Culture

Mexican lawmakers have long struggled to balance the country’s ongoing fight against narco-trafficking with the international popularity of corridos tumbados — which they say promote violence and crime.

On Monday, the famed corrido singer Junior H joined President Claudia Sheinbaum during her daily news conference to promote México Canta: a binational music competition for artists from both Mexico and the United States, organized by México’s Ministry of Culture.

During his speech, the 25-year-old supported the contest, now in its second iteration, which was designed to help amplify the musical potency of México while moving away from its violent reputation.

He also reflected on his own ascent to fame, which came through popular songs like 2023’s “El Azul” (alongside Peso Pluma), a narcocorrido believed to be about a Sinaloan drug lord Juan Jose Esparragoza Moreno; as well as his 2022 banda-fused track, “El Hijo Mayor,” which some speculate to be about the son of Joaquín “El Chapo” Guzmán.

“In my initial [career], some of the stories that I shared in my music didn’t add to the positive message that reflect my current compositions,” said Junior H, whose real name is Antonio Herrera Pérez. “I kept growing and I learned that music, besides being a form of expression, also implies a responsibility when millions of people hear you worldwide.”

Junior H — who grew up in Guanajuato before immigrating to Utah — continued to speak on his evolution as an artist and human, acknowledging the role he plays in shaping how his listeners, which amount to over 30 million on Spotify, visualize their futures.

“A culture of peace does not mean we cease to stop talking about our reality. It means finding new ways to express them,” said Junior H. “I invite all young generations to participate, to believe in your talent and to never stop believing in your dreams.”

Two months ago, the singer struck a different chord when he performed “El Azul” at the South by Southwest music festival on March 14 as part of the Billboard showcase. “It’s the government against us, or us against the government,” said Junior H to the audience, in resistance to censorship.

As of now, 10 out of 32 Mexican states have implemented bans or limitations on corridos in public spaces; lawmakers assert that the lyrics promote organized crime. The penalty for singing such ballads can range between a monetary fine to prison time.

In October, Junior H was reportedly fined 400,000 pesos (more than $23,000) after performing “El Azul” during a festival in Zapopan, Jalisco, per Billboard. The Zapopan municipal president, Juan José Frangie Saade, allegedly banned the artist from performing in the city during his term, which ends in September 2027.

As of now, the singer is slated to perform at the Baja Beach Fest in Rosarito, Baja California, on Aug. 8.

Contrary to her predecessor, Andrés Manuel López Obrador, a staunch critic of corridos tumbados, President Sheinbaum is keeping an open mind to the power of the trap-infused subgenre. As a result, this year’s edition of México Canta will place its focus on regional Mexican music acts.

“We are not censoring [regional music], because I don’t believe in censorship,” said Sheinbaum during the news conference. “I don’t think prohibiting music or its contents will solve anything. More than anything, we need to promote nonviolent music. That’s the objective of this contest.”

Open calls for México Canta are now open through June 10. The semifinals will take place at the Million Dollar Theatre in Los Angeles on Aug. 23 and at the Angela Peralta Theater in Mazatlán on Aug. 30. The grand finale will take place Sept. 13.

Four months have passed since US Starfighters breached the Fuerte Tiuna Death Star, captured Darth Maduro and celebrations broke out all around the galaxy. Venewoks in the diaspora embraced a renewed sense that victory, this time, might be permanent. But back in the country, the Empire has managed to reorganize and adapt to the demands of Viceroy Trump and leading members of the Trade Federation. Darth Delcy, albeit disdained by many, is becoming stronger. The rebellion yearns for the return of Master Machado, who isn’t getting the Viceroy’s authorization to negotiate a proper matchup with Darth Delcy and subsequent terms of surrender.

It’s more evident by the minute that Darth Delcy’s plan is to avert the creation of the New Republic by giving the Empire a technocratic, trade-friendly outlook. The path between defeating Darth Maduro and dismantling the Empire has turned out to be treacherous. Master Machado has tried to reassert her leadership by visiting foreign galaxies, but can’t find a breakthrough with the Viceroy.

Delcykrats are trying to conduct a swift takeover of the layered system Darth Maduro inherited from the Emperor. Madurokis are being neutralized or quietly assigned to minor planets, as is the case of Grand Moff Padrino in Agraria. Grand Admiral González López and Envoy Plasencia, old friends of Darth Delcy, are making strides, one within the Imperial High Command, the other across intergalactic diplomacy. Grand Vizier Jorge, Darth Delcy’s cunning brother, is running the senate and recasting the new imperial order through the language of old Scarlet propaganda.

The new imperial order

In Carascant, to keep the Scarlet Coalition from fragmenting, Darth Delcy tries to keep the echo of Stormtrooper boots and official dismissals contained within Imperial Offices. She still has to contend with Diosdado the Hutt, whose power lies in coercion and galactic hunting squads. More than 450 rebellion prisoners, many captured on the Hutt’s orders, are still in Imperial detention centers.

Viceroy Trump looks unwilling to press the ruling Delcykrats as long as he gets unrestricted access to on-demand resources such as kyber crystals and beskar steel. As Darth Delcy’s power and appeal before the Trade Federation has grown, she has terminated initial gestures of reconciliation that were initially needed for appeasement. A new Death Star is in the works, and to build a superior weapon for durable rule, Darth Delcy knows time is her most valuable asset.

Chief Envoy Rubio has reassured Master Machado that the galaxy first needs to stabilize and revive its economy before any transition can take place. Lately, however, the envoys that visit Carascant have said nothing about Republican reform, and a great deal about kyber crystals and the resumption of intergalactic travel.

The Empire does not need either Darth Maduro or Darth Delcy to prevail. It only needs the New Republic project to fail.

Master Machado has also witnessed how the regime restricts the activity of allies like Han Guanipa and Lando Armas, dropping threats every now and then. In the domestic senate, separatist opponents led by Count Capriles have failed to influence Imperial policy. A series of looming Imperial appointments, and the November referendum on Viceroy Trump, can determine Master Machados’ chances to a great extent.

Aligning the interests of the victors of the November referendum with those of the New Republic will be a challenge for rebel aides Mon Meda and Pedro Organa. They won’t just need to keep a level of coordination with allies of growing importance, but to safeguard Master Machado’s position before Viceroy Trump while keeping the new hope alive.

The struggle for Republican foundations

In the coming weeks, the Scarlet Coalition will be forced to appoint a new InterGalactic Banking Board (IGBB) and, even sooner, fill roughly two-thirds of the Imperial High Court. The figures chosen to lead these bodies could prove decisive in shaping the fate of Darth Delcy’s emerging Death Star project. A competent IGBB will be essential for the stabilization phase, key to aligning both the Trade Federation and the Galactic Senate behind the prospect of Venezuela’s economic rebound.

At the same time, a genuinely independent Imperial High Court could become the first meaningful check on Imperial power. The courts are also expected to oversee the Council of Electoral Battles, still controlled by Madurokis whom Darth Delcy has left untouched to avoid triggering her pending matchup with Master Machado. These two institutions will be critical to the third phase that Chief Envoy Rubio is purportedly pursuing, and might determine the success of Viceroy Trump’s plan after capturing Darth Maduro. Control over courts and the Battles Council will determine whether the final electoral contest—backed by the Trade Federation—can take place on credible terms.

The Rebel struggle will gradually shift toward navigating a far more intricate web of factions within a fragmented Trade Federation.

But Darth Delcy is expected to attempt cosmetic reshuffles rather than a transformative change of Imperial personnel. One unresolved question is whether forces aligned with Master Machado, such as national support and diplomatic pressure, will be enough to force a true transfer of power, or whether the Empire will once again adapt without changing.

The near future provides an opportunity for the new order to strengthen. The Trade Federation’s influence over Darth Delcy depends on Viceroy Trump’s grip on power, which will face its biggest challenge in the November referendum. The unchecked power the Viceroy currently has allows him to circumvent any criticism over Carascant. But change in the Trade Federation’s balance of power could make bipartisan support essential for the future of the New Republic.

