Category: Новини

The red on beige sign outside La Torre shop advertises the kind of underwear earlier generations might have worn, mostly knickerbockers and girdles.

The shop — known as The Tower in English — has been a standard in Barcelona for more than 120 years, preserving a glimpse into the city’s past.

La Torre has withstood the relentless march of Starbucks, McDonald’s, and other international corporate chains which, critics say, have eaten up the souls of downtowns. Other period shops, cinemas or libraries have not been so fortunate and have been forced to close.

Campaigners in Spain are determined to safeguard a form of heritage which they say is increasingly under threat: the shop signs which advertise small businesses often run by families.

Described as the “Indiana Jones of the Lost Shop Signs” by the Spanish newspaper ABC, they advocate for everything from the Art Deco cinema signs, old-fashioned flashing Buy Easy signs and the ornate golden shoe shop signs.

The commercial signs outside shops that have long shaped the identity of cities, towns and villages are a part of our past, said volunteers from the Iberian Network in Defense of Graphic Heritage, a collective of about 50 projects across Spain.

Heritage

To most people, heritage sums up the idea of castles, priceless paintings, and royal jewels. But these campaigners contend that the urban landscape which most people inhabit every day is as much a part of our treasured past too.

Heritage legislation in Spain protects everything from cathedrals to castles to bullfighting but not shop signs – so far. So, campaigners must first convince local councils to protect these symbols of everyday life.

“We are against nostalgia because it says that the past is better than the present or the future. We want to preserve these shop signs because they represent something from the past that we can use to learn about for the future,” Alberto Nanclares, of the Iberian Network, told VOA in an interview.

Nanclares said the organization began in 2014 after the then government abolished a law which guaranteed cheap rents to companies, driving many small shops out of business. He said they plan to open a museum to show off the signs they have saved.

“It should be very popular because it will attract designers, architects, elderly people who want to see the past and people who want to take their grandparents to see the place where they grew up,” he added.

Laura Asensio is a graphic designer who has been working for an organization called Valladolid with Character. They hope to stop Valladolid, a northern Spanish, from becoming a bland version of many other cities across Europe.

Volunteers are mapping out the old shop signs which have been saved or at risk from being lost.

Asensio said she hopes to convince the city council to change local laws to preserve this part of the city’s heritage. A book will be published with photographs in December detailing this part of the city life for future generations.

“The reason we started this organization is to stop shop signs from being lost to globalization. All over Europe, city centers are being dominated by McDonalds, Zara, or Burger King,” she told VOA.

Laura Aseguradade, an interior designer, and member of the Iberian Network, said younger people may not appreciate the value of the architectural heritage of their own cities.

“But if you don’t value traditions and distinctiveness of your cities then Madrid ends up looking much like Barcelona or London with the same chains springing up due to globalization,” she told VOA from her home in Madrid.

“We are not against globalization, but the architectural heritage brings value to your city because it makes it different to other places which is important for tourism and the quality of life.”
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Public health officials say one of the effects of the coronavirus lockdowns was that more people drank alcohol more heavily, with the World Health Organization warning of exacerbated health concerns and an increase in risky behaviors. As more bars reopen, Svitlana Prystynska takes us to one with a novel approach to drinking.
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Tehran residents accustomed to seething at slow-moving traffic, sweltering in summer heat and suffocating in smog may be surprised to find a growing number of outdoor painters reveling in the Iranian capital’s historic charm.

The overcrowded metropolis may be dusty and in need of beautification, but the honeycomb of alleyways that make up old Tehran is drawing throngs of artists out of their cramped studios and into the open streets — a trend that accelerated during the lockdowns of the coronavirus pandemic.

These devotees aim not only to capture Tehran’s vanishing old neighborhoods, but also help preserve them. Many areas have been bulldozed. Cranes punctuate the skyline as storied 19th-century quarters make room for modern high-rises.

“The paintings link us to past designs and feelings that are disappearing,” said Morteza Rahimi, a 32-year-old carpenter, art aficionado and resident of downtown Tehran. “They help us remember. … See how many old beautiful buildings have turned to rubble.”

Beside him, painter Hassan Naderali used loose brushstrokes and bright colors to capture the play of light and flicker of movement in an impressionist style. With a passion for painting en plein air, French for “in the open air,” Naderali seeks to depict the beauty in his dilapidated surroundings.

Population growth transforms city

Tehran has transformed into a teeming city of over 10 million people from just 4.5 million at the time of the 1979 Islamic Revolution.

