Category: Новини

SIEM REAP, Cambodia — A baby monkey struggles and squirms as it tries to escape the man holding it by the neck over a concrete cistern, repeatedly dousing it with water.

In another video clip, a person plays with the genitals of a juvenile male macaque sitting on a limestone block from an ancient temple to get it excited for the camera.

The abuse of monkeys at the Angkor UNESCO World Heritage Site in northwestern Cambodia is not always so graphic, but authorities say it is a growing problem as people look for new ways to draw online viewers to generate cash.

“The monkey should be living in the wild, where they are supposed to be living, but the monkey nowadays is being treated like a domestic pet,” said Long Kosal, spokesperson for APSARA, the Cambodian office that oversees the Angkor archaeological site.

“They’re making the content to earn money by having the viewers on YouTube, so this is a very big issue for us.”

APSARA has few tools itself to stop the YouTubers from filming in general, but has opened an investigation with the Ministry of Agriculture to collect evidence for legal action against the most serious abusers — who are rarely on camera themselves, Long Kosal said.

“If we can build a case, they will be arrested for sure,” he said. “Any animal abuser will be seriously punished by law in Cambodia.”

YouTube, Facebook and other sites remove the videos with graphic content, but scores of other clips of cute monkeys jumping and playing remain, generating thousands of views and subscribers.

Just making those videos involves very close interaction with the monkeys, however, which authorities and animal-rights activists say creates a host of other problems, both for the macaques and people visiting one of Southeast Asia’s most popular tourist sites.

On a recent day outside Angkor’s famous 12th-century Bayon Temple, at least a dozen YouTubers, all young men, crowded around a small group of long-tailed macaques, pushing in close to get shots of a mother with a baby on her back and tracking her everywhere she moved.

The wild monkeys feasted on bananas tossed to them by YouTubers and drank from plastic bottles of water. One young macaque briefly amused itself with half-eaten neon-green popsicle discarded at the side of the path, before dropping it to move on to a banana.

A blue-shirted APSARA warden looked on but those filming were unfazed, illustrating the main problem: Simply taking video of monkeys is OK, even though feeding them is frowned upon. At the same time, it’s making them dependent upon handouts, and the close interaction with humans means they’re increasingly becoming aggressive toward tourists.

“The tourists carry their food, and they would snatch the food,” Long Kosal said, flipping through multiple photos on his phone of recent injuries caused by the macaques. “If the tourists resist, they bite and this is very dangerous.”

The search for food from tourists also draws the monkeys from the surrounding jungle in to the ancient sites, where they pull away pieces of the temples and cause other damage, he added.

Tourist Cadi Hutchings made sure to keep her distance from the monkeys, after being warned by her tour guide of the increasing risk of being bitten.

“What they want is your food, but you also need to appreciate that there needs to be a boundary between human intervention in nature,” the 23-year-old from Wales said. “It’s obviously a great thing that so many tourists come because it’s such a lovely place, but at the same time, you have to be careful that with more and more people … the monkeys don’t get too acclimatized.”

Many other tourists, however, stopped to take their own photos and videos — some holding out bananas to draw them closer — before heading to the nearby temple site.

YouTuber Ium Daro, who started filming Angkor monkeys about three months ago, followed a mother and a baby along a dirt path with his iPhone held on a selfie stick to get in close.

The 41-year-old said he hadn’t seen any monkeys physically abused, and that he didn’t see a problem with what he and the others were doing to make a living.

“The monkeys here are friendly,” he said. “After we take their pictures we give them food, so it is like we pay them for them giving us the chance to take their picture.”

As he spoke, a young macaque scrambled up the leg of an onlooker, trying — unsuccessfully — to grab a plastic bottle of water out of his pocket.

One YouTuber said he had started filming monkeys during the COVID-19 pandemic after the numbers of tourists plummeted, making it impossible to earn a living as a tuk-tuk driver.

Daro said he was looking for a way to supplement his income as a rice vendor, and that he’s too new at it to have realized many returns.

