Global Pulse

分类： entertainment

  • BTS turned millions on to K-pop. But now it’s caught between Korea and the world

    BTS turned millions on to K-pop. But now it’s caught between Korea and the world

    It has been nearly three years since the seven members of BTS stepped away from group activities to complete mandatory military service and pursue individual musical projects. On March 21, the world’s biggest K-pop act made their official return to the Seoul stage, launching what will become the largest K-pop world tour in history with a free teaser show that drew tens of thousands of fans in-person and more than 18 million concurrent live stream viewers. Standing against an LED backdrop framing Seoul’s historic royal palace gate, member J-Hope kicked off the comeback with a bold declaration: “BTS 2.0 is just getting started!”

    What followed the triumphant comeback reveal, however, has been a public reckoning with identity that exposes the competing pressures pulling at the band: between Korean and global audiences, artistic authenticity and commercial success, individual creative instincts and the strategic goals of their industry powerhouse agency Hybe, and their unofficial role as South Korea’s most recognizable face of soft power. At the center of the debate is their new full-length album *Arirang*, named for one of Korea’s most beloved traditional folk songs, which has sparked intense discussion over whether the band has drifted too far from their K-pop roots to chase global mainstream appeal.

    The album opens with *Body to Body*, a hip-hop-driven track that samples the iconic *Arirang* folk melody. For supporters, the heavy focus on rap evokes the raw, early sound that first made BTS famous. But critics at home argue that the record lacks genuine connection to its Korean cultural roots, pointing to its extensive use of English lyrics and a long roster of high-profile international collaborators, from American DJ Diplo to Australian songwriter Kevin Parker and Spanish musician El Guincho. Many Korean long-time fans accuse Hybe and the band of prioritizing the lucrative Western music market at the cost of the distinct Korean storytelling that originally defined their work. Reception outside of South Korea has been far more divided, with many international critics praising the album as a bold experimental return to form. The BBC’s review called the rap-heavy track *Hooligan* audacious and the Jersey club-inspired *FYA* “deliciously dark”, and both the album and its lead single *Swim* have already broken global streaming records and climbed to the top of Billboard charts.

    The tension around the album’s direction was laid bare in a candid behind-the-scenes documentary released ahead of the comeback, which captured open disagreements between the band members and Hybe leadership over the project’s creative vision. Members expressed public uncertainty about the creative choices: Jimin admitted he did not know if the album’s direction was correct, while Suga noted Hybe pushed for a more overt emphasis on the *Arirang* motif, and RM said he had a visceral negative reaction to tying the band to such a culturally monumental track. Those doubts were ultimately set aside after intervention from Hybe chairman Bang Si-hyuk, the founder who originally assembled the seven-member group in 2013, when the band was formed by a then-little-known agency far outside the circle of South Korea’s top entertainment powerhouses. Bang argued that BTS’s status as a once-in-a-generation global icon and their Korean identity are both undeniable, just as their core audience has shifted from primarily domestic to predominantly global.

    For long-time observers of BTS, the current debate over identity is rooted in the band’s unique 13-year trajectory. The group debuted in 2013 with seven young members, three of whom were still teenagers, and cut their first full album *Dark & Wild* in a makeshift Los Angeles studio, leaning into raw, beat-heavy hip-hop with punchy Korean lyrics that spoke directly to young people’s struggles with academic pressure, mental health and ambition. That authenticity, paired with their early, aggressive use of social media to connect directly with fans when they could not secure prime TV appearances, built a fiercely loyal global fandom called ARMY that turned the band into a global phenomenon. Through albums like the *Love Yourself* series, centered on messages of self-acceptance and mental health, they turned their personal journey into a global movement, speaking at the United Nations, performing at the White House, and becoming de facto cultural ambassadors for South Korea. They transformed Hybe from a small startup into a global entertainment powerhouse worth billions, with revenue spanning music, merchandise, endorsements and original content.

    After their three-year hiatus, during which all members completed military service and released successful solo projects that leaned into individual artistic strengths, BTS’s return to group work carries high stakes. Their upcoming 85-date world tour, kicking off this week in Goyang with three opening shows expected to draw 120,000 fans that sold out within minutes, will be the largest K-pop world tour ever staged, spanning five continents over 12 months. Even as the album sparks debate, many fans remain excited for the return of the group they have watched grow up alongside them. Some long-time Korean fans acknowledge the missing narrative throughline that defined earlier albums, but still jump at the chance to see BTS perform live again, while casual fans say they are just thrilled to have the group back together.