The Trade Federation’s reckoning

Competing views in the Trade Federation on how to advance with the Empire’s transition will give more time and less scrutiny to Darth Delcy’s actions. It also provides an opportunity for Imperial Envoy Plasencia to bolster views which are more aligned with the Empire. For the Rebellion, the fallout from Viceroy Trump’s eroding grip on power hinges entirely on the alliances Master Machado has tried to forge.

These alliances will likely be essential to maintain pressure and decisively advance the New Republic’s agenda. Nonetheless, Viceroy Trump’s polarizing grip on the narrative has created deep seated resistance amongst potential allies. The struggle will gradually shift away from merely managing and appeasing Viceroy Trump and his Envoys, and toward navigating a far more intricate web of factions within a fragmented Trade Federation.

When Darth Maduro was defeated but no New Republic was allowed to emerge, the Empire did not dissolve, it adapted. Its new faces and colors are not signs of weakness but mechanisms of survival, designed to delay or prevent the formation of a New Republic. “Permanent victory” is an illusion. The Empire does not need either Darth Maduro or Darth Delcy to prevail. It only needs the New Republic project to fail.

What follows for Master Machado and the Rebellion is therefore not a triumphant return, but a sequence of calculated risks. The next chapter will depend on whether Master Machado returns as the leader of a Rebellion or as the effective architect of a New Republic. The Empire is determined to prevent her return or neutralize her immediately. If she returns solely as a symbol of resistance, Imperial forces will seek to frame her as a destabilizing threat to Viceroy Trump’s plan, increasing the risk of escalation against her.

If, however, her return becomes the centerpiece of a multilateral New Republic project backed by the Trade Federation, it would directly undermine Darth Delcy’s strategy. In that scenario, any move against Master Machado would signal to Viceroy Trump that Delcy cannot control the coalition she leads. At the same time, Master Machado’s movement can position itself as a more credible alternative for institutional reconstruction.

This shift, from diplomatic cover during resistance to an instrument of internal legitimacy, opens a narrow but meaningful window for the New Republic’s success.

The past 12o days show that Venewoks have not yet earned their Endor moment. As in the Star Wars movies, dismantling an Empire and building a New Republic will take a long and arduous journey. Normally the credits would unroll now, but the crisis continues and Darth Delcy’s intentions are crystal clear.

Seoul – Shekinah Yawra had no other option but to spend the night at a South Korean jjimjilbang, a 24-hour bathhouse, after every hotel near central Seoul sold out in late March.

But sleep was secondary for the 32-year-old Filipino who had made her way to Seoul’s Gwanghwamun Square at 7am to secure a spot in a crowd that city officials estimated would grow to hundreds of thousands.

All this was for a glimpse at the seven-member K-pop supergroup BTS, who returned to the stage on March 21 after almost four years away from the limelight for their staggered, mandatory military service.

Though she failed to secure one of 22,000 free tickets for BTS’s first return concert in the square, Yawra was still ecstatic to stand on the sidelines and watch the concert live on a big screen set up for the occasion.

“We all came just for this,” she told Al Jazeera, recounting how friends had flown in from the Philippines for a single night to catch the concert.

Worldwide, more than 18.4 million viewers tuned in for the Netflix livestream of the concert.

With an estimated 30 million fans worldwide – who refer to themselves as the BTS ARMY – the K-pop group is the most visible symbol of “Hallyu”, or the “Korean Wave”, and the global surge of interest in South Korean popular culture and the financial revenues being generated as a result.

In late March, BTS’s 10th studio album, Arirang, topped the charts in the United States, Japan and the United Kingdom, the world’s three largest music markets. The group’s upcoming world tour is expected to generate more than $1.4bn in revenue across more than 80 shows in 23 countries.

Domestically, inbound tourist numbers for the first 18 days of March rose 32.7 percent from the previous month, according to Ministry of Justice data, as the return concert approached and hotel prices surged across central Seoul amid the demand for rooms.

In the week leading up to the concert, sales of BTS merchandise – from BTS glow sticks to blankets – surged 430 percent at the Shinsegae Duty Free retail outlet in central Seoul, the company said.

Over the concert weekend, revenues also rose 30 percent at the city’s Lotte Department Store and 48 percent at Shinsegae overall, compared with the same March weekend a year earlier, in 2025.

As far back as 2022, the Korea Culture and Tourism Institute (KCTI) – a government-sponsored think tank and research organisation – estimated that a single BTS concert in Seoul could generate up to 1.2 trillion won ($798m) in overall economic impact.

KCTI researcher Yang Ji-hoon told Al Jazeera that a sample study of the crowd at the BTS comeback event at Gwanghwamun Square highlighted the uniqueness of fandom-driven tourism. More than half of those at the concert were foreign visitors and many required long-haul travel to attend.

“In Europe and the United States, travel tends to be concentrated within its own regions,” Yang said.

“So, for people to overcome such travel barriers and come to South Korea, it usually requires more than just ordinary motivation or typical spending – it’s not something that happens easily,” he said.

K-pop’s transition to the global mainstream

The scale of BTS’s return to the entertainment world reflects a broader state-backed strategy.

When music promoter Hybe requested Seoul city support for the Gwanghwamun square comeback concert, authorities approved it on public-interest grounds, treating the event as a showcase of national cultural influence.

Almost befitting an official event, more than 10,000 state personnel were deployed for security, logistics and crowd control.

According to data retrieved by South Korean publication Sisain, through a public information disclosure request to the Seoul government, close to 130 million won ($87,400) of city funds were spent as part of logistics for the comeback concert.

South Korean government support for BTS has a precedent.

As members of the boyband approached South Korea’s mandatory military service age, policymakers debated special exemptions for members of BTS, which was estimated to have generated $4.65bn annually to the country’s economy.

After BTS’s forthcoming concerts in Mexico City sold out in just 37 minutes, Mexican President Claudia Sheinbaum urged South Korea’s President Lee Jae Myung to “bring the acclaimed K-pop artists more often”, noting nearly one million fans in Mexico had attempted to secure 150,000 tickets.

South Korea’s cultural influence is also extending beyond music.

South Korea’s cosmetics exports surpassed $11bn last year, according to global accountancy firm PricewaterhouseCoopers (PwC), overtaking France in cosmetics shipments to the US, while South Korean food and agricultural exports reached a record $13.6bn, according to data from the Ministry of Agriculture, Food and Rural Affairs.

KCTI researcher Yang described the growing interest as a phase of “transition to the global mainstream”, where South Korean products are internationally recognised and content output is measured against worldwide benchmarks such as the Billboard charts and the Academy Awards.

He also warned that structural reform is now essential to keep pace with the wave of interest in South Korea.

“As the industries expand in scale, they must also evolve in its underlying systems, infrastructure, and workforce,” he said.

“Rather than focusing solely on direct financial support, future governmental policies should move toward strengthening foundational conditions – such as improving labour environments, addressing unfair practices, building relevant infrastructure, and establishing more robust statistical and data systems,” he said.

Politicians appear to be paying attention.

During his election campaign last year, President Lee framed the next phase of cultural expansion as “Hallyu (Korean Wave) 4.0”, with promises to grow the sector into a 300 trillion won ($203bn) industry with 50 trillion won ($34bn) in exports.

In line with this vision, the government set the budget to bolster “K-content”, support the “pure” arts sector and strengthen the overall culture-related fields at a record 9.6 trillion won ($6.5bn) — reflecting the president’s view of the cultural sector as a strategic national industry rather than merely a consumer market.

South Korea’s strategy appears to be paying off.

South Korea now ranks 11th globally in “soft power”, according to Brand Finance’s Global Soft Power Index, placing the country as both “influential in arts and entertainment” and “products and brands the world loves”, just behind the US, France, the United Kingdom and Japan.

The darker side of K-pop: Pressure to become a perfect idol

Amid its global success, the darker side of the K-culture industry has received more scrutiny.