Many, like Phut Phu, work as salaried employees of YouTube page operators.

The 24-year-old said he started filming monkeys 2 1/2 years ago when he was looking for a job in the open air to help him deal with a lung problem.

He’s generally at it daily from 7 a.m. to 5 p.m., earning $200 a month — equivalent to a Cambodian minimum-wage job — and said he hoped authorities wouldn’t try and put an end to it.

“I need these monkeys,” he said, holding a Nikon Coolpix camera with an extreme zoom that his employer provided, the same model most of the YouTubers were using.

With the difficulties involved in identifying and catching those responsible for the physical abuse of the monkeys, coupled with the draw of easy money through YouTube videos, Long Kosal said APSARA’s task is a tough one.

“This is the problem for us,” he said. “We need to find solid reasons which we can use against them not to make content by abusing the monkeys.”

For Nick Marx, director of wildlife rescue and care for the Wildlife Alliance — which implements conservation programs across Southeast Asia and is involved in releasing wildlife back into Angkor — the answer is simple, though perhaps equally as elusive.

“The biggest problem is these [videos] are generated to make money,” he said in an interview from Phnom Penh. “If people that don’t like this kind of thing would stop watching them, that would really help solve the problem of abuse.”
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new orleans — Clarence “Frogman” Henry, who was one of New Orleans’ best known old-time R&B singers and scored a hit at age 19 with “Ain’t Got No Home,” has died. He was 87.

Henry died Sunday night, the New Orleans Jazz and Heritage Foundation said on social media. It didn’t give the cause of death.

Henry, who had been scheduled to perform at the New Orleans Jazz & Heritage Festival later this month, imitated the voice of a frog in “Ain’t Got No Home.” It was a hit in 1956 and later brought Henry renewed fame when it was featured on the “Forrest Gump” and “Mickey Blue Eyes” soundtracks.

He credited disc jockey Poppa Stoppa, whose real name was Clarence Hayman, as coming up with the nickname the “Frogman,” which mimicked Fats Domino’s moniker the “Fatman.”

By 1958, Henry’s popularity waned, and he took to playing nightclubs on Bourbon Street.

“I thought the sun would shine. I thought my record would always stay out there and stay on the top, but in 1958, the rain came and bring me back to New Orleans,” Henry told The Associated Press in 2003.

But in 1960, a new song, “I Don’t Know Why But I Do” by Cajun songwriter Bobby Charles and arranged by Allen Toussaint, brought Henry renewed success.

With the Bill Black Combo and the Jive Five, he opened for the Beatles for 18 dates in 1964 during their first U.S. trip and toured extensively, from Scotland to New Zealand.

In Louisiana, Henry remained popular. He also was one of the few Black New Orleans musicians to cross over into Cajun musical circles.

Henry, who was born in New Orleans on March 19, 1937, started playing the piano at 8, taking up lessons his sister had disliked. He worked for his father until he was 15, often for no money.

He played the trombone and piano in his high school band and later joined The Toppers, traveling around southern Louisiana before making it big.

“When I was going to school, I wanted to be Fats Domino, Professor Longhair, and I would wear a wig with two plaits and call myself Professor Longhair,” Henry told the AP. “I like the Fats Domino rhythm, but I play my own chords and my own style.”

Henry’s national fame faded but he remained popular in Louisiana. He was a Bourbon Street fixture until 1981, when he retired from the grueling club circuit. But he never gave up music and continued to be an annual crowd pleaser at the Jazz & Heritage Festival.

Funeral arrangements are pending at the Murray Henderson Funeral Home.
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New York — “Godzilla x Kong: The New Empire” easily swatted away a pair of challengers to hold on to the top spot at the box office for the second week in a row, according to studio estimates Sunday.

After its above-expectations $80 million launch last weekend, the MonsterVerse mashup brought in $31.7 million over its second weekend, a 60% drop from its debut.

