YCLOAK

Somalia’s National Theater in Mogadishu held a landmark event Wednesday night, screening movies for the first time in three decades.

The theater was recently renovated and reopened after being destroyed twice – once in Somalia’s civil war, and then again in a 2012 suicide bombing.

More than 1,500 people attended the screenings.

The two films, Hoos, meaning “shadow” in Somali, and the other, Date of Hell, were screened in the Chinese-built theater constructed in 1967. 

Starring Egypt-based actor Kaifa Jama, the short films depict some of the challenges faced by young Somalis brought up outside the country and who are not familiar with Somali and Islamic culture. 

Jama said the films were produced in Cairo with no resources and largely on volunteers among her peers, with no payment for actors and actresses. She said the producers convinced hotels and hospitals to let them film on their grounds in exchange for advertisements in order to avoid extra costs. 

The theater also used volunteers for its reconstruction, which was overseen by the government. The building was completely destroyed during Somalia’s civil war in the early 1990s. It was rebuilt in 2012, only to be ruined again at its reopening after being targeted by an al-Shabab suicide bomber. Then-Prime Minister Abdiweli Mohamed Ali survived the explosion, but dozens of others died.

For this renovation, workers installed some 1,500 new seats. The theater officially reopened last year and has hosted graduation ceremonies for local schools.

According to organizers, more than 1,000 tickets were sold for Wednesday night’s screenings.

Among the participants was Ilham Mohamud.

The moviegoer said she was very happy and excited to be at the national theater for the first time in her life. She said she felt patriotic regarding the progress that is continuously made in her country. 

Information and Culture Minister Osman Dube said the theater will host more events in coming weeks. He said the theater is expected to showcase films, plays, poetry, book fairs and comedy that reflect Islamic and Somali culture. 

 
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The Kennedy Center for the Performing Arts in the U.S. capital began its 50th anniversary season in mid-September with musicians back on stage and spectators in their seats. But some COVID-19 measures remain in place for the new season. Karina Bafradzhian reports.

Camera: Sergey Sokolov
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Melvin Van Peebles, the groundbreaking filmmaker, playwright and musician whose work ushered in the “blaxploitation” wave of the 1970s and influenced filmmakers long afterward, has died. He was 89.

In a statement, his family said Van Peebles, father of the actor-director Mario Van Peebles, died Tuesday evening at his home in Manhattan.

“Dad knew that Black images matter. If a picture is worth a thousand words, what was a movie worth?” Mario Van Peebles said in a statement Wednesday. “We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”

Sometimes called the “godfather of modern Black cinema,” the multitalented Van Peebles wrote numerous books and plays and recorded several albums — playing multiple instruments and delivering rap-style lyrics. He later became a successful options trader on the stock market.

But he was best known for Sweet Sweetback’s Baadasssss Song, one of the most influential movies of its time. The low-budget art-house film, which he wrote, produced, directed, starred in and scored, was the frenzied, hypersexual and violent tale of a Black street hustler on the run from police after killing white officers who were beating a Black revolutionary.

Message of empowerment

With its hard-living, tough-talking depiction of life in the ghetto, underscored by a message of empowerment as told from a Black perspective, it set the tone for a genre that turned out dozens of films over the next few years and prompted a debate about whether Black people were being recognized or exploited.

“All the films about Black people up to now have been told through the eyes of the Anglo-Saxon majority in their rhythms and speech and pace,” Van Peebles told Newsweek in 1971, the year of the film’s release.

“I could have called it The Ballad of the Indomitable Sweetback. But I wanted the core audience, the target audience, to know it’s for them,” he told The Associated Press in 2003. “So I said, ‘ba-ad asssss,’ like you really say it.”

Made for around $500,000 (including $50,000 provided by Bill Cosby), it grossed $14 million at the box office despite an X rating, limited distribution and mixed critical reviews. The New York Times, for example, accused Van Peebles of merchandizing injustice and called the film “an outrage.”

Van Peebles, who complained fiercely to the Motion Picture Association over the X rating, gave the film its tagline: “Rated X by an all-white jury.”

But in the wake of the film’s success, Hollywood realized an untapped audience and began churning out such box office hits as Shaft and Superfly, which were also known for bringing in such top musicians as Curtis Mayfield, Marvin Gaye and Isaac Hayes to work on the soundtracks.

Many of Hollywood’s versions were exaggerated crime dramas, replete with pimps and drug dealers, which drew heavy criticism in both the white and Black press.

“What Hollywood did — they suppressed the political message, added caricature — and blaxploitation was born,” Van Peebles said in 2002. “The colored intelligentsia were not too happy about it.”

In fact, civil rights groups such as the NAACP and the Congress of Racial Equality coined the phrase “blaxploitation” and formed the Coalition Against Blaxploitation. Among the genre’s 21st-century fans was Quentin Tarantino, whose Oscar-winning Django Unchained was openly influenced by blaxploitation films and spaghetti Westerns.

On Wednesday, a younger generation of Black filmmakers mourned Van Peebles’ death. Barry Jenkins, the Moonlight director, said on Twitter: “He made the most of every second, of EVERY single damn frame.”

After his initial success, Van Peebles was bombarded with directing offers, but he chose to maintain his independence.

“I’ll only work with them on my terms,” he said. “I’ve whipped the man’s ass on his own turf. I’m number one at the box office — which is the way America measures things — and I did it on my own. Now they want me, but I’m in no hurry.”

Van Peebles then got involved on Broadway, writing and producing several plays and musicals such as the Tony-nominated Ain’t Supposed to Die a Natural Death and Don’t Play Us Cheap. He later wrote the movie Greased Lighting, which starred Richard Pryor as Wendell Scott, the first Black race car driver.

In the 1980s, Van Peebles turned to Wall Street and options trading. He wrote a financial self-help guide entitled Bold Money: A New Way to Play the Options Market.

Renaissance man

Born Melvin Peebles in Chicago on August 21, 1932, he would later add “Van” to his name. He graduated from Ohio Wesleyan University in 1953 and joined the Air Force, serving as a navigator for three years.

After military service, he moved to Mexico and worked as a portrait painter, followed by a move to San Francisco, where he started writing short stories and making short films.

Van Peebles soon went to Hollywood, but he was offered only a job as a studio elevator operator. Disappointed, he moved to Holland to take graduate courses in astronomy while also studying at the Dutch National Theatre.

Eventually he gave up his studies and moved to Paris, where he learned he could join the French directors’ guild if he adapted his own work written in French. He quickly taught himself the language and wrote several novels.

One he made into a feature film. La Permission/The Story of the Three-Day Pass was the story of an affair between a Black U.S. soldier and a French woman. It won the critic’s choice award at the San Francisco film festival in 1967, and Van Peebles gained Hollywood’s attention.

The following year, he was hired to direct and write the score for Watermelon Man, the tale of a white bigot (played by comic Godfrey Cambridge in whiteface) who wakes up one day as a Black man. 

With money earned from the project, Van Peebles went to work on Sweet Sweetback’s Baadasssss Song.

Van Peebles’ death came just days before the New York Film Festival is to celebrate him with a 50th anniversary of Sweet Sweetback’s Baadasssss Song. Next week, the Criterion Collection is to release a box set of his essential films. A revival of his play Ain’t Supposed to Die a Natural Death is also planned to hit Broadway next year, with Mario Van Peebles serving as creative producer.
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Six Native American tribes sued Wisconsin on Tuesday to try to stop its planned gray wolf hunt in November, asserting that the hunt violates their treaty rights and endangers an animal they consider sacred.

The Chippewa tribes say treaties give them rights to half of the wolf quota in territory they ceded to the United States in the mid-1800s. But rather than hunt wolves, the tribes want to protect them.

The tribal lawsuit comes three weeks after a coalition of wildlife advocacy groups sued to stop Wisconsin’s wolf hunt this fall and void a state law mandating annual hunts, arguing that the statutes don’t give wildlife managers any leeway to consider population estimates.

Hunters blew past their limit during a court-ordered hunt in February. The state Department of Natural Resources set the quota at 119, but hunters killed 218 wolves in just four days, forcing an early end to the season.