Mega-promoter Hybe has been embroiled in a prolonged dispute with K-pop’s New Jeans, a band considered to be a potential heir to BTS and their all-female colleagues Blackpink. The highly public legal dispute that started in 2024 highlights industry tensions over creative control and artist autonomy.

Since the early 2000s, K-pop has also grappled with the legacy of “slave contracts”, or highly restrictive agreements limiting artists’ freedom. Although reforms by the Fair Trade Commission have improved protections for performers, contractual obligations in the K-pop industry are exacting on new performers and their strict work routines have long been documented.

From their trainee years, aspiring idols endure gruelling schedules that involve long workdays and little sleep.

Many top stars often face contractual restrictions on socialising, using their phones or dating. They are also typically limited in what they can say publicly, relying on agency-managed messaging to communicate with fans and the media.

While the rise of social media and other online platforms has opened new avenues for more direct expression and interaction in recent years, concerns over burnout and depression have continued to shadow the industry, with several high-profile stars taking their own lives.

Beauty standards associated with the K-culture genre have also become another flashpoint for controversy.

A 2024 report by South Korean economy news site Uppity found 98 percent of 1,283 respondents born between 1980 and 2000 viewed physical appearance as among the most desirable “social capital” an individual can possess.

Nearly 40 percent of respondents in the survey had undergone cosmetic procedures, while more than 90 percent held neutral or positive attitudes regarding undergoing medical procedures to enhance beauty.

According to the International Society of Aesthetic Plastic Surgery, South Korea has the world’s highest rate of procedures, with 8.9 per 1,000 people compared with 5.91 per 1,000 people in the US and just 2.13 per 1,000 in neighbouring Japan.

Yoo Seung-chul, a professor of media studies at Ewha Womans University in Seoul, said that K-culture has reinforced the normalising of beauty as a significant metric of personal and social value.

“K-culture has reinforced systems and structures around self-expression,” Yoo told Al Jazeera.

“With the rise of webtoons that incorporate themes like plastic surgery, there has been a noticeable reduction in the stigma towards going under the knife among younger audiences in their teens and early twenties,” Yoo said, explaining that popular plastic surgery platforms such as Unni have further normalised the trend by connecting people to clinics and reviews of these clinics and their surgeons.

At the same time, globalisation has reshaped the K-culture industry itself. Many new K-pop acts now include international members to broaden appeal.

Hybe has expanded this strategy through its US subsidiary, Hybe America, producing globally oriented groups like Katseye, which only has one South Korean member in its six-member girl group.

The shift has prompted debate.

Even BTS’s latest album Arirang – a nod to South Korea’s most iconic folk song – has divided fans over its use of English lyrics and foreign producers.

“K-content is being designed with global audiences in mind from the outset. In film, there has been a noticeable rise in genres like horror and science fiction, which are easier to export internationally,” Yoo said.

“This global orientation is also reflected in K-pop agencies recruiting foreign members for idol groups,” he said.

But international audiences do not always prefer highly globalised versions of Korean content, Yoo said, adding, in fact, that many are drawn to K-pop’s “sense of locality”.

As audiences increasingly seek authenticity, Yoo argues the industry faces a defining challenge.

“Industries and companies need to figure out how to preserve a sense of local identity while effectively marketing to global audiences,” Yoo added.

“Striking that balance will be crucial in shaping the next phase of Korea’s cultural exports.”

Banksy has unveiled a new sculpture of a man stepping off a stone base with his face obscured by a flag. The overnight installation in Waterloo Place, London, was revealed in a video shared by the artist, and has drawn fans of his politically charged works.

Chinguetti, Mauritania – Bookkeeper Muhammad Gholam el-Habot gently pulled a pair of white gloves onto his slender hands and set about his routine in his high-ceilinged, cool library lined with steel bookshelves.

He opened a thick manuscript printed in Arabic. After leafing through its brown and frail pages, looking for damage, el-Habot closed the book with a satisfied thud, rubbed his fingers over the wrinkled leather cover, and carefully placed it in a white cardboard box.

“These books are very important to my family and me,” the librarian said, as the midday sunlight spilled in through open wooden doors. He spoke in Hassaniya Arabic, the dialect spoken in Mauritania, his voice low, his sentences halting and poetic. Fat flies buzzed around his long oval face as he worked.

“My relationship with them is like that of a father and his son,” he continued. “We must protect them until God takes the land and all the people who are on the land.”

The el-Habot family library is only one of a handful of its kind still operating in Chinguetti, a medieval fortress town or ksar in Mauritania’s northern Adrar region. Once a centre of commerce and Islamic learning between the 13th and 17th centuries, it is now largely abandoned as, over the decades, locals have sought opportunities in bigger cities.

Chinguetti is also at the mercy of a changing climate.

Mauritania, in northwest Africa, is 90 percent Sahara desert and has faced desertification for centuries. Now, human-induced climate change is an accelerant. Sand and flash storms occur more frequently, while extreme hot or cold seasons last longer than usual.

Those pressures are a “big deal” for precious books, said Andrew Bishop, a researcher at the University of Wyoming studying climate impacts on Saharan cultures.

“Extreme heat and less predictable rainfall patterns means that texts are increasingly damaged by water or heat, making many manuscripts beyond repair. More than that, the mud libraries themselves are not built for sudden rain and longer summer of over 40 degrees (Celsius, or 104 degrees Fahrenheit),” he told Al Jazeera.

Many of Chinguetti’s 4,500 residents now live in cement buildings outside the original confines of the abandoned ksar, built out of dry stone and red mudbrick. There are fears that the entire area, which is about 500 square kilometres (200 square miles) – about the size of Prague – is at risk of being buried by surrounding sand dunes in the long run, although there is not a clear timeline yet.

Islam’s ‘seventh holiest city’

El-Habot did not always want to be a bookkeeper.

But when his father grew sick in 2002, he took over the approximately 1,400 manuscripts out of obligation. It was an honour in his culture to be selected, he said.

It would be out of the question now, the 50-year-old librarian said. He imagines that his two sons would reject the duty, as many of their peers have left to explore economic opportunities in the capital city, Nouakchott, or elsewhere.

“This is something that we have to do; it is a family obligation,” el-Habot said, with a bewildered expression. “This is not even a question to be asked.”

The family manuscripts are sacred because they are rare. The bookkeeper’s ancestor, Sidi Mohamed Ould Habot, was one of about two dozen Chinguetti scholars who travelled around the Muslim world between the 18th and 19th centuries, from Egypt to Andalusia, in search of knowledge.

Between them, the scholars amassed a vast fortune of about 6,000 scripts. They covered almost every topic: Islamic jurisprudence, the hadith or teachings of the Prophet Muhammad, mathematics, medicine, and poetry. Some of the works came from the scholars themselves, including the older el-Habot, who wrote about the science of poems.

The books were stored in about 30 libraries in Chinguetti, open to people from all over the world.

At the time, the town was famous because of its location at the crossroads of trans-Saharan trade routes linking the Sahel and the Maghreb. Camel caravans guided by nomadic Berber traders transporting goods – mostly salt and gold – between northern Africa and the southern empires used the city as a way station, transforming it into a commercial hub.

Muslim pilgrims on their way to Mecca on foot or camel would gather in Chinguetti and prepare themselves spiritually and mentally for their long, difficult journey before heading on to Cairo. Islamic and scientific texts were exchanged, bought and sold in the town.

In West African lore, Chinguetti was referred to as Islam’s seventh holiest city. Others nicknamed it the “Sorbonne of the Sahara”, according to UNESCO.

Generation after generation managed the libraries. Over time, as the caravan trade declined due to new European sea routes, the old town emptied and several libraries closed.

“Chinguetti was the mother of all people,” el-Habot said, referring to the town’s old status as the main capital of the region. Indeed, the area now known as Mauritania was called “Bilad Shinqit” or Land of Chinguetti. In the local Soninke language, it translates to “spring of horses”.