The young theocracy’s population surge coincided with mass migration to Tehran after Iraqi dictator Saddam Hussein’s invasion in the 1980s. As job and education opportunities lured even more people to the capital, the government responded to an emerging housing crisis with massive real estate developments.

Some of the city’s 19th-century gems, built by the Qajar kings not long after they moved Iran’s capital to Tehran in 1796, have been lost to new apartment towers in the past few decades.

Through social media, however, artists and historians have sought to counter the cultural amnesia amid escalating demolitions.

“Social media has caused awareness among people about the risks that jeopardize historic, old buildings,” said art expert Mostafa Mirzaeian, referring to the decadent palaces of the Qajars, best known for their elaborate mirrored mosaics. “People are learning about the value of older places and paying attention to their cultural and artistic dimensions.”

‘Our roots, our heritage’

For open-air painting fan Somayyeh Abedini, a government employee and resident of Tehran’s historic Oudlajan neighborhood, the conservationist thrust is personal. The arched horizons, leafy alleys and walled villas of Oudlajan serve as her muse, she said, evoking the spirit of her father who spent his entire life in the neighborhood.

“The old places in the neighborhood are our roots, our heritage,” Abedini said. “It’s a pity many of them were destroyed.”

The practice of outdoor painting in Tehran thrived during the pandemic, artists say, as many found solace and inspiration under the open sky when galleries and museums shuttered for months, and construction projects sputtered to a halt. The health crisis exacted a devastating toll on Iran, infecting over 7.2 million and killing over 141,000 people — the worst death toll in the Middle East.

As the chaos eased on Tehran’s streets, 58-year-old Naderali set up his studio outside. Venturing out with brushes, pencils, paint, a portable easel and papers, he painted away where he felt most alive — under the sun, feeling the breeze.

“I went out every day. Outdoor places were not so crowded, and I found more access to the places I liked to paint,” he said of his pandemic experience.

Naderali sells dozens of his paintings, many depicting old Persian palaces and traditional Tehran homes, to domestic and foreign clients.

A yearning for bygone eras drives high demand among Iranian buyers abroad, he said — excitement about a time when Achaemenids carved bas-reliefs into the walls of Persepolis in 500 B.C. and Isfahan thrived as a blue-tiled jewel of Islamic culture in the 17th century.

That nostalgia has sharpened as Iran, devastated by sanctions and cut off from the world economy, seethes with public anger over rising prices and declining living standards.

Talks to revive Tehran’s nuclear deal, which former President Donald Trump abandoned four years ago, have made no progress in the past year. The country’s poverty has deepened. But in many ways, Iran’s contemporary art scene has flowered despite the challenges.

For years after Iran’s 1979 Islamic Revolution ousted the Western-backed monarchy and brought Shiite clerics to power, hard-liners outlawed modern art and even sought to ban painting. The Tehran Museum of Contemporary Art’s extensive collection, worth billions of dollars, sat in its vaults.

But the clerical establishment came to appreciate the art form during the grisly Iran-Iraq war that began in 1980. Paintings that paid tribute to the war-dead and lionized the leaders of the Islamic Revolution sprung up on the city’s drab walls.

Western art exhibited again

Many of the contemporary art museum’s works — including Monets, Picassos and Jackson Pollocks bought during Iran’s oil boom under the reign of Shah Mohammad Reza Pahlavi — have been brought out in recent decades as cultural restrictions eased.

Last summer, just days before the election of President Ebrahim Raisi, a hardline cleric hostile to the cultural influence of the West, the museum reopened with a retrospective of American pop artist Andy Warhol.

Today, successful Iranian artists — including stars who exhibit abroad — have helped transform Tehran’s once-staid art market into a dynamic scene. Auction houses across the city fetch high prices for homegrown painters. An auction last Friday recorded sales of more than $2.2 million for 120 works.

Iranian state TV regularly broadcasts paint-along lessons, including the late American painter Bob Ross’ beloved PBS show “The Joy of Painting,” inspiring amateurs to create their own masterpieces.

Iran’s art schools are flourishing, with a majority of female students. Although exhibits require government licenses, swanky Tehran galleries showing new work by Iranian painters bustle with young crowds.

“Once a passerby told me, ‘Art gives birth in poverty and dies in wealth,'” remarked Naderali.
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Tony Sirico, who played the impeccably groomed mobster Paulie Walnuts in The Sopranos and brought his tough-guy swagger to films including Goodfellas, died Friday. He was 79.

