Arts and Culture

Both suspects, who were arrested earlier this week, have denied involvement in stealing priceless Napoleonic-era jewellery that remains missing.

The Paris prosecutor says two more people have been handed preliminary charges for their alleged involvement in a recent jewel heist at France’s Louvre Museum, days after they were arrested by Paris police as part of a sweeping probe.

Paris Public Prosecutor Laure Beccuau said in a statement on Saturday that a 37-year-old suspect was charged with theft by an organised gang and criminal conspiracy, while the other, a 38-year-old woman, is accused of being an accomplice.

Both have been incarcerated and both denied involvement, said Beccuau.

The male suspect has been placed in pre-trial detention pending a hearing to take place in the coming days, said the prosecutor, adding that he had been known to the judicial authorities for previous theft offences.

Beccuau justified the detention of the woman, who lives in the French capital’s northern suburb of La Courneuve, on the grounds of a “risk of collusion” and “disturbance of public order”.

The woman’s lawyer, Adrien Sorrentino, told reporters his client is “devastated” because she disputes the accusations.

“She does not understand how she is implicated in any of the elements she is accused of,” he said.

Five people were arrested by Paris police on Wednesday in connection with the case, including one who was identified by his DNA at the crime scene. Three of them have been released without charges, Beccuau said. Seven people have been arrested in total.

Last month, thieves wielding power tools raided the Louvre, the world’s most visited art museum, in broad daylight, taking just seven minutes to steal jewellery worth an estimated $102m.

French authorities initially announced the arrest of two male suspects over the Louvre robbery.

The two men were charged with theft and criminal conspiracy after “partially admitting to the charges”, Beccuau said this week.

They are suspected of being the two who broke into the gallery while two accomplices waited outside.

Both lived in the northeastern Paris suburb of Aubervilliers.

One is a 34-year-old Algerian national living in France, who was identified by DNA traces found on one of the scooters used to flee the heist. The second man is a 39-year-old unlicensed taxi driver.

Both were known to the police for having committed thefts.

The first was arrested as he was about to board a plane for Algeria at Paris Charles de Gaulle airport.

The second was apprehended shortly after near his home, and there was no evidence to suggest that he was planning to go abroad, prosecutors said.

The stolen loot remains missing.

The thieves dropped a diamond- and emerald-studded crown that once belonged to Empress Eugenie, the wife of Napoleon III, as they escaped.

The burglars made off with eight other items of jewellery.

Among them are an emerald-and-diamond necklace that Napoleon I gave his second wife, Empress Marie-Louise, and a diadem that once belonged to the Empress Eugenie, which is dotted with nearly 2,000 diamonds.

Last week, the Louvre director told the French Senate the museum’s security operations “did not detect the arrival of the thieves soon enough”.

“Today we are experiencing a terrible failure at the Louvre, which I take my share of responsibility in,” the director said, adding that she submitted her resignation to Culture Minister Rachida Dati, who turned it down.

After more than 20 years under construction, the Grand Egyptian Museum will finally open this weekend, promising more than 50,000 artifacts showing what life was like in ancient Egypt.

The suspects face charges for theft committed by an organised gang and criminal conspiracy, prosecutor says.

Two men arrested over a jewel heist at France’s Louvre Museum are to be charged with theft and criminal conspiracy after “partially admitting to the charges”, Paris Public Prosecutor Laure Beccuau has said.

The suspects were to be brought before magistrates with a view to “charging them with organised theft, which carries a 15-year prison sentence”, and criminal conspiracy, punishable by 10 years, Beccuau told a press conference on Wednesday. The jewellery stolen on October 19 has “not yet been recovered”, Beccuau said.

Two suspects in the Louvre jewel heist have “partially” admitted their participation and are believed to be the men who forced their way into the world’s most visited museum, a Paris prosecutor said.

Beccuau said that the two suspects face preliminary charges of theft committed by an organised gang and criminal conspiracy, and are expected to be held in provisional detention. She did not give details about their comments.

It took thieves less than eight minutes to steal the jewels valued at 88 million euros ($102m), shocking the world. The thieves forced open a window, cut into cases with power tools, and fled with eight pieces of the French crown jewels.

One suspect is a 34-year-old Algerian national who has been living in France since 2010, Beccuau said. He was arrested Saturday night at Charles de Gaulle Airport as he was about to fly to Algeria with no return ticket. He was living in Paris’s northern suburb of Aubervilliers and was known to police mostly for road traffic offences, Beccuau said.

The other suspect, 39, was arrested Saturday night at his home, also in Aubervilliers.

“There is no evidence to suggest that he was about to leave the country,” Beccuau said. The man was known to police for several thefts, and his DNA was found on one of the glass cases where the jewels were displayed and on items the thieves left behind, she added.

Prosecutors had faced a late Wednesday deadline to charge the suspects, release them or seek a judge’s extension.

Jewels not yet recovered

The jewels have not been recovered, Beccuau said.

“These jewels are now, of course, unsellable … Anyone who buys them would be guilty of concealment of stolen goods,” she warned. “It’s still time to give them back.”

Earlier Wednesday, French police acknowledged major gaps in the Louvre’s defences – turning the dazzling daylight theft into a national reckoning over how France protects its treasures.

Paris Police Chief Patrice Faure told Senate lawmakers that ageing systems and slow-moving fixes left weak seams in the museum.

“A technological step has not been taken,” he said, noting that parts of the video network are still analog, producing lower-quality images that are slow to share in real time.

A long-promised revamp “will not be finished before 2029–2030”, he said.

Faure also disclosed that the Louvre’s authorisation to operate its security cameras quietly expired in July and wasn’t renewed – a paperwork lapse that some see as a symbol of broader negligence.

The police chief said officers “arrived extremely fast” after the theft, but added the lag in response occurred earlier in the chain – from first detection, to museum security, to the emergency line, to police command.

Faure and his team said the first alert to police came not from the Louvre’s alarms, but from a cyclist outside who dialed the emergency line after seeing helmeted men with a basket lift.

Within 24 hours of the Louvre heist, a museum in eastern France reported the theft of gold and silver coins after finding a smashed display case.

Last month, thieves broke into Paris’s Natural History Museum and stole gold nuggets worth more than $1.5m. A Chinese woman has been detained and charged in relation to the theft.

“Art is worth something, even if it’s stolen.”

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The Louvre Museum in the French capital has closed for “exceptional reasons” after a group of intruders successfully stole eight pieces of priceless jewellery in a quick-hit heist that has rocked the world’s most-visited museum.

A manhunt for the thieves was under way in Paris on Sunday as police cordoned off the museum – famously home to Leonardo da Vinci’s painting Mona Lisa – with tape and as armed soldiers patrolled its iconic glass pyramid entrance.

French government and museum officials said several intruders entered the Galerie d’Apollon (Apollo’s Gallery) through a window shortly after the museum opened, relying on a lift used to hoist furniture into buildings.

Within just four minutes, the thieves stole away on motorcycles laden with eight items dating back to the Napoleonic era, dropping a ninth on their way out.

French President Emmanuel Macron took to social media to denounce the heist as an “attack on a heritage that we cherish”.

“The perpetrators will be brought to justice,” he added. “Everything is being done, everywhere, to achieve this, under the leadership of the Paris prosecutor’s office.”

Here’s what we know about the heist, which arrives as the Louvre faces questions over large crowds and overworked staff.

What happened?

Around 9:30am local time (07:30 GMT) on Sunday, as tourists already roamed the halls of the Louvre, the thieves zeroed in on Apollo’s Gallery – a gold-gilded, lavishly painted hall commissioned by King Louis XIV that houses the French crown jewels.

Describing the incident as a “major robbery”, Interior Minister Laurent Nunez said the thieves used a basket lift to reach the museum’s windows, entered the gallery and escaped via motorbike with “jewels of inestimable value”.

