here,” $5 million. 

6. “We Live In Time,” $3.5 million. 

7. “Terrifier 2,” $3.4 million. 

8. “Singham Again,” $2.1 million. 

9. “Beetlejuice Beetlejuice,” $2.1 million. 

10. “Bhool Bhulaiyaa,” $2.1 million. 
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