Conservationists then deluged the department with requests to cancel this fall’s hunt out of concerns it could devastate the wolf population. Agency biologists recommended setting the fall quota at 130. But the agency’s board last month set the kill limit at 300.

The tribes have claimed their half, but since they won’t hunt wolves, the working quota for state-licensed hunters would be 150. The lawsuit alleges the board’s decision to set the quota at 300 was a deliberate move to nullify the tribes’ share and was not based on science.

The DNR’s latest estimates put Wisconsin’s wolf population at roughly 1,000. Opponents say hunters probably killed at least a quarter of the population if poaching is included.

“In our treaty rights, we’re supposed to share with the state 50-50 in our resources and we’re feeling that we’re not getting our due diligence because of the slaughter of wolves in February,” John Johnson Sr., president of the Lac du Flambeau Band of Lake Superior Chippewa Indians, said in a statement announcing the lawsuit.

The Ojibwe word for “wolf” is Ma’iingan, and the Indigenous people of the Great Lakes region often call themselves Anishinaabe. The wolf holds a sacred place in their creation story.

“To the Anishinaabe, the Ma’iingan are our brothers. The legends and stories tell us as brothers we walk hand in hand together. What happens to the Ma’iingan happens to humanity,” Marvin Defoe, an official and elder with Red Cliff Band of Lake Superior Chippewa Indians, said in the statement.

Hunters, farmers and conservationists have been fighting over how to manage Wisconsin’s wolves. Farmers say wolves kill livestock, while hunters are looking for another species to stalk.

The six tribes are represented by Earthjustice, which is one of several groups that are suing the federal government over the Trump administration’s decision last November to lift Endangered Species Act protections for gray wolves across most of the U.S. and return management authority to the states.

Gray wolves in Wisconsin, Minnesota and Michigan are considered part of the western Great Lakes population, which is managed separately from wolves in Western states.

The Biden administration last Wednesday said federal protections may need to be restored for western wolves because Republican-backed state laws have made it much easier to kill the predators. The U.S. Fish and Wildlife Service’s initial determination that western wolves could again be imperiled launched a yearlong biological review.

Dozens of tribes asked the Biden administration one day earlier to immediately enact emergency protections for gray wolves across the country, saying states have become too aggressive in hunting them. They asked Interior Secretary Deb Haaland to act quickly on an emergency petition they filed in May to relist the wolf as endangered or threatened. 
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The projectors are rolling. The ruby slippers are on. Many an Oscar sits glistening. The shark has been hanging, and waiting, for nearly a year.  

Nine years after it was announced, four years after its first projected open date, and five months since its last planned launch date, the U.S. film academy’s museum is ready to open to the public on Sept 30.  

“I’m very moved to be able to say to you, finally, at last, boy howdy hey, welcome to the Academy Museum of Motion Pictures,” Tom Hanks told reporters Tuesday at a media preview of the Los Angeles building and its exhibits.  

Hanks, a member of the board of trustees, led the fundraising for the project along with fellow actor Annette Bening and Walt Disney Co. executive chairman Bob Iger.  

“We all know, films are made everywhere in the world, and they are wonderful films,” Hanks said. “And there are other cities with film museums, but with all due respect, created by the Motion Picture Academy, in Los Angeles, this museum has really got to be the Parthenon of such places.”  

The first thing most visitors will notice on entering the building is Bruce, a 1,208-pound (548-kilogram), 25-foot-long (7.6-meter), 46-year-old shark made from the “Jaws” mold. Bruce hangs above the bank of main escalators and was hoisted there last November in anticipation of what was then a planned April opening. 

The featured inaugural exhibit celebrates the works of the legendary Japanese animator Hayao Miyazaki. Others examine the work of directors Spike Lee and Pedro Almodovar.  

Some galleries focus on the Oscars, with actual statuettes won across the decades, and speeches projected on walls.  

Projected scenes are a theme in all the museum’s galleries, with technology from 18th century “magic lanterns” through silent films to the 3-D digital tech of today.  

Costumes from “The Wizard of Oz” to “The Wiz” are on display, including Dorothy’s ruby slippers. 

Announced in 2012 and first slated to open in 2017, the museum was beset with delays that are typical for such a project, but they were compounded by a pair of pandemic postponements.  

Designed by architect Renzo Piano, The Academy Museum of Motion Pictures is a 300,000-square-foot (27,871-square-meter) space made up of two buildings, one old, one new, at the corner of Wilshire Boulevard and Fairfax Avenue next to the Los Angeles County Museum of Art.  

“It’s shiny and new and enormous, and it’s crammed with about 125 years’ worth of ideas and dreams and life-changing cinematic experiences,” actor Anna Kendrick said at the media preview.  

The older structure is the 1930s Saban Building, once home to the May Company department store. It’s linked by bridges to a new building that is topped by a terrace and a concrete-and-glass dome that has a distinctiveness that could lead to a nickname.  

Piano said Tuesday that he hopes it’s “the soap bubble” and not something more cinematic.  

“Please,” the architect said, “don’t call it the Death Star.”  
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The Nigerian aid group Center for Civilians in Conflict is marking this year’s U.N. International Day of Peace with a photo exhibit on the conflict in the country’s northeast. The photographs depict some of the millions of civilians caught up in the 12-year conflict started by militant group Boko Haram.

The photo exhibit opened Tuesday morning at the Thought Pyramid Art Center in Abuja. Around 150 visitors arrived in batches to see images taken from scenes of the Boko Haram insurgency and the communities affected by it. 

Art lover Hillary Essien, who attended the exhibit, says the photos tell a story of pain and survival. 

“They’re actual people, being here and seeing that these people are out there away from their homes, families, fearing for their lives, it’s just really touching to be honest,” she said. 

Nigerian photojournalist Damilola Onafuwa took the photos for nonprofit Center for Civilians in Conflict, and says he’s happy about the effect the pictures are having on viewers. 

“When I create these works, I only create them because I want people to know,” he said. “I want to share the stories of people that I’m photographing. When people see it and I see how much impact it has on them, that makes me very happy.” 

Nigeria has been battling the Boko Haram insurgency for 12 years. The fighting has claimed an estimated 350,000 lives, according to the United Nations Development Program, and displaced millions of others. 

But Boko Haram is not the only group threatening the northeast. Armed criminal groups are becoming more active, often kidnapping people for ransom. Communal clashes over grazing lands are leading to raids and burnings of villages.

The Center for Civilians in Conflict says the exhibit aims to raise awareness about these issues with the view of addressing them. 

“The exhibition tries to chronicle the lives of ordinary Nigerians who are trying everything possible to maintain the peace,” said Beson Olugbuo, a director at the center. “The idea is to use photographs as a means of advocacy and also to remind the federal government that they have a primary responsibility to maintain law and order, to protect lives and property and ensure that peace reigns.” 

The International Day of Peace is observed every year on September 21.

 
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My Childhood My Country: 20 Years in Afghanistan is the latest documentary by award-winning filmmakers Phil Grabsky and Shoaib Sharifi. Grabsky spoke with VOA’s Penelope Poulou about this 20-year film expose on life in Afghanistan through the eyes of an Afghan youth from his early childhood to today.
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Royal drama “The Crown” and feel good comedy “Ted Lasso” nabbed the top prizes at television’s Emmy awards on Sunday on a night dominated by streaming shows, British talent and rare wins by women. 

Chess drama “The Queen’s Gambit” was named best limited series and tied with “The Crown” for the most wins overall at 11 apiece.  

The best drama series win for “The Crown” gave Netflix its biggest prize so far, while Apple TV+ entered streaming’s big league with the best comedy series win for “Ted Lasso.” Neither Netflix nor Apple TV+ had previously won a best comedy or best drama series Emmy. 

Jason Sudeikis, the star and co-creator of “Ted Lasso,” was named best comedy actor.  

The show also brought statuettes for Britons Hannah Waddingham and Brett Goldstein for their supporting roles in the tale of a struggling English soccer team that won over TV fans with its folksy humor during the dark days of the coronavirus pandemic.  

“This show is about family. This show’s about mentors and teachers and this show’s about teammates. And I wouldn’t be here without those three things in my life,” Sudeikis said on Sunday. 