    Music critics largely agree that regardless of how the comeback lands, BTS’s legacy is already secured. Before BTS broke through globally, K-pop was a niche regional industry; today, it is a billion-dollar global phenomenon, a shift that industry observers credit directly to BTS’s trailblazing work. What remains to be seen is whether the band can pull off the high-wire balancing act of satisfying competing expectations, and how much further they can push the boundaries of their global success.

  • Matthew Perry’s stepmother says ‘Ketamine Queen’ should get maximum sentence

    Matthew Perry’s stepmother says ‘Ketamine Queen’ should get maximum sentence

    Almost two years after the sudden accidental death of beloved *Friends* star Matthew Perry, the case surrounding his passing is approaching a key milestone, with one of his family members making an impassioned plea for harsh justice against the woman at the center of the drug distribution ring linked to his death.

    Perry, who earned global fame for his decades-long portrayal of quick-witted Chandler Bing on the iconic 1990s sitcom, was found unresponsive in the hot tub of his Los Angeles residence in October 2023. A Los Angeles medical examiner later officially ruled his death an accident triggered by the acute toxic effects of ketamine. The actor had openly discussed his decades-long battle with substance addiction, and was using ketamine as part of a clinically supervised treatment program for depression at the time of his death.

    Jasveen Sangha, a defendant dubbed the “Ketamine Queen” and a dual US-UK citizen who has been held in federal custody since 2024, is scheduled to be sentenced on Wednesday. She previously pleaded guilty to five federal charges, including one count of distributing ketamine that resulted in death or serious bodily injury. If the judge hands down the full penalty supported by prosecutors, she could spend more than 60 years behind bars.

    In a formal victim impact statement submitted to a California federal court on Tuesday, Perry’s stepmother Debbie Perry called for the harshest possible sentence, arguing Sangha’s illegal actions caused irreversible harm that stretches far beyond Perry’s death. “The pain you’ve caused to hundreds maybe thousands is irreversible,” she wrote. “There is no joy… No light in the window. They won’t be back.” She went on to criticize Sangha for leveraging her business acumen to profit from harming vulnerable people instead of building a legitimate career: “You caused this… You who has talent for business enough to make money chose the one way that hurts people.” Closing her statement, she urged the court to impose the maximum penalty to prevent Sangha from destroying more families: “Please give this heartless woman the maximum prison sentence so she won’t be able to hurt other families like ours.”

    Sangha has publicly expressed remorse for her role in Perry’s death. In an interview with *The Sun* conducted from her prison cell, she acknowledged full responsibility for her actions, saying: “There are no excuses for what I did. I am deeply sorry for the pain I caused, especially to Matthew’s family.”

    Sangha is one of five people convicted of felony charges connected to Perry’s death. The first two convictions came last year: Dr. Salvador Plasencia, who admitted to four counts of ketamine distribution in the weeks leading up to Perry’s death, received a 30-month prison sentence. Dr. Mark Chavez, another co-conspirator, was sentenced to eight months of home detention followed by three years of supervised release. Court documents reveal Chavez sold the ketamine to Plasencia, who then resold it to Perry at a markup of hundreds of percent, charging $2,000 per vial. In a text message uncovered by investigators, Plasencia laughed at Perry’s vulnerability, writing, “I wonder how much this moron will pay.”

    Court records outline Sangha’s role in the network: she worked through a middleman named Erik Fleming to supply 51 vials of ketamine to Kenneth Iwamasa, Perry’s personal assistant. On the day of Perry’s death, October 28 2023, Iwamasa administered at least three separate ketamine injections to the star, the combination of which led to his fatal overdose. After the transaction, Sangha instructed Fleming to erase all communication between them to cover up their activity. Iwamasa and Fleming are scheduled to be sentenced for their roles later this month.

  • Wave of nostalgia as 2000s TV makes a comeback

    Wave of nostalgia as 2000s TV makes a comeback

    Twenty-five years after “Malcolm in the Middle” first introduced audiences to a sharp, overstretched teenager navigating his chaotic, dysfunctional household, the beloved 2000s sitcom is returning to Disney+ with nearly its entire original cast, including Emmy Award-winner Bryan Cranston. This reboot is far from an isolated project: it sits at the heart of a fast-growing entertainment trend that is bringing 2000s-era television back to screens across the globe, all fueled by audiences’ intense hunger for warm, familiar nostalgia.

    For media companies and streaming platforms, this revival strategy is as financially savvy as it is popular. Reviving established, beloved intellectual property carries far lower financial risk than launching an entirely new untested series, while already drawing guaranteed, built-in fan interest that guarantees strong viewership numbers. Media experts note that recycling and reimagining popular fictional characters and universes is not a new trend – it has been a core part of storytelling from ancient myths to modern comic book franchises – but the revival movement has exploded in the streaming era.