The Warner Bros. and Legendary Pictures release, directed by Adam Wingard, has thus far outperformed any of the studio’s recent monster films except for 2014’s “Godzilla.”

But with $361.1 million worldwide in two weeks, “Godzilla x Kong” could ultimately leapfrog the $529 million global haul of 2014’s “Godzilla.” The latest installment, in which Godzilla and Kong team up, cost about $135 million to produce.

“Godzilla x Kong” extended its box-office reign as another primate-themed movie arrived in theaters. Dev Patel’s “Monkey Man,” an India-set revenge thriller released by Universal Pictures, opened in 3,029 North American theaters with an estimated $10.1 million.

That marked a strong debut for Patel’s modestly budgeted directorial debut in which he stars in a bloody, politically charged action extravaganza. “Monkey Man,” which cost about $10 million to make, was dropped by its original studio, Netflix, after which Jordan Peele and his Monkeypaw Productions swooped in.

The weekend’s other new wide release, “The First Omen,” from Disney’s 20th Century Studios, struggled to make a big impact with moviegoers. It came in fourth with an estimated $8.4 million in ticket sales in 3,375 theaters, while collecting an additional $9.1 million overseas. The R-rated horror film, which cost about $30 million to make, is a prequel to the 1976 Richard Donner-directed original starring Gregory Peck and Lee Remick.

This version, directed by Arkasha Stevenson and starring Nell Tiger Free, Tawfeek Barhom and Bill Nighy, follows 2006’s “The Omen,” which opened to $16 million and ultimately grossed $119 million.

The tepid opening for “The First Omen” allowed Sony’s “Ghostbusters: Frozen Empire” to take third place with $9 million in its third weekend of release. The sci-fi comedy sequel has collected $88.8 million domestically and $138 million worldwide.

Warner Bros.’ “Dune: Part Two” continues to perform strongly. It added $7.2 million in its sixth week, dipping just 37%, to bring its domestic total to $264 million.

One of the week’s biggest performers was in China, where Hayao Miyazaki’s Oscar-winning “The Boy and the Heron” landed in theaters. The acclaimed Japanese anime is setting records for a non-Chinese animated film. After opening Wednesday, its five-day total surpassed $70 million, a new high mark for Miyazaki and Studio Ghibli.

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

1. “Godzilla x Kong: The New Empire,” $31.7 million.

2. “Monkey Man,” $10.1 million.

3. “Ghostbusters: Frozen Empire,” $9 million.

4. “The First Omen,” $8.4 million.

5. “Kung Fu Panda 4,” $7.9 million.

6. “Dune: Part Two,” $7.2 million.

7. “Someone Like You,” $3 million.

8. “Wicked Little Letters,” $1.6 million.

9. “Arthur the King,” $1.5 million.

10. “Immaculate,” $1.4 million.
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CHARLESTON, W.Va. — Sophomore Christian Adams expected he would be studying Chinese when he enrolled at West Virginia University, with a dream of working in labor or immigration law.

He didn’t foresee switching his major to politics, a change he made after West Virginia’s flagship university in September cut its world language department and dozens of other programs in subjects such as English, math and music amid a $45 million budget shortfall.

And he certainly didn’t expect to be studying — or teaching fellow students — about community organizing.

But the cuts, denounced as “draconian and catastrophic” by the American Federation of Teachers, catalyzed a different kind of education: Adams is co-founder of The West Virginia United Students’ Union. The leading oppositional force against the cuts, the union organized protests, circulated petitions and helped save a handful of teaching positions before 143 faculty and 28 majors ultimately were cut.

Disappointed, they say their work is far from done. Led by many first-generation college students and those receiving financial aid in the state with the fewest college graduates, members say they want to usher in a new era of student involvement in university political life.

“Really, what it is for WVU is a new era of student politics,” Adams said.

The movement is part of a wave of student organizing at U.S. colleges and universities centering around everything from the affordability of higher education and representation to who has access to a diverse array of course offerings and workplace safety concerns.