The Louvre evacuated all visitors and posted a notice online that the museum would remain closed throughout the day under “exceptional” circumstances.

Police meanwhile sealed the gates, cleared courtyards and even closed off nearby streets along the Seine River as authorities kicked off an investigation.

It was “crazy”, one American tourist, Talia Ocampo, told the AFP news agency – “like a Hollywood movie”.

No injuries were reported, but the thieves – believed to number four people – remained at large as of Sunday evening.

What was stolen during the heist?

Thieves successfully removed eight items from two high-security display cases, the Ministry of Culture confirmed late on Sunday. These include pieces that belonged to Empress Marie-Louise, the wife of French Emperor Napoleon I, and others that belonged to Empress Eugenie, the wife of Napoleon III.

These are the items that were stolen:

• Tiara from the jewellery set of Queen Marie-Amelie and Queen Hortense
• Necklace from the same duo’s sapphire jewellery set
• A single earring from the sapphire jewellery set
• Emerald necklace from the Marie-Louise set
• Pair of emerald earrings from the Marie-Louise set
• Brooch known as the “reliquary” brooch
• Tiara of Empress Eugenie
• Another large brooch of Empress Eugenie

The crown of Empress Eugenie was recovered outside the walls of the museum, the ministry said, where it was dropped by the thieves as they fled. The crown contains 1,354 diamonds and 56 emeralds, according to the Louvre.

Apollo’s Gallery is home to a range of other priceless gems, including three historical diamonds – the Regent, the Sancy and the Hortensia – and “the magnificent hardstone vessel collection of the kings of France”, according to the museum’s website.

Anthony Amore, an art theft expert and co-author of the book Stealing Rembrandts: The Untold Stories of Notorious Art Heists, told Al Jazeera the items contained in the collection were priceless “not just in terms of dollars, but in terms of cultural patrimony”.

“It’s not like stealing a masterpiece where instantly news media … would publicise this image,” Amore said. “You might see pieces like this broken up and individual jewels sold that are indistinguishable to members of the public.”

How did the thieves do it?

The thieves used a combination of power tools, motorcycles and efficiency to pull off the minutes-long heist, authorities said.

The group drew up on a scooter armed with angle grinders, one police source told AFP. They used the hoist to access the gallery from the outside, cutting windowpanes with a disc cutter.

One witness, who told the TF1 news outlet that he was riding his bicycle nearby at the time, said he saw two men “get on the hoist, break the window and enter”, adding that the entire operation “took 30 seconds”.

Le Parisien reported that the thieves entered the museum – located inside a former palace – via the facade facing the Seine, where construction work is ongoing. Two were dressed as construction workers in yellow safety vests, the newspaper said.

Culture Minister Rachida Dati said authorities arrived “a couple of minutes after we received information of this robbery”.

“To be completely honest, this operation lasted almost four minutes – it was very quick,” she said.

Footage showed the hoist braced to the Seine-facing facade and leading up to a balcony window, which observers said was the thieves’ entry point before it was removed Sunday.

What happens now?

With the thieves still at large, forensic teams have descended upon the Louvre and surrounding streets to gather evidence and review CCTV footage from the Denon wing, where Apollo’s Gallery is located, and the Seine riverfront.

Authorities also planned to interview staff who were working when the museum opened on Sunday, they said.

The Interior Ministry said it was compiling a detailed list of the stolen items, but added that “beyond their market value, these items have priceless heritage and historical value”.

Dati, the culture minister, suggested the thieves were “professionals”.

“Organised crime today targets objects of art, and museums have of course become targets,” she said.

Have similar heists happened in the past?

The Louvre’s most famous heist occurred in 1911, when the Mona Lisa portrait disappeared from its frame. It was recovered two years later, but decades afterward, in 1956, a visitor threw a stone at the world-famous painting – chipping paint near the subject’s left elbow and prompting the portrait to be moved behind bulletproof glass.

In recent years, the museum has struggled with growing crowds, which totalled 8.7 million in 2024, and frustrated staff who say they are stretched too thin.

In June, the museum delayed opening due to a staff walkout over chronic understaffing.

One union source, who asked to remain anonymous, told AFP that the equivalent of 200 positions had been cut at the museum over the past 15 years, out of a total workforce of nearly 2,000.

The fact that Sunday’s theft took place in broad daylight inspired a wave of consternation from French citizens and politicians.

“It’s just unbelievable that a museum this famous can have such obvious security gaps,” Magali Cunel, a French teacher from near Lyon, told the Associated Press news agency.

Thieves have stolen priceless jewels from the Louvre in a brazen heist that only took minutes, according to the French government. The suspects are believed to have escaped on scooters while the world’s most visited museum was forced to close for the day.

Grammy-winning R&B singer D’Angelo has passed away at age 51 following a “prolonged and courageous battle with cancer”, according to a statement from his family.

On Tuesday, his loved ones released a statement announcing his death. “The shining star of our family has dimmed his light for us in this life,” it read.

“We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind.”

D’Angelo, whose real name was Michael Eugene Archer, was best known for his silky vocals during the 1990s and 2000s, with his record Voodoo earning him the 2001 Grammy for Best R&B album.

His hit single from that album, Untitled (How Does It Feel), not only won him another Grammy for Best Male R&B Vocal Performance, but it also catapulted him into the mainstream spotlight with its steamy music video, featuring a shirtless D’Angelo singing directly to the camera.

The music publication Rolling Stone has ranked Voodoo as one of its best albums of all time.

News of his passing prompted an outpouring of remembrances from fans, including fellow musicians.

“I never met D’Angelo but I love him, respect him, admire his gift. This loss HURTS!!” singer-songwriter Jill Scott wrote on the social media platform X, adding: “R.I.P. GENIUS.”

Another musician, rapper Doja Cat, offered condolences to D’Angelo’s loved ones. She called him “a true voice of soul and inspiration to many brilliant artists of our generation and generations to come”.

In his music, D’Angelo blended hip-hop grit, emphatic soul and gospel-rooted emotion into a sound that helped spearhead the neo-soul movement of the 1990s.

Earlier this year, the Virginia native celebrated the 30th anniversary of his debut studio album Brown Sugar, a platinum-selling offering that produced signature hits like Lady.

That 1995 album earned him multiple Grammy nominations and cemented him as one of R&B’s most original new voices.

D’Angelo’s sultry vocal style — a mix of raspy texture and church-bred fluidity — set him apart from his peers. That voice became inseparable from the striking visuals of the Untitled (How Does It Feel) music video.

Its minimalist aesthetic became a cultural touchstone, igniting conversations around artistry, sexuality and vulnerability in Black male representation.

Beyond his own catalogue, D’Angelo’s artistry shone in collaborations. He memorably duetted with Lauryn Hill on the soulful ballad Nothing Even Matters, a highlight of her landmark 1998 album, The Miseducation of Lauryn Hill.

He also contributed to The Roots’ 1996 album Illadelph Halflife and was part of the supergroup Black Men United, which yielded one song, U Will Know, for the film Jason’s Lyric in 1994. D’Angelo wrote and co-produced the single.

D’Angelo was in a four-year relationship with Grammy-nominated R&B singer Angie Stone in the 1990s.

The pair met while he was finishing the album Brown Sugar and bonded over their similar backgrounds: Both are from the South and both grew up in the church. Stone worked on the album with D’Angelo, and the pair co-wrote the song Everyday for her 1999 debut album, Black Diamond.

Stone described D’Angelo as her “musical soul mate” in an interview with The Associated Press in 1999, adding that their working relationship was “like milk and cereal”.

“Musically, it was magic,” Stone said. “It’s something that I have not been able to do with any other producer or musician.”

They had a son together, the artist Swayvo Twain, born Michael Archer Jr. Stone died earlier this year in a car crash. She was 63.

