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Tag: Cultural preservation

  • Younger generations of Asians are spending big on art

    Younger generations of Asians are spending big on art

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    Younger, wealthy shoppers in Asia are splashing their cash on art, according to a longtime collector and senior auction house executive.

    Nicolas Chow, Sotheby’s chairman for Asia, said more than 40% of its buyers of contemporary art are millennials (born between 1981 and 1996), while Gen X (1965 to 1980) are also likely to be big spenders, he said.

    “The buyers are increasingly younger. What we’ve seen actually in 2023 … Gen X is the most important buy-base actually — over a million dollars, they dominate the market,” Chow told CNBC’s “Art of Appreciation.”

    Gen Z — the youngest age group for buyers — is “coming in quite strongly,” he said, adding that he recently saw a 20-year-old buyer acquire a piece in Shanghai to celebrate his graduation.

    Wealthy millennials in Asia spent a median of $59,785 on art and antiques during the first half of 2023, while for Gen Zers the figure was $56,000, according to the Art Basel & UBS Survey of Global Collecting 2023.

    Buying at auction — instead of from a dealer, for example — is popular with millennials and Gen X collectors globally, according to the survey. The trend appears to be playing out in Asia. At Christie’s Hong Kong spring season auction, held between May 25 and June 1, around a quarter of buyers were new to the auction house, and 43% of those were millennials, according to an online release.

    A visitor takes a selfie with work by Yoshitomo Nara during Sotheby’s Hong Kong spring sales on April 2, 2024.

    Chen Yongnuo | China News Service | Getty Images

    And, while the size of the global art market fell 4% last year to around $65 billion, according to the Art Basel & UBS Art Market Report 2024, sales in China rose by 9% in 2023, overtaking the U.K. as the world’s second-largest art market. “Activity surged as post-lockdown buyers snapped up backlogged auction inventories and as Hong Kong’s major fairs and exhibitions returned to full-scale programming,” wrote report author and founder of Arts Economics, Clare McAndrew.

    For Sotheby’s, the rise in younger buyers is driven in part by an increase in online activity. “During the pandemic, we really sort of developed our digital abilities with live streaming … And this has really brought in art to the greater communities and allowed us to engage with our buyers across the world,” Chow said.

    Younger collectors are keen on newer art forms, with Gen Z collectors having the highest average expenditure on digital art globally — as well as prints — of any generation, according to the Survey of Global Collecting 2023.

    Young digital artists

    People view work at Art Basel Hong Kong, held in March 2024. An installation by artist Mak2, “Copy of Copy of Copy of Copy,” is just seen at the center.

    China News Service | Li Zhihua | Getty Images

    Mak2 exhibited at Art Basel Hong Kong in March, with an installation named “Copy of Copy of Copy of Copy,” based on video game The Sims and painted by artists she commissioned via an e-commerce site.

    Over the past 10 years, Sotheby’s has “opened up” more to contemporary and modern art, Chow said. “Fifty years ago when we came to Asia … we brought Chinese art … And today, we sort of really opened the market to all sorts of new experiences and new material, from dinosaurs to cars to contemporary art, from all around the world. NFTs, sneakers, you name it,” he said.

    Hong Kong’s Art Gallery Association recorded a 27% increase in member galleries between 2021 and 2023, while the Hong Kong Palace Museum opened in 2022, and the M+ last year — both contemporary museums that foster a “greater interest” in the art community in Asia, Chow said.

    Sotheby’s has been holding auctions Asia since 1973 and will open a flagship “maison” in Hong Kong in July, which will sell pieces for immediate purchase as well as holding regular auctions. “At our our maison, we’ll be bringing material from across the spectrum of what Sotheby’s has to offer, from the remote prehistory all the way to the digital future,” Chow said.

    CNBC’s Quek Jie Ann contributed to this report.

    Watch The Art of Appreciation on CNBC International

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  • Luxury homebuyers can now get an art collection as part of the deal

    Luxury homebuyers can now get an art collection as part of the deal

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    Los Angeles real estate company The Agency is selling homes complete with artwork and furniture. The piece shown is called “The McCoys II” (2019) and is by artist Shaina McCoy.

    The Agency | Nils Timm

    When Paul Lester joined a luxury real estate agency in Los Angeles, he decided to organize a Beverly Hills property viewing with a difference: he effectively turned it into an art opening, inviting prospective buyers of the home — and those who might be interested in purchasing the artwork he displayed in it.

    Individual artworks sold, and so did the property — for a premium. “We were successful in selling the house I would say for a more of a valued number than you might expect, because the entire package was seen as elevated,” Lester told CNBC by phone. The buyer also purchased some of the art displayed.

    That was more than a decade ago. Since then, Lester has made it his mandate to feature “significant” work by contemporary artists — alongside designer furniture — in the high-end properties he’s listing, which is often available to buy.

    Lester, a partner at real estate firm The Agency, is currently selling several new-build luxury homes in Beverly Hills designed by architecture firm Olson Kundig, and has a put together a “full collection” of art in a handful of them.

    Paul Lester, a partner at Los Angeles real estate firm The Agency, said he had made it his “mandate” to feature artwork in the properties the company sells. Seen here is the interior of a home that is part of a collection known as The Houses at 8899 Beverly. The artwork is “Rainbow Universe” (2015) by Lazaros.

    The Agency | Nils Timm

    The homes — known as The Houses at 8899 Beverly — start at around $5 million. Rather than simply being “staging” pieces brought in temporarily, the art and furniture is also available to purchase, Lester said. The Agency worked with consultancy Creative Art Partners on the homes, which feature work by a number of artists, including Michelle Mary Lee, an arts educator, and Irvin Pascal, a British sculptor and painter.

    Homes that are ready to move into, known as “turnkey” properties, are becoming popular with buyers. “We do see people more than not right now — especially with new construction — wanting an entire package that works well,” Lester said. “There have been circumstances where people walk in and say ‘I want this room … I’ll take the furniture and I’ll take the art. I absolutely love it this way and is that possible?’ And we’re able to say ‘yes it is’,” Lester said.

    The trick with choosing artwork for such properties is to make sure it works well with their interiors, said David Knowles, founder of art consultancy Artelier, which supplies art for real estate projects in the U.K., U.S. and the Middle East.

    “It’s hard to get a kind of uniqueness and a character across if what they’re selling is a turnkey project, because the … art has got to appeal to a wide audience,” Knowles told CNBC by phone. “The art needs to feel like it belongs there,” he said.

    To do that, Artelier might commission pieces that have a connection to the area the home is in, and has artists make pieces that will precisely fit the dimensions of the space. This tends to work better than borrowing work from a gallery to display in a home temporarily, Knowles said.

    Artelier, an art consultancy, commissions work to fit the dimensions of a wall, or panels, as seen in this living area at a home in Eaton Place, London.

    Fenton Whelan | Artelier

    Lester’s team discusses whether the art should match a home’s design or contrast with it. They might chose a colorful palette for a more monochrome property, or a mix of abstract work and portraiture, Lester said. Work is sometimes commissioned for properties; other times, Lester might ask artists whether they have pieces available in a particular color.

    Artelier has sourced artwork to hang on the walls of some of the world’s most prestigious addresses, such as London’s One Hyde Park, the residences at the Dorchester’s One at Palm development in Dubai, and for an apartment within Eighty Seven Park, an oval-shaped Miami beachfront building designed by Renzo Piano.

    London developers are keen to appeal to overseas buyers looking for vacation homes in the city, Knowles said. The consultancy is commissioned by interior decorators or real estate developers to source artwork for wealthy property buyers who “know what they like, and they have got good taste. Or they’ve got someone that works for them that has got good taste,” Knowles said.

    Artelier is often the bridge between artists and developers or property buyers, groups that “come from two different worlds,” Knowles said. He works with artists to help them understand that their work can be seen as a luxury product and that clients expect something “exceptional.” At the same time, Artelier might explain to clients that something like a bespoke ceramic piece is likely to have imperfections, such as finger marks.

    Artelier commissioned a collection of artwork for the public areas at One at Palm Jumeirah, Dorchester Collection, a residential building in Dubai. The artwork displayed is by textile artist Kristy Kun.

    Tooze Studio | Artelier

    For Lester, the artwork in The Houses at 8899 Beverly creates an additional opportunity for marketing. “We’re about to start … a campaign, which is going to highlight the artists … which I’ve found to be very effective. So in effect, you’re getting another opportunity to tell the story about the home because you’re telling the story about the art as well,” he said.

    The Houses are comparatively more affordable than other properties Lester has on his books. “I have several right now that are privately being offered … The house might be worth let’s say $60 million, $70 million, but the artwork in the house is probably worth $200 million,” he said. Buyers at that level might inquire whether the vendor would consider selling one or two of the artworks, Lester said.

    While real estate agency Savills doesn’t often sell art as part of a property deal, the company’s co-head of prime central London, Richard Gutteridge, advises clients to leave artwork on the walls during viewings.

    “It is an accessory that a lot of people do identify with. At the top of the market, it’s a layer of [that] lifestyle,” he told CNBC by phone. Gutteridge oversees sales in what he calls the city’s “golden postcode” — Belgravia, Chelsea, Knightsbridge and Mayfair. He said a home’s art collection is occasionally worth as much as the property.

    “As much as that helps the [sales] journey, it’s quite nice when [buyers] refocus on the house … The artwork often turns people’s heads,” Gutteridge said.

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  • Displaying art in your home? Here are some do’s and don’ts

    Displaying art in your home? Here are some do’s and don’ts

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    Large artworks can help a space feel more homey, according to art consultant Louisa Warfield.

    Andreas Von Einsiedel | Corbis Documentary | Getty Images

    There are two common mistakes people make when hanging art in their homes, according to art consultant Louisa Warfield.

    “The first is, they hang work that is too small for the space. And often you’ll go in, and you’ll find a sofa [couch] with one tiny picture above it, and that looks lonely and bleak,” she said.

    Instead, “Hang a wall… with as big a painting as you can fit.” This helps a room feel homey, Warfield said, while at the same time making the space appear larger. Don’t be afraid to hang large artworks in smaller spaces such as hallways, Warfield said.

    The second mistake is hanging artworks too high, which makes pieces harder to “connect” with. “Whether it’s just the visual connection, you just like the look of it, or whether it’s an emotional connection, you feel something from it … if the work is hung too high it feels like it’s not really in the room,” she said.

    People sometimes make the mistake of hanging artwork too high, according to art consultant Louisa Warfield. Instead, hang the work so that its center is about 150cm above the floor, as demonstrated by the large painting on the right hand side of this dining room. The work displayed is by contemporary artist David Price and the interior designer was Rachael Harding.

    Louisa Warfield Art Consultancy

    A guideline is to hang the work so that its center is about 150cm above the floor, Warfield said. Alternatively, hang it so that your eye level is about a third of the way down from the top of the piece. “These are guides — there’s no hard and fast rule,” she said.

    The ‘gallery wall’

    Having a gallery wall, where several pieces of varying sizes are hung together, is a popular way to display art at home. Most people are not art collectors who buy work around a particular theme; instead, they might acquire pieces on vacation or receive art as gifts, Warfield said.

    “As our lives grow and get bigger, [the artworks] often don’t match. But a gallery wall … allows you to draw together lots of quite disparate bits into one quite holistic look,” she said.