Despite a nominees list that boasted the strongest showing in years for people of color, only a handful emerged as winners.  

They included Britain’s Michaela Coel, who won for writing the harrowing sexual assault drama “I May Destroy You” in which she also starred and directed; RuPaul, host of the competition show “RuPaul’s Drag Race;” and the cast of hip-hop Broadway musical “Hamilton,” which won the Emmy for variety special after it was filmed for television. 

Dancer, singer and actor Debbie Allen was given an honorary award celebrating 50 years in show business. “It’s taken a lot of courage to be the only woman in the room most of the time,” Allen said. 

It was a good night for women, and for Britons. “Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable,” said Coel, who dedicated her Emmy to sexual assault survivors. 

Lucia Aniello got a rare directing win for a woman for the comedy series “Hacks” about a fading female comedian. She also was one of the winning co-writers. Britain’s Jessica Hobbs took home a directing Emmy for “The Crown.” 

“Not a lot of women have won this award so I feel like I am standing on the shoulders of some really extraordinary people,” Hobbs said. 

Seven of the 12 acting awards went to Britons, including Olivia Colman and Josh O’Connor for playing Queen Elizabeth and heir to the throne Prince Charles in a fourth season of “The Crown” that focused on the unhappy marriage of Charles and Princess Diana. 

“We’re all thrilled. I am very proud. I’m very grateful. We’re going to party,” said Peter Morgan, creator of “The Crown,” at a gathering in London for the cast and crew. 

An exuberant Kate Winslet won for her role as a downtrodden detective in limited series “Mare of Easttown,” while Ewan McGregor was a surprise winner for playing fashion designer “Halston.” 

Concerns over the Delta variant of the coronavirus forced Sunday’s ceremony to move to an outdoor tent in downtown Los Angeles, with a reduced guest list and mandatory vaccinations and testing but a red carpet that harked back to pre-pandemic times. 
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Halima Aden, the first supermodel to wear a hijab and pose in a burkini, has ripped up her lucrative contracts in an industry she feels lacks “basic human respect” and entered the world of modest fashion design instead.

For the Somali-American who was born in a refugee camp in Kenya, it was a matter of preserving her self-worth and well-being in a fast and loose sector that increasingly clashed with her Muslim values.

“Since I was a little girl, this quote — ‘don’t change yourself, change the game’ — has gotten me through so much in life,” she told AFP in an interview in Istanbul.

“When I took the decision to quit, that is exactly what I did,” she said. “So I am very, very proud.”

Aden’s departure last November delivered a shock to fashionistas and Muslim influencers who have admired her trailblazing career.

Aden, who turns 24 on Sunday, broke ground in Minnesota, where she became the first contestant to wear a hijab and a burkini — a full-body swimsuit whose appearance has stirred controversy on some European beaches — in a U.S. state beauty pageant in 2016.

She posed in them again for Sports Illustrated’s annual swimsuit issue when her fame was spreading in 2019.

But personally, Aden felt increasingly boxed in — sometimes literally.

“I was always given a box, a private place to change in, but many times I was the only one given the privacy,” she said.

“I got to see my fellow young women having to undress and change in public, in front of media personalities, cooks and staff, designers and assistants,” she recalled.

“To me, it was very jarring,” she said. “I couldn’t be in an industry where there is no basic human respect.”

‘Poison!’

Aden sounded liberated when she announced her decision to abandon photo shoots and catwalks last year. She is becoming a designer instead.

“Wow this is actually the most RELIEF I felt since I started in 2016. Keeping that in was literal POISON!” she said on Instagram.

She felt her traditions, starkly different from those of most other supermodels, were caricatured and turned into a gimmick by some brands.

One, American Eagle, replaced a headscarf with a pair of jeans on her head in a 2017 campaign.

“But… this isn’t even my style??” she protested on Instagram at the time.

“I got to a place where I couldn’t recognize my hijab the way I would traditionally wear it,” Aden told AFP.

Aden looked far more at ease in Istanbul, surrounded by Middle Eastern fashionistas while attending an event organized by Modanisa, her new home.

She will be designing collections exclusively for the Turkish online brand, which is one of the biggest names in the modest fashion industry, valued at $277 billion in 2019.

It already makes up more than a tenth of the $2.2 trillion global fashion industry, with plenty of room to grow, according to DinarStandard, an advisory firm specializing in emerging Muslim markets.

‘Taste of the world’

World capitals as diverse as Moscow, Riyadh and London have staged modest fashion shows in the past few years.

The trend is particularly strong in Iran, Saudi Arabia and Turkey, where Aden rejoices at the melee of cultures on the streets.

 

“What I love the most about Turkey, especially Istanbul, is that it is very diverse, you see women who don’t wear the hijab right alongside women who wear the hijab,” she said.

“You get a taste of the world in Istanbul.”

The industry has taken off in the past decade, thanks in part to the modelling careers of women such as Aden.

Soft-spoken but smiley, Aden sounds confident in modest fashion’s ability to withstand crises like the coronavirus pandemic and changing fads.

“It is the oldest fashion staple, it’s been around for hundreds of years, it will continue to be around for hundreds of years,” she said.

Islam and fashion “are 100% compatible because there’s nothing in our religion that says you can’t be fashionable,” she said.

Luxury brands such as DKNY and Dolce & Gabbana have already picked up on the trend, creating collections catered to modest women.

But Aden hit out at “a lot of tokenism, especially in the fashion industry, where they want our money but they don’t want to support us in the issues that we are faced with.”

“I think fashion needs to do a greater job,” she said. “You are representing your clients who are Muslims, it is important to speak up when they are faced with injustices.” 

 
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The miniature statutes given at the Emmy Awards on Sunday can be an outsized boon to egos, careers and guessing games.

Will The Mandalorian bow to The Crown as best drama series? Can the feel-good comedy Ted Lasso charm its way into freshman glory? Will Jean Smart be honored as best comedy actress for Hacks? (She will.)

But there’s oh-so-much more at stake when the TV industry — or a pandemic-constrained slice of it — gathers to honor itself at the 73rd Primetime Emmy Awards.

The ceremony (8 p.m. EDT, CBS) is a snapshot of a business morphing into its 21st-century form; who we see or don’t see on the small screen, and the rapid splintering of TV and its viewers.

The obvious winners and losers are those to be revealed in 27 categories during the s how hosted by Cedric the Entertainer. But there’s more at stake than personal victories, and yardsticks of success or failure beyond trophies.

Here’s some of the outcomes and trends to watch for, both up close and wide-angle.

Streamers set to conquer

Streaming services are poised for a triumphant night that will cast further shade on the status of broadcast networks, including the big three ABC, CBS and NBC, and once-dominant cable channels such as HBO and Showtime.

“This is the year that the streamers will officially conquer Hollywood,” likely winning best drama and comedy series honors for the first time, said Tom O’Neil, editor of the Gold Derby predictions website and author of The Emmys.

Premium cable’s encroachment on turf once owned by broadcasting was gradual: HBO launched in 1972 and waited two decades for its first best series Emmy nod, earned by Garry Shandling’s comedy The Larry Sanders Show. It wasn’t until the 2000s arrived that Sex and the City and The Sopranos earned best series prizes.

In contrast, streaming is racing ahead with Ferrari-like speed, especially as the services multiply and shell out big bucks for shows aimed at winning over paying customers.

In 2017, Hulu’s The Handmaid’s Tale became the first streamed series to win the best drama Emmy. The next year, The Marvelous Mrs. Maisel scored a matching victory on the comedy side for Amazon, which won again in 2019 for Fleabag.

Victory is possible for either Netflix’s The Crown or the Disney+ series The Mandalorian, which topped the nods with 24 each. For Netflix, which launched its on-demand service in 2007 and fielded the first drama series nominee, House of Cards in 2014, patience would finally be rewarded.

For Disney+, the victory would be swift and sweet: it launched in November 2019. Apple TV+, which arrived the same year, could win its first top series award with Ted Lasso. If that happens, streaming’s prominence would be solidified with the one-two punch in the comedy and drama categories.