D’Angelo also has a daughter, Imani Archer.

Among the tributes to D’Angelo’s artistry on Tuesday was a social media post from Tyler, the Creator, who reminisced about combing his local music store on his ninth birthday.

“I had $20 in birthday money and my eyes set on leaving with one thing. VOODOO by D’Angelo,” Tyler, the Creator, wrote on Instagram. “I had no idea that would help shape my musical dna.”

“I couldn’t understand how someone could write something so simple but personal but broad but genius,” he continued. “Thats how special he was.”

The actor and musician Jamie Foxx, meanwhile, offered his memories of seeing D’Angelo perform live at the concert venue House of Blues.

“Your voice was silky and flawless,” Foxx wrote on Instagram, addressing the late D’Angelo directly. “I was also in pure awe of your talents…. roaming around on each instrument, displaying your expertise in every note and every song.”

Foxx added that D’Angelo would be missed forever. “That’s why today real tears run down my face.”

The Egyptologist and former minister of antiquities will be the first Arab to lead the UN’s cultural organisation.

The board of the United Nations Educational, Scientific and Cultural Organization (UNESCO) has nominated Egypt’s Khaled el-Enany, an academic and former minister of tourism and antiquities, as its next head, ahead of the organisation’s general conference next month.

If confirmed, el-Enany, a professor of Egyptology at Cairo’s Helwan University, would become the first Arab director-general of the organisation, which oversees the UN’s handling of cultural heritage, alongside international cooperation efforts in other areas including science and education.

The former minister campaigned widely for the role, which was also contested by Firmin Edouard Matoko of the Democratic Republic of Congo, and Gabriela Ramos of Mexico, who withdrew from the race earlier this year.

The decision by the board, which represents 58 of the agency’s 194 member states, is expected to be finalised at a meeting of UNESCO’s general assembly in Uzbekistan next month.

The organisation’s next leader will replace France’s former Minister of Culture Audrey Azoulay who has served in the role since 2017.

Azoulay notably helped lead a high-profile effort to rebuild the ancient Iraqi city of Mosul after it was devastated during fighting between the ISIL (ISIS) armed group and combined US and Iraqi forces.

El-Enany’s nomination comes as the Paris-based UN body continues to face political challenges, including in its work of choosing which cultural heritage sites to help preserve from threats including wars, pollution and climate change.

The organisation is also set to face an eight percent funding cut at the end of 2026, when the United States again formally withdraws its membership, along with its funding.

It will be the second time that the Trump administration has pulled the US out from the UN cultural organisation in protest at its members’ decision to admit the State of Palestine as a member in 2011.

The State of Palestine is also a Permanent Observer State member of the United Nations General Assembly, where more than 80 percent of member states now back its full membership.

Explaining the US decision to withdraw again, US State Department spokesperson Tammy Bruce claimed that allowing Palestine to remain a member of UNESCO had “contributed to the proliferation of anti-Israel rhetoric within the organisation.”

Israel left UNESCO at the end of 2018.

The organisation has been remotely monitoring damage to cultural heritage sites in the Gaza Strip during Israel’s war, and says that it has verified damage to a total of 110 sites since October 7, 2023, including 13 religious sites, 77 buildings of historical or artistic interest, three depositories of movable cultural property, nine monuments, one museum and seven archeological sites.

El-Enani, 54, worked earlier in his career as a tour guide at ancient Egyptian sites, earned a doctorate in France and became a famed Egyptologist prior to serving in government.

He was minister of antiquities, and later tourism, under Egypt’s President Abdel Fattah el-Sisi from 2016 to 2022.

El-Sisi welcomed the news of el-Enani’s nomination, calling the nomination a ‘’historic achievement that shall be added to Egypt’s diplomatic and cultural record and to the achievements of the Arab and African peoples.”

During his tenure in government, el-Enani oversaw the start of mega-tourism projects including the National Museum of Egyptian Civilisation in Cairo, the Jewish Temple and multiple ancient discoveries that helped revive the country’s battered tourism sector.

He is expected to focus on UNESCO’s cultural programs, and has pledged to continue UNESCO’s work to fight anti-Semitism and religious intolerance according to the Associated Press news agency.

The famed hip-hop mogul told the court that his actions were ‘disgusting’ and ‘shameful’ in a plea for leniency.

Musician and producer Sean “Diddy” Combs has been sentenced to four years and two months in prison for transporting people across state lines for sexual encounters.

His sentencing hearing on Friday capped a federal case that featured harrowing testimony and ended in a forceful reckoning for one of the most popular figures in hip-hop. Combs, 55, was also fined half a million dollars.

Since Combs has served a year in jail already, he is expected to be released in about three years. His lawyers wanted him freed immediately and said the time behind bars has already forced him to embrace remorse and sobriety.

He was convicted in July of flying his girlfriends and male sex workers around the country to engage in drug-fuelled sexual encounters, a practice that happened over many years and in different locations. However, he was acquitted of sex trafficking and racketeering charges that could have put him behind bars for life.

“Why did it happen so long?” US District Judge Arun Subramanian asked as he handed down the sentence. “Because you had the power and the resources to keep it going, and because you weren’t caught.”

Combs showed no visible change of emotion as he learned his sentence, sitting in his chair and looking straight ahead as the judge spoke. He remained subdued afterwards and appeared dejected, with none of the enthusiasm and smiles that accompanied his interactions with lawyers and his family earlier in the day.

In a final word before sentencing, Combs told the judge his years of behaviour were “disgusting, shameful” and apologised to the people he had hurt physically and mentally. He said his acts of domestic violence were a burden he would have to carry for the rest of his life.

His defence lawyers played an 11-minute video in court portraying Combs’ family life, career and philanthropy. At one point during the video, Combs put a hand on his face and began to cry.

His nearly two-month trial in a federal court in Manhattan featured testimony from women who said Combs had beaten, threatened, sexually assaulted and blackmailed them. Prosecutor Christy Slavik told the judge that sparing Combs serious prison time would excuse years of violence.

“It’s a case about a man who did horrible things to real people to satisfy his own sexual gratification,” she said. “He didn’t need the money. His currency was control.”

Combs was convicted under the Mann Act, which bans transporting people across state lines for prostitution. Defence lawyer Jason Driscoll argued the law was misapplied.

During testimony at the trial, former girlfriend Casandra “Cassie” Ventura told jurors that Combs ordered her to have “disgusting” sex with strangers hundreds of times during their decade-long relationship. Jurors saw video of him dragging and beating her in a Los Angeles hotel hallway.

Another woman, identified as “Jane”, testified she was pressured into sex with male workers during drug-fuelled “hotel nights” while Combs watched and sometimes filmed.

The only accuser scheduled to speak Friday, a former assistant known as “Mia”, withdrew after defence objections. She has accused Combs of raping her in 2010 and asked the judge for a sentence that reflects “the ongoing danger my abuser poses”.

Barpeta/Guwahati, Assam, India – For more than 15 years, truck driver Imam Hussain found solace in singer Zubeen Garg’s voice and music as he drove his vehicle on quiet and lonely nights along the Himalayan hills and plains of the northeastern Indian state of Assam.

It was a period in which Bengali-speaking Muslims – the community 42-year-old Hussein belongs to – increasingly came under attack in Assam. They’ve been accused of being outsiders – even infiltrators – in their own home.

Amid soaring Hindu-Muslim tensions, the music of Garg – a Hindu – served as a rare unifier. “His music was my inner peace,” said Hussain.

On September 19, Garg died by drowning near Lazarus Island in Singapore, where he was scheduled to perform at the Northeast India Festival, an event that celebrates the art and culture of the Indian region.