    Warfield suggests giving the display cohesion. “This might be as simple as everything has a black frame. This might be simple as everything is a flower picture, or … everything is a black and white photo,” she said. She might add a quirk, such as having one picture that has a touch of red in it that stands out against a monochrome selection. 

    A “gallery wall” in art consultant Louisa Warfield’s London home. Warfield suggested laying pictures on the floor in your desired arrangement before hanging them.

    Louisa Warfield Art Consultancy

    In a large home, a gallery wall might be about 160cm in height and about the width of the couch the art will hang above, Warfield said. She said mixing larger pieces with smaller ones is acceptable and recommended laying out pictures on the floor in front of the couch to decide how to display them. Should you have the largest picture in the middle of the display? “There’s no ‘should,’” she said. “There are a million different ways of doing it.”

    Warfield charges £175 ($222) plus taxes for two hours of advice on what to buy and how to display it. When it comes to the hang itself, it’s worth hiring a professional who understands the best fittings to use for the size of the artwork and the type of wall it will go on, Warfield said. Expect to pay a professional hanger around £80 an hour, she said.

    To match or not

    You might want artwork to fit with a color scheme you have chosen for your home, but this is something that the art world — which can be elitist — might look down on, Warfield said. Her approach is more inclusive: “You must do whatever you want in your home — it’s your sanctuary,” Warfield said.

    “What I advise my clients is that you might want it to match now, but your sofa and your [color] palette is almost certainly going to change again in seven to 10 years,” Warfield said. If you are buying art and are keen on a matching approach, “be very aware of how much money are you spending, and will that picture have longevity after you have changed the color of your sitting room?”

    Work by British artist Sophie Carter in a penthouse apartment by interior designer Yoko Kloeden. Art consultant Louisa Warfield said she commissioned the piece to reflect the views from the building.

    Louisa Warfield Art Consultancy

    If you’ve recently moved home and feel your existing artworks don’t fit your new space, consider reframing pieces or hanging them unframed to give them a new look, Warfield suggested, or have them glazed in non-reflective and UV-protective glass that will display work more clearly.

    For Helen Sunderland Cohen, who collects modern and contemporary art and photography, balance is important. “I try to place works that feel good in a particular space, and that interact organically with one another. This could be through colour, style, or a motif. For example, I decided to hang black and white photography down one corridor,” she told CNBC by email.

    An art collector’s approach

    Sunderland-Cohen’s London home features an open-plan living area with large windows along its length that shed light on her collection.

    A mask by British-Nigerian artist Yinka Shonibare hangs next to a monoprint on fabric by British artist Aimee Parrott, followed by an oil on canvas by post-war British artist Prunella Clough. Meanwhile, a bright pink porcelain cone by Simon Bejer is displayed on a side table — Bejer is a graduate of the City & Guilds School of Art in London, where Sunderland Cohen is a trustee.

    Art collector Helen Sunderland Cohen said she aims for a “harmonious and balanced” environment when it comes to playing art. She is pictured here with an antique atlas, part of The Sunderland Collection.

    Helen Sunderland Cohen

    “I … try to arrange the art in a way that works with the furniture, rugs, and light, so that everything feels harmonious,” Sunderland Cohen said.

    Sunderland Cohen, who manages The Sunderland Collection, a collection of antique world maps and atlases, said she buys work for her home that she has a personal connection to, such as places she has lived. “I think a lot of displaying art comes down to confidence and intuition, rather than worrying about what other people will think or how trendy an artist is,” she said.

    “I am fascinated by design, and like living with it: even simple objects like a well-designed lamp or a beautiful cushion, or a quirky vase. These items do not have to be expensive, just engaging and fun,” she said.

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  • Biden and Brazil’s Lula meeting in New York to discuss labor, climate

    Biden and Brazil’s Lula meeting in New York to discuss labor, climate

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    NEW YORK — President Joe Biden will meet his Brazilian counterpart Luiz Inácio Lula da Silva on Wednesday in New York as the leaders of the Western Hemisphere’s largest democracies seek areas of common ground despite some recent differences on the war in Ukraine and other matters.

    The two are expected to discuss labor and the environment. And senior U.S. administration officials who previewed the meeting said the two nations are rolling out a partnership on workers’ rights.

    Initial hopes that Lula would prove a staunch ally for Biden have been tempered in recent months, with the Brazilian leader voicing opposition on some issues and at times even seeming to thumb his nose at Washington.

    That has included dismissing allegations of Venezuela’s authoritarianism, calling for decreased dependence on the dollar for global trade and accusing the U.S. of fueling bloodshed in Ukraine by providing military aid. In his speech at the U.N. General Assembly on Tuesday, Lula criticized the U.S. embargo and sanctions targeting Cuba.

    “What Lula expects is not to be lectured by the U.S. and the White House, but treated as a partner who they will sometimes disagree with, but who they do respect,” said Thomas Traumann, a Brazilian political analyst. “Not an enemy, not an opponent, someone who is on your side, but not always on your side.”

    Biden had frosty relations with Lula’s predecessor. Far-right former President Jair Bolsonaro, an open admirer of Donald Trump, waited weeks before recognizing Biden’s 2020 election victory. Over a year passed before a bilateral meeting took place in the context of U.S. concerns that Bolsonaro, who had been casting doubt on Brazil’s election system, could reject its results.

    After Bolsonaro’s defeat, his supporters stormed the capital in an attempt to oust Lula from power. The circumstances bore a clear resemblance to Trump and the Jan. 6 Capitol riot. Lula quickly traveled to Washington, where he and Biden bonded over the challenges to democracy they had both managed to overcome.

    Despite the shared experience and apparent bonhomie, the trip disgruntled Brazilian officials, who viewed the White House’s reception of the newly sworn-in president as historically underwhelming, said Traumann, who worked in the prior administration of Dilma Rousseff, Lula’s protege.

    The meeting Wednesday will be their second. Their planned labor partnership will be a vehicle for stopping the exploitation of workers, forced labor and child labor as well as workplace discrimination, according to the U.S. officials. They spoke on condition of anonymity to preview the announcement.

    Labor is an issue dear to Lula, who got his start in politics as leader of a powerful metalworkers’ union.

    The two are also likely to discuss environmental preservation, with Lula aiming to lure financial contributions for the Amazon rainforest, said Paulo Peres, a political scientist at the Federal University of Rio Grande do Sul. Lula has been presenting himself as an environmental leader, and his administration has already recorded significant progress in the Amazon.

    Deforestation of the Amazon had soared to a 15-year high under Bolsonaro, who called for the development of the rainforest, emboldening loggers and miners to invade protected areas, while defanging environmental authorities. Lula began rebuilding those agencies, created eight protected areas for Indigenous people, and expelled thousands of miners from the massive Yanomami Indigenous territory. Deforestation dropped by nearly half in his first eight months.

    He has sought international contributions for Brazil’s Amazon Fund, but donations have been small and symbolic. In February, the U.S. committed to a $50 million donation to the initiative, though it has yet to be provided. Biden later announced he would ask Congress for an additional $500 million, which has yet to be committed.

    The U.S. officials who spoke to reporters sought to play down Lula’s recent criticism of the U.S. embargo and sanctioning of Cuba. They noted that the Biden administration has lifted travel restrictions to Cuba imposed by the prior administration and is also in the process of restarting remittances to that country.

    Lula also visited Venezuela’s Nicolás Maduro in May and said allegations of the country’s authoritarianism stem from a false narrative — despite widespread political arrests and election interference as well as threats to journalists.

    The U.S. is ready to provide sanctions relief if Venezuela meets milestones toward credible elections, national security adviser Jake Sullivan told reporters Friday. He declined to say whether Biden would broach the subject of Venezuela in their bilateral meeting.

    ___

    Boak reported from Washington. AP writer Eléonore Hughes in Rio de Janeiro contributed to this report.

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  • Natural history museum closes because of chemicals in taxidermy collection

    Natural history museum closes because of chemicals in taxidermy collection

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    A South Dakota museum is closing after almost 40 years over concerns that the chemicals in its taxidermy collection could endanger visitors and staff

    This 2012 photo provided by Delbridge Museum shows an exhibit at the Delbridge Museum of Natural History in Sioux Falls, S.D. The Great Plains Zoo in South Dakota said Thursday, Aug. 17, 2023, that it has pulled its taxidermy collection off display after almost 40 years over concerns about the impact of strong chemicals used to preserve the animals. (Delbridge Museum of Natural History via AP)

    The Associated Press

    SIOUX FALLS, S.D. — A South Dakota museum has closed after almost 40 years over concerns that the chemicals in its taxidermy collection could endanger visitors and staff, the affiliated zoo announced Thursday.

    The Great Plains Zoo said Thursday that it is has closed the Delbridge Museum of Natural History in Sioux Falls. The zoo’s CEO Becky Dewitz said strong chemicals were used in the taxidermy process and that tests found detectable levels of those chemicals in the museum, KELO-TV reported. It wasn’t an easy decision to close the museum but it’s the right one, she said.

    “The specimens were harvested in the 1940s through the 1970s. Prior to the 1980s, it was common to use strong chemicals in the taxidermy process all over the world for preservation of the hides,” the zoo said in a statement on its website.

    The museum’s collection of animals on display was one of the largest in the region. Sioux Falls businessman Henry Brockhouse assembled the collection that includes animals from six continents over several decades. Photos of the collection show an elephant, giraffe, rhinoceros, zebras and other animals.

    Sioux Falls attorney C.J. Delbridge bought the collection in 1981 and donated it to the city to establish the Delbridge Musuem of Natural History in 1984.

    “As the specimens continue to age, there is more potential for chemical exposure,” it added. “Out of an abundance of caution,” the city and zoo decided to decommission the collection. Dewitz said this process will take a long time because a number of the animals are now endangered and protected under federal law.

    The zoo and city will work with the U.S. Fish and Wildlife Service to safely dispose of the taxidermy mounts, a process that is expected to take several months.

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  • Developers have Black families fighting to maintain property and history

    Developers have Black families fighting to maintain property and history

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    PHILLIPS COMMUNITY, S.C. — The Rev. Elijah Smalls Jr. once grew okra, butter beans and other vegetables in the neighborhood where his family has lived near the South Carolina coast since not long after the Civil War. That was before new half-a-million-dollar homes in a nearby subdivision overwhelmed the drainage system.

    Runoff meant for sewers now pools in the 80-year-old veteran’s backyard, making gardening impossible.

    Smalls and his relatives are among the many original families still living in historic settlement communities around Charleston. People who had been enslaved at Phillips Plantation bought patches of it to make their futures. Their descendants question whether the next generation can afford to stay.

    “This is the only place I wanted to live and raise my family,” said Fred Smalls, standing outside the home where his two sons grew up.

    All along the South Carolina coast, land owned by the descendants of enslaved people is being targeted by developers looking to make money on vacation getaways and new homes. From Myrtle Beach south to Hilton Head, Black landowners who inherited property have been embroiled in disputes with investors looking to capitalize on rising real estate values.

    State reforms approved in 2017 provided what supporters described as “shark repellant” — a law that made it harder for developers to strike deals below market prices with distant heirs who had long since moved away.

