Category: Новини

A few years ago, a star athlete dropping out of a major tennis tournament over mental health issues might have been seen as a sign of weakness.Today, at least for Naomi Osaka’s corporate sponsors, it is being hailed as refreshingly honest.That would explain why so many of them have stuck by Osaka after the four-time Grand Slam champion announced Monday that she was withdrawing from the French Open because she didn’t want to appear for the prerequisite news conferences that caused her “huge waves of anxiety.”Osaka, who also acknowledged suffering “long bouts of depression,” received criticism by some who say the media events are just ” part of the job. ” But Nike, Sweetgreen and other sponsors put out statements in support of the 23-year-old star after she revealed her struggles.  “Our thoughts are with Naomi,” Nike said in a statement. “We support her and recognize her courage in sharing her own mental health experience.” Sweetgreen tweeted that its partnership with Osaka “is rooted in wellness in all its forms.” And Mastercard tweeted: “Naomi Osaka’s decision reminds us all how important it is to prioritize personal health and well-being.”Naomi Osaka, of Japan, holds up the championship trophy after defeating Victoria Azarenka, of Belarus, in the women’s singles final of the U.S. Open tennis championships, Sept. 12, 2020, in New York.Allen Adamson, co-founder of marketing consultancy Metaforce, said that Osaka’s disclosure has made her a more authentic spokesperson — and more valuable to corporate sponsors.”Every athlete gets a sports sponsorship because they win games or perform well,” he said. “But the best ones become true brand ambassadors when they have a broader persona. The best brand ambassadors are real people. (Osaka) is talking about an issue that is relevant to many people. Mental health is a bigger issue than winning or losing tennis.”Reilly Opelka, a 23-year-old American tennis player seeded 32nd at the French Open who plays his third-round match Friday, told The Associated Press he’s glad Osaka “is taking time to get better.””She’s one of the best players in the world — she’s very influential,” Opelka said. “The sport needs her. She’s an icon. It’s bad for the sport to have one of the main attractions not around.”  Osaka, who was born in Japan to a Japanese mother and Haitian father, moved to the United States with her family when she was 3, and now lives in Los Angeles.  She has taken a leading role in protesting the deaths last year of George Floyd and other Black people who died at the hands of the police, wearing a mask with a different victim’s name on each match day at the 2020 U.S. Open. She was named the 2020 AP Female Athlete of the Year.  According to Forbes, Osaka is the world’s highest-paid woman athlete, earning $37 million in 2020 from blue-chip sponsors such as Tag Heuer, AirBnB, and Louis Vuitton in addition to Mastercard and Nike.  Nike has stood by sports stars after other controversies, including Tiger Woods after his 2009 sex scandal and former 49ers quarterback Colin Kaepernick  after he knelt during games to protest police brutality against Black people. But it recently dropped Brazilian soccer star Neymar after he refused to cooperate with an internal investigation into sexual assault allegations from a Nike staffer.Osaka’s disclosure comes as celebrities and other public figures openly address their own issues with depression and anxiety. Prince Harry and his wife Meghan Markle shared their experiences in a televised interview with Oprah Winfrey and have since teamed with her to create a mental health focused series  called “The Me You Can’t See,” in which Prince Harry talks about working through anxiety and grief.Osaka also joins a growing list of top-tier athletes speaking out about mental health.  Olympic swimmer Michael Phelps, NBA players Kevin Love and DeMar DeRozan, and the WNBA’s A’ja Wilson have all spoken very publicly about their bouts with depression, sharing both the successes and setbacks.  The four Grand Slam tournaments reacted to Osaka’s withdrawal by pledging to do more to address players’ mental health issues. The episode also could serve as a tipping point for the professional tennis tours — and leagues in other sports — to safeguard athletes’ mental, and not just physical, health, said Windy Dees, professor of sport administration at the University of Miami.  “It’s absolutely a growth opportunity for the (Women’s Tennis Association) and all leagues, there’s a lot of work to be done,” Dees said.Marketing consultant Adamson believes Osaka’s decision to come forward will encourage many more athletes to divulge their own mental health battles. He noted that if Osaka had revealed her bouts with depression 10 years ago, her corporate sponsors likely would have stayed on the sidelines because the issue had been taboo. But, he noted, the pandemic has raised awareness around mental illness.  From August 2020 to February, the percentage of adults with recent symptoms of an anxiety or a depressive disorder increased from 36.4% to 41.5%, according to a survey by the U.S. Centers for Disease Control and Prevention and the Census Bureau.The survey also found the percentage of those reporting they didn’t get the help they needed increased from 9.2% to 11.7%. Increases were largest among adults aged 18–29 years and those with less than a high school education.Ken Duckworth, chief medical officer for the National Alliance On Mental Illness, said Osaka’s decision to go public is a positive development for all people who feel isolated.  “We are moving from mental health and mental illness as a ‘they” thing to a ‘we’ thing,” he said. “These are ordinary common human problems. And I firmly believe that isolation and shame directly contributes to people not getting help. I look at a great athlete, an exceptional athlete, as one potential role model.”