Sirico died at an assisted living facility in Fort Lauderdale, Florida, said his manager, Bob McGowen. There was no immediate information on the cause of death.

A statement from Sirico’s family confirmed the death of Gennaro Anthony “Tony” Sirico “with great sadness, but with incredible pride, love and a whole lot of fond memories.”

McGowan, who represented Sirico for more than two decades, recalled him as “loyal and giving,” with a strong philanthropic streak. That included helping ex-soldiers’ causes, which hit home for the Army veteran, his manager said.

Steven Van Zandt, who played opposite Sirico as fellow mobster Silvio Dante on The Sopranos, saluted him on Twitter as “legendary.”

“A larger-than-life character on and off screen. Gonna miss you a lot my friend,” the actor and musician said.

Michael Imperioli, who portrayed Christopher Moltisanti on The Sopranos, called Sirico his “dear friend, colleague and partner in crime.”

“Tony was like no one else: he was as tough, as loyal and as big hearted as anyone I’ve ever known,” Imperioli said on Instagram.

Sirico was unconcerned about being cast in a string of bad guy roles, McGowan said, most prominently that of Peter Paul “Paulie Walnuts” Gualtieri in the 1999-2007 run of the acclaimed HBO drama starring James Gandolfini as mob boss Tony Soprano. (Gandolfini died in 2013 at age 51).

“He didn’t mind playing a mob guy, but he wouldn’t play an informant,” or as Sirico put it, a “snitch,” McGowan said.

Sirico, born July 29, 1942, in New York City, grew up in the Flatbush and Bensonhurst neighborhoods where he said “every guy was trying to prove himself. You either had to have a tattoo or a bullet hole.”

“I had both,” he told the Los Angeles Times in a 1990 interview, calling himself “unstable” during that period of his life. He was arrested repeatedly for criminal offenses, he said, and was in prison twice. In his last stint behind bars, in the 1970s, he saw a performance by a group of ex-convicts and caught the acting bug.

“I watched ’em and I thought, ‘I can do that.’ I knew I wasn’t bad looking. And I knew I had the (guts) to stand up and (bull) people,” he told the Times. “You get a lot of practice in prison. I used to stand up in front of these cold-blooded murderers and kidnappers — and make ’em laugh.”

Sirico also was cast outside the gangster mold, playing police officers in the films Dead Presidents and Deconstructing Harry. Among his other credits were Woody Allen films including Bullets over Broadway and Mighty Aphrodite, and appearances on TV series including Miami Vice and voice roles on the Family Guy and American Dad!

Sirico is survived by daughter Joanne Sirico Bello; son Richard Sirico; his brother, Robert Sirico, a priest; and other relatives. 
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Elena Rybakina dropped the first set but roared back to defeat No. 3 seed Ons Jabeur and win the women’s singles title at Wimbledon on Saturday.  

Rybakina, the No. 17 seed who was born in Moscow but has represented Kazakhstan since 2018, triumphed 3-6, 6-2, 6-2 over the Tunisian at the All England Club in London.

Saturday’s clash marked the first Wimbledon title match between two first-time Grand Slam finalists in the Open Era.

Jabeur, who entered as the heavy favorite, jumped out to a 2-1 lead when she broke Rybakina’s serve early in the first set. With Rybakina serving to stay in the set at 3-5, Jabeur broke once again.

But the second set was a different story.  

After winning points on just 53 percent of her first serves in the first set, Rybakina changed her strategy, serving primarily to Jabeur’s backhand. It paid off as she won 73 percent of the first points on her serve and hit 13 winners to seven unforced errors.

And as frustration set in for Jabeur in the second set, so did the miscues. Her percentage of points won on first serve dropped from 80 percent in the first set to 59 percent, and her serve was broken twice by Rybakina, who saved all four of her break points. Jabeur had seven winners against nine unforced errors.

Jabeur dropped serve in the first game of the third set but had a chance to turn the momentum. With the 23-year-old Rybakina serving up 3-2, Jabeur quickly put her down 0-40 and had a triple break point to tie the match.  

But Rybakina fought back, winning five straight points to take a commanding 4-2 lead and then the title.

In her on-court interview, Rybakina said her goal was just to last until the second week of Wimbledon. Her win shocked even her.

“I’m gonna be honest. In [the] second week of Grand Slam at Wimbledon to be a winner, I mean it’s just amazing,” she said.

Asked later about her low-key reaction to the victory, Rybakina said that’s just her personality.

