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Elvis Costello, Patti Smith and Mavis Staples will be among the dignitaries expected in Tulsa, Oklahoma, this weekend for the opening of the Bob Dylan Center, the museum and archive celebrating the Nobel laureate’s work.

Dylan himself won’t be among them, unless he surprises everyone.

The center’s subject and namesake has an open invitation to come anytime, although his absence seems perfectly in character, said Steven Jenkins, the center’s director. Oddly, Dylan was just in Tulsa three weeks ago for a date on his concert tour, sandwiched in between Oklahoma City and Little Rock, Arkansas. He didn’t ask for a look around.

“I don’t want to put words in his mouth,” Jenkins said. “I can only guess at his reasoning. Maybe he would find it embarrassing.”

It’s certainly unusual for a living figure — Dylan is due to turn 81 on May 24 — to have a museum devoted to him, but such is the shadow he has cast over popular music since his emergence in the early 1960s. He’s still working, performing onstage in a show devoted primarily to his most recent material.

And he’s still pushing the envelope. “Murder Most Foul,” Dylan’s nearly 17-minute rumination on the Kennedy assassination and celebrity, is as quietly stunning as “Like a Rolling Stone” was nearly a half-century ago, even if he’s no longer at the center of popular culture.

The center offers an immersive film experience, performance space, a studio where visitors can play producer and “mix” different elements of instrumentation in Dylan’s songs and a curated tour where people can take a musical journey through the stages of his career. The archive has more than 100,000 items, many accessed only by scholars through appointment.

Museum creators said they wanted to build an experience both for casual visitors who might not know much of Dylan’s work and for the truly fanatical — the skimmers, the swimmers and the divers, said designer Alan Maskin of the firm Olson Kundig.

The museum hopes to celebrate the creative process in general, and at opening will have an exhibit of the work of photographer Jerry Schatzberg, whose 1965 image of Dylan is emblazoned on the building’s three-story facade.

Since Dylan’s still creating, “we’re going to continue to play catch-up” with him, Jenkins said.

So for a figure who was born and raised in Minnesota, came of musical age in New York and now lives in California, how does a museum devoted to his life’s work end up in Oklahoma?

He’s never seemed the nostalgic type, but Dylan recognized early that his work could have historical interest and value, Jenkins said. Together with his team, he put aside boxes full of artifacts, including photos, rare recordings and handwritten lyrics that show how his songs went through revisions and rewrites.

With use of those lyrics, two of the early displays will focus on how the songs “Jokerman” and “Tangled Up in Blue” took shape — the latter with lyrics so elastic that Dylan was still changing verses after the song had been released.

Dylan sold his archive in 2016 to the Tulsa-based George Kaiser Family Foundation, which also operates the Woody Guthrie Center — a museum that celebrates one of Dylan’s musical heroes and is only steps away from the new Dylan center.

Dylan likes the Guthrie museum, and also appreciates Tulsa’s rich holdings of Native American art, Jenkins said. Much of that is on display at another new facility, the Gilcrease Museum, which is also the world’s largest holding of art of the American West.

“I think it’s going to be a true tourist draw to Tulsa for all the right reasons,” said Tulsa Mayor G. T. Bynum. “This is one of the great musicians in the history of humankind and everyone who wants to study his career and see the evolution of his talent will be drawn to it.”

Bynum hopes that it also encourages others who may someday want to put their archives on display, and make Tulsa a center for the study of modern American music.

Dylan designed and built a 16-foot-high metal sculpture that will be displayed at the entrance to the museum. Otherwise, he had nothing to do with the museum’s design and declined, through a spokesman, to offer a comment about the opening.

“If Bob were telling us what we could or couldn’t do, it would have felt like a vanity project, in a way,” Maskin said. “It was a tremendous relief not to have to satisfy Bob Dylan.”

Still, it’s safe to assume the lines of communication are open if necessary: Jenkins, the center’s director, is the brother of Larry Jenkins, Dylan’s long-time media representative.