    But skyrocketing property taxes are creating a growing burden as assessments rise. Younger family members may not qualify for homestead exemptions and other tax breaks. Elders worry that their family legacies — established by formerly enslaved ancestors who acquired land despite entrenched racism across the defeated South — are slipping away.

    Most of the hundreds who still live on the remaining 450 acres or so of Phillips Community trace their lineage to the founders. Residents enjoy the pace of the South Carolina Lowcountry in the settlement communities, where neighbors have long taken care of each other.

    “If we don’t take steps to protect them, we’re going to lose them parcel by parcel,” said Coastal Conservation League Executive Director Faith Rivers James.

    ——

    Orange mesh fencing lines the dirt expanse of a new development site that encircles the ranch-style house where Josephine Wright has taken her stand. The 93-year-old woman is the matriarch of a family that has owned land on Hilton Head Island since Reconstruction.

    “I’m being surrounded, really,” Wright said recently in the Brooklyn accent she picked up before returning to her late husband’s home 30 years ago in Jonesville Historic Gullah Neighborhood.

    They wanted tranquility as his Parkinson’s disease progressed. But gone is the lush greenery that once grew on 29 acres previously owned by other relatives bordering Wright’s home. A Georgia-based developer, Bailey Point Investment, LLC, broke ground last summer on a 147-unit vacation rental complex there.

    Managers of her family’s trust failed to pay escalating tax bills. The land sold at a 2014 tax auction for just $35,000 — a fraction of its current worth.

    Then the investment company sued Wright, who owns her one acre separately. The company alleged that a corner of her screened-in porch, a shed and a satellite dish encroach on the construction project. A lawyer for the company did not return a call from The Associated Press.

    She suspects they want to run her off, but she’s not intimidated. NBA superstar Kyrie Irving and filmmaker Tyler Perry have lent their support. Town officials don’t intend to issue building permits until the case is closed. She says other residents have thanked her for holding out.

    She expected to spend these days in peace. Her small home remains the gathering spot for an extended family that includes 40 grandchildren, generations who she hopes will also enjoy the land.

    “I just want to be able to live here in this sanctuary with a free mind,” Wright said.

    —-

    The first self-governed town of formerly enslaved people in the United States was located on Hilton Head Island. Wright’s neighborhood gets its name from a Black Civil War veteran named Caesar Jones who had escaped enslavement and purchased more than 100 acres himself, finding refuge in marshland that had been dismissed by colonists as unsuitable for farming.

    It’s hardly undesirable today. The advent of air conditioning helped make coastal land more appealing. New highways improved access to the coast, where population increases have made South Carolina the 10th fastest-growing state during the past decade.

    Those searching for land found easy targets in the Gullah Geechee community, owned by descendants of West Africans who were forced into slavery on rice, indigo and cotton plantations along the Atlantic coast. They developed their unique culture on isolated islands, but their separation from the U.S. legal system left them vulnerable to exploitation.

    Developers took advantage in many cases of what’s known as heirs’ property — land transferred from generation to generation without a will and shared equally by part-owners whose numbers balloon with each branch in the family tree. South Carolina developers could buy a single heir’s interest and wind up taking everything from outmatched families suddenly navigating an unwieldy system.

    Heirs’ property is under threat throughout the Black Belt. Roughly 5 million acres over 11 states worth almost $42 billion collectively remains trapped in cloudy titles, according to the most conservative estimates from a 2023 study led by rural sociologist Ryan Thomson at Auburn University. It’s a strain acutely felt by Black landowners given the Deep South’s legacy of enslavement.

    Some remaining owners are more determined than ever to stay.

    Julia Campbell, 60, has spent two decades establishing a family tree to identify every heir with even the slimmest stake in the 25-acre John’s Island land her family has held since the 19th century. The former member of a Charleston group established to protect Black cemeteries emphasized that the ground itself bears witness to history.

    It’s important for her to document — especially at a time when she said “some people want to close the book on us.”

    “These people who could barely read or write were able to hold onto the property,” she said. “We should be able to hold onto it.”

    —-

    South Carolina’s 2017 reforms stymied some predatory behavior, according to Josh Walden of the Center for Heirs’ Property Preservation. The Charleston-based non-profit has helped clear titles for over 3,000 tracts worth some $17.5 million since 2009, but his most modest estimates suggest about 40,000 tracts remain held in heirs’ property across six coastal counties alone.

    Risk persists for those facing heightened assessments that come with exurban gentrification.

    “Obviously, people are still looking for land,” Walden said. “They’re still approaching heirs’ property owners asking if they’ll sell their interests.”

    The clamor for these lands is so feverish that even people with clear titles remain vulnerable. James calls it “the next frontier in preserving African American property.”

    South Carolina tax law evaluates residential land at its highest usage — a boon to sellers but a burden for those who want to stay.

    “They’re not planning to take the money and run,” Phillips Community Association President Richard Habersham said of his neighbors. “They’re planning to pass it down.”

    James has proposed that state lawmakers ease growing pains by passing a new “cultural property preservation” tax exemption to provide incentives to support historic communities, just like existing credits help preserve historic buildings.

    A statewide measure could resemble local efforts. One ordinance blocked a golf course on Gullah Geechee land on St. Helena Island. Last month, the Beaufort County Council rejected a developer’s request to remove a 502-acre plot from a zoning district that bans gated communities and resorts in locations considered culturally significant. Other officials are soliciting feedback from Gullah Geechee and African American communities to identify historical sites in the Charleston area for preservation.

    “Property is not just a commodity,” James said. “Property has a sentimental value that the law should recognize.”

    —-

    That value became more elusive for Queen Mary Davis when a housing development next door restricted her access to a family cemetery by requiring her to gain admission from security guards.

    A formerly enslaved ancestor named Dennis Allen purchased the first patches of what is now the family’s 31-acre property back in 1897. It’s nestled in a Hilton Head neighborhood that is home to some of the largest Gullah extended families.

    But Davis, 70, could soon lose nearly a third of it. The land is stuck in a cumbersome legal dispute with other heirs dating back to 2009. A judge has ordered that 11 acres be placed on the market for $7 million. A previous deal fell apart after a North Carolina firm rescinded its $7.5 million offer.

    The situation is an egregious example of sagas that attorney Willie Heyward has seen all too often during a 37-year career largely focused on heirs’ property. He’s represented members on both sides of Davis’ contentious case at various points, and says many families get mired in costly, yearslong court battles that ultimately diminish the returns for everyone.

    This generation of heirs’ property owners will be the last with numbers Heyward considers manageable — about 250 relatives is the most he’s seen.

    As family trees number thousands of people, any outcome other than land loss can become impractical — a “crushing” prospect for his elderly clients clinging to the last vestiges of their ancestry.

    Relatives interested in selling have a legal right to pursue that option, and defending land becomes especially difficult when families aren’t united. Heyward and James both want legislators to expand opportunities for mediation so resource-limited families don’t rack up legal fees trying to protect their interests.

    What was once a vehicle for maintaining ownership has become an engine of its demise.

    “I see a very dark future on the horizon if something is not done,” Heyward said.

    —-

    Longtime residents report that Phillips Community sounds different nowadays. Traffic thrums along a busy road. The scuttle of fiddler crabs no longer accompanies walks to a nearby creek. Woods once filled with the calls of raccoon hunts have been replaced by a quiet subdivision.

    And still more development looms. A private Charleston-based company has plans for several dozen houses in the center of the neighborhood, spreading closer to the 35 acres bought by the Smalls’ great grandfather and largely kept within the bloodline since 1875. The Rev. Elijah Smalls Jr. said he’s heard rumblings about new commercial enterprises entering the frenzy.

    “If that comes in, that would definitely be the death of the community,” he said.

    Some of Smalls’ neighbors may have left, but the pastor says he’s not going anywhere. He built the brick house that sits right off Elijah Smalls Road. He can’t start over at his age, and nearby homes cost too much anyway.

    Fred Smalls isn’t moving either. Wearing a black baseball cap with “ARMY” emblazoned in gold, he notes that many original members fought for their own freedom in the 128th Regiment of the U.S. Colored Infantry. Paintings of 19th century African American soldiers hang on his walls.

    His Army service took him to Germany, Turkey, Alaska and Oklahoma. But he always knew he’d return.

    —-

    This story corrects the name of John’s Island, not St. John’s Island

    —-

    Pollard is a corps member for the Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places journalists in local newsrooms to report on undercovered issues.

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  • Developers have Black families fighting to maintain property and history

    Developers have Black families fighting to maintain property and history

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    PHILLIPS COMMUNITY, S.C. — The Rev. Elijah Smalls Jr. once grew okra, butter beans and other vegetables in the neighborhood where his family has lived near the South Carolina coast since not long after the Civil War. That was before new half-a-million-dollar homes in a nearby subdivision overwhelmed the drainage system.

    Runoff meant for sewers now pools in the 80-year-old veteran’s backyard, making gardening impossible.

    Smalls and his relatives are among the many original families still living in historic settlement communities around Charleston. People who had been enslaved at Phillips Plantation bought patches of it to make their futures. Their descendants question whether the next generation can afford to stay.

    “This is the only place I wanted to live and raise my family,” said Fred Smalls, standing outside the home where his two sons grew up.

    All along the South Carolina coast, land owned by the descendants of enslaved people is being targeted by developers looking to make money on vacation getaways and new homes. From Myrtle Beach south to Hilton Head, Black landowners who inherited property have been embroiled in disputes with investors looking to capitalize on rising real estate values.

    State reforms approved in 2017 provided what supporters described as “shark repellant” — a law that made it harder for developers to strike deals below market prices with distant heirs who had long since moved away.

    But skyrocketing property taxes are creating a growing burden as assessments rise. Younger family members may not qualify for homestead exemptions and other tax breaks. Elders worry that their family legacies — established by formerly enslaved ancestors who acquired land despite entrenched racism across the defeated South — are slipping away.

    Most of the hundreds who still live on the remaining 450 acres or so of Phillips Community trace their lineage to the founders. Residents enjoy the pace of the South Carolina Lowcountry in the settlement communities, where neighbors have long taken care of each other.

    “If we don’t take steps to protect them, we’re going to lose them parcel by parcel,” said Coastal Conservation League Executive Director Faith Rivers James.

    ——

    Orange mesh fencing lines the dirt expanse of a new development site that encircles the ranch-style house where Josephine Wright has taken her stand. The 93-year-old woman is the matriarch of a family that has owned land on Hilton Head Island since Reconstruction.

    “I’m being surrounded, really,” Wright said recently in the Brooklyn accent she picked up before returning to her late husband’s home 30 years ago in Jonesville Historic Gullah Neighborhood.

    They wanted tranquility as his Parkinson’s disease progressed. But gone is the lush greenery that once grew on 29 acres previously owned by other relatives bordering Wright’s home. A Georgia-based developer, Bailey Point Investment, LLC, broke ground last summer on a 147-unit vacation rental complex there.

    Managers of her family’s trust failed to pay escalating tax bills. The land sold at a 2014 tax auction for just $35,000 — a fraction of its current worth.

    Then the investment company sued Wright, who owns her one acre separately. The company alleged that a corner of her screened-in porch, a shed and a satellite dish encroach on the construction project. A lawyer for the company did not return a call from The Associated Press.

    She suspects they want to run her off, but she’s not intimidated. NBA superstar Kyrie Irving and filmmaker Tyler Perry have lent their support. Town officials don’t intend to issue building permits until the case is closed. She says other residents have thanked her for holding out.