“People had to go because they wanted to feed themselves, get education for their kids, and get better opportunities for themselves too,” el-Habot said, adding that there were no universities close by, and only a handful of primary and middle schools.

Some within his family have moved on, as well, the bookkeeper said. Those, like him, who stayed back, wanted to respect their ancestor’s three wishes.

“His wishes were that the library stay in Chinguetti, that it should be open to all seekers of knowledge, and that a male descendant of his who is religious and morally upright be the bookkeeper,” el-Habot explained. Not following those instructions, he said, could invite God’s anger.

Chinguetti’s decline is largely due to the lack of support for its traditional lifestyle, Bishop said. Annual rainfall in Mauritania has decreased by 35 percent since 1970, making it harder for herders to graze or for date palms to produce fruit.

In 1996, UNESCO granted Chinguetti and three other Mauritanian ksour World Heritage Status, cementing their rich legacy. The few people still living in the old town are allowed to renovate but only minimally, to keep its original stone architecture and the typical Moorish structuring where houses are lined up along narrow alleys that lead to a mosque with a square minaret.

Just outside Chinguetti are the excavated ruins of Abweir, a town of 25,000 believed to have been founded in 777 AD, and believed to be the “original” Chinguetti. Its residents moved from the settlement, locals believe, in 1264 – likely after a conflict. Over time, the area was completely swallowed by sand.

Saving the manuscripts

El-Habot’s job, while enjoyable much of the time, is also taxing, he admitted.

Preserving old books by reprinting or digitising the most worn-out manuscripts before they become unreadable is a costly process. He often needs chemicals to keep away book-eating insects and has to fund more suitable storage.

Then, there is the weather, which is out of his control. Mauritania swelters in the dry season between April and December, and is bitingly cold in the winter months that follow. Old pages are sensitive to both extremes and can become brittle, el-Habot said. Sometimes, when it is really hot, he places buckets of water around the library hall to spur humidity.

Flash floods, meanwhile, threaten water damage.

Visitors to the library usually pay a small fee, but tourist numbers dropped drastically across Mauritania in the mid-2000s, when armed groups attacked foreigners. The COVID-19 pandemic also reduced the flow of travellers.

Mauritania has since clamped down on violence. Tourists are slowly coming back, el-Habot said, and some of the locals who left have also returned.

In 2024, a $100,000 UNESCO restoration project provided air-conditioning units, computers and printers, as well as shelving units and storage boxes to 13 family libraries to stimulate the sector. But most libraries remain closed, their texts scattered among members. The lack of capacity of young people who are not as interested in preserving Chinguetti’s culture will continue to pose a challenge, Bishop said.

Back in the library, el-Habot continued working, his thin frame bent over his manuscripts. He opened one book and pointed excitedly at its pages: They depicted the moon in its luteal phases, and an eclipse. A third page showed the holy cities of Mecca and Madina.

“I have to protect this heritage,” el-Habot said in his low voice. “As mine, and also for all of humanity.”

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

At least nine people have been arrested following the stampede, including police officers and ministry employees.

Haiti has begun three days of national mourning, following a deadly stampede at the Citadelle Laferriere in the northern part of the country.

At least 25 people were killed in the crush that formed at the entrance of the popular tourist site on Saturday, with some visitors pressing to exit while others pushed to enter.

On Tuesday, the Ministry of Culture and Communication announced that two government officials were fired in the aftermath of the stampede.

One, a director with the Institute for the Preservation of National Heritage, was accused of “serious negligence”. The other, who served in the Ministry of Culture and Communication, was criticised for “biased passivity”.

“The Ministry of Culture and Communication, without going into the details of the criminal investigation, believes that the tragedy at La Citadelle is the result of administrative negligence,” it said in a statement.

The government, it added, “will fully assume its responsibilities”, as the event “must outrage the public conscience”.

The tragedy marks one of several crises the Haitian government is facing as it approaches its first round of general elections later this year.

Already, nine suspects have been arrested in connection with the deadly stampede, including five police officers and two employees from the Institute for the Preservation of National Heritage.

The crush of people took place as a local DJ held an event at the citadel, a 19th-century fortress commissioned after the Haitian Revolution, when Haiti’s enslaved population overthrew French colonial rule.

Since its construction, the citadel has become a symbol of Haitian sovereignty.

But the stampede on Saturday was exacerbated by stormy weather conditions, as rain pummelled northern Haiti and participants at the event ran for cover.

Elsewhere in the country, approximately 12 people died due to the heavy downpours, and at least 900 homes and one hospital have been flooded.

The Haitian government has also been grappling with the threat of gang violence, particularly since the assassination of then-President Jovenel Moise in 2021.

His death left a power vacuum in the government that criminal networks have sought to exploit. Federal elections have been repeatedly postponed for much of the last decade.

Earlier this month, a United Nations-backed Gang Suppression Force began to arrive in the country to help address the violence.

From March 2025 through mid-January of this year, the UN has counted at least 5,519 gang-related deaths in Haiti. Roughly 16,000 people have been killed since 2022, and more than 1.5 million have been displaced.

Authorities called for more aid on Tuesday, as the violence continued. In the Marigot commune, seven people were killed and a police station was burned in an overnight gang attack.

Marigot Mayor Rene Danneau described the victims as informants who helped the police. He called on Haiti’s government to step in.

“We are asking the prime minister to take all necessary measures,” he told Radio Television Caraibes.

Sabrina Carpenter has apologized after sparking backlash for mistaking a Coachella fan’s traditional Arabic cheer for yodeling, which she described as “weird.”

The Grammy winner was performing her first headlining show at Coachella on Friday night when an audience member suddenly let out a high-pitched cry called a zaghrouta.

“My apologies i didn’t see this person with my eyes and couldn’t hear clearly,” Carpenter wrote Saturday on X. “My reaction was pure confusion, sarcasm and not ill intended. Could have handled it better!”

She continued: “Now i know what a Zaghrouta is! I welcome all cheers and yodels from here on out.”

What happened?

The misunderstanding took place between songs. As applause for her previous number, “Please, Please, Please,” faded and Carpenter sat down at the piano for her next number, someone in the crowd suddenly let out a loud trill.

“I think I heard someone yodel,” Carpenter said into the microphone. “Is that what you’re doing? I don’t like it.”

“It’s my culture,” a voice from the audience shouted.

“That’s your culture … is yodeling?” Carpenter responded with a quizzical frown.

“It’s a call, it’s a call of celebration,” the audience member could be heard saying.

“Is this Burning Man? What’s going on? This is weird,” Carpenter replied, before continuing her next song,“We Almost Broke Up Again Last Night.” It was the singer’s first live performance of the single from her new album, “Man’s Best Friend.”

What was the public response?

Carpenter made the public statement after an online uproar. Her apology on X was a quote reply to a post calling her reaction to the fan’s cheer “insensitive and Islamophobic.”

The singer was “mad disrespectful for mocking the zaghrouta,” wrote another X user. “What’s worse is the blatant racism that followed and the laughs of the audience,” they continued.

Carpenter’s apology was generally well-received online, with some fans thanking her for taking accountability. Carpenter’s representatives did not immediately respond to a request for comment.

Carpenter has gone from a child actor known for her role as Maya on Disney’s “Girl Meets World” to pop stardom in the past few years. During her debut at Coachella in 2024, she vowed to return as a headliner. Her Coachella show on Friday was an elaborate Hollywood-themed production — dubbed “Sabrinawood” — packed with references to classic movies, including a dance from 1987’s “Dirty Dancing,” and celebrity cameos.

What is a zaghrouta?

A zaghrouta is a loud, rhythmic sound made by quickly moving the tongue while letting out a high-pitched cry.

Shakira, who was born and raised in Colombia and has Lebanese roots, previously made headlines in 2020 for letting out a zaghrouta during the Super Bowl LIV halftime show.

Nesreen Akhtarkhavari, an associate professor and director of Arabic studies at DePaul University in Chicago, told the Chicago Tribune at the time that the ululation is a Middle Eastern expression of joy made during weddings, sporting events and protests.