Room at the table

The push for diversity has moved at a grindingly slower pace than the digital revolution, but this year’s slate of nominees was unimaginable just a few years ago.

Of the 96 acting nods for drama, comedy and miniseries, nearly 44% — a total of 42 nominations — went to people of color. According to 2020 Census figures, white Americans make up just under 58% of the population.

Among this year’s groundbreakers: Mj Rodriguez of Pose, the first trans performer to be nominated in a lead acting category, and Bowen Yang of Saturday Night Live, the first Asian American to compete for best supporting comedy actor.

The top drama acting categories are particularly inclusive, and strikingly so in comparison to a decade ago when all of the 12 nominees for best actor and actress were white, with Kyle Chandler (Friday Night Lights) and Julianna Margulies (The Good Wife) the winners.

That was 2011, this is now. Black men make up a majority of the lead drama actor nominees, four of six, including past winners Sterling K. Brown for This Is Us and Pose star Billy Porter — the first openly gay man to win the category, in 2019.

Half of the six best-actress contenders are women of color. Jurnee Smollett (Lovecraft Country) and Uzo Aduba (In Treatment) are Black, and Rodriguez is Afro Latina.

If the final test of inclusivity is who wins, the story could be different. The Crown stars Josh O’Connor and Emma Corrin are considered frontrunners for their portrayals of ill-fated royal mates Charles and Diana.

Pandemic, Part 2

Constraints can breed inventiveness.

Last year’s all-virtual ceremony included a defining lockdown moment: Hazmat-suited trophy couriers who loitered outside nominees’ homes until their categories were called, either handing over the award or taking it disappointingly away.

“Somebody mentioned (the idea) in a meeting as kind of as a joke, and then it was constantly needling away at us and we decided that it could be a great way to do it,” recalled Guy Carrington, a producer for the 2020 Emmys.

This year, about 500 nominees and guests will gather under a glammed-up tent in downtown L.A., with COVID-19 precautions including a vaccine requirement and testing. There are big names among the presenters, including Angela Bassett, Michael Douglas, Dolly Parton and Awkwafina, but at least one star, Jennifer Aniston, was candid about staying away because of virus concerns.

Reginald Hudlin and Ian Stewart, executive producers for the telecast, said they approached the reduced attendance as an opportunity.

Instead of being confined in a theater seat, guests will be at tables and part of what sounds like an oversized dinner party — with drinks and snacks allowed — and encouraged to mingle.

“To have the industry come out and sit together and see each other, it is a celebration,” said Stewart.

Hello, is anyone out there?

Ratings for awards show, from Oscars to the Grammys, have been steadily declining in recent years and hit new depths during the pandemic. Despite honoring the TV shows that kept us company through COVID’s darkness, the Emmys weren’t exempt.

After hitting a record-low viewership of just under 7 million in 2019, last year’s telecast tumbled further to 6.1 million viewers, according to Nielsen.

Part of it is simply awards overload, with upstart, dime-a-dozen ceremonies taking the luster off the major ones, including the 94-year-old, grande dame Oscars and the Emmys, which turn 73 on Sunday.

Then there’s the shows’ sheer length. A leisurely, three-hour telecast, commercials included, was expected and tolerated in the old TV world. In the new one, viewers are more inclined to check out an event’s highlights online and at will.

But as Hudlin sees it, social media can give as well as take.

“If you deliver a show that works, if people say, ‘Oh, are you watching the Emmys thing? It’s kind of cool,’ all of a sudden people start tuning in because you’re talking about it like, ‘Yo, this is crazy,'” Hudlin said. “So we like to keep it crazy.”

Details were under wraps, but there will be music: Reggie Watts, band leader for The Late Late Show with James Corden, is the night’s DJ.

The event’s producers also recognize that niche shows on cable and streaming may be unfamiliar to many viewers, especially those who favor network shows such as ABC’s Grey’s Anatomy or CBS’ The Neighborhood — the latter starring Emmy host Cedric the Entertainer.

“We have gone to a lot of those mainstream, well-known actors, actresses and people in the industry to be presenters so that we do reflect popular television,” Stewart said. 
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While orbiting Earth, four space tourists called U.S. actor Tom Cruise to talk about life aboard the spacecraft.

Representatives for SpaceX’s first privately chartered flight said the crew members spoke Friday with Cruise, who is hoping to take part in a movie made in space.

The Twitter account for the flight mission said, “Maverick, you can be our wingman anytime,” referencing the call sign for Cruise’s character in the movie Top Gun.

No further details were released about the conversation.

Last year, NASA said it was in talks with Cruise about filming a movie at the International Space Station.

In the first space flight without any trained astronauts, the space tourists are orbiting Earth at an altitude of 585 kilometers.

The crew is led by billionaire Jared Isaacman, 38, and includes two contest winners and a hospital worker.

Crew members spoke with mission control Friday in a 10-minute live webcast.

Hayley Arceneaux, a 29-year-old physician assistant at St. Jude Children’s Research Hospital, showed off her ability to do flips in zero gravity.

Arceneaux, a childhood cancer survivor, had spoken earlier with child cancer patients at St. Jude.

Chris Sembroski a 42-year-old U.S. Air Force veteran, played his ukulele while Sian Proctor, a 51-year-old community college teacher, showed a picture she drew of SpaceX’s Dragon capsule.

The flight, named Inspiration4, took off Wednesday and is due to splash down Saturday in the Atlantic Ocean off the coast of Florida.

SpaceX was founded by billionaire Elon Musk, who tweeted Thursday, “Missions like Inspiration4 help advance spaceflight to enable ultimately anyone to go to orbit & beyond.” 

 

 

 
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Jane Powell, the bright-eyed, operatic-voiced star of Hollywood’s golden age musicals who sang with Howard Keel in “Seven Brides for Seven Brothers” and danced with Fred Astaire in “Royal Wedding,” has died. She was 92.

Powell died Thursday at her Wilton, Connecticut, home, longtime friend Susan Granger said. Granger said Powell died of natural causes.

Powell performed virtually her whole life, starting about age 5 as a singing prodigy on radio in Portland, Oregon. She made her first movie at 16 and graduated from teenage roles to co-starring in the lavish musical productions that were a 20th-century Hollywood staple.

Her 1950 casting in “Royal Wedding” came by default. June Allyson was first announced as Astaire’s co-star but withdrew when she became pregnant. Judy Garland was cast but was withdrawn because of personal problems. Powell was next in line.

“They had to give it to me,” she quipped at the time. “Everybody else is pregnant.” Also among the expectant MGM stars: Lana Turner, Esther Williams, Cyd Charisse and Jean Hagen.

Powell had just turned 21 when she got the role. Astaire was 50. She was nervous because she lacked dancing experience, but she found him “very patient and understanding. We got along fine from the start.”

Surprise smash

“Seven Brides for Seven Brothers” proved to be a 1954 “sleeper” hit.

“The studio didn’t think it was going to do anything,” she recalled in 2000. “MGM thought that ‘Brigadoon’ was going to be the big moneymaker that year. It didn’t turn out that way. We were the ones that went to the Radio City Music Hall, which was always such a coup.”

The famed New York venue was a movie theater then.

Audiences were overwhelmed by the lusty singing of Keel and Powell, and especially by the gymnastic choreography of Michael Kidd. “Seven Brides” achieved classic status and resulted in a TV series and a Broadway musical.

“Blonde and small and pretty, Jane Powell had the required amount of grit and spunk that was needed to play the woman who could tame seven backwoodsmen,” John Kobal wrote in his book “Gotta Sing Gotta Dance: A Pictorial History of Film Musicals.”
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Three imprisoned Iranian dissidents will be honored next month at Pen America’s annual gala. 

The literary and human rights organization announced Thursday that writer-filmmaker Baktash Abtin, novelist-journalist Keyvan Bajan and author-critic Reza Khandan Mahabadi are this year’s recipients of the 2021 PEN/Barbey Freedom to Write Award. All three are members of the anti-censorship Iranian Writers Association and are serving a collective 15.5 years on charges including endangering national security and “spreading propaganda.” 