    She expected to spend these days in peace. Her small home remains the gathering spot for an extended family that includes 40 grandchildren, generations who she hopes will also enjoy the land.

    “I just want to be able to live here in this sanctuary with a free mind,” Wright said.

    —-

    The first self-governed town of formerly enslaved people in the United States was located on Hilton Head Island. Wright’s neighborhood gets its name from a Black Civil War veteran named Caesar Jones who had escaped enslavement and purchased more than 100 acres himself, finding refuge in marshland that had been dismissed by colonists as unsuitable for farming.

    It’s hardly undesirable today. The advent of air conditioning helped make coastal land more appealing. New highways improved access to the coast, where population increases have made South Carolina the 10th fastest-growing state during the past decade.

    Those searching for land found easy targets in the Gullah Geechee community, owned by descendants of West Africans who were forced into slavery on rice, indigo and cotton plantations along the Atlantic coast. They developed their unique culture on isolated islands, but their separation from the U.S. legal system left them vulnerable to exploitation.

    Developers took advantage in many cases of what’s known as heirs’ property — land transferred from generation to generation without a will and shared equally by part-owners whose numbers balloon with each branch in the family tree. South Carolina developers could buy a single heir’s interest and wind up taking everything from outmatched families suddenly navigating an unwieldy system.

    Heirs’ property is under threat throughout the Black Belt. Roughly 5 million acres over 11 states worth almost $42 billion collectively remains trapped in cloudy titles, according to the most conservative estimates from a 2023 study led by rural sociologist Ryan Thomson at Auburn University. It’s a strain acutely felt by Black landowners given the Deep South’s legacy of enslavement.

    Some remaining owners are more determined than ever to stay.

    Julia Campbell, 60, has spent two decades establishing a family tree to identify every heir with even the slimmest stake in the 25-acre John’s Island land her family has held since the 19th century. The former member of a Charleston group established to protect Black cemeteries emphasized that the ground itself bears witness to history.

    It’s important for her to document — especially at a time when she said “some people want to close the book on us.”

    “These people who could barely read or write were able to hold onto the property,” she said. “We should be able to hold onto it.”

    —-

    South Carolina’s 2017 reforms stymied some predatory behavior, according to Josh Walden of the Center for Heirs’ Property Preservation. The Charleston-based non-profit has helped clear titles for over 3,000 tracts worth some $17.5 million since 2009, but his most modest estimates suggest about 40,000 tracts remain held in heirs’ property across six coastal counties alone.

    Risk persists for those facing heightened assessments that come with exurban gentrification.

    “Obviously, people are still looking for land,” Walden said. “They’re still approaching heirs’ property owners asking if they’ll sell their interests.”

    The clamor for these lands is so feverish that even people with clear titles remain vulnerable. James calls it “the next frontier in preserving African American property.”

    South Carolina tax law evaluates residential land at its highest usage — a boon to sellers but a burden for those who want to stay.

    “They’re not planning to take the money and run,” Phillips Community Association President Richard Habersham said of his neighbors. “They’re planning to pass it down.”

    James has proposed that state lawmakers ease growing pains by passing a new “cultural property preservation” tax exemption to provide incentives to support historic communities, just like existing credits help preserve historic buildings.

    A statewide measure could resemble local efforts. One ordinance blocked a golf course on Gullah Geechee land on St. Helena Island. Last month, the Beaufort County Council rejected a developer’s request to remove a 502-acre plot from a zoning district that bans gated communities and resorts in locations considered culturally significant. Other officials are soliciting feedback from Gullah Geechee and African American communities to identify historical sites in the Charleston area for preservation.

    “Property is not just a commodity,” James said. “Property has a sentimental value that the law should recognize.”

    —-

    That value became more elusive for Queen Mary Davis when a housing development next door restricted her access to a family cemetery by requiring her to gain admission from security guards.

    A formerly enslaved ancestor named Dennis Allen purchased the first patches of what is now the family’s 31-acre property back in 1897. It’s nestled in a Hilton Head neighborhood that is home to some of the largest Gullah extended families.

    But Davis, 70, could soon lose nearly a third of it. The land is stuck in a cumbersome legal dispute with other heirs dating back to 2009. A judge has ordered that 11 acres be placed on the market for $7 million. A previous deal fell apart after a North Carolina firm rescinded its $7.5 million offer.

    The situation is an egregious example of sagas that attorney Willie Heyward has seen all too often during a 37-year career largely focused on heirs’ property. He’s represented members on both sides of Davis’ contentious case at various points, and says many families get mired in costly, yearslong court battles that ultimately diminish the returns for everyone.

    This generation of heirs’ property owners will be the last with numbers Heyward considers manageable — about 250 relatives is the most he’s seen.

    As family trees number thousands of people, any outcome other than land loss can become impractical — a “crushing” prospect for his elderly clients clinging to the last vestiges of their ancestry.

    Relatives interested in selling have a legal right to pursue that option, and defending land becomes especially difficult when families aren’t united. Heyward and James both want legislators to expand opportunities for mediation so resource-limited families don’t rack up legal fees trying to protect their interests.

    What was once a vehicle for maintaining ownership has become an engine of its demise.

    “I see a very dark future on the horizon if something is not done,” Heyward said.

    —-

    Longtime residents report that Phillips Community sounds different nowadays. Traffic thrums along a busy road. The scuttle of fiddler crabs no longer accompanies walks to a nearby creek. Woods once filled with the calls of raccoon hunts have been replaced by a quiet subdivision.

    And still more development looms. A private Charleston-based company has plans for several dozen houses in the center of the neighborhood, spreading closer to the 35 acres bought by the Smalls’ great grandfather and largely kept within the bloodline since 1875. The Rev. Elijah Smalls Jr. said he’s heard rumblings about new commercial enterprises entering the frenzy.

    “If that comes in, that would definitely be the death of the community,” he said.

    Some of Smalls’ neighbors may have left, but the pastor says he’s not going anywhere. He built the brick house that sits right off Elijah Smalls Road. He can’t start over at his age, and nearby homes cost too much anyway.

    Fred Smalls isn’t moving either. Wearing a black baseball cap with “ARMY” emblazoned in gold, he notes that many original members fought for their own freedom in the 128th Regiment of the U.S. Colored Infantry. Paintings of 19th century African American soldiers hang on his walls.

    His Army service took him to Germany, Turkey, Alaska and Oklahoma. But he always knew he’d return.

    —-

    This story corrects the name of John’s Island, not St. John’s Island

    —-

    Pollard is a corps member for the Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places journalists in local newsrooms to report on undercovered issues.

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  • Iraqis are furious over their government’s demolition of a minaret that stood for nearly 300 years

    Iraqis are furious over their government’s demolition of a minaret that stood for nearly 300 years

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    BASRA, Iraq — For three centuries, the al-Siraji Mosque, with its minaret fashioned from weathered bricks and its pinnacle inlaid with blue ceramic tiles, was a distinctive feature of the city of Basra in southern Iraq.

    In recent years, it was one of the few tourist attractions in the oil-rich but neglected city, although locals complained that the minaret jutted out into the street, snarling traffic.

    In the early hours Friday morning, the 11-meter-high (33-foot-high) minaret was razed to the ground, with the governor of Basra attending the demolition, igniting a wave of social media backlash among advocates for the preservation of Iraq’s cultural heritage.

    Heritage sites in Iraq, home to multiple civilizations going back more than six millennia, have been hard hit by looting and damage over the decades of conflict before and after the U.S. invasion of 2003. Most notoriously, the militant Islamic State group demolished numerous ancient sites in northern Iraq, including Islamic shrines, raising outrage among Iraqis and abroad.

    Amid the relative calm that has prevailed in recent years, the country has seen a resurgence of archeology. Many stolen artifacts have been returned, and damaged heritage sites like the al-Nouri mosque in Mosul wrecked by IS have been restored after Iraq appealed for international funding to help.

    “However, this time, it is the actions of official authorities that have put an end to our heritage,” said Jaafar Jotheri, an assistant professor of Geoarchaeology at Al-Qadisiyah University in Iraq.

    The Siraji Mosque with its minaret was built in 1727. The mosque itself was not included in the demolition.

    Basra’s governor, Asaad al-Eidani, said in public statements that the local government had received permission from Iraq’s Sunni Endowment Office, which has authority over Sunni religious sites, for the minaret’s demolition. He said the whole mosque would be replaced with a modern, better-designed one.

    “Some may say it’s historical, but it was in the middle of the street, and we took it down to expand the street for the public interest,” the governor said in a video posted on the official Facebook page of Basra Governorate Media Office.

    The governor’s office did not respond to a request for comment.

    “The minaret predates the street,” Jotheri said, “and it is one of the oldest sites in Basra. It was not encroaching on the street; rather, they encroached upon it.”

    The minaret’s significance “lies not in its religious context, but rather its historical value,” said Adil Sadik, an oil engineer from Basra. “This minaret does not belong to any individual or particular group; rather, it is the collective property of the city and a cherished part of its collective memory.”

    The minaret’s destruction has drawn attention to the gaps in Iraq’s legal framework for heritage preservation. The country has two separate laws, the Antique and Heritage Protection Law and the Religious Endowments Law, which sometimes conflict. In the case of religious historical sites, the authority of the Endowments often supersedes that of the State Board of Antiquities and Heritage of Iraq.

    Ahmed al-Olayawi, spokesperson for the Ministry of Culture, criticized the destruction of the minaret. He said that the ministry had previously submitted proposals to the Basra government for the minaret to be dismantled and relocated away from the street. Al-Olayawi called for a judicial inquiry into the demolition.

    The Sunni Endowment Office, in an official statement, denied granting permission for the demolition and voiced its shock.

    “We requested the Basra governorate to relocate the minaret, not destroy it,” the head of the Sunni Endowment, Mishaan al-Khazraji, said in a televised speech.

    Ali Nazim, a resident of Basra, said that he agreed with the goal of expanding the street and allowing for a better flow of traffic, but “the way it was done has caused anger.”

    The incident has fueled a broader conversation about the preservation of Iraq’s historical sites and cultural heritage.

    “In other countries, they protect even a tree during street expansions,” said Ali Hilal, an Iraqi photographer dedicated to promoting historical sites in Iraq. “Why did we destroy a 3-century-old site to widen the street?”

    After the uproar, the Basra governor said a Turkish company specialized in heritage preservation might take charge of rebuilding the minaret from the rubble.

    Jotheri said he doubts that’s possible. He noted that the bricks of the minaret were not numbered to allow for reassembly, and the use of a bulldozer damaged the unique features of the bricks.

    ”Every visitor to Basra over the past 300 years has seen and formed memories with” the iconic minaret, he said. “But now, neither my son nor your son will have the chance to witness it.”

    ___

    Zeyad reported from Baghdad.

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  • German archeologists find Bronze Age sword so well-preserved it ‘almost shines’

    German archeologists find Bronze Age sword so well-preserved it ‘almost shines’

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    Officials say a bronze sword made more than 3,000 years ago that is so well-preserved it “almost still shines” has been unearthed in Germany

    BERLIN — A bronze sword made more than 3,000 years ago that is so well-preserved it “almost still shines” has been unearthed in Germany, officials say.