The sudden death of the 52-year-old artist, who enjoyed a cult-like status among millions of his fans in and outside Assam, triggered a massive outpouring of grief that further cemented his stature as a public figure whose appeal spanned divisions that have otherwise fractured the state. The singer’s wife, Garima Saikia Garg, issued a statement, saying her husband “suffered a seizure attack” while swimming in the sea.

While Hussain was mourning Garg’s death, so was Prime Minister Narendra Modi, whose Hindu majoritarian Bharatiya Janata Party (BJP) is accused by critics of fanning Hindu-Muslim divisions nationally and in Assam.

“He will be remembered for his rich contribution to music,” Modi said in a condolence message. “His renditions were very popular among people across all walks of life.”

Assam’s Chief Minister Himanta Biswa Sarma, who belongs to Modi’s party, said the state “lost one of its favourite sons”.

“Zubeen’s voice had an unmatched ability to energise people, and his music spoke directly to our minds and souls. He has left a void that will never be filled,” Sarma said.

The Assam government declared four days of state mourning as Sarma flew to the capital, New Delhi, to receive Garg’s body when it returned from Singapore.

A polarised backdrop

Two days later, on September 21, tens of thousands of Garg’s fans gathered outside the main airport in Guwahati, Assam’s biggest city. They waited as state officials received Garg’s body after it landed.

Then, they marched behind a convoy carrying the body to a stadium some 30 kilometres (19 miles) away for public viewing, singing some of his most famous songs in unison. Some held his posters, while others walked teary-eyed with candles in their hands. After four days of state mourning, Garg was cremated on September 23 with full state honours and a 21-gun salute.

Those scenes of unity were a break from the religious and linguistic fractures that have deepened in Assam in recent years.

The fault lines between the Indigenous Assamese-speaking and the mostly migrant Bengali-speaking communities in Assam aren’t new: They go back nearly two centuries, when the British brought large numbers of Bengali-speaking Hindus from Bengal to run the colonial bureaucracy, creating resentment among the Indigenous Assamese who feared the outsiders would take their jobs and occupy lands.

A second wave of migration of Bengali-speaking Hindus and Muslims to Assam started in 1947 with India’s independence and the formation of Pakistan, which included the territory that in 1971 declared itself the independent nation of Bangladesh. Millions of people migrated from Bangladesh to Assam in these years, triggering backlash from the Indigenous Assamese, which often turned violent.

Those ethnic and religious tensions continue to dominate Assam’s politics even today as suspicions over the identity and citizenship of mainly Bengali-speaking Muslims – pejoratively called “miya” – deepen, with thousands of them declared “Bangladeshi infiltrators” and many of them sent to detention camps or forced to cross over to Bangladesh by Indian security forces.

Garg was composing his music against this polarised backdrop, responding to the communal fissures with his verses and voice.

On many occasions, the singer described himself as an atheist and a “social leftist” as he distanced himself from the state’s mainstream parties, the centrist Congress and the right-wing BJP.

He was also a vocal critic of India’s deeply entrenched caste system.

In an undated video now viral after his death, a person on stage is seen teasing Garg for not wearing the sacred thread worn by other Brahmins, who sit at the top of Hinduism’s complex caste hierarchy.

Garg shot back, saying, “I am just a human. I have no caste, no religion, and no God.”

In another instance, Garg in 2018 encouraged famous female Assamese Olympian, Hima Das, to consume beef in order to “gain strength” to compete in international and national sports events. Many Hindus belonging to privileged castes revere the cow, and its slaughter and consumption are banned in several Indian states. It is unclear whether Das accepted Garg’s advice.

He was also at the forefront of a 2019 campaign against India’s controversial new citizenship law, which made religion a basis for expediting citizenship for immigrants from neighbouring nations, excluding Muslims. The law led to nationwide protests against Modi’s government, while the United Nations called it “fundamentally discriminatory” and urged a review.

Assamese social media creator Dr Medusssa told Al Jazeera that as anti-Muslim hate permeated Assamese society, Garg’s public positions stood out, turning him into an emblem of Hindu-Muslim harmony.

“It is precisely because of Zubeen’s persona of being inclusive, and how he represented marginalised communities through his songs, that his legacy is being claimed by all,” said Medusssa, who requested to be identified by her social media name.

“He refused to belong to any particular community. He was for all.”

For Akhil Ranjan Dutta, a political scientist at Gauhati University in Assam, the celebration of Garg by Modi and Sarma – despite the dissident artist’s opposition to Hindu majoritarianism – is partly due to the way the singer approached the politics of dissent.

“While he [Garg] would openly criticise the policies and the actions of the federal and state-level BJP governments, he would seldom attack BJP leaders [personally],” Dutta told Al Jazeera. “This makes it easier for the BJP to appropriate his legacy as not mourning him would otherwise put them under public scrutiny.”

Another political commentator who did not wish to be named – fearing reprisal from the government – was more blunt in his view of Garg’s ability to bridge political divisions.

While Garg was dismissive about the BJP as a political party, “he would not rattle their nerves by criticising their anti-Muslim policies or the attacks on Muslims very openly”, the commentator said. “That way, the Hindu nationalist party never feel too alienated by him.”

‘Artistic tour de force’

Born in 1972 to Assamese writer Mohini Mohan Borthakur and singer Ily Borhakur in Assam’s Jorhat town, Garg began singing at the age of three and was soon regarded as a child prodigy by his teachers. He moved to Guwahati to build his career as a singer and got his first major breakthrough in 1992 with the release of his debut Assamese album, Anamika.

It was the beginning of an illustrious career that saw Garg singing more than 38,000 songs in dozens of languages and dialects. He also sang several songs for Bollywood films, bursting into the national scene in 2006 with his Hindi hit, Ya Ali, for the film Gangster: A Love Story.

The next year, Garg won the national award for composing songs for the non-feature film, Echoes of Silence. Affectionately known as Zubeen Da among other sobriquets, he later ventured into acting and direction.

But more than Garg’s body of work, says Angshuman Choudhury, a joint doctoral candidate at the National University of Singapore and King’s College London, what made him a musical phenomenon was his refusal to conform to the archetype of a “tamed” and “cultured Assamese artist”.

The state’s popular culture, for the most part, according to Choudhury, was shaped until the 1990s by artists like musician Bhupen Hazarika and singer Janyata Hazarika, who “respected norms of social civility, never deviated from the script, and lacked the audacity to be that iconoclast that Garg was”.

“Garg, on the other hand, was an artistic tour de force in Assam. He disrupted and distorted the very image of a public performer and artist,” says Choudhury, whose doctoral research focuses on the ethnicity and politics of northeast India.

“He would use verbal expletives while on stage, sing under intoxication, and on many occasions, show overt defiance against established norms and culture.”

For instance, he once refused to perform at an event to mark Bihu – arguably Assam’s most important festival – after the organisers said that he could not sing in Hindi.

Prithiraj Borah, a sociologist from Assam who teaches at the National Academy of Legal Studies and Research in Hyderabad, said that Garg’s art also touched deeper, emotional and philosophical questions.

“Zubeen’s songs did not merely entertain,” he told Al Jazeera. “They also addressed the depths of what it means to be human, to love, to suffer, and to find meaning in an often-absurd world.”

Borah cites Garg’s song, Pakhi Pakhi Ei Mon (My heart is like a feather), in which he explored themes of freedom and captivity.

“The feather becomes a metaphor for the human condition, caught between the desire for liberty and the reality of various constraints,” Borah said.

Accessible to all

Abrar Nadim, a health officer in Assam’s Barpeta district, says he has memorised most of Garg’s songs since he was four.

“His song, Aei Mayar Dhorat [In this world of earthly pleasures] brought me closure to spirituality,” said Nadim, 30, as he stood next to a garlanded poster of Garg, while wearing black in mourning.

“The song describes temporary happiness in this world where corrupt people enjoy even after committing acts of injustice, corruption, and oppression, but little remains in the end.”