Coachella is never cheap, much less this year’s sold-out edition with the long-awaited live return of Justin Bieber. But if you’re looking to score a last-minute pass, you likely lost your swag when you saw the resale prices on secondary sites like StubHub.

As of Friday afternoon, you’ll pay between $4,000 and $5,000 for a sold-out weekend one GA pass on StubHub. (Prices are lower for weekend two on Coachella’s official resale site. Weekend one tickets originally retailed for $649).

“That’s insane,” said California Assemblymember Matt Haney (D-San Francisco), who has introduced AB 1720, the California Fans First Act, to combat extortionate ticket re-selling. Haney’s bill would ban reselling tickets at more than 10% above face value in California.

“We’ve allowed live events including Coachella to be dominated by speculators who aren’t fans, but who simply want to profit off these events,” he continued. “They didn’t contribute to Coachella, they don’t play an instrument. They’re using events as a way to screw over fans and jack up prices. The result is that people who are Justin Bieber fans pay eight or nine times over the face value of a ticket.”

The proposal comes as the U.S. Department of Justice recently announced a settlement with Live Nation in a federal suit that will allow it to keep control of Ticketmaster. Many states, including California, are looking at options to pursue their own legal action and legislation to fix a ticket market fans have come to see as deeply broken.

Coachella, produced by Goldenvoice and AEG, isn’t affiliated with Live Nation or Ticketmaster. But eye-watering secondary market prices are an example of how desirable concerts have become a hot commodity for predatory resellers.

“We’ve got to break up [Live Nation’s] monopoly, but there is a problem with the secondary market and the ways we’ve allowed scalpers to crowd out fans. That exists on all platforms,” Haney said. “We’ve got to address monopolies and ridiculous fees in direct ticket sales, but we also can’t allow scalpers to buy up tickets to profit off the art of others. I have no doubt that if we didn’t allow gambling on ticket prices, there would still be Coachella tickets available for fans.”

The issue of high concert prices is multifaceted, and artists and promoters play more of a role than many fans want to believe. The technology exists for many tours to do what Haney’s bill proposes — cap resale prices — on their own. Fans clearly are willing to pay extremely high prices for in-demand performances like Coachella.

“If people are willing to pay a lot to see a performance,” Haney said, “Those dollars should go to the artist, to folks who work at the event. If demand is high, tickets may be expensive, but we shouldn’t allow scalpers to create scarcity and higher prices.”

If the California Fans First Act were to pass (it’s still working through the Assembly) it would bring the state‘s ticket market more in line with many European countries that already ban exorbitant resale practices. Other states like New York are considering similar legislation, and in the absence of federal action to address issues in the ticket market, state legislation may be the next best option.

Haney hopes California — a state whose cultural identity and economy is deeply tied to live music — can lead on that front.

“There is no California without creators and culture and music,” he said. “It’s the heart and soul of who we are, it’s a massive part of our economy and part of our culture. We have to make sure creators can receive the support for their art, and that fans have the opportunity to experience it. Right now, we’re losing on both fronts. There’s an urgency for this legislation here more than anywhere because of how central it is to who we are.”

One of L.A.’s most unique art galleries is closing up shop.

Gallery 1988, which opened in 2004 and proclaimed itself “the first pop culture-focused art gallery in the world,” will cease operations at the end of April. In a post on Instagram, gallery owner Katie Sutton said that while the gallery had been forced to close its physical space on Melrose a few years back, she had “really tried to keep things going [online], especially for our amazing artists.” Unfortunately, she wrote, “the [art] market is the worst I’ve seen it in over two decades,” and the decision to close became inevitable.

A launching pad for artists whose work paid tribute to television, film, video games and more, Gallery 1988 was renowned for shows like the annual “Crazy 4 Cult,” which showcased pieces celebrating underground classics from across the entertainment space. It also specialized in single-focus shows like “Weird Al,” which celebrated the career of the oddball recording artist “Weird Al” Yankovic, and “You’re the Very Best, Like No One Ever Was,” which paid tribute to the world of Pokémon.

Exhibitions at Gallery 1988, which is closing after 20 years, often featured lines around the block, with fans who camped out for a chance to score a prized piece.

(Courtesy of Gallery 1988)

Perhaps most famously, the gallery collaborated with studios to create art-focused campaigns around properties such as “The Avengers” and “Star Wars: The Force Awakens,” while also launching solo shows from artists like Scott C, Luke Chueh and Tom Whalen.

Gallery 1988 was renowned for selling work that ranged in price from $10 into the thousands, enabling customers from around the world to buy pieces that spoke to them, whether a postcard-sized digital print or a large oil-on-canvas painting.

A number of other galleries have closed in recent months across Los Angeles, including Blum, Nino Mier Gallery, Clearing, Tanya Bonakdar Gallery and L.A. Louver. Sutton says that she’s heard through the gallery grapevine that “even galleries that haven’t closed are struggling,” adding that “it’s a hard time for everybody.”

Though there’s never one reason a business closes, some industry observers and art fans have cited the rise in AI-generated content potentially devaluing original art overall. It’s especially true in the pop culture space, with consumer activity down not just at places like Gallery 1988 but also at events such as WonderCon in Anaheim, where artists could often expect to make a good chunk of change.

Jensen Karp, who co-founded Gallery 1988 with Sutton but stepped back after a health scare nearly two years ago, says that while he certainly sees a “malaise in culture because of AI” that’s indicative of the population “losing the understanding of what true art is,” he wouldn’t attribute the collapse of Gallery 1988 solely to that one thing.

Kristin Tercek “Rejoice” 2015 for the “Force Awakens” show with Disney, LucasFilm and Unicef at Gallery 1988.

(© Kristin Tercek / courtesy of Gallery 1988)

“Our customer base was the people who looked up release dates and who went to the Arclight, and that sense of community is just not there anymore post-pandemic,” Karp says. With the entertainment industry struggling in L.A. as well, that means less disposable income floating around for things like art — especially from the kinds of people who might be inclined to buy a portrait of, say, Steve Martin in the movie “The Jerk.”

Greg Simkins, a California based artist who often sold through Gallery 1988 under the name “CRAOLA,” says he’s felt the impact of the entertainment industry’s contraction firsthand. “People like directors, producers and actors were some of our biggest clients,” Simkins says. “All of the sudden they’re leaving, going to places like Atlanta and Canada. AI is screwing up the movie industry too, and those are the kinds of people who had expendable money to buy original art so it trickles down.”

It doesn’t help that there’s more pop culture-centered art floating around now, and not just on sites like Instagram and Etsy. Though Gallery 1988 was a frontrunner in celebrating popular culture through art when it opened, even hosting a “Rick and Morty”-themed show before the Adult Swim series had a lick of merchandise, it also became a proof of concept for companies including Disney and Netflix, which have started selling their own artist-created material inspired by their properties.

And with Hollywood releasing fewer movies into theaters, the base of what Gallery 1988 artists could pay tribute to also began to contract. Frequent gallery contributor Whalen says that when Gallery 1988 opened, it was filling a niche and “creating fresh content for movies that spoke to” people in their 20s and 30s. Over time, though, art that celebrated properties like “Ghostbusters,” “Back to the Future” and “The Goonies” started to overwhelm the market, causing “a lot of the 1970s and ‘80s movies to become stale,” Whalen says.

Scott C’s “Breaking Bad Upon the Mount,” 2012, for the “Breaking Bad Art Project: With Sony and Vince Gilligan” at Gallery 1988.

(© Scott C. / courtesy of Gallery 1988)

While Sutton and Karp both say they’re beyond grateful that they got to open Gallery 1988 in the first place, let alone keep it open for more than 20 years, they’re worried about what closing the gallery will mean to some of their contributing artists.

“There are so many incredible artists out there and there are so many more places for them to show their work now and that’s amazing,” Sutton says. “But with that bombardment of media from everywhere, it’s hard to really see stuff because it’s coming at you from all directions. So many artists are out there trying to make a living and support their families and that’s just becoming harder and harder.”