    Bavaria’s state office for the preservation of historical monuments says the sword, which is believed to date back to the end of the 14th century B.C. — the middle of the Bronze Age — was found during excavations last week in Noerdlingen, between Nuremberg and Stuttgart in southern Germany.

    It has a bronze octagonal hilt and comes from a grave in which three people — a man, a woman and a boy — were buried in quick succession with bronze objects, the Bavarian office said in a statement this week. It is not yet clear whether the three were related to each other and, if so, how.

    “The sword and the burial still need to be examined so that our archeologists can categorize this find more precisely,” said the head of the office, Mathias Pfeil. “But we can already say that the state of preservation is extraordinary. A find like this is very rare.”

    It’s unusual to find swords from the period, but they have emerged from burial mounds that were opened in the 19th century or as individual finds, the office said.

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  • Apollo Theater CEO Jonelle Procope to leave the historic landmark on safe financial ground

    Apollo Theater CEO Jonelle Procope to leave the historic landmark on safe financial ground

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    NEW YORK (AP) — Jonelle Procope’s 20-year tenure as president and CEO of The Apollo Theater evolved into an era of prosperity and expansion, markedly different from the tumultuous, cash-strapped decades that preceded it.

    Sure, the early years were a struggle, as the New York City landmark, where music legends from Billie Holiday and Stevie Wonder to D’Angelo and countless rappers graced the stage, dealt with financial difficulties and a shifting business model. And she had to navigate the COVID-19 pandemic when the hub of its Harlem neighborhood was closed for two years.

    However, when Procope steps down at the end of June, she will leave her successor Michelle Ebanks – the Essence Communications executive who was named her replacement last week – with the proceeds of a nearly $80 million campaign raised to complete a renovation and expansion of the historic theater by 2025. Though the bulk of that money came from donations, it also includes $15.7 million in support from the city of New York and a $10 million grant from the state.

    On Monday night, Procope will be honored, alongside hip-hop mogul Sean “Diddy” Combs and basketball superstar Kareem Abdul-Jabbar, at The Apollo’s Spring Benefit for her service.

    “It’s been a privilege and an honor,” Procope told The Associated Press in an interview. “In many respects, I think I take more away than what I gave. It really has made me a whole person.”

    That said, she admits protecting The Apollo and building it into what it is now – the largest African American performing arts presenting organization in the country – has basically been her life throughout her tenure.

    “It’s been 20 years of 24/7 Apollo,” said Procope, 72. “Frankly, I haven’t had space in my brain to really think about ‘What do you want to do next?’ So I’m excited to have a moment to be reflective and to think about the things that turn me on, what I am passionate about, what are things that I’m curious about.”

    Charles E. Phillips, chairman of the Apollo’s board, has said Procope turned around the once-bankrupt theater almost single-handedly. “Jonelle has led the Apollo through an unparalleled period of growth,” Phillips said in a statement, adding that she also “forged partnerships globally, strengthened the Apollo’s finances, broadened a uniquely diverse audience, and navigated the institution through a challenging pandemic.”

    John Goerke, director of guest experience at the Rock and Roll Hall of Fame and Museum, said the preservation of The Apollo Theater has been among the top priorities in American music history. The Apollo – especially through its still-running Amateur Night, captured on the TV series “Showtime at The Apollo” – has launched the careers of legendary performers ranging from Ella Fitzgerald to Lauryn Hill.

    “The venue is history you can see in real time,” he said. “You can literally go there and experience history with all the artists who have performed at The Apollo. They are telling the story of America.”

    Procope said she had just started on the Apollo Theater board with opera legend Beverly Sills, then the chairwoman of Lincoln Center, when Sills referred to the Apollo as “the Lincoln Center of Uptown.”

    “I remember thinking, ‘Oh, that sounds a little hokey,’” Procope said. “But we all understood what she meant. And the question was: Why shouldn’t there be a performing arts center for Harlem and the Uptown community? So that was always a vision.”

    That vision of creating the Apollo Performing Arts Center is becoming reality, with the first phase opening last year with two new small theaters, meant for small concerts and theater workshops.

    However, that was only possible after The Apollo fixed its finances. Once America became less segregated, the 1,500-seat main theater was no longer able to economically compete for concerts from major Black stars who were able to fill large arenas like Madison Square Garden.

    That competition led to The Apollo losing millions each year and eventually going bankrupt in 1984. Though the theater became a nonprofit in 1991, run by The Apollo Theater Foundation, as recently as 2002, it struggled with financing for its ambitious shows.

    When Procope took over in 2003, the former corporate lawyer methodically began The Apollo’s turnaround.

    She credits the Upper Manhattan Empowerment Zone for providing The Apollo with one of its first major grants, which allowed her to hire a team to create a new business plan that balanced high arts entertainment and commercial programming.

    “We were able to gain the confidence of the public and the philanthropic community,” she said. “We began to get grants from what I would call ‘blue chip foundations’ – Ford Foundation, the Mellon Foundation, Sherman Fairchild (Foundation) and a number of others. That, for me, showed the confidence that they had in the Apollo leadership and what the Apollo was doing.”

    Those donations allowed The Apollo to launch its educational programs, which served more than 20,000 students and their families annually before the pandemic, and make much-needed repairs. It could soon afford to expand its artistic ambitions, as well as its physical space.

    Procope is excited about the upcoming expansion for The Apollo that will create a café in the lobby where the community can gather every day, even when there aren’t shows in the theater. That expansion, expected to open in 2025, formalizes what has become a tradition in Harlem, where people gather at The Apollo to grieve and celebrate the lives of major performers after they die.

    It happened as recently as last month following the death of Tina Turner, but has been an Apollo phenomenon for years –- following the deaths of James Brown, Aretha Franklin, and Michael Jackson, among others.

    “The Apollo and its marquee has become synonymous with those moments – when people don’t know what to do with their grief, so they’ve turned to The Apollo,” Procope said. “The Michael Jackson period was just incredible. The people wrapped around 125th Street, coming into the theater just to listen because we played his music. People were on the stage and some danced in their seats. It was a sort of release.”

    For Procope, that showed how The Apollo, which turns 90 in January, had become a “beacon of hope” for Harlem once again. And she does not take stewardship of that hope lightly.

    She said she waited to step down until she was sure it was safe.

    “The Apollo has had a few different lives,” Procope said. “It’s had its fits and starts, but it has endured. And what I do know for sure is: This time, it’s here to stay.”

    _____

    Associated Press coverage of philanthropy and nonprofits receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP’s philanthropy coverage, visit https://apnews.com/hub/philanthropy.

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  • Memphis ‘snake factory’ transplants slither into their new home in Louisiana

    Memphis ‘snake factory’ transplants slither into their new home in Louisiana

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    BENTLEY, La. — They were born and raised in captivity, but as they slowly slithered away from their handlers and disappeared into gopher holes in the Kisatchie National Forest, the group of Louisiana pine snakes appeared to be right at home.

    The five pine snakes bred at the Memphis Zoo in Tennessee were released into the Kisatchie in early May as part of an ongoing conservation effort involving zoos in Memphis, New Orleans and two Texas cities, Fort Worth and Lufkin. This year, more than 100 pine snakes — a species the federal government lists as threatened — will be released into the central Louisiana forest.

    “We provide the snakes in our snake factories, which are funded by the U.S. Forest Service, into habitat that the Fish and Wildlife Service and Forest Service have developed,” said Steve Reichling, the Memphis Zoo’s Director of Conservation and Research. “It’s just a perfect marriage, really.”

    Reichling said the characteristics of the area where the snakes were released — a high tree canopy dominated by longleaf pine, little mid-level vegetation, grassy ground and sandy soil — are all vital to the snakes’ survival. The forest is also home to gophers that are both a food source for the snakes and the creators of the burrow system where the snakes live and hibernate.

    “Unlike some of the other snakes that are here that can survive in different habitats, Louisiana pines, they cannot,” Reichling said as the snakes were being released.

    Although they bear a resemblance to rattlesnakes, pine snakes are non-venomous constrictors and aren’t considered dangerous to humans.

    “There is no other snake in the world like it,” Reichling said. “And to me, that’s the definition of precious, right?”

    The release into the Kisatchie of juvenile pine snakes raised at the Memphis Zoo has become an annual event, one that Emlyn Smith, a biologist with the forest service, looks forward to.

    “I love this,” she said. “This is why I haven’t retired yet, because I love this project and it’s just so exciting. Every time I come out here, there’s the potential to see a pine snake that we released and to see that it’s surviving and it’s thriving and it’s making babies and it’s getting bigger.”

    ___

    McGill reported from New Orleans.

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  • House where King planned Alabama marches moving to Michigan

    House where King planned Alabama marches moving to Michigan

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    DEARBORN, Mich. (AP) — A lot was happening in March 1965 in the bungalow in Selma, Alabama, that then-4-year-old Jawana Jackson called home, and much of it involved her “Uncle Martin.”

    There were late-night visitors, phone calls and meetings at the house that was a safe haven for the Rev. Martin Luther King Jr. and other civil rights leaders as they planned the Selma to Montgomery marches calling for Black voting rights.

    The role the Jackson House played was integral to the Civil Rights Movement, so Jackson contacted the The Henry Ford Museum near Detroit about a year ago to ask if it would take over the preservation of the Jackson House and its legacy.

    “It became increasingly clearer to me that the house belonged to the world, and quite frankly, The Henry Ford was the place that I always felt in my heart that it needed to be,” she told The Associated Press last week from her home in Pensacola, Florida.

    Starting this year, the Jackson House will be dismantled piece-by-piece and trucked the more than 800 miles (1,280 kilometers) north to Dearborn, Michigan, where it will eventually be open to the public as part of the history museum. The project is expected to take up to three years.

    Owned by dentist Sullivan Jackson and his wife, Richie Jean, the 3,000-square-foot (280-square-meter) home was where King and others strategized the three marches against racist Jim Crow laws that prevented Black people from voting in the Deep South.

    King was inside the home when President Lyndon Johnson announced a bill that would become the Voting Rights Act of 1965.

    “There was a synergy going on in that house during those critical times,” Jawana Jackson said. “Whether that was when Uncle Martin was praying the morning of the Selma to Montgomery march or whether he was talking to President Johnson (by phone) in the little bedroom of that home, I always got a sense of energy and a sense of hope for the future.”

    The house and artifacts, including King’s neckties and pajamas, and the chair where he sat while watching Johnson’s televised announcement, will be part of the acquisition by The Henry Ford. The purchase price is confidential.

    Named after Ford Motor Co. founder and American industrialist Henry Ford, the museum sits on 250 acres (100 hectares) and also features Greenfield Village where more than 80 historic structures are displayed and maintained. The Jackson House will be rebuilt there, joining the courthouse where Abraham Lincoln first practiced law, the laboratory where Thomas Edison perfected the light bulb, and the home and workshop where Orville and Wilbur Wright invented their first airplane.

    Also among the collection’s artifacts are the Montgomery city bus whose seat Rosa Parks refused to give up to a white man in 1955 and the chair that Lincoln was sitting on in 1865 when he was assassinated at Ford’s Theatre in Washington.

    Visitors to Greenfield Village will be able to walk through the Jackson House, according to Patricia Mooradian, The Henry Ford’s president and chief executive.