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Turkey has had the highest number of COVID infections in Europe and has been in and out of lockdown for more than a year. Among those hardest hit have been the country’s musicians, who have received little or no government support. Dorian Jones reports from Turkey’s entertainment capital, Istanbul.Video editor:  Marcus Harton 
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Dissident Chinese artist Ai Weiwei is putting on the biggest show of his career, and he is doing it in a place he’s fallen in love with: Portugal. The world-renowned visual artist’s new exhibition, “Rapture,” opens in the Portuguese capital Lisbon on Friday. Ai arrived in Portugal almost two years ago and says he has no plans to return to Germany or England, where he has also lived since leaving China in 2015. “I have a great feeling” about Portugal, the artist said Thursday. “This is a place I’m staying.” Ai’s show in São Paulo in 2018 covered twice the area of the Lisbon exhibit but had fewer works on display.  Dissident Chinese artist Ai Weiwei’s work on display during a press preview of his new exhibition ‘Rapture’ in Lisbon, June 3, 2021.”Rapture” is being presented in a long, low, riverside building that housed Portugal’s national rope factory starting in the 18th century and now hosts temporary art exhibitions. Ai’s show runs until Nov. 28. The 85 pieces include some of Ai’s iconic works, as well as new ones produced exclusively in Portugal.  “Forever Bicycles,” from 2015, a giant sculpture using 960 stainless steel bicycles as building blocks, stands at the entrance to the building. Ai’s 16-meter-long (52-foot-long) black inflatable boat with human figures, which alludes to the migration crisis, is also in Lisbon, as are some other of his well-known installations, sculptures, videos and photographs. Ai notes, however, that most of the works “have never met each other” and are appearing in the same place for the first time. Ai was arrested at Beijing’s airport in April 2011 and held for 81 days without explanation during a wider crackdown on dissent. He moved to Europe after Chinese authorities returned his passport. He has traveled across Portugal visiting craftspeople and manufacturers who use traditional Portuguese methods and materials such as marble, textiles, hand-painted tiles and cork. Dissident Chinese artist Ai Weiwei poses by one of his latest works, a giant toilet paper roll in marble, during a press preview of his new exhibition ‘Rapture’ in Lisbon, June 3, 2021.His experimentation has yielded a self-portrait sculpture in cork, a cut-out world map in fabric that stands about 1.5 meters (5 feet) high, a 40-meter-long (130-feet-long) rug, and a marble cylinder almost 2 meters (6.5 feet) high. Marcello Dantas, the show’s Brazilian curator, says that Ai arrived in Portugal for the first time in 2019 on a flight that landed at 8 a.m. By lunchtime, he had bought a house near the farming town of Montemor-o-Novo, about 100 kilometers (60 miles) southeast of Lisbon “I always make decisions by my personal instinct,” Ai said. “I feel comfortable here.” The artist ticks off what appeals to him about the country: the relatively slow pace of life, the “very open” people, the “very acceptable” food and the abundant sunshine. Ai says the limits on movement during the COVID-19 pandemic furnished him with “a most productive time.” Over the past year or so, he made three feature-length films in addition to art pieces. He has a book coming out later this year and another exhibition planned for this summer in the northern Portuguese city of Porto. Remaining in Portugal was “probably the best decision I ever made,” he says.  