In addition to a dinner to celebrate the opening this weekend, Costello, Smith and Staples will all perform separate concerts at Cain’s Ballroom. Costello was asked to program a jukebox that will be on display at the museum and, within a day, submitted his suggestions for 160 Dylan songs and covers, Steven Jenkins said.

The Bob Dylan Center is open to the public on May 10.

Maskin has no expectation that Dylan will ever see the designer’s work. Still, he indulges himself in a fantasy of a slow summer day, a security guard dozing in the corner, and someone slipping in wearing black jeans, sunglasses and a familiar mop of hair to wander among the displays.

“To be honest, I don’t think that’s going to happen,” he said. “I think he’s interested in the work he’s doing, and not the work he’s done.”
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An Andy Warhol portrait of Marilyn Monroe worth an estimated $200 million headlines this month’s spring sales in New York that collectors say are among the most anticipated ever.

Christie’s expects Warhol’s 1964 Shot Sage Blue Marilyn to become the priciest 20th century artwork when the auction house puts it under the hammer on Monday. 

Not to be outdone, competitor Sotheby’s is offering $1 billion of modern and contemporary art, including the second helping of the famed Macklowe Collection, during its marquee week in May.

“The excitement is certainly unprecedented,” Joan Robledo-Palop, a collector and CEO of Zeit Contemporary Art in New York City, told AFP, about the buzz surrounding this season’s auctions.

The 100-centimeter by 100-centimeter silk-screen Warhol is part of a series of portraits the pop artist made of Monroe following her death from a drug overdose in August 1962.

They became known as the Shot series after a visitor to Warhol’s “Factory” studio in Manhattan fired a gun at them, piercing the portraits which were later repaired.

Alex Rotter, head of 20th and 21st century art at Christie’s, has called the portrait “the most significant 20th century painting to come to auction in a generation.”

The current most expensive 20th century auctioned work is Picasso’s Women of Algiers, which fetched $179.4 million in 2015.

The auction record for a Warhol is the $104.5 million paid for Silver Car Crash (Double Disaster) in 2013.

Other highlights offered by Christie’s include Jean-Michel Basquiat’s Portrait of the Artist as a Young Derelict (1982), expected to go for more than $30 million, and Untitled (Shades of Red) by Mark Rothko, tipped to fetch up to $80 million.

The auction house is also offering three Claude Monet oil on canvases that are predicted to sell for upwards of $30 million each.

Rothko, Picasso, Richter

“Every couple of decades you have a sale where the quality is so high that you don’t see all of this at once normally. This season really grew into one of those unique moments,” Rotter told AFP.

After selling the first batch of works from the Macklowe Collection — the most expensive to hit the market at $600 million — last fall, Sotheby’s will auction the remaining 30 items when its sales open on May 16.

Highlights include Gerhard Richter’s 1975 Seascape, estimated at up to $35 million, and Rothko’s Untitled from 1960 that has a high-end pre-sale estimate of $50 million.

Sotheby’s said its modern evening auction of 19th and 20th century works, including by Pablo Picasso and Philip Guston, is its “most valuable” in the category in 15 years.

Picasso’s Femme nue couchée is appearing at auction for the first time, and Sotheby’s expects it to fetch more than $60 million. Other highlights include a Monet view of Venice tipped to fetch $50 million.

Brooke Lampley, head of sales for global fine art at Sotheby’s, said she expects records to be broken across categories.

“The art market is very strong. That’s why we see such an amazing array of works on offer this season,” she told AFP. 
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China is stepping up censorship of U.S. films as producers make movies with an eye toward pleasing Beijing yet without isolating the global audience, industry insiders say.    

The roughly 25-year-old practice of cutting scenes that don’t conform to Communist Party ideals from Hollywood movies has expanded.  

“Now it’s kind of escalated in the sense that they’re much more direct in banning films outright rather than just tampering or asking for scenes to be removed,” said Stanley Rosen, a University of Southern California political science professor who follows China’s film industry.  

Industry observers say censors are also asking that versions of movies for audiences outside China follow Beijing’s script.  