    “This house is the envelope, but the real importance is what happened inside,” Mooradian said. “We want people to immerse themselves in that history … to feel and experience what may have gone on in that home. What were the conversations? What were the decisions that were being made around the dining room table?”

    Built in 1912, the home served as a guest house for Black authors W.E.B. Dubois and Booker T. Washington who held “fireside chats” regarding education, religion, the arts, community building and economic sustainability, according to the Alabama African American Civil Rights Heritage Sites Consortium.

    It took on a greater importance following the fatal shooting of a young Black man, Jimmie Lee Jackson, by an Alabama trooper.

    On March 7, 1965, weeks after that slaying, about 600 people participated in a peaceful protest. The late Georgia U.S. Rep. John Lewis was one of the leaders of the planned 54-mile (86-kilometer) march to the state Capitol, which was part of the larger effort to register Black voters. But police beat protesters as they tried to cross the Edmund Pettus Bridge in Selma in what is now known as “Bloody Sunday.”

    Television and newspaper reports seared images of that confrontation into the nation’s consciousness. Days later, King led what became known as the “Turnaround Tuesday” march, in which marchers approached police at the bridge and prayed before turning back.

    Johnson introduced the Voting Rights Act of 1965 eight days after “Bloody Sunday.” On March 21, King began a third march, under federal protection, that grew to thousands of people by the time it arrived at the state Capitol. Five months later, Johnson signed the bill into law.

    The Jackson House brings a new dimension to understanding the role Black Americans played in defeating Jim Crow, according to historian Gretchen Sullivan Sorin.

    “The Jacksons are unsung heroes,” Sorin said. “Their generosity and courage shows us how we, as ordinary Americans, can stand up against injustice.”

    Jackson said her parents felt the risks were worth taking.

    “For them, it was all about the future for me and millions of other children that were going to grow up,” she said. “They felt that everyone deserved a peaceful and more democratic society to grow up in.”

    ___

    Williams is a member of AP’s Race & Ethnicity team.

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  • Texas-born princess facing imminent eviction from Rome villa

    Texas-born princess facing imminent eviction from Rome villa

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    ROME (AP) — A Texas-born princess who lives in a Rome villa containing the only known ceiling painted by Caravaggio is facing a court-ordered eviction Thursday, in the latest chapter in an inheritance dispute with the heirs of one of Rome’s aristocratic families.

    Princess Rita Jenrette Boncompagni Ludovisi, a widow formerly known as Rita Carpenter, was still holding out at the Casino dell’Aurora on Wednesday night, awaiting what she expected to be the arrival of Carabinieri police in the morning. With her are her Ukrainian housekeeper Olga, and the housekeeper’s daughter and two young grandchildren who fled Kyiv last year after Russia’s invasion.

    In January, Rome Judge Miriam Iappelli instructed Carabinieri police at the Via Veneto station to evict her, accusing the princess of having failed, among other things, to maintain the home in a “good state of conservation” after an exterior wall crumbled. With the warning time now up, the decree calls for police to evict anyone still living there, take possession of the property, change the locks and “dispose of or destroy” any furniture or documents left behind.

    The house, located off the swank Via Veneto, has been in the Ludovisi family since the early 1600s. After Prince Nicolo Boncompagni Ludovisi died in 2018, the villa became the subject of an inheritance dispute between the children from his first marriage and his third wife, the San Antonio, Texas-born Princess Rita, whom he married in 2009.

    The children have argued that the home, built in 1570, belongs to them, that their grandfather intended for them to inherit it and that their late father abused them and mismanaged his fortune. They have mounted a multi-pronged legal campaign to get control of the property so it can be sold.

    One of the children, Bante Boncompagni Ludovisi, took to Twitter on Wednesday to praise Iappelli’s eviction order and assert the children’s right to the villa and its contents.

    The widow Boncompagni Ludovisi says she and her husband worked diligently to restore the villa as best they could, adding that she has tried to negotiate with her late husband’s children. In a statement provided to The Associated Press on Wednesday, she called her imminent eviction “unexpected and unjust.”

    “What a brutal ending to my beautiful life with my beloved Nicolo,” she wrote.

    The eviction order marked the culmination of a bitter inheritance saga that simultaneously saw the villa put on the court-ordered auction block last year and assigned a court-appraised value of 471 million euros ($533 million). After the minimum bid of 353 million euros ($400 million) failed to get any takers in the first auction, the price was progressively lowered in a series of successive auctions, with more scheduled until a buyer is found.

    The villa, also known as Villa Ludovisi, is famous for the Caravaggio that graces a tiny room off a spiral staircase on the second floor.

    It was commissioned in 1597 by a diplomat and patron of the arts who asked the then-young painter to decorate the ceiling of the small room being used as an alchemy workshop. The 2.75-meter (9-foot) wide mural, which depicts Jupiter, Pluto and Neptune, is unusual: It’s not a fresco, but rather oil on plaster, and represents the only ceiling mural that Caravaggio is known to have painted.

    The American princess previously was married to former U.S. Rep. John Jenrette Jr. of South Carolina.

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  • House where King planned Alabama marches moving to Michigan

    House where King planned Alabama marches moving to Michigan

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    DEARBORN, Mich. — A lot was happening in March 1965 in the bungalow in Selma, Alabama, that then-4-year-old Jawana Jackson called home, and much of it involved her “Uncle Martin.”

    There were late-night visitors, phone calls and meetings at the house that was a safe haven for the Rev. Martin Luther King Jr. and other civil rights leaders as they planned the Selma to Montgomery marches calling for Black voting rights.

    The role the Jackson House played was integral to the Civil Rights Movement, so Jackson contacted the The Henry Ford Museum near Detroit about a year ago to ask if it would take over the preservation of the Jackson House and its legacy.

    “It became increasingly clearer to me that the house belonged to the world, and quite frankly, The Henry Ford was the place that I always felt in my heart that it needed to be,” she told The Associated Press last week from her home in Pensacola, Florida.

    Starting this year, the Jackson House will be dismantled piece-by-piece and trucked the more than 800 miles (1,280 kilometers) north to Dearborn, Michigan, where it will eventually be open to the public as part of the history museum. The project is expected to take up to three years.

    Owned by dentist Sullivan Jackson and his wife, Richie Jean, the 3,000-square-foot (28-square-meter) home was where King and others strategized the three marches against racist Jim Crow laws that prevented Black people from voting in the Deep South.

    King was inside the home when President Lyndon Johnson announced a bill that would become the Voting Rights Act of 1965.

    “There was a synergy going on in that house during those critical times,” Jawana Jackson said. “Whether that was when Uncle Martin was praying the morning of the Selma to Montgomery march or whether he was talking to President Johnson (by phone) in the little bedroom of that home, I always got a sense of energy and a sense of hope for the future.”

    The house and artifacts, including King’s neckties and pajamas, and the chair where he sat while watching Johnson’s televised announcement, will be part of the acquisition by The Henry Ford. The purchase price is confidential.

    Named after Ford Motor Co. founder and American industrialist Henry Ford, the museum sits on 250 acres (100 hectares) and also features Greenfield Village where more than 80 historic structures are displayed and maintained. The Jackson House will be rebuilt there, joining the courthouse where Abraham Lincoln first practiced law, the laboratory where Thomas Edison perfected the light bulb, and the home and workshop where Orville and Wilbur Wright invented their first airplane.

    Also among the collection’s artifacts are the Montgomery city bus whose seat Rosa Parks refused to give up to a white man in 1955 and the chair that Lincoln was sitting on in 1865 when he was assassinated at Ford’s Theatre in Washington.

    Visitors to Greenfield Village will be able to walk through the Jackson House, according to Patricia Mooradian, The Henry Ford’s president and chief executive.

    “This house is the envelope, but the real importance is what happened inside,” Mooradian said. “We want people to immerse themselves in that history … to feel and experience what may have gone on in that home. What were the conversations? What were the decisions that were being made around the dining room table?”

    Built in 1912, the home served as a guest house for Black authors W.E.B. Dubois and Booker T. Washington who held “fireside chats” regarding education, religion, the arts, community building and economic sustainability, according to the Alabama African American Civil Rights Heritage Sites Consortium.

    It took on a greater importance following the fatal shooting of a young Black man, Jimmie Lee Jackson, by an Alabama trooper.

    On March 7, 1965, weeks after that slaying, about 600 people participated in a peaceful protest. The late Georgia U.S. Rep. John Lewis was one of the leaders of the planned 54-mile (86-kilometer) march to the state Capitol, which was part of the larger effort to register Black voters. But police beat protesters as they tried to cross the Edmund Pettus Bridge in Selma in what is now known as “Bloody Sunday.”

    Television and newspaper reports seared images of that confrontation into the nation’s consciousness. Days later, King led what became known as the “Turnaround Tuesday” march, in which marchers approached police at the bridge and prayed before turning back.

    Johnson introduced the Voting Rights Act of 1965 eight days after “Bloody Sunday.” On March 21, King began a third march, under federal protection, that grew to thousands of people by the time it arrived at the state Capitol. Five months later, Johnson signed the bill into law.

    The Jackson House brings a new dimension to understanding the role Black Americans played in defeating Jim Crow, according to historian Gretchen Sullivan Sorin.

    “The Jacksons are unsung heroes,” Sorin said. “Their generosity and courage shows us how we, as ordinary Americans, can stand up against injustice.”

    Jackson said her parents felt the risks were worth taking.

    “For them, it was all about the future for me and millions of other children that were going to grow up,” she said. “They felt that everyone deserved a peaceful and more democratic society to grow up in.”

    ___

    Williams is a member of AP’s Race & Ethnicity team.

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  • Mario, Mariah, Madonna added to National Recording Registry

    Mario, Mariah, Madonna added to National Recording Registry

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    WASHINGTON — Mario, Madonna and Mariah have entered the national audio canon.

    Madonna’s star-making 1984 album “Like a Virgin,” Mariah Carey’s 1994 holiday perennial “All I Want For Christmas Is You” and the original 1985 theme from Super Mario Bros. are now in the U.S. National Recording Registry as part of “the defining sounds of the nation’s history and culture,” the Library of Congress announced Wednesday.

    In all, 25 albums, singles and other sound artifacts spanning more than a century are being inducted into the registry, from the first known recording of mariachi music in 1908 and 1909 by Cuarteto Coculense, to 2012’s “Concerto for Clarinet and Chamber Orchestra” by composer Ellen Taaffe Zwilich.

    The Super Mario Bros. music, officially known as the “Ground Theme,” written by young Nintendo composer Koji Kondo, becomes the first music from a video game to enter the registry, which called it in a news release “the most recognizable video game theme in history.” The tune has appeared in countless Mario-related incarnations, including in the new megahit ” Super Mario Bros. Movie.”

    Queen Latifah becomes the first female rapper with a recording in the registry with the inclusion of her 1989 album “All Hail the Queen,” whose songs include the feminist anthem “Ladies First.”

    Other full albums getting recognition include 1970’s “Déjà Vu” by Crosby, Stills, Nash and Young, 1983’s “Synchronicity” by the Police, and 1985’s “Black Codes (From the Underground)” by jazz trumpeter Wynton Marsalis.

    Other singles making the list include Bobby Gentry’s “Ode to Billie Joe” (1967), John Lennon’s “Imagine” (1971), Led Zeppelin’s “Stairway to Heaven” (1971), John Denver’s “Take Me Home, Country Roads” (1971), and Jimmy Buffett’s “Margaritaville” (1977).