“Baktash Abtin, Keyvan Bajan, and Reza Khandan Mahabadi are embodiments of the spirit that animates our work at PEN America.” They are writers who are called not only to offer prose and ideas on a page, but to live fearlessly — and sacrifice immensely in service of the liberties that underpin free thought, art, culture, and creativity,” PEN America CEO Suzanne Nossel said in a statement. 

“By taking up the mantle of leadership within Iran’s literary community, they have served as beacons for countless authors and thinkers whose ability to imagine, push boundaries, and challenge repression under the most dangerous conditions is fed by the knowledge that they do not stand alone.” 

The PEN gala is scheduled for Oct. 5 at its longtime venue the American Museum of Natural History, with Awkwafina serving as host and others receiving awards including scholar Henry Louis Gates Jr. and Walt Disney Chairman Robert Iger. Last year’s ceremony was held online because of the pandemic. 

The Freedom to Write Award, given to artists and writers jailed for their work, has been awarded to Russian filmmaker Oleg Sentsov and the Chinese writer-activist Xu Zhiyong among others. According to PEN, 44 out of the previous 48 honorees have since been freed. 

PEN has not yet determined who will accept the award on behalf of this year’s winners. 

 
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The United Nations says 117 million students worldwide are still out of school due to the coronavirus pandemic that began more than a year-and-a half ago. 

In a statement Thursday, the United Nations Educational, Scientific and Cultural Organization said the number of students who have yet to return to the classroom represents about 7.5% of the global student population.

“We know that the longer schools stay closed, the more dramatic and potentially irreversible the impact on children’s well-being and learning, especially for the most vulnerable and marginalized,” said Assistant UNESCO Director-General for Education, Stefania Giannini.

Giannini said it is “encouraging” that many governments are working to safely reopen schools but added, “Our utmost and urgent aim must be to reopen schools everywhere, for all students.”

UNESCO said schools have fully reopened in 117 countries, allowing 35% of the world’s students ranging from pre-primary to secondary levels to return to the classroom. In September 2020, 16% received in-class instruction when schools in only 94 of the world’s 195 countries had reopened.

The organization said prolonged and repeated closures have caused lost learning opportunities and a rise in drop-out rates, factors that have adversely affected “the most vulnerable students disproportionately.”

Remedial and hybrid learning, teacher support and bridging the digital divide are key components of building resilient education systems, UNESCO said.

The group also said it is collaborating with the United Nations Children’s Fund and the World Bank to help governments reopen schools and run programs aimed at helping students “catch up on lost learning.”

Some information in this report was provided by The Associated Press and Reuters.
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Olympic gymnast McKayla Maroney on Wednesday told U.S. lawmakers she feels betrayed by FBI agents, after they failed to seriously investigate former USA Gymnastics doctor Larry Nassar, despite her telling them he had sexually abused her. Maroney is one of four athletes, along with Simone Biles, Aly Raisman and Maggie Nichols, who testified to the Senate Judiciary Committee as it probes the FBI’s mishandling of the investigation. Maroney recalled how in 2015 she spent three hours on the phone telling the FBI the details of her story that her own mother had not even heard, including accounts of sexual abuse she endured during the Olympic Games in London. It was not until July of this year, however, that she said the United States Olympic gymnast McKayla Maroney testifies during a Senate Judiciary hearing about the Inspector General’s report on the Larry Nassar investigation on Capitol Hill, Sept. 15, 2021.”Not only did the FBI not report my abuse, but when they eventually documented my report 17 months later, they made entirely false claims about what I said,” Maroney said, with anger in her voice. Wednesday’s hearing comes after the Justice Department’s Inspector General Michael Horowitz in July issued a report which blasted the FBI for United States Olympic gymnast Simone Biles testifies during a Senate Judiciary hearing on Capitol Hill, Sept. 15, 2021.Olympian Biles blasted USA Gymnastics and the FBI in blunt, tearful testimony on Wednesday for standing by while Nassar abused her and hundreds of other athletes. “We have been failed and we deserve answers,” Biles told the Senate Judiciary Committee. “It really feels like the FBI turned a blind eye to us,” she said. Maroney, meanwhile, called on the Justice Department to explain its decision not to prosecute the FBI agents. Nassar, who had been the main doctor for Olympic gymnasts, was sentenced in federal court in 2017 to 60 years in prison on charges of possessing child sex abuse material. The following year, he was also sentenced up to 175 years and up to 125 years, respectively, in two separate Michigan courts for molesting female gymnasts under his care. Prosecutors have estimated he sexually assaulted hundreds of women. 
 
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Comedian Norm Macdonald, a former “Saturday Night Live” writer and performer who was “Weekend Update” host when former U.S. President Bill Clinton and O.J. Simpson provided comic fodder during the 1990s, has died. Macdonald, who was 61, died Tuesday after having cancer for nine years but kept it private, according to Brillstein Entertainment Partners, his management firm in Los Angeles. He never reached the same television heights after being fired from “SNL” in 1998 but was an indefatigable stand-up comic and popular talk show guest whose death provoked an outpouring from fellow comedians. “Norm was in a comedy genre of his own,” tweeted Sarah Silverman. “No one like him on this planet. Please do yourself a favor and watch his stuff.” Macdonald, the son of two schoolteachers, was raised in Quebec City, Canada. Canadian Prime Minister Justin Trudeau offered his condolences, calling Macdonald “a comedic genius and a great Canadian.” FILE – Colin Quinn, from left, Chevy Chase and Norm Macdonald appear onstage at The 2012 Comedy Awards in New York, April 28, 2012.Macdonald was a stand-up comic and briefly a writer for the sitcom “Roseanne” when he was picked to join the cast of “SNL” in 1993. He became known for his esoteric impressions, including actor Burt Reynolds, who gave comedian Will Ferrell’s Alex Trebek character grief on “Celebrity Jeopardy.” He also impersonated former U.S. Senator Bob Dole, television and radio host Larry King, and comedian and talk show host David Letterman. His deadpan style and skills as a writer made him the choice to host “Weekend Update.” Simpson was a favorite target. Macdonald opened the fake newscast the week of the former football star’s acquittal on murder charges by saying, “Well, it’s finally official. Murder is legal in the state of California.” “SNL” executive producer Lorne Michaels, speaking for the show, called Macdonald “one of the most impactful comedic voices of his or any other generation.” “There are so many things that we’ll miss about Norm — from his unflinching integrity to his generosity to his consistent ability to surprise,” he said. “But most of all, he was just plain funny. No one was funny like Norm.” Macdonald was fired in the middle of the season in 1998 by NBC Entertainment executive Don Ohlmeyer, a friend of Simpson’s who reportedly didn’t appreciate Macdonald making Simpson the near-constant butt of jokes. “I was never bitter,” Macdonald said in the oral history “Live From New York,” released in 2002. “I always understood that Ohlmeyer could fire me because he was the guy who owned the cameras. So, that didn’t bother me. I was always happy that ‘SNL’ gave me a chance.” He said in the same book, “I just like doing jokes I like, and if the audience doesn’t like them, they’re wrong, not me.” Ohlmeyer said that was his problem. “When ‘Saturday Night Live’ is really good, they do care what the audience thinks,” he said. “And when ‘Saturday Night Live’ is not really good, they’re kind of doing it for themselves and their pals.” FILE – Host Norm Macdonald removes a pancake from a spoof “swag bag” at the 2016 Canadian Screen Awards in Toronto, Ontario, March 13, 2016.Macdonald announced his firing on Letterman’s show. During a commercial break, Letterman asked him, “This is like some Andy Kaufman thing with fake wrestling, right?” Macdonald recalled. But it wasn’t. Letterman was a fan who made Macdonald one of the guests in the CBS “Late Show” host’s final run of shows. In 2016, Letterman told The Washington Post that the show would have had Macdonald on every week “if we could.”  “He is funny in a way that some people inhale and exhale,” Letterman told the Post. “With others, you can tell the comedy, the humor is considered. With Norm, he exudes it … There may be people as funny as Norm, but I don’t know anybody who is funnier.” The Post’s story was headlined, “Will Somebody Please Give Norm Macdonald Another Show?” As if to answer, Netflix two years later aired 10 episodes of an interview series, “Norm Macdonald Has a Show.” Guests included Letterman, Michaels, actress Jane Fonda and Judge Judy Sheindlin. He had limited success in other TV ventures. He created and starred in the ABC sitcom “The Norm Show,” later shortened to “Norm,” playing a former professional hockey player kicked out of the league for gambling and tax evasion and forced into community service as a social worker. A Comedy Central show, “Sports Show with Norm Macdonald,” lasted only a handful of episodes, but he kept busy in comedy clubs. “In my mind, I’m just a stand-up,” he told The New York Times in 2018. “But other people don’t think that. They think, ‘Oh, the guy from ‘SNL’ is doing stand-up now.'” In a 2011 comedy special, Macdonald said it was wrong to say you “lost your battle” with cancer when you died. “I’m not a doctor, but I’m pretty sure that if you die, the cancer also dies at exactly the same time,” he said. “That, to me, is not a loss. That’s a draw.” Comedian Jim Carrey tweeted that Macdonald was “an honest and courageous comedy genius.” Actor and comedian Seth Rogen said when he started acting, he essentially ripped off Macdonald’s delivery.  “No one could make you break like Norm Macdonald,” comedian Jon Stewart said on Twitter. “Hilarious and unique.” 
 