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The Cannes Film Festival on Thursday unveiled a lineup of films from big-name auteurs — including Wes Anderson, Asghar Farhadi, Mia Hansen-Løve and Sean Penn — for its 74th edition, an in-person, summertime event that aims to make a stirring return in July after being canceled last year because of the pandemic.  Among the films that will be competing for Cannes’ Palme d’Or are the festival opener, “Annette,” by Leox Carax and starring Adam Driver and Marion Cotillard; Anderson’s “The French Dispatch,” a film originally set to premiere in Cannes last year with an ensemble cast including Timothée Chalamet; “Red Rocket,” Sean Baker’s follow-up to his acclaimed “The Florida Project”; Paul Verhoeven’s “Benedetta”; and Sean Penn’s “Flag Day,” in which he stars alongside his daughter, Dylan Penn, as a conman.  Pierre Lescure, president of the festival, and Thierry Frémaux, artistic director, announced the Cannes’ lineup at the UGC Normandie theater in Paris in  a live-streamed event that was part press conference and part pep rally for world cinema.  “Cinema is not dead. The extraordinary and triumphant return of the audience to movie theaters in France and around the world was the first good news,” said Fremaux. “I hope the film festival will be the second very good news.”  As cinema’s preeminent global stage, the annual French Riviera extravaganza is hoping to make a triumphant comeback when it runs July 6-17 — two months later than its usual May perch. But many things will be different at this year’s festival. Attendees will be masked inside theaters and required to show proof of full vaccination or a recent negative COVID-19 test. Cannes’ famed red carpet leading up to the stairs of the Palais des Festivals will resume in full, but with tweaks to the traditional pageantry.  “We’re used to kissing one another at the top of the stairs. We will not kiss one another,” said Fremaux.  Still, there are many questions leading up to a Cannes that will unfold just as France is reopening and loosening restrictions. Audience capacity limitations will be removed just five days before the festival opens. Concern over a new virus strain led France last week to institute a seven-day quarantine for travelers arriving from the United Kingdom — a potential blow to the British film industry that regularly decamps to Cannes.  For such an international festival as Cannes, many other travel regulations could pose complications. Fremaux acknowledged some filmmakers may not be able to attend. The movie market that typical runs in tandem with the festival and draws much of the film industry for a week of frenzied deal-making, will be held virtually in late June.  But the Cannes program, while perhaps lacking a Hollywood title as anticipated as Quentin Tarantino’s “Once Upon a Time in Hollywood” (an entry in 2019, when Bong Joon Ho’s “Parasite” won the Palme), was praised as top-class. It includes former Palme d’Or winners Jacques Audiard (“Paris 13th District”) and Apichatpong Weerasethakul (“Memoria,” starring Tilda Swinton).  Four of the 24 films in competition are directed by women, a low percentage but one that ties the festival’s previous top mark. That includes new films from Mia Hansen-Løve (“Bergman Island,” with Mia Wasikowska, Tim Roth and Vicky Krieps) and Hungarian filmmaker Ildikó Enyedi.  Cannes has previously refused to play in competition any film that doesn’t have a theatrical release in France, leading to an impasse with Netflix. Though other movie institutions like the Academy Awards have bended theatrical rules during the pandemic, Cannes has not.  Among the standouts playing out of competition, or in Cannes’ new “Cannes Premiere” are: Andrea Arnold’s “Cow”; Todd Haynes’ documentary “The Velvet Underground”; Tom McCarthy’s “Stillwater”; and the Oliver Stone documentary “JFK: Through the Looking Glass.”  Spike Lee, who debuted “Do the Right Thing” at Cannes in 1989, will preside over the jury selecting the Palme d’Or winner. He’s the first Black person to ever head the Cannes jury. At the opening ceremony, an honorary Palme will be given to Jodie Foster, who first came to Cannes as a 13-year-old for the premiere of Martin Scorsese’s “Taxi Driver.”Speaking to The Associated Press after the press conference, Fremaux said it will be “the ultimate Cannes.””It will be something special. In five years people will be asking ‘Were you in Cannes in 2021?’ and people would say ‘No I wasn’t.’ ‘Oh you weren’t? That’s a pity. It was really great,'” said Fremaux. “It’s going to be a special Cannes.”