“So many of the artists we showed never expected to have an art gallery email them,” Karp says. “I’m so proud of all the artists we worked with and what we were able to do, but I also know that [Gallery 1988 shutting down] closes up an avenue for all of them too and that sucks.”

The “Cultural Re-existence” column will provide insights into how our ancestral practices, habits, customs, and traditions remain alive today because Venezuelans preserve them through the human spirit they embody and amplify. These are expressions of women and men grounded in reality, history, and a consciousness of their subjective revolutionary role, as well as their responsibility and commitment to defending life.

March, in addition to being the month honoring women, is a month of celebration centered on Venezuela’s most widespread traditional rhythm: joropo. (1) And although this is a community tradition with unique variations throughout Venezuela, on March 19 the town of Elorza in Apure state hosts a ten-day festival that draws thousands of people from all over Venezuela and other countries, to participate and enjoy concerts until dawn, joropo llanero singing and dancing contests, sports and recreational activities linked to the Llano culture, as well as culinary and artisan fairs. Another iconic date this month is March 15, since in 2014 the Bolivarian government declared “Traditional Venezuelan Joropo in All its Diversity” to be part of the nation’s cultural heritage. From that moment, this date has been commemorated as National Joropo Day.

As a community-based festival, the Venezuelan joropo in its various forms—in the eastern, north-central coastal, llanos, western, and Andean regions—has seen Venezuelan women become committed cultural creators who are conscious of their community’s identity, the very identity that has allowed them to endure since colonial times, keeping alive the feelings, thoughts, and actions that extend beyond their own lives, into the lives of their children and grandchildren. 

Venezuelan women, as practitioners of the various joropos, have had to fight—as women and as joropo creators—against the Inquisition, the nation-state, and the cultural industry for their right to exist. It is well known that these institutions demonized them for “disturbing devotion,” and even today they compel them to adopt a masculinized representation of their own identity or impose the sexualization of their aesthetic expression. There is a historical debt to acknowledge the heroic insurgency that the practice, creation, and celebration of the various Venezuelan joropos have meant for the Venezuelan people, and this debt is owed primarily to the joroperas [female joropo practitioners] for their unrelenting commitment to our identities, even during the most complex moments of our history as an insurgent people.

For these reasons, we wanted to inaugurate our column with the perspective that Venezuelan women have on this popular community festival. Through Fabiola José, we were invited to the 3rd “Mujer Joropo” (Joropo Women) Gathering, held in honor of singer Cecilia Todd and dancer María Ruíz. This was our cue to attend the “Joropazo” organized at the San Carlos Barracks in Caracas on March 15, and to participate as singers and spectators in this gathering of women, an artistic-cultural initiative that brought together singers, dancers, and musicians of all ages, with repertoires integrating both the traditional music and dances of our communities and more contemporary musical and choreographic expressions that speak to multigenerational dialogue and the enduring relevance of this popular art form.

Honoring women’s role in joropo

Carolina Veracierta is the organizer of Mujer Joropo. A dancer, writer, designer, and singer, she explained to us that the project “focuses on women not just in a supporting role but as a protagonist, a creator, and carrier of ancestral knowledge.”

“For me, the joropo isn’t just a musical genre or a dance; it’s the language through which my body and my voice express my very essence. It’s the echo of my childhood in Monagas state and the strength that has sustained me on stages far away,” she explained. “When I dance the joropo, I don’t just move my feet; I shake off my sorrows, celebrate my victories, and honor the women who, before me, kept the rhythm in their skirts and in their songs to accompany the milking of cows.”

Asked about the importance of an event featuring women exclusively, Veracierta argued that joropo has historically had “a very masculine narrative” but that women have always been present, “sustaining the rhythm and in tandem with the man’s foot-stomping.”

“Celebrating it among women is an act of sorority and empowerment,” she concluded. “Joropo has the soul of a woman.”

Amaranta Pérez, another artist featured in the event, told us that joropo brings her an immediate jolt of happiness. “It takes me back to my family’s roots between Parmana and Valle de la Pascua [Guárico state], it is a sort of therapy,” she said. “I especially cherish the lyrics that express the love for our people, landscapes, history, and the folk tales from our wonderful authors that are turned into songs.”

Amaranta defended the importance of events like Mujer Joropo to help correct women’s “unequal” participation in the artistic sphere.

For her part, singer, professor, and bassoonist Luisana Pérez affirmed that “joropo for me is synonymous with Venezuela, from its history to the yellow, blue, red and eight stars that make up the national flag.”

Concerning Mujer Joropo, Luisana explained that “it was unusual to see women playing the mandolin, the harp, or the cuatro” and that these kinds of events “are a beautiful way to reclaim the role played by women in joropo.”

More than 20 artists participated in this third edition of Mujer Joropo, demonstrating the commitment of contemporary Venezuelan women to their own history, to the artistic legacy of their ancestors, and to the responsibility of preserving and promoting the heritage they now hold.

From underground communal festivity to national identity manufactured by the music industry

On April 10, 1749, the governor and captain general of Venezuela, Don Luis Francisco de Castellanos, published what may be the first documented reference to the joropo. He did so in the form of a decree banning the Xoropo Escobillado, “…due to its extreme movements, insolence, heel-stomping, and other indecencies, it has been frowned upon by some people of sound mind…”. The official decided to consult the Royal Audience on this matter, likely due to widespread controversy, and in the meantime, warned that those who violated the ban would face public scrutiny plus two years of imprisonment, and women would be “…confined to hospitals for an equal period…”.

Although this is the first formal ban to explicitly name joropo, we cannot overlook the fact that, as early as 1532, the Catholic Church’s published constitutions regulated and prohibited popular festivals in general, especially those where the music and dances of Mulatto, Black, and Indigenous women “…disturb devotion…,” or where both sexes mingle in dance, or those where the veneration of saints was a pretext for throwing a party. 

If we consider that there is evidence that the first vihuelas [medieval Spanish string instrument] arrived in 1529 in the territory we now call Venezuela, and if we acknowledge the express order of the Catholic Monarchs to ship instruments and musicians starting with Columbus’s second voyage (1493), we could infer that between these dates and Governor Castellanos’s ban, there were some 220–250 years of incubation for what would eventually become an irreversible trend in popular culture, which the colonial order had no choice but to accept.

Although the term xoropo has been interpreted as coming from Arabic as jarabe ( شراب , sharab), for the Andalusian researcher, poet, and musician Antonio Manuel Rodríguez Ramos, the root is undoubtedly that of drinking ( شرب , shurib), and he explains that initially, this is how the festival of drinking, singing, dancing, and eating might have been called. And the fact is that drinking –alcohol– was the best way for converts to avoid suspicion from the Tribunal of the Holy Office of the Inquisition, which was formally operational in our country between 1610 and 1821.

Related to other rhythms including fandangos, jácaras, folías, jarabes, and sones, Venezuelan joropos were documented in the independence struggle that led Bolívar’s armies as far as Peru during the nineteenth century. In the mid-twentieth century, one of these joropos, the llanero, was established as the national music style and dance, though it was a version that had certainly lost its communal and rustic character. By then, the music industry, aware of the deep roots these sounds had in Venezuelans, marketed a series of commercial products featuring music, lyrics, and singers stylized to fit institutional, urban, and bourgeois tastes.

As we noted above, on March 15, 2014, the Venezuelan government declared “Traditional Venezuelan Joropo in All its Diversity” as part of the nation’s cultural heritage, recognizing it as an element of identity and unity –not only in many of our festivities and collective expressions throughout the country, but also as a collective process of community organization. The declaration of the diversity of joropos as cultural heritage was the result of a series of debates that took place both within the community of cultural workers and among research specialists.

With the same strategy of asserting the joropo not only as a dance but as a complex cultural system that integrates music, song, dance, poetry, and oral traditions passed down through generations, Venezuela proposed to the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage that the Venezuelan joropo be included on the Representative List of the Intangible Cultural Heritage of Humanity. The committee approved the proposal on December 9, 2025.