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Billie Eilish went full glam in a huge peach ball gown at the pandemic-delayed Met Gala on Monday night, while fellow host of the evening Amanda Gorman was breathtaking in blue custom Vera Wang with a diamond laurel wreath in her hair.Co-host Timothée Chalamet raced onto Fifth Avenue to take selfies with fans before walking up the steps of the Metropolitan Museum of Art for his entrance after a marching band and gymnast kicked off the long-awaited evening. Last year’s gala was canceled due to the pandemic.This year’s official theme of the fundraiser for the museum’s Costume Institute was “American Independence,” leaving plenty of room for interpretation. Just ask Lil Nas X, who did a Lady Gaga-esque strip tease on the carpet in gold Versace, from cape to armor to embellished jumpsuit. 
Eilish, the belle of the ball, wore Oscar de la Renta. She told Vogue: “It was time for this. I feel like I’ve grown so much over the last few years.”Chalamet had sneakers on his feet but diamonds on his look. Chalamet called his look “a bit of everything,” just like America.Gorman’s dress, which included more than 3,000 hand-sewn crystals, was made to evoke a starry night sky. She told Vogue she felt like Lady Liberty, reimagined. Her crown, the star poet said, was a nod to publishing. Another of the hosts, Naomi Osaka, wanted to celebrate all her cultures — Japan, Haitian and the U.S. — and picked a Louis Vuitton gown designed in collaboration with her sister, Mari Osaka. It was a swirly blue, aqua and purple print with long black ruffle sleeves and a wide red sash.If this gala produced a trend, it’s huge statement sleeves, with some stars and stripes thrown in. There was a smattering of red, as in the red, white and blue of the American flag. Karlie Kloss wore red Carolina Herrera with huge ruffles at the neck and sleeves. Jennifer Hudson also chose red sans sleeves. Also in red: Ella Emhoff, the daughter of the country’s second gentleman, Doug Emhoff, and Vice President Kamala Harris. She wore a trouser look with a sheer top and a crystal design in all the right places.Dan Levy took the party’s theme to the extreme in a blue confection from Loewe. It had, according to the brand, “printed leg of mutton sleeves” on a polo shirt with an applique of two men kissing. Leon Bridges, meanwhile, honored his home state of Texas in a white cowboy hat and a blue suede fringe jacket. “It’s all about embodying the aesthetic of Texas,” said Bridges, with jewels in his hair.Yara Shahidi wore silver custom Dior complete with a head piece. She said she was inspired by Josephine Baker. Emma Chamberlain went for a gold mini with cutouts at the waist and chunky mirror and chain detail. Harris Reed put Iman in a huge golden hat.Gala overseer Anna Wintour arrived early with a wave to the crowd accompanied by her pregnant daughter, Bee, in a floral design with ruffles at the neck.Along with oh-so-many jumpsuits, there were plenty of classic red carpet looks and a wave of gold, the latter including a Peter Dundas look worn by Mary J. Blige. It plunged to the belly button and beyond at the front and back. Megan Fox, fresh from hear appearance at the MTV VMAs, also wore embellished Dundas, a red body hugger with criss-crossing at the front and sides. MJ Rodriguez, the “Pose” star and first transgender performer to pick up an Emmy nomination in a major acting category, wore an old glam, black-and-white corseted look from Thom Brown. The designer called it a modern-day twist on classic American sportswear. She attended the gala with purpose.”Not a lot of trans girls like myself get this opportunity,” she said. “The human condition is what I’m here for.”U.S. Rep. Alexandria Ocasio-Cortez showed up in an Aurora James gown of white with a message splashed in red across the back: “Tax the Rich.”The evening had its share of what-the-heck moments, like a couple of horse heads on dresses and a green-haired Frank Ocean carrying a fake baby with a green face to match. Thom Browne gave the walking fashion statement Erykah Badu an extra-tall top hat with a bulky black look, a bunch of crystals and chunky bling around her neck.Her purse was a black leather dachshund.Dundas also dressed Ciara, who honored Seahawks hubby Russell Wilson with his No. 3 emblazoned on her lime green sequined gown. She added a little something extra — a Super Bowl ring — and carried a bedazzled purse in the shape of a football.She said the designer was inspired by the sporty vibe of the late great Geoffrey Beene.
The gala, which raises money for the museum’s Costume Institute, was pushed last year from its traditional May berth and morphed this year into a two-part affair marking the institute’s 75th anniversary. It coincides with the opening of “In America: A Lexicon of Fashion,”  the first of a two-part exhibition at the Met’s Anna Wintour Costume Center. Organizers invited 400 guests, or about a third the number that usually attend.
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George Wein, an impresario of 20th century music who helped found the Newport Jazz and Folk festivals and set the template for gatherings everywhere from Woodstock to the south of France, died Monday. Wein, 95, died “peacefully in his sleep” in his New York City apartment, said Carolyn McClair, a family spokesperson. A former jazz club owner and aspiring pianist, Wein launched the Newport Jazz Festival in 1954 under pouring rain and with a lineup for the heavens — Billie Holiday and Dizzy Gillespie, Ella Fitzgerald and Lester Young. Louis Armstrong was there the following year and Duke Ellington made history in 1956, his band’s set featuring an extraordinary, 27-chorus solo from saxophonist Paul Gonsalves that almost single-handedly revived the middle-aged Ellington’s career. Wein led the festival for more than 50 years, and performers would include virtually every major jazz star, from Miles Davis and Thelonious Monk to Charles Mingus and Wynton Marsalis. Just in 1965, the bill featured Frank Sinatra, Count Basie, John Coltrane, Ellington, Gillespie, Davis and Monk.  FILE – Wynton Marsalis performs at the Newport Jazz Festival in Newport, Rhode Island, on August 6, 2011.The success of Newport inspired a wave of jazz festivals in the U.S., and Wein replicated his success worldwide, his other projects including the New Orleans Jazz & Heritage Festival and the Grande Parade du Jazz in Nice, France. His multiday, all-star gatherings were also a model for rock festivals, whether Woodstock in 1969 or the Lollapalooza tours of recent years.  Critic Gene Santoro observed in 2003 that without Wein, “everything from Woodstock to Jazz at Lincoln Center might have happened differently — if it happened at all.” Wein “can justifiably claim to have invented, developed and codified the contemporary popular music festival,” Santoro wrote. The idea for Newport came in part from locals Louis and Elaine Lorillard, who urged Wein to organize a jazz festival in their resort community in Rhode Island. Elaine Lorillard, a socialite, complained that the summer scene was “terribly boring.” Her tobacco-heir husband backed her up with a $20,000 donation. Wein had never known of a large-scale jazz festival, so, in the spirit of the music, he improvised — seeking to combine the energy and musicality of a Harlem jazz club with the ambience of a summer classical concert in Tanglewood. “What was a festival to me?” Wein later said. “I had no rulebook to go by. I knew it had to be something unique, that no jazz fan had ever been exposed to.” FILE – In this 1963 file photo, Joan Baez and Bob Dylan perform at the festival in Newport, Rhode Island.In 1959, Wein joined with Pete Seeger and began a companion folk festival that would feature early performances by Joan Baez and Jose Feliciano among others and track the evolution of Bob Dylan from earnest troubadour to rule-breaking rock star.  Dylan’s show in 1963 helped establish him as the so-called “voice of his generation,” but by 1965 he felt confined by the folk community and turned up at Newport with an electric band. The response was mostly positive, but there were enough boos from the crowd and conflicts backstage — Wein rejected the legend that Seeger tried to cut the power cables to Dylan’s amps — to make Dylan’s appearance a landmark in rock and folk history. In his memoir, “Myself Among Others,” Wein remembered confronting Dylan as he left the stage and insisted he return to play something acoustic. Years later, Wein remained moved by memories of hearing Dylan sing “It’s All Over Now, Baby Blue,” a farewell ballad in more ways than one. “It was a farewell to the idealism and purity of the folk revival,” Wein wrote. “There was no turning back — not for Dylan, not for anyone.” The Newport festivals have led to numerous films and concert albums, notably Murray Lerner’s Oscar-nominated 1967 documentary “Festival!” with Dylan, Johnny Cash and Howlin’ Wolf among the performers. Wein would later bring in Led Zeppelin, Sly and the Family Stone and James Brown and other rock and rhythm and blues acts. In 2020, when Newport went virtual because of the pandemic, Wein introduced Mavis Staples from his home in Manhattan.  