    “Going back to properties that are already established is one way of avoiding a lot of potential risks,” explained Robert Thompson, professor of media and pop culture at Syracuse University, in an interview with AFP. “All of the millions of dollars that were spent marketing, promoting, establishing the brand of those things way back when they were on in the first place – those bills have already been paid.”

    The roster of upcoming and recent revivals spans nearly every genre of 2000s television. Beyond the new “Malcolm in the Middle: Life’s Still Unfair,” hit medical sitcom “Scrubs” – which originally aired from 2001 to 2010 – made its return to ABC and Hulu earlier this year, bringing back lead stars Zach Braff and Donald Faison alongside most of the original cast. In July, Amazon Prime Video will launch “Elle,” a prequel series that explores the high school years of Elle Woods, the iconic pink-loving heroine first brought to life by Reese Witherspoon in the 2001 “Legally Blonde” film franchise.

    Not every planned revival makes it to screen, however: Hulu recently scrapped a heavily anticipated reboot of the early 2000s supernatural hit “Buffy the Vampire Slayer,” even after completing a pilot episode. Still, other legacy projects are moving forward: Fox is currently preparing a relaunch of “Baywatch,” the sun-soaked 1989-2001 lifeguard drama that turned Pamela Anderson into a global household name. Some 2000s series never even left the air: long-running hits such as “Grey’s Anatomy,” “NCIS” and “Law and Order: SVU” continue to produce new episodes for linear networks, while their older catalog seasons consistently rank among the most-watched content on streaming platforms year after year.

    So why are modern audiences, who have thousands of brand-new shows at their fingertips, flocking back to content produced a quarter-century ago? Experts say the answer boils down to the psychological comfort of nostalgia, a well-documented coping mechanism for people navigating uncertain times.

    “I think this is a pretty common coping mechanism for a lot of people to return to shows they enjoyed in their youth,” said Sohni Kaur, a practicing psychologist who researched nostalgia and media during her studies in psychology and media at Scripps College. Kaur herself turned to rewatches of 2000s “Twilight” franchise and 1990s Bollywood films during the COVID-19 pandemic, and explained that revisiting familiar content eases anxiety and distracts from the constant upheaval of modern life. “It does really provide a lot of comfort to me. Looking back and revisiting something that we already know about kind of relieves that anxiety, or it kind of just distracts us from all of the current changes that are happening,” she said.

    Certain genres of shows naturally spark stronger nostalgic connection, Kaur added. Series centered on family or tight-knit friend groups – such as early 2000s hits “Friends” and “Gilmore Girls” – tend to hold particularly enduring emotional pull for audiences. Even horror franchises from the era continue to draw massive crowds: the latest installment of the 1996-launched “Scream” series, “Scream 7,” has grossed over $200 million worldwide so far in 2024, per data from Box Office Mojo.

    Thompson notes that nostalgic revivals tend to follow a roughly 20-year cycle, a timeline that lines up perfectly with the current wave of 2000s reboots. In that time frame, children and teenagers who loved the original broadcasts grow into working adults with disposable income for streaming subscriptions and movie tickets, and often seek out content that defined their youth, while sharing those favorite stories with their own children.

    Kaur added that the 2000s also represent a unique cultural turning point: it was the final moment before rapid exponential technological change transformed the media landscape, making the era feel like a simpler, more stable time for many viewers. “I think going back to that, again, feels safe,” she said. In the late 1990s and 2000s, appointment viewing of weekly television episodes created shared pop culture watershed moments that nearly all audiences experienced at the exact same time, a collective experience that has become far rarer in the fragmented streaming era.

    Rebooting these iconic series also taps into the unique cultural centrality that mainstream television held in that era, Thompson explained. In fact, the throwback trend extends even to how new content is released: streamers are increasingly returning to the old model of dropping one new episode per week, in a deliberate attempt to recreate the shared excitement of appointment television. HBO Max’s upcoming medical drama “The Pitt,” starring former “ER” lead Noah Wyle, will follow this weekly release model, intentionally nodding to the 1990s heyday of the hit NBC drama that launched Wyle and co-star George Clooney to stardom.

  • Pear Blossom Festival blooms along Yellow River in Ningxia

    Pear Blossom Festival blooms along Yellow River in Ningxia

    Nestled along the fertile banks of the Yellow River in northwest China’s Ningxia Hui Autonomous Region, centuries-old pear trees have burst into full bloom, opening the curtain for one of the region’s most anticipated annual cultural and tourism gatherings.