Venezuelan joropos thus allow people to come together and reclaim their humanity through the recognition of their own dignity. Through parrandas, festivals for singing, dancing, eating, and drinking, joropo expresses a communal setting where agriculture, cattle rearing, and fishing were the means of sustaining life. Persecuted by the colonial order, homogenized by the nation-state, and commercialized by the music industry through jingle-franchise schemes, Venezuelan joropos also survived the journey from the rural countryside to the oil-driven urban environments.

This continuous history of persecution, denial, whitewashing, and normalization has actually pushed joropo women and men to sneak away, resonate, hold firm, reinvent themselves, and stand out in a permanent process of self-consciousness, recognition, and realization. It is not merely a connection to the land, to love, to our mothers, but to the dream of living in a free land, and the will to produce a cultural liberation project.

Note

(1) With a myriad of local expressions, joropo is the most widespread traditional rhythm in Venezuela. Its execution typically features at least one singer, maracas as percussion, the Venezuelan cuatro [four-stringed instrument], and other string instruments such as the harp or the mandolin. The most well-known variations are the joropo llanero, from the plains region, joropo oriental from the eastern coastal areas and Margarita island, and joropo central from Miranda and Aragua states in the center of the country. Listen to the songs above for examples.

Fabiola José is a Venezuelan singer. She has performed in countries across South America, Africa, Europe, and Asia. Her singles and albums are available on all digital platforms. She hosted and produced “Cantante y Sonante” for Radio Nacional de Venezuela. In 2018–2019, she created a series of videos for social media, published on her YouTube channel #HechoEnCasa. She holds a bachelor’s degree in Music from IUDEM, Caracas (2005); specialized under Maestro Tom Krause in Spain (2007); and an M.A. in Arts and Cultures of the South from UNEARTE, Venezuela (2020).

Fidel Barbarito is a Venezuelan musician and researcher, with a bachelor’s and master’s degrees in music and history, respectively. He teaches in the undergraduate and graduate programs at the National Experimental University of the Arts (UNEARTE). Together with Fabiola José, he promotes several musical projects aimed at disseminating traditional folk repertoires, integrating them with contemporary compositions inspired by these sounds. Joropo llanero. Parranda de reexistencia is one of his published essays.

The views expressed in this article are the authors’ own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

When you think of your earliest memory of reality television, what comes to mind? Is it “The Real World,” “Survivor” or “The Bachelor”? Perhaps it’s other fare like “Project Runway” or one of the “Real Housewives” franchises.

Growing up in the ‘90s and early aughts, my first exposure to reality programming was MTV’s slate of shows like “Real World” and “Road Rules” — thanks to being the youngest of four siblings, I was exposed to shows that were, in hindsight, too risque for me at too young an age. But they left an indelible mark. I saw Irene McGee of “Real World: Seattle” get slapped by her roommate Stephen Williams, a moment that at the time sent shock waves. Genesis Moss, of the Boston cast, was one of my earliest exposures to a gay person on TV. And Melissa Howard of the New Orleans season showed me how you can be 5-foot-2 and unapologetically feisty — as someone with a similar build and demeanor, I took that to heart.

Over the years, I’ve sometimes dismissed reality TV because it felt a little too personal or a little too competitive. I often wonder about the psychological effect on participants as their lives are laid bare for all to see. However, I can’t deny their appeal and why fans have continued to gravitate toward these shows season after season. They make for excellent watercooler talk; in recent weeks, my co-workers and I have spoken endlessly about “The Bachelorette” and Taylor Frankie Paul, and who did or didn’t stay married from Season 10 of “Love Is Blind.”

Few of us knew in the early days what effect reality television would have on the culture or how it would create a new type of star. Reality TV personalities have become influencers, pop culture icons and even political figures. One is the president.

And many shows have not only endured, they’ve spawned universes, international adaptations and spinoffs. Bravo, a TV channel that used to focus on the performing arts, is now an unscripted powerhouse that even has its own convention, BravoCon, where its various universes come together in service of fans.

What does that say about us as viewers? There’s always been a fascination with peering into the lives of others, seeing how they react to everyday problems under the glare of a camera. Perhaps it is a way to deflect from the reality of our own lives, which under the guise of normalcy is straining with the weight of political upheaval and economic turmoil, not to mention personal strife. Seeing someone else onscreen deal with their reality is sometimes the best escape.

So like it or not, reality television is here to stay.

Oscar winner Pavel Talankin called for ‘an end to all wars’ as he received the best documentary award for “Mr Nobody Against Putin”.

One Battle After Another was the big winner of the 98th Academy Awards, taking home six Oscars.

Paul Thomas Anderson’s black comedy about a has-been revolutionary won Best Picture, Best Director, Best Adapted Screenplay, Best Supporting Actor, Best Film Editing, and Best Casting.

Sinners, which entered the ceremony with a record 16 nominations, was the second-biggest winner of the night, with four awards.

Michael B Jordan earned Best Actor for his leading role, while director Ryan Coogler picked up his first Oscar for Original Screenplay.

In the acting categories, Jessie Buckley won Best Actress for Hamnet, marking her first Academy Award, while Amy Madigan was recognised as Best Supporting Actress for Weapons.

Elsewhere, the South Korean musical fantasy KPop Demon Hunters won two Oscars, while Frankenstein also secured two awards.

Here is the full list of winners:

Best Picture
One Battle After Another 

Best Actress
Jessie Buckley, Hamnet

Best Actor
Michael B Jordan, Sinners

Best Supporting Actress
Amy Madigan, Weapons

Best Supporting Actor
Sean Penn, One Battle After Another

Best director
Paul Thomas Anderson, One Battle After Another

Best Original Score
Ludwig Göransson, Sinners 

Best Animated Film
KPop Demon Hunters

Best International Feature
Sentimental Value

Best Documentary Feature
Mr Nobody Against Putin

Best Casting
Cassandra Kulukundis, One Battle After Another

Best Sound
Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A Rizzo and Juan Peralta, F1

Best Original Screenplay
Ryan Coogler, Sinners

Best Adapted Screenplay
Paul Thomas Anderson, One Battle After Another

Best Documentary Short
All the Empty Rooms  

Best Live Action Short Film
The Singers and Two People Exchanging Saliva (tie)

Best animated short film
The Girl Who Cried Pearls

Best Music (Original Song):
EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park for Golden, KPop Demon Hunters

Best Film Editing:
Andy Jurgensen, One Battle After Another

Best Cinematography:
Autumn Durald Arkapaw, Sinners

Best Production Design:
Tamara Deverell and Shane Vieau, Frankenstein

Best Costume Design
Kate Hawley, Frankenstein

Best Makeup and Hairstyling
Mike Hill, Jordan Samuel and Cliona Furey, Frankenstein

Best Visual Effects
Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett, Avatar: Fire and Ash

As anticipated, it ended up being One Battle After Another’s night at the 98th annual Academy Awards, with the political thriller carting away six Oscars out of a total of 13 nominations.

But while Paul Thomas Anderson’s magnum opus continued its march towards award-season domination, there were moments of genuine surprise and subversion in Sunday’s ceremony.

Some of those moments had to do with the current political climate in the United States.

Host Conan O’Brien and his fellow presenters deftly avoided mentioning President Donald Trump by name, but their barbs took direct aim at his policies since returning to office.

Other surprises came from within the filmmaking community itself. For only the seventh time in Oscar history, a tie was announced: Two films had gotten an equal number of votes for Best Live Action Short.

As a result, both the surrealist thriller Two People Exchanging Saliva and the moody bar-room drama The Singers shared the Academy Award.

Here are six key takeaways from the night.

A two-horse race between Sinners and One Battle

The vampire film Sinners came into Sunday night’s ceremony with a record 16 Oscar nominations. But the big question of the night was: How many nods could it actually convert into wins?