Wein himself had been a pianist since childhood and he maintained an active music career, releasing “Wein, Women and Song,” “Swing That Music” and several other albums and making yearly appearances at the Newport festival with his Newport All-Stars band. He was named a “Jazz Master” in 2005 by the National Endowment for the Arts and received an honorary Grammy in 2014. Years earlier, President Bill Clinton brought his saxophone to the White House stage for a celebration of the Newport Jazz Festival. The Newport festival lasted despite ongoing conflicts, whether objections from the locals in Newport, the declining appeal of jazz, or the demands and resentments of the musicians. In the mid-1970s, he was struggling financially and became among the first popular music promoters to work with corporate sponsors, notably the makers of Kool cigarettes.  In 2005, he sold his company Festival Productions Inc. to Festival Network LLC and took on a more limited role at Newport. Six years later, he established the nonprofit Newport Festivals Foundation to oversee the summertime events. “I want the festivals to go on forever,” Wein told The Associated Press at the time. “With me it’s not a matter of business. This is my life.” 
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Broadway will welcome back musical lovers and playgoers this fall as theaters in New York City reopen at 100% capacity despite an ongoing threat of the spread of COVID-19. Tina Trinh reports.Camera: Tina Trinh, Janine Phakdeetham      Produced by: Tina Trinh   
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Novak Djokovic’s bid for the first calendar-year Grand Slam in men’s tennis since 1969 ended one victory short with a 6-4, 6-4, 6-4 loss to Daniil Medvedev in the U.S. Open final on Sunday.  Medvedev’s surprisingly lopsided triumph gave him his first major championship and prevented Djokovic from winning what would have been the record 21st of his career.  The No. 1-ranked Djokovic entered this match 27-0 in 2021 at the sport’s four most important tournaments, enduring the burdens of expectations and pressure that came along with his two-track pursuit of history over the past seven months and, in New York, the past two weeks.  He beat Medvedev in the Australian Open final on a hard court in February, then added titles on clay at the French Open in June and Wimbledon on grass in July.  But Djokovic, a 34-year-old from Serbia, couldn’t get to 28-0. He simply was far from his best on this particular day.  He made mistakes, 38 unforced errors in all. He wasn’t able to convert a break chance until it was too little, too late. He showed frustration, too, destroying his racket by pounding it three times against the court after one point, drawing boos from the Arthur Ashe Stadium crowd and a code violation from the chair umpire.A lot of Djokovic’s issues had to do with the No. 2-ranked Medvedev, who used his 6-foot-6 (1.98-meter) frame to chase down everything and respond with seemingly effortless groundstrokes — much the way Djokovic wears down foes — and delivered pinpoint serving.Djokovic reached his record-equaling 31st Grand Slam final with six victories on the hard courts of Flushing Meadows. But he could not quite get the last one he wanted.  He remains tied with Roger Federer and Rafael Nadal with 20 major titles.And the last man to sweep a season’s singles trophies at the Slams remains Rod Laver, who did it twice — in 1962 and 1969 — and was in the stands Sunday. The last woman to accomplish the feat was Steffi Graf in 1988.Instead, Djokovic joins Jack Crawford in 1933 and Lew Hoad in 1956 as men who won a year’s first trio of Grand Slam tournaments and made it all the way to the U.S. Open final before losing. 
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Disney announced Friday that all of its films slated for release by the end of the year will be exclusively screened in cinemas first, bringing relief to theaters anxious to reconnect with audiences after the coronavirus pandemic devastated their industry.The animated film Encanto will be released on the big screen Nov. 24 and will not appear on Disney’s on-demand video platform until Dec. 24, the company said in a statement.Other planned projects, including The Last Duel by Ridley Scott, Eternals by Marvel Studios and West Side Story by Steven Spielberg, will be screened in theaters for at least 45 days before they are released elsewhere.The decision was eagerly awaited by traditional cinemas after the entertainment giant recently chose to release a series of big productions such as Black Widow, Jungle Cruise and Cruella on its Disney+ platform, diverting part of their revenue.Black Widow actor Scarlett Johansson has sued Disney, accusing the company of breach of contract and costing her millions of dollars in box office revenue after it released the film on its video platform.Two years ago, Disney was producing content for both theaters and television channels, but it now has direct access to its audience via streaming, a trend accelerated by the pandemic.In mid-August, Disney boss Bob Chapek said he favored “flexibility” and the ability to “follow the consumer wherever he goes.”During a presentation of the company’s financial results, he said “when theaters reopened, there was immense reluctance from the public to return.”Warner Bros. studios has also been heavily criticized for its decision to release all of its new movies for the rest of the year on its HBO Max platform. 
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United States Soccer Federation President Cindy Parlow Cone said Friday the body hopes to “equalize” World Cup prize money for its men’s and women’s national teams as part of efforts to settle ongoing litigation with its women footballers. In an open letter addressed to U.S. fans, Parlow Cone said the gulf in prize money paid out by FIFA in the men’s and women’s tournaments was “by far the most challenging issue” facing U.S. Soccer in pay negotiations with men’s and women’s teams. The question of World Cup prize money formed a prominent part of a lawsuit filed by the U.S. women’s soccer team in 2019, which accused the USSF of “stubbornly refusing” to pay its men and women players equally.  FILE – Cindy Parlow Cone of U.S. Soccer attends a meeting of the organization’s board of directors in Chicago, Dec. 6, 2019.A federal judge later rejected the claim of pay discrimination, but the U.S. women have appealed. The 2019 lawsuit cited the discrepancy in World Cup prize money payments paid to the two teams in 2014 and 2015.  The U.S. men received $5.375 million for reaching the round of 16 at the 2014 World Cup, while the women received $1.725 million for winning the 2015 tournament. The USSF has argued that its hands are tied because the prize money is set by FIFA, which awarded $38 million to France for winning the 2018 men’s World Cup in Russia, but only $4 million to the American women for winning the 2019 Women’s World Cup. “FIFA alone control those funds,” Parlow Cone said in her letter on Friday. “And U.S. Soccer is legally obligated to distribute those funds based on our current negotiated collective bargaining agreements with the men’s and women’s teams.” However, Parlow Cone said U.S. Soccer wants to bring the men’s and women’s national teams together to “rethink how we’ve done things in the past.” “To that end, we have invited the players and both Players Associations to join U.S. Soccer in negotiating a solution together that equalizes World Cup prize money between the USMNT and USWNT,” she wrote. “Until FIFA equalizes the prize money that it awards to the Men’s and Women’s World Cup participants, it is incumbent upon us to collectively find a solution. “U.S. Soccer is ready and willing to meet with both groups of players as soon as possible and as often as needed to determine that innovative solution.”  Parlow Cone said the USSF had wanted to negotiate a single collective bargaining agreement covering men’s and women’s teams but had met resistance. Accordingly, the USSF is negotiating separate agreements. U.S. Soccer said the body “will be offering the USMNT and the USWNT the exact same contract, just as we have in past negotiations.”  “That means offering CBAs that include equalized FIFA prize money, identical game bonuses and identical commercial and revenue sharing agreements.” A spokeswoman for the U.S. women’s team said Parlow Cone’s letter showed that the USSF “finally acknowledged that they pay women less than men and must correct this ongoing disparity by reaching an equal pay collective bargaining agreement and resolving the ongoing lawsuit.  “Letters to fans are not a substitute.” 
 