    On April 4, the 20th Nanbei Changtan Yellow River Pear Blossom Festival, paired with a celebrated Northwest Folk Song (Hua’er) Concert, officially launched in the historic village of Nanchangtan, Zhongwei. Stretching across three days, the event weaves together three distinct layers of local identity: the millennia-old cultural legacy of the Yellow River, centuries-old regional folk performance traditions, and immersive rural tourism experiences designed to connect visitors with everyday life in the village.

    Organized to showcase Ningxia’s unique natural and cultural heritage, the festival draws tourists from across the country each year, who come to wander endless rows of snow-white blooming pear blossoms against the backdrop of the mighty Yellow River. Beyond scenic photography and nature walks, the event features a diverse lineup of themed activities tailored to different interests, from folk art workshops and local food markets to the rousing Hua’er folk concert that highlights the region’s distinct musical heritage.

    As a long-running annual event, the Pear Blossom Festival has also become a core driver of rural tourism development in Zhongwei, supporting local small businesses, homestays, and agricultural producers while introducing wider audiences to the hidden cultural gems of the Yellow River valley in Ningxia.

  • Kanye West controversies – how did we get here?

    Kanye West controversies – how did we get here?

    Once hailed as one of the most transformative and groundbreaking hip-hop artists and producers of the 2000s and 2010s, Kanye West — who now goes by the name Ye — has built a decades-long career marked by unparalleled creative innovation and a seemingly endless string of damaging, offensive controversies. Now, that history of bigotry has led to the cancellation of one of the UK’s most anticipated summer music events after the British government barred the rapper from entering the country.

    West launched his career behind the scenes, crafting chart-topping production for A-list stars including Jay-Z and Alicia Keys before stepping into the spotlight as a solo artist. His 2003 debut single *Through the Wire* became an instant classic: written from a hospital bed and recorded with his jaw wired shut after a near-fatal car crash, the track announced West as a bold new voice in rap. Over the next 15 years, he cemented his legacy, pushing creative boundaries with hits like *Stronger*, *Gold Digger*, and *Heartless* that redefined what hip-hop could sound like. But for almost as long as he has been in the public eye, his career has been repeatedly derailed by impulsive behavior, offensive rhetoric, and hateful statements that have alienated fans and destroyed professional partnerships.

    Controversy has followed West since the early days of his fame. In one of the most infamous moments in awards show history, he interrupted Taylor Swift’s 2009 MTV Video Music Awards acceptance speech to insist Beyoncé deserved the honor for Best Female Video. Four years before that, he deviated from his script during a Hurricane Katrina relief telethon, famously stating that then-President George W. Bush “doesn’t care about black people” — a comment that while divisive, resonated with many who shared the sentiment. But as time went on, West’s statements grew more shocking and harmful. In 2016, he drew widespread backlash for a social media post declaring “BILL COSBY INNOCENT !!!!!!!!!!” at a time when the comedian faced dozens of allegations of drugging and sexual assault. Cosby was later convicted of one count of sexual assault (though the conviction was later overturned), and in March 2026, a civil court ordered him to pay $59.25 million in damages to a victim assaulted more than 50 years prior.

    Two years later, West sparked global outrage during an appearance on TMZ when he claimed that centuries of chattel slavery of African Americans “sounds like a choice.” The comment, which ignored the brutal, forced history of chattel slavery in the United States, led to widespread calls for accountability, with many social media users urging the rapper to revisit basic American history. West later attempted to walk back the comment, claiming his words had been misinterpreted and that he was referring to ongoing mental oppression, but the damage was done.

    A 2022 fashion show in Paris marked a turning point in the erosion of West’s professional standing. The artist, who had built a second high-profile career as a fashion designer with his Yeezy brand, walked out at his SZN 9 show wearing a t-shirt emblazoned with the “White Lives Matter” slogan, a phrase widely recognized as a direct rebuke of the Black Lives Matter movement. Anti-racism organizers condemned the display, and a subsequent photo of West alongside conservative commentator Candace Owens, both wearing the shirts, amplified the outrage.

    The controversy quickly escalated when West published a private text exchange with fellow hip-hop icon Sean “Diddy” Combs, in which he claimed Combs was “controlled by Jewish people” — echoing centuries-old harmful antisemitic conspiracy theories. The post got West’s Instagram account suspended, prompting him to move to Twitter (now X) where he declared he would go “death con 3 On Jewish people.” The comment got him banned from the platform as well, with both social media companies citing violations of hate speech policies. By the end of 2022, nearly all of West’s major professional partners had cut ties: fashion house Balenciaga, talent agency Creative Artists Agency, JPMorgan Chase, Gap, and long-time footwear partner Adidas all dropped the rapper. Adidas reported that ending the partnership would cost the company a net loss of £217 million in 2022.