 
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Decades before YouTube, there was Nam June Paik, a Korean American artist who believed all people should have their own TV channel. Matt Dibble explores a retrospective of this visionary video artist.
Producer: Matt Dibble
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Decades before YouTube, there was Nam June Paik, a Korean American artist who believed all people should have their own TV channel. Matt Dibble explores a retrospective of this visionary video artist.
Producer: Matt Dibble
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A massive and long-awaited new translation of Mein Kampf — peppered with scholarly commentary to explain Nazi leader Adolf Hitler’s disjointed, hate-filled manifesto — has been released in France. The project has been controversial, but supporters say it could serve as a warning against rising acts of hate and antisemitism today.The book is a recast translation of Mein Kampf,  or My Struggle, Hitler’s 1925 manifesto detailing how he became antisemitic, his ideology and his plans for Germany. The recast is 1,000 pages and costs more than $120. Adolf Hitler’s name and face do not appear on its plain white cover. The new edition by French publisher Fayard — titled Putting Evil in Context: A Critical Edition of Mein Kampf — does not aim to be a bestseller. French bookstores cannot stock copies, which are available by order only. All proceeds will go to the Auschwitz-Birkenau Foundation.  Historian Christian Ingrao, part of the academic team involved in the Fayard edition, told French radio the book aims to desacralize Hitler’s work that has attracted a kind of fetishism. It aims to offer an unvarnished take on the Nazi leader’s writing, which Ingrao and others say is repetitive, rambling and riddled with mistakes. Translator Olivier Mannoni called Hitler’s manifesto an “incoherent soup.” The translation is accompanied by lengthy historians’ notes and annotations that make up most of the book.  Germany and Poland have published similar scholarly translations in recent years.  In France, the first edition of Mein Kampf came out in 1934, and attempted to improve on Hitler’s writing. By that time he was chancellor of Germany, where his book had become a bestseller. Hitler’s rule saw Europe plunged into World War II — and the Holocaust that killed roughly six million Jews, including more than 70,000 from France.  Today, antisemitism is again on the rise across Europe, watchdog groups say. So is the far right. While printed copies of Mein Kampf have stagnated worldwide, digital editions have surged in recent years, although publishers point to a mix of reasons. Last year, Amazon banned most editions of the book from its site. Ninety-six-year-old Holocaust survivor Ginette Kolinka speaks to French school groups about her memories. She told French radio she never read Mein Kampf — mostly, she says, because she had other books to read. But she says young people need to read everything — good and bad — to form opinions for themselves, and eventually understand tolerance.  The Fayard translation project has been controversial. A few years ago, far-left leader Jean-Luc Melenchon called it “morally unacceptable.” Since then, it has been endorsed by several prominent Jewish figures, including Nazi hunter Serge Klarsfeld.  France’s Grand Rabbi, Haim Korsia, told VOA that Klarsfeld’s support for the translation shaped his own views. His argument: You can’t reproach the world for not having read Hitler’s writings nearly a century ago — which forecast the horror the Nazi leader was preparing — and then tell people today not to read this new translation, which could help prevent hatred, prejudice and antisemitism from reappearing.  
 
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