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It will be the Big Apple battle of teenagers in Saturday’s U.S. Open final after Britain’s Emma Raducanu became the first qualifier to reach the title clash at a major, joining Canadian Leylah Fernandez as the duo continued their giant-killing spree.The final under the lights at the colossal Arthur Ashe Stadium between Fernandez and Raducanu will be the first major final in the Open Era across both the men’s and women’s game to feature two unseeded players.It will also mark the first Grand Slam final to be contested by two teenagers since the 1999 U.S. Open between Serena Williams and Martina Hingis.Both Raducanu, 18, and Fernandez, who turned 19 this week, were yet to be born then.”We first encountered each other because I was born in Toronto and she was Canadian, so we kind of, like, made a little relationship back then,” said Raducanu, whose parents moved to England when she was two-years-old.”But, yeah, then I played her at junior Wimbledon. Obviously since then we’ve both come very far in our games and as people. Yeah, I’m sure it’s going to be extremely different to when we last encountered each other.”But we’re both playing good tennis so it will be a good match.”Fernandez was the first to book her spot with yet another upset on Thursday as she took down second seed Aryna Sabalenka 7-6(3) 4-6 6-4 in the first semi-final on Thursday night.Raducanu did not take much longer, wrapping up her contest against Greek Maria Sakkari 6-1 6-4 in 84 minutes to become the first British woman to reach a major final since Virginia Wade won Wimbledon in 1977.Playing in just her fourth tour-level tournament, Raducanu has not dropped a set in New York – the first woman to make the U.S. Open final without dropping a set since German Angelique Kerber in 2016.”Honestly I just can’t believe it. A shock. Crazy,” she said, beaming from her ubiquitous smile. “To be in a Grand Slam final at this stage of my career, yeah, I have no words.”Their fearless tennis has endeared both to the fans and the crowd will have a tough choice in deciding who they would want to back on Saturday.”They are both young. They play fearless. They have nothing to lose playing against us,” said Sakkari. “I have to give credit to both of them, both of the young girls, that they take their chances. They’re out there fighting for that title.”A win in the final would see Raducanu jump to 24th in the rankings, a massive climb after starting the hardcourt major ranked 150th in the world.Left-handed Fernandez, who can make her top-20 debut by climbing to number 19 with the U.S. Open title, has been no less impressive.The Canadian had shown en route to the semi-final that she can beat anyone, with victories over four-time major winner and defending champion Naomi Osaka, three-time Grand Slam winner Kerber in the fourth round and fifth-seeded Elina Svitolina in the quarter-finals.She looked at sea against the power of big-hitting Sabalenka at the start of the match, but soon found her groove as her Belarusian opponent squandered her chances.It was her third win in four matches against top-five players in the world.”Impossible is nothing,” she said. “Like my dad would tell me all the time there’s no limit to my potential to what I can do. Every day we just got to keep working hard, we got to keep going for it.”I think I’ve been doing some things incredible. I don’t know. It’s like I think one word that really stuck to me is ‘magical’ because not only is my run really good but also the way I’m playing right now.”
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Derek Jeter was simply Derek Jeter on his special day — smooth as silk. On a cloudy Wednesday afternoon, with fans chanting his name, the former New York Yankees star shortstop and captain was inducted into the Baseball Hall of Fame after a long wait necessitated by the pandemic.Greeted by raucous cheers in a crowd that included NBA luminaries Michael Jordan and Patrick Ewing, several of his former teammates, and Hall of Fame Yankees manager Joe Torre on the stage behind him, Jeter took the stage after fellow inductees from the Class of 2020 Ted Simmons, Larry Walker and the late Marvin Miller were honored. Jeter was touched by the moment and acknowledged how different the ceremony seemed in the wake of the recent deaths of 10 Hall of Famers.”I’m so honored to be inducted with you guys and linked to you forever,” he said. “The Hall of Fame is special because of those who are in it. We’ve lost way too many Hall of Famers over the last 20 months. These are all Hall of Famers who would have or could have been here, so for that reason it’s not the same.”What was the same was the adoration displayed by the fans, who always marveled at his consistency.Salute to fans”I had one goal in my career, and that was to win more than everyone else, and we did that, which brings me to the Yankee fans,” Jeter said as the fans erupted again. “Without question, you helped me get here today as much as any individual I’ve mentioned.”He gave much of the credit to his parents, who were in the audience with Jeter’s wife, Hannah, and their two young daughters.”Mom, you taught me any dream is attainable as long as you work harder than everyone else. You drilled that in my head over and over and over and you led me to believe it,” Jeter said. “You told me never to make excuses, you wouldn’t allow me to use the word ‘can’t.’ Dad, you’ve been the voice of reason. You taught me to be patient, to listen and think before I speak. You’ve always been there for advice and to this day you’re the first person I go to. I know when I retired you said you played every game with me and I know you recall from time to time telling me, ‘You keep building that resume.’ Look where it’s gotten us today.”The ceremony was delayed a year because of the coronavirus pandemic, but it didn’t matter much to Walker, the second Canadian elected to the Hall of Fame. He gave up hockey when he was 16 to focus on baseball. He was selected in his 10th and final year on the writers’ ballot after a stellar career with Montreal, Colorado and St. Louis that included 383 homers and three batting titles.’Go after those dreams'”It’s taken a little longer to reach this day [but] for all your support I’ve received throughout the years from my home country, I share this honor with every Canadian,” said Walker, who retired in 2005. “I hope that all you Canadian kids out there that have dreams of playing in the big leagues that see me here today gives you another reason to go after those dreams. To my adopted home, the United States, I thank you for allowing this Canadian kid to come into your country to live and play your great pastime. I think we’re all pretty fortunate to have two amazing countries side by side.”Simmons, 72, who starred in a 21-year career with the St. Louis Cardinals, Milwaukee Brewers and Atlanta Braves, punctuated his speech to thank four pioneers of free agency — Curt Flood, Catfish Hunter, Andy Messersmith and Marvin Miller — “who changed the lives of every player on this stage today by pushing the boundaries of player rights.””Marvin Miller made so much possible for every major league player from my era to the present and the future,” the former catcher said. “I could not be more proud to enter this great hall with this great man. Even though my path has been on the longer side, I wouldn’t change a thing. However we get here, none of us arrives alone. I’m no exception.”Transformed the gameMiller, who transformed baseball on the labor front by building a strong players union and led the charge for free agency in the mid-1970s, was honored posthumously. Four years before he died at 95 in 2012, Miller respectfully asked to be removed from consideration for the Hall of Fame after being passed over several times.”One thing a trade union leader learns to do is how to count votes in advance. Whenever I took one look at what I was faced with, it was obvious to me it was not gonna happen,” Miller, head of the Major League Baseball Players Association from 1966 to 1983, wrote in 2008. “If considered and elected, I will not appear for the induction if I’m alive. If they proceed to try to do this posthumously, my family is prepared to deal with that.”The family didn’t. Instead, Don Fehr, who was hired by Miller to be the union’s general counsel in 1977 and succeeded him eight years later, had the honor.”Of all the players I had the privilege to represent, I want to thank you, Marvin,” said Fehr, now the head of the National Hockey League Players Association. “Baseball was not the same after your tenure as it was before. It was and is much better for everyone. You brought out the best of us and you did us proud.”The virus forced the Hall of Fame to cancel last year’s ceremony and this year’s was moved from its customary slot on a Sunday in late July to a midweek date.
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