Hollywood movies, Chinese censors  

It is unlikely that censors will allow the 2022 Marvel Studios movie “Doctor Strange in the Multiverse of Madness” to be shown in China. The state-affiliated Global Times tabloid published a scathing op-ed on the film Sunday, saying that it contains nods to Falun Gong, a spiritual movement Beijing has banned and labeled as a cult. According to the op-ed, a news rack for The Epoch Times, a publication the writer calls “the mouthpiece of the Falun Gong,” appears in the frame as Doctor Strange battles a tentacled monster. 

Liu Pengyu, spokesperson of the Chinese embassy in Washington, said, “As a country under the rule of law, China regulates the film industry in accordance with the Film Administration regulations.” Liu, however, did not describe the process in detail.  

Marvel Studios did not reply to VOA’s questions about “Doctor Strange in the Multiverse of Madness.”  

The China Film Administration, an oversight body for the $7.4 billion market, banned Marvel Studios’ 2021 superhero films “Eternals” and “Shang-Chi and the Legend of the Ten Rings,” which were released last year.  

The 2021 superhero film “Spider-Man: No Way Home” missed Chinese approval because authorities wanted Sony Pictures to remove images of the Statue of Liberty from the film, several news outlets reported.  

The 2015 sci-fi movie “Pixels” made it into China after removing a scene of aliens blasting a hole into the Great Wall, news reports said at the time.  

“As the dragon gets bigger, its leverage gets bigger, and no one’s pushed back yet,” said Chris Fenton, Hollywood executive and lifetime member of the Council on Foreign Relations think tank.  

An increase in Sino-U.S. tensions since the administration of former U.S. president Donald Trump may have exacerbated China’s treatment of American movies, said James Tager, research director at the free-speech advocacy group PEN America in New York.  

Film studios stuck in the middle  

Film studios have been operating under the pressure of satisfying censors in China — a massive market in normal times, when cinemas are not closed because of COVID-19 — while appearing before American audiences and legislators as supporters of artistic freedom, Tager said.  

Hollywood doesn’t want a “pinball”— a situation in which both U.S. and Chinese officials take aim at the film industry, he said.  

Hollywood companies are pre-censoring films to avoid losing access to China’s lucrative box office market, PEN America said in a 2020 report.  

Refusal of a Chinese order to cut a scene would risk the studio’s future business in China, such as the next Disney or Marvel film or other assets, Tager said. Walt Disney Co., for example, has a 47% stake in Shanghai Disneyland, according to the PEN America report.  

“You may get a reputation as someone who doesn’t play ball, which could have even further knock-on effects, possibly for other films or possibly for other business relationships that large studios have in China,” he said.   

Self-censorship is getting worse, Fenton said. Some studios even worry that China will punish them for leaving objectionable scenes in film versions for audiences outside China.  

“To me, the bigger issue is when China tells us we can’t have stuff in movies for other markets,” Fenton said. “That’s where we’re suddenly allowing them to spread their narrative rather than the narrative of the filmmakers or the studio or of Hollywood — or the U.S. or the Western side of things. Who gives them that right to tell us we can’t have that in a movie that someone in Argentina sees?”  

China wants its view of the world to resonate worldwide, said James Gomez, regional director of the Asia Centre, a Bangkok-based think tank.    

“It’s competing powers, it’s competing narratives,” he said. “It’s a different world view, and China wants to be able to shape the world view.”  

Objections to Chinese-tailored films  

The Philippines pushed back against studios’ attempt to woo China in the case of the 2022 American action movie “Uncharted.” The Southeast Asian country’s cinemas yanked the movie at the request of the Philippine Department of Foreign Affairs. The department objected to a scene that showed Beijing’s nine-dash line claim to the South China Sea, which Manila vigorously disputes. The nine dashes demarcate China’s claim to about 90% of the sea.  

Manila moved earlier to block the showing of “Abominable,” a 2019 animated collaboration between a U.S. and a Chinese production company, because the same nine-dash line was shown in the cartoon.  