    Those recordings are joined by a pair of 1980s standards: “Flashdance…What a Feeling” by Irene Cara (1983) and “Sweet Dreams (Are Made of This)” by Eurythmics (1983).

    The inductees include two non-musical entries, astronomer Carl Sagan’s recording of his book about humanity’s place in the universe, “Pale Blue Dot,” and NBC radio reporter Dorothy Thompson’s commentaries and analysis from Europe during the runup to World War II in 1939.

    The Library of Congress selects the titles for preservation for their cultural and historic importance to the American soundscape.

    Artists with recordings added to the registry in recent years include Janet Jackson, Louis Armstrong and Dr. Dre.

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  • Borsch without a ‘t’: Kyiv chef uses food to reclaim culture

    Borsch without a ‘t’: Kyiv chef uses food to reclaim culture

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    KYIV, Ukraine (AP) — Don’t tell Ievgen Klopotenko that borsch is just food. For him, that bowl of beet-and-meat soup is the embodiment of everything Ukraine is fighting for.

    “Food is a powerful social instrument by which you can unite or divide a nation,” said Klopotenko, Ukraine’s most recognizable celebrity chef and the man who in the midst of a bloody war spearheaded what would become an unlikely cultural victory over Russia.

    “It’s our symbol,” Klopotenko said. “Borsch is our leader.”

    If that seems hyperbolic, you underestimate how intrinsic borsch (the preferred Ukrainian spelling) is to this country’s soul. More than a meal, it represents history, family and centuries of tradition. It is eaten always and everywhere, and its preparation is described almost reverentially.

    And now, at the one-year mark of the war with Russia, Klopotenko uses the dish as a rallying call for preserving Ukrainian identity. It’s an act of culinary defiance against one of Moscow’s widely discredited justifications of the war — that Ukraine is culturally indistinct from Russia.

    Thanks to a lobbying effort that Klopotenko helped lead, UNESCO issued a fast-track decision last July declaring Ukrainian borsch an asset of “intangible cultural heritage” in need of preservation. Although the declaration noted borsch is consumed elsewhere in the region, and that no exclusivity was implied, the move infuriated Russia.

    A Russian foreign ministry spokesperson accused Ukraine of appropriating the dish and called the move an act of xenophobia and Nazism.

    But in Ukraine, where until a year ago Russian was as widely spoken as Ukrainian, the declaration legitimized a notion that many had struggled to express.

    “People started to understand that they are Ukrainians,” Klopotenko said recently while preparing borsch at his Kyiv apartment. From his living room window, the husk of a high-rise gutted by Russian missiles dominated the view.

    “A lot of people started to eat Ukrainian food. A lot of people began to discover Ukrainian traditions,” he said.

    Klopotenko, 36, is an unlikely figure to grab headlines during a war that has left hundreds of thousands from all sides dead or wounded. But the television chef and restaurateur — recognizable by an unruly head of curls, rapid-fire dialogue and lively fashion sense — began his mission to elevate Ukrainian food years before Russia’s invasion in February 2022.

    Though born in Kyiv, Klopotenko had by age 5 spent months at a time living with his grandmother, who had moved just outside Manchester, England. He’d been raised on bland Soviet-era cuisine, and this was a culinary awakening. He encountered waves of new flavors and ingredients, experiences that set him on a path to restaurant work.

    His break came in 2015 when he won the television competition “MasterChef Ukraine.” He parlayed that into study at Le Cordon Bleu in Paris and later a successful campaign to overhaul the Soviet-influenced cafeteria menus in Ukrainian schools.

    Always in the background was his sense that Ukrainian food — ditto the country’s culture writ large — wasn’t being true to itself. Much of Ukraine’s identity, he felt, from language and food to fashion and architecture, had been subjugated to Russian influences. Before the start of Soviet rule in 1917, Ukrainian cuisine was more diverse and robustly seasoned. That was quashed in favor of a more uniform palate with socialist sensibilities.

    Even after the dissolution of the USSR in 1991, Ukraine’s cuisine didn’t quite bounce back. But Russia’s invasion and annexation of Crimea from Ukraine in 2014 was a trigger. Trying to identify and hold onto Ukrainian heritage, Klopotenko and others began researching pre-Soviet Ukrainian cooking, hoping to return it to the mainstream and give people another toehold for reclaiming their culture.

    In 2019, he opened his Kyiv restaurant, 100 Rokiv Tomu Vpered (100 Years Ago Ahead), a reference to what Ukrainian cuisine was before Soviet rule, and what it could be again. The menu draws heavily on flavors and ingredients many have forgotten.

    Roasted parsnips with smoked sour cream. Buckwheat bread flavored with chamomile. Banosh, a sort of corn porridge topped with cottage cheese, mushrooms and apples.

    And, of course, borsch seasoned with the traditional smoked pears. Written records tie the recipe to Ukraine over many centuries. The effort to have it declared a cultural asset began in 2018, when Klopotenko enlisted the help of Maryna Sobotiuk, an adviser to the Ukrainian Ministry of Information Policy and co-founder of the Institute of Culture of Ukraine.

    They assembled a dossier that would become the country’s application to UNESCO. Their work took on greater urgency after Russia’s invasion a year ago and received the blessing of Ukraine’s government.

    Like Klopotenko, Sobotiuk said it’s a cause much deeper than dinner.

    “Our neighbors want to not just take our territory, but also our culture and our history,” she said, calling culinary heritage a soft power with tremendous potential to motivate and inspire. “It is important to give people something they can align with Ukraine except war.”

    Darra Goldstein, a food historian and expert in Eastern European cuisines, agreed, noting that the difficulty of delineating culinary boundaries doesn’t diminish the cultural import of the dishes.

    “It’s not simply a matter of claiming ownership of a dish, since the precise origins of any given dish are often difficult to trace. Instead, food goes to the heart of national belonging, how people define who they are,” she said.

    Borsch, of course, was just the start for Klopotenko. As more Ukrainians have rejected Russian culture since the war began, and consumption of traditional Ukrainian foods has spiked, he and others see an opening for codifying and celebrating more of their own.

    Though UNESCO is unlikely to grant similar status to other Ukrainian dishes — chicken Kyiv, garlicky pampushky bread and latke-like deruny enjoy similar popularity — Klopotenko said the next step is to raise the profile of the country’s cuisine as a whole, at home and abroad.

    To that end, his cookbook, “The Authentic Ukrainian Kitchen,” which offers modern takes on traditional Ukrainian cooking, will be released this fall in the U.S.

    “The war accelerated the growth of Ukrainian culture,” he said. “Russia wanted to kill the culture with the huge invasion, but it’s worked the other way.”

    It’s a sentiment shared widely on the streets of the nation’s capital, where restaurants have revamped menus to replace Russian dishes with Ukrainian ones. They’ve been rewarded with packed dining rooms despite rolling blackouts and frequent air-raid warnings.

    At Kyiv’s bustling Volodymirsky market — a warren of stalls offering beets, smoked seafood, caviar and mounds of the local, crumbly cottage cheese — Tetyana Motorna has sold pickled fruit and vegetables for decades. She held back tears as she discussed the war and why Klopotenko’s work to secure borsch as a national treasure for her country matters.

    “Borsch is everything for Ukrainians,” she said. “The war has made borsch even more important. … With borsch, we prove that we are a separate nation. It confirms us as a nation.”

    —-

    J.M. Hirsch is the editorial director of Christopher Kimball’s Milk Street and the former food editor of The Associated Press. This reporting was a collaborative effort between AP and Milk Street. Hirsch can be followed @jm_hirsch.

    —-

    For more AP stories about Ukraine, go to https://apnews.com/hub/ukraine.

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  • Australia argues against ‘endangered’ Barrier Reef status

    Australia argues against ‘endangered’ Barrier Reef status

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    CANBERRA, Australia — Australia’s environment minister said Tuesday her government will lobby against UNESCO adding the Great Barrier Reef to a list of endangered World Heritage sites.

    Officials from the U.N. cultural agency and the International Union for Conservation of Nature released a report on Monday warning that without “ambitious, rapid and sustained” climate action, the world’s largest coral reef is in peril.

    The report, which recommended shifting the Great Barrier Reef to endangered status, followed a 10-day mission in March to the famed reef system off Australia’s northeast coast that was added to the World Heritage list in 1981.

    Environment Minister Tanya Plibersek said the report was a reflection on Australia’s previous conservative government, which was voted out of office in May elections after nine years in power.

    She said the new center-left Labor Party government has already addressed several of the report’s concerns, including action on climate change.

    “We’ll very clearly make the point to UNESCO that there is no need to single the Great Barrier Reef out in this way” with an endangered listing, Plibersek told reporters.

    “The reason that UNESCO in the past has singled out a place as at risk is because they wanted to see greater government investment or greater government action and, since the change of government, both of those things have happened,” she added.

    The new government has legislated to commit Australia to reducing its greenhouse gas emissions by 43% below the 2005 level by 2030.

    The previous government only committed to a reduction of 26% to 28% by the end of the decade.

    Plibersek said her government has also committed 1.2 billion Australian dollars ($798 million) to caring for the reef and has canceled the previous government’s plans to build two major dams in Queensland state that would have affected the reef’s water quality.

    “If the Great Barrier Reef is in danger, then every coral reef in the world is in danger,” Plibersek said. “If this World Heritage site is in danger, then most World Heritage sites around the world are in danger from climate change.”

    The report said Australia’s federal government and Queensland authorities should adopt more ambitious emission reduction targets in line with international efforts to limit future warming to 1.5 degrees Celsius (2.7 degrees Fahrenheit) since pre-industrial times.

    The minor Greens party, which wants Australia to slash its emissions by 75% by the end of the decade, called for the government to do more to fight climate change in light of the report.

    Jodie Rummer, a marine biologist at James Cook University in Townville who has worked on the reef for more than a decade, supported calls for Australia to aim for a 75% emissions reduction.

    “We are taking action, but that action needs to be much more rapid and much more urgent,” Rummer told Australian Broadcasting Corp.

    “We cannot claim to be doing all we can for the reef at this point. We aren’t. We need to be sending that message to the rest of the world that we are doing everything that we possibly can for the reef and that means we need to take urgent action on emissions immediately,” she added.

    Feedback from Australian officials, both at the federal and state level, will be reviewed before Paris-based UNESCO makes any official proposal to the World Heritage committee.

    In July last year, the previous Australian government garnered enough international support to defer an attempt by UNESCO to downgrade the reef’s status to “in danger” because of damage caused by climate change.

    The Great Barrier Reef accounts for around 10% of the world’s coral reef ecosystems. The network of more than 2,500 reefs covers 348,000 square kilometers (134,000 square miles).

    Australian government scientists reported in May that more than 90% of Great Barrier Reef coral surveyed in the latest year was bleached, in the fourth such mass event in seven years.

    Bleaching is caused by global warming, but this is the reef’s first bleaching event during a La Niña weather pattern, which is associated with cooler Pacific Ocean temperatures, the Great Barrier Reef Marine Authority said in its annual report.

    Bleaching in 2016, 2017 and 2020 damaged two-thirds of the coral.

    Coral bleaches as a response to heat stress and scientists hope most of the coral will recover from the latest event.