Its biggest competition was, of course, Anderson’s One Battle After Another, which had the second highest tally of nominations.

Sinners director Ryan Coogler and Anderson were in direct competition in several top categories, including Best Picture and Best Director.

In both cases, Anderson came out ahead, though he acknowledged how fickle such awards can be.

“ I just want to say that, in 1975, the Oscar nominees for Best Picture were Dog Day Afternoon, One Flew Over the Cuckoo’s Nest, Jaws, Nashville and Barry Lyndon,” the four-time Best Director nominee said, listing films now considered to be Hollywood classics.

“There is no best among them. There is just what the mood might be that day.”

In the categories for Best Supporting Actor and Best Film Editing, One Battle After Another also triumphed, as well as for the inaugural award for Best Casting.

But in a sign of how well matched their two films were, both Coogler and Anderson emerged from the night with writing Oscars.

Anderson picked up Best Adapted Screenplay award for his use of the Thomas Pynchon novel Vineland, while Coogler made off with the Best Original Screenplay Oscar for Sinners, a work inspired by his uncle’s love of the blues.

Jordan dunks on Chalamet in Best Actor race

Sinners, which won four Academy Awards overall, earned some of the most emotional, nail-biting victories of the night.

In the Best Cinematography category, for instance, Autumn Durald Arkapaw became the first woman to top the field.

It was her first nomination and first win, with Arkapaw besting veteran cinematographers like Marty Supreme’s Darius Khondji and Frankenstein’s Dan Laustsen, both multiple nominees.

Another big win for Sinners came in the form of Michael B Jordan, the actor whom Coogler has cast in every film since his directorial breakout in 2013’s Fruitvale Station.

Jordan, 39, was in a tight race for Best Actor with another young performer, 30-year-old Timothee Chalamet of the 1950s ping-pong drama Marty Supreme.

But Chalamet’s aggressive campaigning may have ultimately sabotaged his prospects. Multiple cracks were taken throughout the night at Chalamet’s recent comments disparaging opera and ballet.

“Nobody cares anymore” about either art form, Chalamet said in an interview last month.

“We can change society through art, through creativity, through theatre and ballet and also cinema,” director Alexandre Singh said pointedly during his acceptance speech for Best Live Action Short.

O’Brien, meanwhile, acknowledged the backlash with a joke about heightened security at the night’s Oscar ceremony.

“I’m told there are concerns about attacks from both the opera and ballet communities,” O’Brien said, before turning to Chalamet. “They’re just mad you left out jazz.”

A conga line of snubs

Given the dominant performances from Sinners and One Battle After Another, plenty of critically acclaimed films left empty-handed, or nearly so.

Guillermo del Toro’s Frankenstein, as expected, earned three wins in technical categories, including Best Production Design, Best Costumes and Best Hairstyling and Makeup.

Netflix’s smash hit KPop Demon Hunters, meanwhile, also fulfilled expectations that it would dominate in its categories, Best Animated Feature and Best Original Song.

But then there were former frontrunners like Hamnet that failed to generate much traction, including for director Chloe Zhao, a past Oscar winner. Out of eight nominations total, it only came away with one win: a Best Actress trophy for Irish performer Jessie Buckley.

Marty Supreme and the Brazilian film The Secret Agent fared worse, however. Despite having nine nominations and being considered an early shoo-in for Best Actor, Marty Supreme scored no wins.

The Secret Agent, which swept the Best Actor and Best Director categories at the 2025 Cannes Film Festival, also earned nothing at this year’s Oscars.

Same was true for the quirky kidnapping drama Bugonia, from Oscar darling Yorgos Lanthimos.

Fears about artificial intelligence

The ceremony, however, did occasionally veer away from the competition between the films to discuss issues facing the film industry and the country as a whole.

Among those was the creeping growth of artificial intelligence (AI) in the creative sector.

In the weeks leading up to the 98th Oscars, an AI-generated video clip had gone viral, appearing to show Hollywood icons Brad Pitt and Tom Cruise in a rooftop brawl worthy of a James Bond movie.

The clip had been generated through AI software developed by the Chinese firm ByteDance, and Hollywood leaders quickly denounced it as a threat to their livelihood, not to mention a copyright infringement.

Those concerns reverberated on the Oscar stage on Sunday, with O’Brien and others addressing the growing use of AI.

“Tonight we are celebrating people, not AI, because animation – it’s more than a prompt,” actor Will Arnett said emphatically as he introduced the animation awards.

O’Brien, meanwhile, joked that, by next year, his hosting gig would be taken by “a Waymo in a tux”.

Trump skewered for threatening free speech

Another concern looming over the night’s Oscar ceremony came in the form of President Donald Trump, who has courted controversy by launching deadly military attacks in Venezuela and Iran, as well as leading a violent immigration crackdown in the US.

At no point was Trump mentioned by name. But his leadership was alluded to throughout the night.

O’Brien, the host, set the tone early on with his oblique jabs at the Republican president in his opening monologue.

“When I hosted last year, Los Angeles was on fire,” the two-time Oscar emcee said in remarks dripping with sarcasm. “But this year, everything’s going great.”

Fellow comedian Jimmy Kimmel was even more direct. Last September, his show was briefly suspended after Trump criticised the comedian.

The head of the Federal Communications Commission, a Trump appointee, subsequently threatened the broadcasting license of the TV channel Kimmel performs on.

“There are some countries whose leaders don’t support free speech. I’m not at liberty to say which. Let’s just leave it at North Korea and CBS,” Kimmel quipped, referring to another channel that cancelled a fellow late-night comedy show.

Several filmmakers honoured at the Oscars likewise waded into the controversies surrounding Trump.

Best Documentary Feature winner David Borenstein, for instance, implied a parallel between his film — an exploration of authoritarianism in Russia — and what is currently happening in the US.

“Mr Nobody against Putin is about how you lose your country,” Borenstein explained.

“What we saw when working with this footage is that you lose it through countless small little acts of complicity: when we act complicit, when a government murders people on the streets of our major cities, when we don’t say anything, when oligarchs take over the media.”

Political speeches avoid mention of Iran war

The Oscars come roughly seven months ahead of the pivotal midterm elections in the US, which could see Trump’s Republican Party lose its majorities in Congress.

But while several filmmakers did hint at their anti-Trump stances, few explicitly denounced his policies.

For example, Norway’s Joaquim Trier, the winner of the Best International Feature category, veiled his criticism in a James Baldwin quote about the duty to protect children.

“Let’s not vote for politicians who don’t take this seriously into account,” Trier said.

No artist during the night referenced the US and Israeli war against Iran either, though its effects were felt among the participants of this year’s Oscar crop.

Writer-director Jafar Panahi, whose work was up for two Oscars on Sunday, has already said he plans to return to his native Iran after the awards season concludes.

Meanwhile, Iranian politician Sara Shahverdi — the subject of a nominee in the Best Documentary Short category — was prevented from attending the Oscars at all due to Trump’s ban on visas for 39 countries.

Palestinian actor Motaz Malhees, star of the Oscar nominee The Voice of Hind Rajab, likewise told media outlets he could not be present at the ceremony due to the travel ban.

The most pointed acknowledgements of the US-led and US-backed conflicts in the world were brief. When Spanish actor Javier Barden took the Oscar stage to present an award, he offered up six words, “No to war, and free Palestine!”

Russian filmmaker Pavel Talankin, meanwhile, made a similar appeal to the audience. “In the name of our future, in the name of all of our children, stop all of these wars now,” he said.

But by and large, the Oscar winners and presenters kept their remarks vague, emphasising global unity over political criticism.

“If I can be serious for just a moment, everyone watching right now around the world is all too aware that these are very chaotic, frightening times,” O’Brien told the audience at the outset of the night.

“It is at moments like these that I believe that the Oscars are particularly resonant. Check it out. Thirty-one countries across six continents are represented this evening, and every film we salute is the product of thousands of people speaking different languages.”

Cinema, he and others argued, transcended borders. The talent on stage was not the US’s alone.