Some studios may eventually forego the China market to be seen elsewhere as “celebrating artistic freedom elsewhere on the globe,” Tager said.  

Hollywood is slowly factoring in the “arbitrary” demands from China, Rosen said. One thing it has learned, he said, is to avoid making Chinese-themed films such as “Shang-Chi” because those can be better done in China.  
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The shirt worn by Diego Maradona when he scored the controversial “Hand of God” goal against England in the 1986 World Cup has sold for $9.3 million (7.1 million pounds), the highest price ever paid at auction for a piece of sports memorabilia. 

Auctioneer Sotheby’s sold the shirt in an online auction that closed Wednesday. It did not identify the buyer. 

Maradona scored two goals during the quarterfinal game in Mexico City on June 22, 1986, just four years after Britain and Argentina had fought a war over the Falkland Islands. The Argentine great’s first goal was ruled a header, but the ball had bounced off Maradona’s fist, out of sight of the referee. 

Maradona said afterward that it had been scored “a little with the head of Maradona, and a little with the hand of God.” 

Maradona’s second goal saw him dribble the ball past almost the entire English team before beating goalkeeper Peter Shilton. In 2002, it was voted “goal of the century” in a FIFA poll. 

Argentina won the game 2-1 and went on to win the World Cup. 

After the game. Maradona swapped shirts with England midfielder Steve Hodge, who loaned it long-term to England’s National Football Museum in Manchester before putting it up for sale. 

Maradona, considered by many to be the greatest player of all time, struggled with cocaine abuse and other excesses and died in November 2020 at age 60.

After Sotheby’s announced the coming sale last month, relatives of Maradona expressed doubt the blue No. 10 jersey was the shirt the soccer star had worn in the second half of the game, when he scored both goals. The auction house said the shirt’s identity was confirmed by sports memorabilia photo-matching firm Resolution Photomatching and confirmed by Sotheby’s chief science officer. 

Brahm Wachter, Sotheby’s head of streetwear and modern collectibles, said the shirt was “a tangible reminder of an important moment not only in the history of sports, but in the history of the 20th century.” 

The previous record for sports memorabilia was $8.8 million paid at a December 2019 auction for the manifesto that launched the modern Olympic movement. The previous record for a piece of sportswear was $5.64 million for a Babe Ruth New York Yankees jersey in 2019. 

The sale prices include an auction house charge known as the buyer’s premium.
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U.S. comedian Dave Chappelle was attacked on stage on Tuesday night at the Hollywood Bowl in Los Angeles by an assailant who rugby-tackled him before being apprehended and arrested, video footage verified by Reuters showed.

The attack came just over a month after actor Will Smith slapped comedian Chris Rock on stage at the Oscars, an unprecedented incident at the globally televised event that prompted concerns that performers might be subject to copycat assaults.

Smith, who won the best actor award, was subsequently banned from attending the Oscars for 10 years.

It was not immediately clear if Chappelle was injured in Tuesday’s attack, or what motivated it.

An agent and public relations representative for Chappelle were not immediately available for comment. A representative for the Hollywood Bowl told Reuters the incident was under investigation, declining to comment further.

According to an ABC report, Rock, who had performed earlier in the evening, joined Chappelle on stage moments after it took place and joked: “Was that Will Smith?”

Chappelle and Rock were giving shows as part of an 11-day comedy festival called “Netflix is a Joke.”

Los Angeles police took a male suspect into custody who NBC Los Angeles said was armed with a replica gun capable of ejecting a knife blade.

Video footage obtained by Reuters showed the suspect on a stretcher being placed into an ambulance. He was taken to hospital with minor injuries, NBC Los Angeles cited police as saying.

Los Angeles Police Department officials did not immediately respond to a Reuters request for comment.

Chappelle’s Netflix comedy special “The Closer” was criticized last year by some who saw it as ridiculing transgender people. Supporters of the comedian viewed it as a cry against cancel culture.

Brianna Sacks, a journalist for BuzzFeed News who attended the event, said the altercation took place as Chappelle ended his performance.
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