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  • ‘Power Rangers’ star Jason David Frank dies at 49

    ‘Power Rangers’ star Jason David Frank dies at 49

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    NEW YORK — Jason David Frank, who played the Green Power Ranger Tommy Oliver on the 1990s children’s series “Mighty Morphin Power Rangers,” has died. He was 49.

    Justine Hunt, Frank’s manager, said in a statement Sunday that Frank passed away. She did not name the cause of death or say when he died, but asked for “privacy of his family and friends during this horrible time as we come to terms with the loss of such a wonderful human being.”

    Walter Emmanuel Jones, the original Black Power Ranger who co-starred with Frank in “Mighty Morphin Power Rangers,” wrote on Instagram, that he couldn’t believe it. “My heart is sad to have lost another member of our special family,” wrote Jones. Thuy Trang, who played the original Yellow Power Ranger, died in a car accident in 2001 at age 27.

    “Mighty Morphine Power Rangers,” about five teenagers deputized to save Earth from the evil, debuted on Fox in 1993 and went on to become a pop-culture phenomenon. Early in the first season, Frank’s Tommy Oliver was first seen as a villain, brainwashed by the evil Rita Repulsa. But soon after, he was inducted in the group as the Green Ranger and became one of the most popular characters on the show.

    Though his role wasn’t intended to be permanent, Frank was later brought back as the White Ranger and the leader of the team. Across spinoff TV series, Frank’s Tommy Oliver returned as other rangers, as well, including Red Zeo Ranger, the Red Turbo Ranger and the Black Dino Ranger. He also played him in the films “Mighty Morphin Power Rangers: The Movie” and “Turbo: A Power Rangers Movie,” and made a cameo in the 2017 reboot “Power Rangers.”

    A practitioner of martial arts, Frank fought in several mixed martial arts bouts in 2009 and 2010.

    TMZ earlier reported that Frank’s second wife, Tammie Frank, filed for divorce from him in August. Frank is survived by four children; one from his marriage with Tammie Frank and three from his first marriage to Shawna Frank.

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  • Mexican artisans preserve Day of the Dead decorations

    Mexican artisans preserve Day of the Dead decorations

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    XOCHIMILCO, Mexico — Mexican artisans are struggling to preserve the traditional manufacture of paper cut-out decorations long used in altars for the Day of the Dead.

    Defying increasingly popular mass-production techniques, second-generation paper cutter Yuridia Torres Alfaro, 49, still makes her own stencils at her family’s workshop in Xochimilco, on the rural southern edge of Mexico City.

    As she has since she was a child, Torres Alfaro punched stunningly sharp chisels into thick piles of tissue paper at her business, ‘Papel Picado Xochimilco.’

    While others use longer-lasting plastic sheets, laser cutters or pre-made stencils, Torres Alfaro does each step by hand, as Mexican specialists have been doing for 200 years.

    In 1988, her father, a retired schoolteacher, got a big order for sheets — which usually depict festive skeletons, skulls, grim reapers or Catrinas — to decorate city government offices.

    “The business was born 34 years ago, we were very little then, and we started helping in getting the work done,” Torres Alfaro recalled.

    Begun in the 1800s, experts say ‘papel picado’ using tissue paper is probably a continuation of a far older pre-Hispanic tradition of painting ceremonial figures on paper made of fig-bark sheets. Mexican artisans adopted imported tissue paper because it was cheap and thin enough so that, with sharp tools, extreme care and a lot of skill, dozens of sheets can be cut at the same time.

    But the most important part is the stencil: its design designates the parts to be cut out, leaving an intricate, airy web of paper that is sometimes strung from building or across streets. More commonly, it is hung above Day of the Dead altars that Mexican families use to commemorate — and commune with — deceased relatives.

    The holiday begins Oct. 31, remembering those who died in accidents; it continues Nov. 1 to mark those died in childhood, and then those who died as adults on Nov. 2.

    Traditionally, the bright colors of the paper had different meanings: Orange signified mourning, blue was for those who drowned, yellow was for the elderly deceased and green for those who died young.

    But many Mexicans — who also use the decorations at other times of year, stringing them at roof-height along streets — now prefer to buy plastic, which lasts longer in the sun and the rain.

    Still other producers have tried to use mass-produced stencils, which means that tens of thousands of sheets might bear exactly the same design.

    “Stencils began to appear for making papel picado, because it is a lot of work if you have to supply a lot of people,” said Torres Alfaro, who still hand-cuts her own stencils with original designs.

    “We wanted to keep doing it the traditional way, because it allows us to make small, personalized lots, and keep creating a new design every day,” she says.

    Another rival was the U.S. holiday Halloween, which roughly coincides with Day of the Dead, Because it is flashier and more marketable — costumes, movies, parties and candy — it has gained popularity in Mexico.

    “For some time now, there has been a bit more Halloween,” said Torres Alfaro. “We do more traditional Mexican things. That is part of the work, to put Mexican things in papel picado. If we do Halloween things, it’s only on order” from customers.

    Still others have tried to use 21st-century technology, employing computer-generated designs and laser cutters.

    But Torres Alfaro says that concentrating so much on the cutting leaves out the most important part: the delicate webs of paper left behind.

    “There are some laser machines that are gaining popularity, but we have checked them and the costs are the same, the machines still cut hole-by-hole and they can’t cut that many sheets,” she said.

    “The (ready-made) stencils and the laser machine have their downsides,” she said. “Papel picado is based on what can be cut, and what can’t, and that is the magic of papel picado.”

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  • Historic homes may prove to be more resilient against floods

    Historic homes may prove to be more resilient against floods

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    SUFFOLK, Va. — Whenever historic homes get flooded, building contractors often feel compelled by government regulations to rip out the water-logged wood flooring, tear down the old plaster walls and install new, flood-resistant materials.

    It’s a hurried approach that’s likely to occur across southwest Florida in the wake of Hurricane Ian. But restorers Paige Pollard and Kerry Shackelford say they know something that science is yet to prove: historic building materials can often withstand repeated soakings. There’s often no need, they say, to put in modern products such as box-store lumber that are both costly to homeowners and dilute a house’s historic character.

    “Our forefathers chose materials that were naturally rot-resistant, like black locust and red cedar and cypress,” said Shackelford, who owns a historic restoration business. “And they actually survive better than many of the products we use today.”

    Pollard and Shackelford are part of an emerging movement in the U.S. that aims to prove the resilience of older homes as more fall under the threat of rising seas and intensifying storms due to climate change. They hope their research near Virginia’s coast can convince more government officials and building contractors that historic building materials often need cleaning — not replacing — after a flood.

    In Florida, historic preservationists already fear older homes damaged by Ian may be stripped of original materials because so few craftsmen are available who can properly perform repairs.

    “There are some companies that just roll through, and their job is just to come in and gut the place and move on,” said Jenny Wolfe, board president of the Florida Trust for Historic Preservation.

    Pollard and Shackelford’s joint venture in Virginia, the retrofit design firm Building Resilient Solutions, opened a lab this year in which planks of old-growth pine, oak and cedar are submerged into a tank mimicking flood conditions. The tests are designed to demonstrate historic materials’ durability and were devised with help from Virginia Tech researchers.

    Meanwhile, the National Park Service has been working with the U.S. Army Corps of Engineers on similar research at the Construction Engineering Research Laboratory in Champaign, Illinois.

    Researchers there have read through construction manuals from the mid-19th and early 20th centuries to assemble everything from tongue-and-groove flooring to brick walls coated with plaster. The materials were lowered into water containing bacteria and mold to simulate tainted floodwater.

    The research may seem glaringly redundant considering all of the older homes that stand intact along the nation’s coasts and rivers: many have withstood multiple floods and still boast their original floors and walls.

    Pollard and Shackelford say lumber in older homes is resilient because it came from trees that grew slowly over decades, if not centuries. That means the trees’ growth rings were small and dense, thereby making it harder for water to seep in. Also, the timber was cut from the innermost part of the trunk, which produces the hardest wood.

    Plaster can also be water resistant, while common plaster coatings were made from lime, a substance with antiseptic qualities.

    But here’s the problem: U.S. flood insurance regulations often require structures in flood-prone areas to be repaired with products classified as flood-resistant. And many historic building materials haven’t been classified because they haven’t been tested.

    U.S. regulations allow exceptions for homes on the National Register of Historic Places as well as some state and local registries. But not everyone fully understands or is aware of the exceptions, which can be limited.

    The far bigger challenge is a lack of expertise among contractors and local officials, Pollard said. Interpretations of the regulations can vary, particularly in the chaos after a major flood.

    “You’ve got a property owner who’s in distress,” said Pollard, who co-owns a historic preservation firm. “They’re dealing with a contractor who’s being pulled in a million directions. And the contractors are trained to get all of that (wet) material into a dumpster as quickly as possible.”

    In Norfolk, Virginia, Karen Speights said a contractor replaced her original first floor — made from old-growth pine — with laminate flooring after her home flooded.

    Built in the 1920s, Speights’ two-story craftsman is in Chesterfield Heights, a predominantly Black neighborhood on the National Register of Historic Places. It sits along an estuary of the Chesapeake Bay in one of the most vulnerable cities to sea-level rise.

    “I still believe I had a good contractor, but flooding was not his expertise,” Speights said. “You don’t know what you don’t know.”

    Along Florida’s Gulf Coast, there are thousands of historic structures, said Wolfe of the Florida Trust. A large number of them are wood-framed houses on piers with plaster-and-lath walls.

    Many likely just need to be dried out after Ian, Wolfe said. But only so many local contractors know what to do “in terms of drying them slowly and opening up the baseboards to get circular airflow.”

    Andy Apter, president-elect of the National Association of the Remodeling Industry, agreed that many contractors aren’t well-versed in older building materials.

    “There’s no course that I know of that teaches you directly how to work on historical homes,” said Apter, a Maryland contractor. “It’s like an antique car. You’re going to be limited on where you can find parts and where you can find someone who’s qualified to work on it.”

    But interest in the resilience of older homes has grown since Hurricane Katrina, which deluged hundreds of thousands of historic structures along the Gulf Coast in 2005, according to Jenifer Eggleston, the National Park Service’s chief of staff for cultural resources, partnerships and science.

    Eggleston said the park service recognized the growing need to protect older structures and issued new guidelines last year for rehabilitating historic buildings in flood-prone areas.

    The guidelines recommend keeping historic materials in place when possible. But they don’t list specific materials due to the lack of research on their flood resistance.

    That’s where the studies come in.

    A recent study by the park service and Army Corps found that some historic materials, such as old-growth heart pine and cypress flooring, performed considerably better than certain varieties of modern lumber, Eggleston said.

    Those particular floor assemblies could be dried for reuse after so-called “clean water” damage, Eggleston said. But they would likely require refinishing to remove “biological activity,” such as mold and bacteria.

    Pollard and Shackelford said they’re hoping for an eventual shift in practices that will save money for homeowners as well as taxpayers, who often foot the bill after a major disaster.

    In the meantime, flooding in historic areas will only get worse from more frequent rain storms or more powerful hurricanes, said Chad Berginnis, executive director of the Association of State Floodplain Managers.

    “Think about our historic settlement patterns in the country,” Berginnis said. “On the coasts, we settled around water. Inland, we settled around water.”

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