Maitrayee Patar, a prominent Assamese songwriter and poet, who had collaborated with the singer, including as recently as in 2023, said Garg, as an artist, “exuded a humanitarian side that was raw and relatable to all”.

“He disregarded political correctness and refused to align himself with majoritarian politics or any political parties, which made [him] come across as an artist loved by all,” Patar told Al Jazeera.

As clips from Garg’s songs and old interviews flood Assam’s social media, Hussain, the Bengali-Muslim truck driver in Guwahati, says his staunch rejection of hate politics and his humility in treating everyone as equal made him accessible to all.

Garg was Hindu. But after his death, students in madrasas – Islamic schools – were seen playing his songs, while Muslim leaders held prayers in his honour and recited the Quran before his photos – grieving practices not typically allowed by Islamic tenets.

“He [Garg] sang jikir – devotional folk songs sung by the Assamese-speaking Muslim community – to honour us,” Nadim said. “So there is nothing wrong if we pray for him by singing his songs.”

Back in Guwahati, truck driver Hussain recalled how Garg “never vilified” Bengali-speaking Muslims, as he wore a T-shirt bearing Garg’s photo.

Hussain hummed Garg’s iconic 2007 hit, Maya (Illusion) – a song in which the singer likens chasing a love interest to an illusion. The soothing melody, Hussein said, reminded him of the void left by the Garg’s death.

In Garg’s music, the idea of an Assam for Hindus and Muslims, Assamese speakers and Bengali speakers alike, was not an illusion.

Picture the crowded sidewalks and standstill traffic of New York City. Pedestrians jostle past street vendors as they rush to their destinations. The wail of sirens mingles with the sudden screech of car horns.

Now add to the fray an influx of world leaders and diplomats, accompanied by gaggles of journalists, advocates and security officers.

Each year in September, the bustling east side of Midtown Manhattan becomes even busier as it hosts the United Nations General Assembly (UNGA).

New York briefly transforms into the centre of international politics as presidents, prime ministers and royals descend on the UN headquarters to speak at the opening debate for the latest UNGA session.

This year, the summit arrives amid heightened security concerns in the United States following the assassination of right-wing commentator Charlie Kirk. It also comes at a time of growing global outrage at the horrors that Israel is inflicting on Gaza.

Traffic has been blocked in the eight city blocks flanking the UN complex, establishing a restricted zone that can only be accessed by authorised personnel.

Hundreds — if not thousands — of heavily armed local and federal law enforcement agents surround the area, ensuring that no one gets near the summit without prior approval.

Due to the restrictions, many local residents told Al Jazeera they feel a mix of apathy and annoyance towards the annual gathering, which has been informally dubbed the World Cup of Politics.

Ugur Dikici, who operates a fruit stand across from the UN, said it may seem cool to have leaders from across the world come to your neighbourhood. “But when you’re stuck in traffic for two hours, it’s not fun,” he told Al Jazeera.

Dikici added that the event also hurts his business; tourists and delegates don’t buy fruit and vegetables as much as locals, who may be deterred by the commotion.

However, he said having New York as a global platform is still worth it. “You can deal with three, four days once a year. It’s fine.”

‘International ideals’

Entering the UN headquarters during the general debate requires navigating through a maze of checkpoints.

Delegates, visitors, staff and journalists are distinguished by different badges that allow them access to certain areas — but not others.

Even within the UN complex, some buildings and floors have their own airport-like screenings for multiple layers of security.

The East River, which borders the four main UN buildings, has also not been spared.

Only police and US Coast Guard vessels, about a dozen of them, can be seen on the water at any point. No ferries, cruises or commercial ships are allowed.

Authorities have declared the stretch of the water a security zone that is blocked to most ships during the summit.

Despite the intricacy of the security arrangements, the event tends to go on smoothly every year.

The occasional hiccups do occur, however. On Monday evening, for example, the motorcade of US President Donald Trump blocked the path of his French counterpart, Emmanuel Macron, as he tried to reach France’s embassy.

Video captured the French leader gently haggling with a police officer to let him and his delegates pass. “Guess what? I am waiting in the street because everything is frozen for you,” Macron later told Trump in a cellphone call.

New York has been hosting the summit at the same spot for more than 70 years, and the city’s leaders take a lot of pride in it.

“The iconic UN sits near the East River [and] remains a symbol of not only peace but a symbol of hope,” New York Mayor Eric Adams said last week.

“And I’m proud to be the mayor of this city that would house this important conversation.”

But in his speech to the UNGA on Tuesday, Trump disparaged the international body, describing it as little more than a conveyor of “empty words”.

Dozens of protesters had gathered outside the event to denounce the US president. Paul Rabin, one of the demonstrators, said he hoped to show his support for the UN’s founding ideals — values he feels Trump is trampling.

“This is a city of people from all over the world,” he said of New York.

“The international ideals are in alignment with the ideals of New York. And we want to call out people who are against the values that the UN and the United States are really founded on.”

‘I lose business’

But Harry Khan, who owns a corner store nearby, was not as thrilled about the summit.

“When there is a road closure, I lose business. My regular customers, they avoid coming outside,” he told Al Jazeera.

And the influx of tourists does not offset the losses, according to Khan.

As mammoth as the UNGA is, its impact on New York is limited to the immediate neighbourhood outside the restricted area.

In the vast and densely populated city, signs of the UNGA start to dissipate within a few blocks from the UN complex.

With the world’s eyes on the summit, some of the city’s 8.5 million residents say they’re more worried about daily struggles. More than 18 percent of New York City’s population lives under the poverty line.

On Tuesday evening, a young woman grew visibly frustrated when she found out that her bus stop was barricaded within the security zone.

When asked how she feels about the UNGA being in New York, she replied: “Because it stops traffic, I don’t care for it. I can’t get to my bus to go home. Now, I’ve got to find another route.”

United States television host Jimmy Kimmel’s live show was pulled off the air by Disney-owned ABC after he made comments about conservative influencer Charlie Kirk, who was fatally shot last week in what has been deemed by right-wingers in the US a political assassination.

But critics claim Kimmel’s removal is a violation of his free speech rights, which are enshrined under the US Constitution’s First Amendment.

On Thursday, hundreds of Kimmel fans gathered on the streets in Burbank, New York and Hollywood, protesting the removal of his show.

Here is a closer look at what happened and what the US Constitution says about free speech rights.

What happened to Jimmy Kimmel?

Conservative influencer Charlie Kirk was shot and killed in front of a crowd of about 3,000 people on September 10 while he was speaking at a university event in Utah.

After a 33-hour manhunt, 22-year-old Tyler Robinson was arrested on suspicion of killing Kirk. Robinson has since been charged with aggravated murder.

Some right-wing figures, affiliated with US President Donald Trump’s MAGA (Make America Great Again) wing, have described Robinson as “left-wing”.

On Monday, Kimmel said on his show: “The MAGA gang (is) desperately trying to characterise this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”

Kimmel continued, criticising the response by Trump – who described Kirk as being “like a son” – to his death. “This is not how an adult grieves the murder of someone he calls a friend. This is how a four-year-old mourns a goldfish,” Kimmel said.

Following a backlash, broadcasters Nexstar and Sinclair said they would pull Kimmel’s late-night show from their affiliated stations.

Brendan Carr, the chairman of the Federal Communications Commission (FCC), also said he had a strong case for taking legal action against Kimmel, Disney and ABC.

Anna Gomez, the only Democrat on the FCC, criticised Carr’s response in an interview with CNN. “This administration is increasingly using the weight of government power to suppress lawful expression,” Gomez said.

The FCC has the authority to grant licences to broadcasters, including ABC and its affiliated stations.

Democratic critics have said that pulling his show off the air is an infringement of Kimmel’s right to free speech, as guaranteed by the First Amendment of the US Constitution.

What does the First Amendment say?