“I’m always very calm. I don’t know what should happen,” she said. “When I was giving [my] speech in the end I was thinking, ‘I’m going to cry right now,’ but somehow, I hold it. Maybe later when I’m going to be alone in the room, I’m going to cry nonstop. I don’t know.

“Maybe because I believe that I can do it deep inside. But [the] same time it’s, like, too many emotions. I was just trying to keep myself calm. Maybe one day you will see [a] huge reaction from me, but unfortunately not today.” Jabeur, 27, was the first Arab woman and the first woman from Africa to play for a Grand Slam title.

“I love this tournament so much and I feel really sad, but I mean it’s tennis,” she said after receiving her runner-up trophy from Kate Middleton, the Duchess of Cambridge. “There is only one winner. … I’m trying to inspire, you know, many generations from my country. I hope they’re listening.”
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There is public outrage in India over the depiction of a Hindu goddess that critics say disparages the religious figure.

The image appears in a poster promoting the new short film Kaali by Canadian-based Indian filmmaker Leena Manimekalai. The poster depicts Hindu goddess Kaali smoking a cigarette and holding an LGBTQ+ flag.

After filmmaker Leena Manimekalai shared the poster in a tweet Saturday, the day a museum in Toronto hosted the film’s first showing, the image of the smoking goddess sparked a furor in India with angry Hindus demanding a ban on the film and legal action against the filmmaker.

Monday, the Indian High Commission in Canada said it had received complaints from Hindu community leaders over the “disrespectful depiction of Hindu gods” in the poster, and it urged the Canadian authorities and the event organizers to withdraw all “provocative” materials related to the film.

A day later, the museum issued an apology, saying the film was no longer being shown there, and that it regretted having “inadvertently caused offense to members of the Hindu and other faith communities.”

Manimekalai wrote and directed Kaali as an academic project in her graduate study program at Toronto Metropolitan University. In the film, Manimekalai is an incarnation of the goddess Kaali. Living as a queer female filmmaker in Toronto, she attempts to find belonging in a land stolen from its rightful inhabitants— the First Nations.

As the goddess of death, time and change, the dilemma of the reincarnated goddess in the film finds a resolution only at the end, when it dawns on her that ultimately, the land can be owned by no one; the universe is in a state of constant flux. The promotional poster shows a scene in which, dressed as the goddess Kaali, Manimekalai shares a cigarette with a homeless man.

“When I embody Kaali, I am Kaali myself. My Kaali is queer. She is a free spirit. She spits at the patriarchy. She dismantles Hindutva. She destroys capitalism,” Manimekalai told VOA. “She embraces everyone with all her thousand hands.”

Death threats

Manimekalai’s tweet of the poster went viral Saturday with tens of thousands of members of the Hindu community retweeting it with a hashtag reading “Arrest Leena Manimekalai.”

Police cases were filed against her in several states for “hurting the religious sentiments” of Hindus.

One Hindu group said in a police complaint that the depiction of the goddess Kaali in the poster was “completely unacceptable to Hindus” and Manimekalai “deliberately distorted the Hindu religion and culture with malicious intent to insult Hindu religious feelings.”

Manimekalai said she and her family members received death and rape threats from more than 200,000 social media accounts. In a video that surfaced online, a Hindu priest from the north Indian temple town Ayodhya threatened: “Do you want your head to be severed from your body?”

In the southern state of Tamil Nadu, Manimekalai’s native state in India, police arrested the female leader of a Hindu right-wing group for allegedly threatening her with death. The leader allegedly posted a video online in which she condemned her using strong words and threatened to kill her.

Twitter on Wednesday removed Manimekalai’s poster tweet.

Reacting to Twitter’s action, she said in a tweet, “Will @TwitterIndia withhold the tweets of the 200000 hate mongers?! These lowlife trolls tweeted and spread the very same poster that they find objectionable. Kaali cannot be lynched. Kaali cannot be raped. Kaali cannot be destroyed. She is the goddess of death.”

The filmmaker said that the reaction in India against her film cannot be termed just an “outrage.”

“If a person in the street pounces upon you, it is a crime. If a person violates your body in a public place, it is sexual harassment. If a person throws acid on your face, it is an attempt of murder. If a person uses foul language against you, it is abuse. If a person goes after your family and friends and supporters and threatens them, it is violence. If all this is done by a mob, how can you call it just an ‘outrage’?” she asked.

“How can I report 200000 ids? Where should I report? Who is going to take action? There is no law in India. The Constitution of the country is dead.”
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