The university in Morgantown had been weighed down financially by enrollment declines, revenue lost during the COVID-19 pandemic and an increasing debt load for new building projects. Other U.S. universities and colleges have faced similar decisions, but WVU’s is among the most extreme examples of a flagship university turning to such dramatic cuts, particularly to foreign languages.

The union called the move to eliminate 8% of majors and 5% of faculty a failure of university leadership to uphold its mission as a land-grant institution, charged since the 1800s with educating rural students who historically had been excluded from higher education. A quarter of all children in West Virginia live in poverty, and many public K-12 schools don’t offer robust language programs at a time when language knowledge is becoming increasingly important in the global jobs market.

As the school continues to evaluate its finances, the union plans to keep a close eye on its budget, mobilize against any additional proposed cuts and prepare alternative proposals to keep curriculum and faculty positions in place.

Another key goal is monitoring and influencing the school’s search for its new president after university head E. Gordon Gee retires next year. Gee, the subject of symbolic motions from a faculty group that expressed no confidence in his leadership, said last year the curriculum cuts came at a time of change in higher education, and that WVU was “leading that change rather than being its victim.”

Higher education nationwide has become “arrogant” and “isolated,” he said, warning that without change, schools face “a very bleak future.”

Union Assembly of Delegates President and Co-Founder Matthew Kolb, a senior math major, said his group doesn’t want a new president who believes running the school as a corporate or business entity is the only option for getting things done properly.

“We know, when push comes to shove, the results of that are 143 faculty getting shoved off a cliff with one vote,” he said.

Adams, a north central West Virginia native who was the first in his family to attend college immediately after high school, said he could transfer to another institution and continue his studies in Chinese. But much of the reason he chose WVU was because of a commitment to the state and a desire to improve its socioeconomic outlook.

“A lot of West Virginians feel trapped in West Virginia and feel like they have to leave — not a lot of people choose to stay here,” Adams said. “I made the conscious decision to go to WVU to stay here to help improve my state.”

The cuts meant reaffirming that commitment, “despite basically being told by my state’s flagship university that, ‘Your major is irrelevant, it doesn’t matter, it’s not worth our time or money to teach.’”

Student union organizations have existed for hundreds of years worldwide. Commonly associated in the U.S. with on-campus hubs where students access dining halls, club offices and social events, in the United Kingdom the union also takes on the form of a university-independent advocacy arm lobbying at the institutional and national level.

Members say they envision the West Virginia United Students’ Union similar to those in the U.K., and it’s a concept they want to help grow.

That has meant a lot of work behind the scenes, strategizing to keep students interested and engaged and building relationships with the university campus workers union, student government and other organizations.

That work with the union helped keep up student morale as they watched faculty scramble to find new jobs and rewrite curriculum, student Felicia Carrara said.

An international studies and Russian studies double major from North Carolina, Carrara said she and many of her peers chose West Virginia University because it was affordable.

“The fact that we would now have to pivot to try and find the scholarships and other money to be able to afford an education anywhere else, or just not get a degree at all or get a degree that’s really bare bones. It’s just really disheartening,” she said.

“When you come to higher ed, you think things are going to be better than they were in high school and in middle school,” she said. “And it’s very sad finding out that they’re not.”

Andrew Ross, a senior German and political science double major, will be the last graduate to major in the language.

A 31-year-old nontraditional student who transferred to WVU in 2022 after earning an associate’s degree, Ross learned about the proposed cuts days after he returned home from a summer program in Germany he attended with the help of a departmental scholarship.

Ross, now the student union’s assembly of delegates vice president, said the cuts “felt like getting slapped in the face.” The university told him to drop the German major. He’s proud of his effort to finish the degree after twists and turns, but it’s bittersweet.

“In some ways and it makes me sad because I hope there isn’t someone who is still growing up that can’t have this experience — we all deserve it,” he said. “This university isn’t just failing me, it’s failing the state.”
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