The First Amendment protects free speech from government interference. It states: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.”

In 1963, the US Supreme Court issued a key ruling that the government cannot create a “system of informal censorship” by putting pressure on private companies.

This was issued after a Rhode Island agency had threatened to prosecute book and magazine distributors for selling publications it considered objectionable.

Last year, the Supreme Court ruled that, in such situations, plaintiffs must demonstrate that the government’s actions exceeded allowable persuasion and directly caused them harm.

Was the removal of Kimmel’s show unconstitutional?

Experts say Kimmel’s show being pulled is unconstitutional since it infringes the free speech rights guaranteed by the First Amendment.

Ronnie London, a general counsel with free speech advocacy group Foundation for Individual Rights and Expression, told PolitiFact that Carr’s actions are “a classic case of unconstitutional jawboning”, which means improperly using government threats to pursue policy goals.

“The FCC has long held that ‘the public interest is best served by permitting free expression of views,’” the FCC says on its website.

“Rather than suppress speech, communications law and policy seek to encourage responsive ‘counter-speech’ from others. Following this principle ensures that the most diverse and opposing opinions will be expressed, even though some views or expressions may be highly offensive.”

How have people reacted to Kimmel’s removal?

Many Democrats, politicians, Hollywood stars and fellow talk-show hosts have stressed the importance of protecting free speech rights.

Former US President Barack Obama shared a series of articles and commentary on X on Friday, saying: “This commentary offers a clear, powerful statement of why freedom of speech is at the heart of democracy and must be defended, whether the speaker is Charlie Kirk or Jimmy Kimmel, MAGA supporters or MAGA opponents.”

This commentary offers a clear, powerful statement of why freedom of speech is at the heart of democracy and must be defended, whether the speaker is Charlie Kirk or Jimmy Kimmel, MAGA supporters or MAGA opponents.

— Barack Obama (@BarackObama) September 19, 2025

In another post, Obama wrote: “This is precisely the kind of government coercion that the First Amendment was designed to prevent – and media companies need to start standing up rather than capitulating to it.”

Former late-night host David Letterman said during an event in New York on Thursday: “I feel bad about this, because we all see where this is going, correct? It’s managed media. It’s no good. It’s silly. It’s ridiculous.”

Ken Martin, the chairman of the Democratic National Committee, said in a statement: “The state under Donald Trump has amassed a chilling record of restricting speech, extorting private companies, and dropping the full weight of the government censorship hammer on First Amendment rights.”

Democratic California Senator Adam Schiff posted on X on Thursday: “This administration is responsible for the most blatant attacks on the free press in American history. What will be left of the First Amendment?”

By contrast, the suspension of Kimmel’s show has drawn celebration from the political right.

“Great News for America: The ratings challenged Jimmy Kimmel Show is CANCELLED,” Trump wrote on his Truth Social platform.

“Congratulations to ABC for finally having the courage to do what had to be done. Kimmel has ZERO talent, and worse ratings than even Colbert, if that’s possible. That leaves Jimmy and Seth, two total losers, on Fake News NBC,” Trump continued, referring to late-night show hosts Jimmy Fallon and Seth Meyers.

Conservative podcaster Megyn Kelly wrote on X on Thursday: “I’m not sure who needs to hear this but Jimmy Kimmel got on the air and falsely stated as a fact that Charlie Kirk’s killer was MAGA, smearing an entire movement and Trump in particular with a vile disgusting lie.”

Redford was a liberal activist and godfather for independent cinema under the name of one of his best-loved characters, the Sundance Kid.

Robert Redford, the Oscar-winning actor, director and godfather for independent cinema as Sundance founder, has died at the age of 89.

Redford died “at his home at Sundance in the mountains of Utah – the place he loved, surrounded by those he loved,” publicist Cindi Berger said in a statement Tuesday.

No cause of death was provided.

The iconic actor and director is best known for his acclaimed performances in All the President’s Men and Butch Cassidy and the Sundance Kid.

The tousled-haired and freckled heartthrob made his breakthrough alongside Paul Newman as the affable outlaw in the hippy Western “Butch Cassidy and the Sundance Kid” in 1969.

Redford made hearts beat faster in romantic roles such as “Out of Africa,” got political in “The Candidate” and “All the President’s Men” and skewered his golden-boy image in roles like the alcoholic ex-rodeo champ in “The Electric Horseman” and middle-aged millionaire who offers to buy sex in “Indecent Proposal.”

He never won the best actor Oscar, but his first outing as a director – the 1980 family drama “Ordinary People” – won Oscars for Best Picture and Best Director.

Despite their chemistry and long personal friendship, Redford was never to team up again with Newman, who died in 2008.

“Butch Cassidy” made blue-eyed Redford an overnight star but he never felt comfortable with celebrity or the male starlet image that persisted late into his 60s.

“People have been so busy relating to how I look, it’s a miracle I didn’t become a self-conscious blob of protoplasm. It’s not easy being Robert Redford,” he once told New York magazine.

His wavy blond hair and boyish grin made him the most desired of leading men, but he worked hard to transcend his looks – whether through his political advocacy, his willingness to take on unglamorous roles or his dedication to providing a platform for low-budget movies.

Intensely private, he bought land in remote Utah in the early 1970s for his family retreat and enjoyed a level of privacy unknown to most superstars. He was married for more than 25 years to his first wife, before their divorce in 1985. In 2009, he married for a second time, to German artist and longtime partner Sibylle Szaggars.

He used the millions he made to launch the Sundance Institute and Festival in the 1970s, promoting independent filmmaking long before small and quirky were fashionable. The festival has become one of the most influential independent film showcases in the world.

Redford used his star status to also quietly champion environmental causes such as the Natural Resources Defense Council and the National Wildlife Federation.

“Some people have analysis. I have Utah,” he once remarked.

Although he never showed an interest in entering politics, he often espoused a liberal viewpoint. In a 2017 interview, during the presidency of Donald Trump, he told Esquire magazine that “politics is in a very dark place right now” and that Trump should “quit for our benefit”.

In 2001, Redford won an honorary, or lifetime achievement, Oscar.

Authorities in Argentina have opened a criminal investigation into the daughter of a former Nazi official and her spouse after an 18th-century painting stolen from a late Jewish art dealer was recovered from one of their properties.

Prosecutors announced the probe on Thursday, which will focus on Juan Carlos Cortegoso and his wife Patricia Kadgien, whose father was the fugitive Nazi officer Friedrich Kadgien.

The elder Kadgien died in the late 1970s. He spent the final decades of his life in Argentina, having fled Germany at the end of World War II.

He is believed to have brought with him priceless artworks looted from the collections of Jewish families and businesses, including that of the Dutch art dealer Jacques Goudstikker.

Goudstikker had amassed a collection of nearly 1,400 pieces, according to the meticulous records he kept.

But that made his collection a target for Nazi officials like Hermann Goring, who sought to seize the artwork for himself. The elder Kadgien was Goring’s financial adviser.

It is unclear how Kadgien came to own Portrait of a Lady by Giuseppe Ghislandi, an Italian portraitist prolific during the Baroque and Rococo periods.

The painting, a large portrait of the Contessa Colleoni holding gloves and a book, had not been seen in decades. As far as researchers knew, only black-and-white photographs of the artwork survived.

Goudstikker had been forced to sell many of his artworks to Nazi officials as the Holocaust unfolded in Europe.

In May 1940, the art dealer would ultimately die from a fall on board the SS Bodegraven, as he fled a genocide that would claim at least six million Jewish lives, as well as millions of prisoners-of-war, dissidents, LGBTQ people and those with disabilities.

Goudstikker’s heirs have been seeking to recover his collection ever since.

Thought lost, Portrait of a Lady reappeared suddenly last month, as the result of internet sleuthing.

Dutch journalists with the publication Algemeen Dagblad had been investigating the late Kadgien’s dealings with the Nazis, and they stumbled across a real estate listing from February for a house belonging to his daughter, Patricia Kadgien.

A picture in the listing showed Portrait of a Lady hanging above a green velvet couch.

The journalists published their findings on August 25, and soon after, police in Argentina raided the residence, which was located in the coastal city of Mar del Plata.

But the painting was nowhere to be found. Instead, authorities reported they had recovered other paintings, this time from the 19th century, that they suspected may also be Nazi-looted artwork.

A tapestry was found hanging where Portrait of a Lady was once photographed. The real estate listing, meanwhile, appeared to have been removed.

Police have since raided several properties belonging to Patricia Kadgien and her sister. On Wednesday, it was announced that the painting had finally been recovered.

But in Thursday’s hearing, federal authorities revealed they were charging Kadgien, 59, and her husband, Cortegoso, 62, with attempting a cover-up.

Prosecutor Carlos Martinez accused the couple of hiding the painting, despite being “aware that the artwork was being sought by the criminal justice system and international authorities”. That, he said, amounted to obstruction of justice and concealment.

“It was only after several police raids that they turned it in,” Martinez explained.

Patricia Kadgien and Cortegoso were briefly put under house arrest on Monday, though that was lifted in favour of a 180-day travel ban and a requirement that they seek court approval before leaving the house.

A lawyer for the couple reportedly asked a civil court this week to allow them to sell the painting, but that request was denied.

Martinez, meanwhile, told journalists on Thursday that Marei von Saher, one of Goudstikker’s heirs, had already reached out to the Federal Bureau of Investigation in the United States to ensure the painting’s restitution.

He explained that prosecutors had requested Portrait of a Lady be held at the Buenos Aires Holocaust Museum for now.

A film about Hind Rajab, the five-year-old Palestinian girl killed by Israeli forces in Gaza, received a record-breaking 23-minute standing ovation at the Venice Film Festival. ‘The Voice of Hind Rajab’ recounts her final plea to rescuers before she was killed.

There was a 23-minute standing ovation along with chants of ‘Free Palestine’ at the Venice Film Festival premiere of The Voice of Hind Rajab, a film recounting the harrowing final moments of a five-year-old Palestinian girl killed by Israeli forces in Gaza.

Graffiti mars the crumbling walls of the main thermal baths in one of Europe’s oldest spa towns, Baile Herculane.

Yet after decades of neglect, a dedicated team of young architects is working to revive the picturesque Romanian resort that once drew emperors to its healing waters.

“Someone once said that if you drink water from the spring from Herculane, you never leave,” said 31-year-old architect Oana Chirila.

“I was struck by the beauty of the place,” she explained about the town in Romania’s southwest, nestled among mountains and bisected by a river. “And at the same time [I was] shocked by its condition,” she added, referring to the dilapidated state of the historic thermal baths.

Chirila first visited Baile Herculane eight years ago entirely by chance, she said.

Her group’s restoration project represents one of several recent civil society initiatives launched to safeguard Romania’s historic monuments.

Approximately 800 such monuments have deteriorated to an advanced state of decay or risk complete collapse. Some already pose significant public safety hazards.

Constructed in 1886, the Neptune Imperial Baths once welcomed distinguished guests seeking its warm sulphur treatments.

Among these illustrious visitors were Austria’s Emperor Franz Joseph and his wife Elisabeth, commonly known as Sisi. Franz Joseph himself described the town as Europe’s “most beautiful spa resort”.

Today, the baths stand closed, their interior walls defaced with graffiti, floors littered with debris, and rain seeping through the ceiling.

Despite the deterioration, tourists regularly pause to admire and photograph the long, rusted facade, with some attempting to glimpse the interior through broken windows.

Currently, Chirila and her volunteer team can only perform conservation work on the baths’ exterior structure. Full restoration remains impossible until legal conflicts between authorities and private owners are resolved, she explained, adding, “There’s always this fear that it might collapse.”

“Most of the historical monuments are in their current state – meaning constant decay – because they are legally blocked,” preventing utilisation of public or European funds for restoration.

For now, along one side of the riverbank, visitors can enjoy three sulphur water basins – what Chirila calls “little bathtubs”.

Her team refurbished these basins and constructed changing booths and wooden pavilions, one of several projects they have undertaken throughout the town.

In recent years, Baile Herculane, home to 3,800 residents, has experienced a steady increase in tourism, according to local officials. Some 160,000 tourists visited in 2024 – up from 90,000 in 2020 – many seeking spa treatments, but also hiking and climbing opportunities.

“The resort has changed,” Aura Zidarita, 50, a doctor, told the AFP news agency. She remained optimistic that it could reclaim its status as a “pearl of Europe”.

The US President says a review of the national museums will be similar to those he has ordered for universities.

United States President Donald Trump has said the nation’s Smithsonian museums only discuss “horrible” topics, including “how bad Slavery was”, as his administration continues a review into the institution’s exhibits for their “Americanism”.

In a post on his Truth Social platform on Tuesday, Trump said the Smithsonian is “OUT OF CONTROL, where everything discussed is how horrible our Country is”, including “how unaccomplished the downtrodden have been”.

Elaborating on a review of several of the Smithsonian’s 21 museums and galleries ordered by the White House last week, Trump said he has instructed his lawyers “to go through the Museums” and “start the exact same process that has been done with Colleges and Universities where tremendous progress has been made”.

“This Country cannot be WOKE, because WOKE IS BROKE,” Trump added.

The Organisation of American Historians (OAH) has expressed “deep concern and dismay” at the White House’s “unprecedented” request to review the Smithsonian’s exhibits, adding that “no president has the legitimate authority to impose such a review”.

The Smithsonian receives most of its budget from Congress but is independent of the government in decision-making.

The OAH also said that “it is particularly distressing to see this effort of historical censorship and sanitising tied to the 250th anniversary of the nation’s founding”.

The Trump administration said it ordered the review of museums in advance of next year’s milestone, which will mark 250 years since the signing of the Declaration of Independence on July 4, 1776.

It was not until decades later, on December 18, 1865, that the 13th Amendment to the US Constitution officially abolished chattel slavery nationwide, although exceptions continued.

The National Museum of African American History and Culture, which was opened in 2016 with a ceremony led by then-President Barack Obama, is one of the museums the White House has included in its review.

According to the museum’s website, visitors learn about the “richness and diversity of the African American experience” with exhibits ranging from a plantation cabin from South Carolina to Chuck Berry’s red Cadillac convertible.

The freedom of expression organisation PEN America has also expressed alarm at the Trump administration’s “sweeping review” of Smithsonian exhibits.

“The administration’s efforts to rewrite history are a betrayal of our democratic traditions and a deeply concerning effort to strip truth from the institutions that tell our national story,” Hadar Harris, the managing director of PEN America’s Washington, DC, office, said in a statement.

Trump has made threats to cut federal funding for top US educational institutions, citing pro-Palestinian protests against US ally Israel’s war on Gaza, transgender policies, climate initiatives and diversity, equity and inclusion programmes.

Last month, the government settled probes into Columbia University, which agreed to pay $221m, and Brown University, which said it would pay $50m to the government. Both institutions also accepted certain government demands, including how some topics are taught.

Harvard University has sued the Trump administration to halt the freezing of $2.3bn of its federal funding.

United States President Donald Trump has unveiled his slate of picks for the Kennedy Center Honors, an annual awards show designed to honour actors, musicians, designers and creative professionals who have dedicated their lives to the performing arts.

On Wednesday, Trump appeared on stage at the John F Kennedy Center for the Performing Arts, one of the premier stages in Washington, DC, in a show of power over the national cultural institution.

“We’ll make it better than it ever was, frankly,” he said of the awards show. “ It’ll be something that people are going to be very proud of.”

This year’s five honourees include disco singer Gloria Gaynor, country music performer George Strait, the rock band Kiss, British comedian Michael Crawford and actor Sylvester Stallone, star of the classic films Rocky and Rambo.

Trump, a former reality TV star, also revealed that he would host the award show himself. In his opening remarks, he suggested his allies strong-armed him into taking the hosting gig.

“I’ve been asked to host. I said, ‘I’m the president of the United States. Are you fools asking me to do that?’” Trump said. “ So I have agreed to host. Do you believe what I have to do?”

Wednesday’s announcement was Trump’s latest foray into the arts, as he seeks to reshape the US’s cultural institutions to reflect his agenda.

Exerting power over the Kennedy Center

During Trump’s first term, from 2017 to 2021, the Republican leader never attended the Kennedy Center Honors, breaking with a longtime presidential tradition.

Since the ceremony’s beginnings in 1978, presidents have been regular attendees, except in rare cases, including Cold War-era negotiations and the 1979 Iran hostage crisis.

But since returning to the White House for a second term in January, Trump has not only sought to make his presence known at the Kennedy Center, but he has also sought to wield power over its programming.

On February 7, Trump announced he would purge the Kennedy Center’s governing board and declared his intention to lead the institution as its chair.

“I have decided to immediately terminate multiple individuals from the Board of Trustees, including the Chairman, who do not share our Vision for a Golden Age in Arts and Culture,” Trump wrote at the time. “We will soon announce a new Board, with an amazing Chairman, DONALD J. TRUMP!”

By February 12, the new Kennedy Center board had made good on its promise to elect Trump as chair.

Since then, Trump has expanded his reach into the country’s arts and culture spheres. On Tuesday, for instance, his administration revealed it would undertake an “internal review” of several Smithsonian museums, to “ensure alignment with the President’s directive to celebrate American exceptionalism”.

Trump also teased his new vision for the Kennedy Center Honors — and appeared to troll critics who expressed outrage over Republican proposals to rename the performing arts centre after the Republican leader.

“GREAT Nominees for the TRUMP/KENNEDY CENTER, whoops, I mean, KENNEDY CENTER, AWARDS,” Trump wrote on social media in the lead-up to Wednesday’s announcement.

He pledged the revamped award show would reflect “the absolute TOP LEVEL of luxury, glamour, and entertainment”.

A crackdown on crime in the capital

The Kennedy Center Honors is expected to air on the TV channel CBS in December, and it broadcasts from its eponymous theatre.

In Wednesday’s speech, Trump tied the upcoming ceremony to his broader campaign to crack down on crime in Washington, DC.

“ In the coming months, we’ll fully renovate the dated and, really, the entire infrastructure of the building and make the Kennedy Center a crown jewel of American arts and culture once again,” he said.

“ We have the right location, and soon we will be a crime-free area.”

Earlier this week, Trump invoked the capital’s Home Rule Act to take control of the local police force, and he deployed members of the National Guard to patrol the city’s streets, despite the fact that violent crime in the city was at a 30-year low.

Trump, however, has denied the legitimacy of those statistics, a claim he made again at the Kennedy Center on Wednesday.

“ You’re gonna see a big change in Washington crime stats very soon — not the stats that they gave because they turned out to be a total fraud. The real stats,” he said.

Trump also faces legal limitations to his efforts: The capital’s police can only be federalised for a period of 30 days, barring congressional action.

When asked about that limit at Wednesday’s news conference, Trump indicated he would seek to retain control of Washington’s police for the long term.

“ If it’s a national emergency, we can do it without Congress,” Trump said, though he added that he would introduce a crime bill that would allow him to extend his control over the local police.

“ We’re going to do this very quickly, but we’re going to want extensions. I don’t want to call a national emergency. If I have to, I will, but I think the Republicans in Congress will approve this pretty much unanimously.”

Trump ‘very involved’ in honouree selection

The Republican leader also hinted at a potential political bent to the reimagined Kennedy Center Honors.

He has previously denounced the Kennedy Center’s programming, pledging to nix artistic productions like drag shows and book classic Broadway hits instead.

In response, over the past year, the touring production of the hit Broadway musical Hamilton cancelled its scheduled stop at the Kennedy Center, as did comedian Issa Rae and the opera Fellow Travelers.

Performers in a touring production of Les Miserables also boycotted performances at the Kennedy Center to protest Trump’s changes.

Still, Trump doubled down on the programming changes, saying his ratings success on the reality TV show The Apprentice testified to his arts-industry smarts.

“I shouldn’t make this political because they made the Academy Awards political and they went down the tubes,” Trump said on Wednesday.

“They’ll say, ‘Trump made it political,’ but I think, if we make it our kind of political, we’ll go up, OK? Let’s see if I’m right about that.”

He also confirmed that he had played a large role in selecting this year’s Kennedy Center honourees.

“I would say I was about 98-percent involved. No, they all went through me,” Trump explained, adding that he turned down “plenty” of candidates, including “a couple of wokesters”.

Looking ahead, Trump said the Kennedy Center would feature heavily in his plans to celebrate the 250th anniversary of the country’s founding in 2026.

“I’m going to be president for the Olympics. I’ll be president for the World Cup. And the 250th is going to be maybe more exciting than both,” Trump said. “It’s a great celebration of our country. We’re going to be using this building for a lot of the celebration.”

Possible ways to mitigate the risk include armouring the coastline and building breakwaters to relocating the monuments.

The Journal of Cultural Heritage has published a new study indicating that rising sea levels could push powerful seasonal waves into Easter Island’s 15 iconic moai statues, in the latest potential peril to cultural heritage from climate change.

“Sea level rise is real,” said Noah Paoa, lead author of the study published on Wednesday and a doctoral student at the University of Hawaii at Manoa’s School of Ocean and Earth Science and Technology. “It’s not a distant threat.”

About 50 other cultural sites in the area are also at risk from flooding.

Paoa, who is from Easter Island – a Chilean territory and volcanic island in Polynesia known to its Indigenous people as Rapa Nui – and his colleagues built a high-resolution “digital twin” of the island’s eastern coastline and ran computer models to simulate future wave impacts under various sea level rise scenarios. They then overlaid the results with maps of cultural sites to pinpoint which places could be inundated in the coming decades.

The findings show waves could reach Ahu Tongariki, the largest ceremonial platform on the island, as early as 2080. The site, home to the 15 towering moai, draws tens of thousands of visitors each year and is a cornerstone of the island’s tourism economy.

Beyond its economic value, the ahu is deeply woven into Rapa Nui’s cultural identity. It lies within Rapa Nui National Park, which encompasses much of the island and is recognised as a UNESCO World Heritage Site.

The roughly 900 moai statues across the island were built by the Rapa Nui people between the 10th and 16th centuries to honour important ancestors and chiefs.

The threat isn’t unprecedented. In 1960, the largest earthquake ever recorded – a magnitude 9.5 off the coast of Chile – sent a tsunami surging across the Pacific. It struck Rapa Nui and swept the already-toppled moai further inland, which damaged some of their features. The monument was restored in the 1990s.

While the study focuses on Rapa Nui, its conclusions echo a wider reality: Cultural heritage sites worldwide are increasingly endangered by rising seas. A UNESCO report published last month found that about 50 World Heritage sites are highly exposed to coastal flooding.

A UNESCO spokesperson told The Associated Press news agency that climate change is the biggest threat to UNESCO’s World Heritage marine sites. “In the Mediterranean and Africa, nearly three-quarters of coastal low-lying sites are now exposed to erosion and flooding due to accelerated sea level rise.”

Possible defences for Ahu Tongariki range from armouring the coastline and building breakwaters to relocating the monuments.

Paoa hopes that the findings will bring these conversations about now, rather than after irreversible damage. “It’s best to look ahead and be proactive instead of reactive to the potential threats.”