    West’s ex-wife Kim Kardashian addressed the controversy at the time, acknowledging West’s bipolar disorder diagnosis and noting that “those who are close with Kanye know his heart and understand his words sometimes do not align with his intentions.” However, medical experts have pushed back on framing West’s hate speech as a product of his mental illness. “Bipolar disorder is absolutely not synonymous with racism and there’s nothing about mental illness that creates racism or hate,” Amy Elizabeth West, a professor of clinical pediatrics and psychology at USC Keck School of Medicine, explained in 2022. “Those are all entirely separate behaviours that he happens to have in addition to having bipolar disorder.”

    Later in 2022, West announced he would run for U.S. president in 2024, a bid that never materialized after his 2020 presidential run earned him just 60,000 votes nationwide. Months later, he appeared on a podcast hosted by far-right conspiracy theorist Alex Jones, where he declared “I see good things about Hitler” and claimed the Nazi leader had added value to the world. The comment drew universal condemnation, and West was again banned from Twitter. Just months later, he was banned once more after posting a symbol combining a swastika and the Star of David.

    West first issued an apology to the Jewish community in December 2023, posting a statement in Hebrew to Instagram saying he “sincerely apologise[s]” and that it was “not my intention to hurt or demean, and I deeply regret any pain I may have caused.” But the apologies did not end the controversy. In February 2025, West drew new outrage after starting to sell t-shirts printed with swastikas, prompting commerce platform Shopify to shut down his online store. Three months later, he released a track titled *Heil Hitler*, claiming that a child custody battle and frozen assets had pushed him toward Nazism. The track was banned from all major streaming platforms and in Germany under the country’s strict hate speech laws, but it spread widely on social media, and West was subsequently barred from entering Australia over the content.

    In January 2026, West issued a second public apology, taking out a full-page ad in *The Wall Street Journal* stating “I am not a Nazi or an antisemite” and “I love Jewish people.” He attributed his past harmful actions to bipolar disorder, writing that episodes of the condition left him “disconnected” and unable to recall many of his offensive statements, adding “It does not excuse what I did though.”

    Months later, event organizers announced West would headline London’s 2026 Wireless Festival, a three-night headline set scheduled for July that sparked immediate public and political backlash. In response, West updated his *Wall Street Journal* open letter, saying he would “be grateful” to meet with members of the British Jewish community “to listen” and that he would “show change through my actions.” The Board of Deputies of British Jews said it was open to a meeting, but on the condition that West cancel his planned performances.

    The controversy ultimately led to the full cancellation of the 2026 Wireless Festival after the UK government formally blocked West from entering the country over his history of hate speech and offensive behavior.

  • UK government blocks Kanye West from London music fest

    UK government blocks Kanye West from London music fest

    In a decisive move that caps days of growing public and political outrage, the United Kingdom Home Office announced Tuesday it has rejected US rapper Kanye West’s visa application to enter the country, forcing the immediate cancellation of his much-debated headline slot at London’s Wireless Festival. The 48-year-old, who now goes by the name Ye, had been scheduled to perform three consecutive nights at the July event as part of a contested European comeback tour, following years of repeated antisemitic incidents that have derailed his career.

    Citing the rapper’s long pattern of harmful antisemitic rhetoric and actions, Home Office officials told the BBC that West’s presence in the UK would run counter to the public good, justifying the visa refusal. Wireless Festival organizers confirmed the cancellation via Instagram hours after the decision was announced, noting that all ticket holders — who only gained access to purchase tickets earlier that same day — will receive an automatic full refund for their purchases.

    The ban comes after a cascade of withdrawals from major corporate sponsors in the lead-up to the announcement. Drinks industry giants PepsiCo and Diageo pulled their sponsorship support for the London festival once public backlash against West’s booking intensified, putting increasing pressure on organizers and government officials to act.

    In a last-minute attempt to defuse mounting controversy, West took out a full-page advertisement in the Wall Street Journal headlined “To Those I’ve Hurt” ahead of the visa decision. In the ad, he framed his planned London performance as a showcase of personal change, writing, “My only goal is to come to London and present a show of change, bringing unity, peace, and love through my music.” He also extended an offer to meet in person with members of the British Jewish community to address concerns over his past remarks, adding, “I know words aren’t enough — I’ll have to show change through my actions. If you’re open, I’m here.”

    West’s controversial 2025 release of a song titled “Heil Hitler”, timed to the 80th anniversary of Nazi Germany’s defeat in World War II, reignited global condemnation of his antisemitic views. He has previously attempted to frame his past antisemitic outbursts as a symptom of his bipolar disorder, a framing that drew sharp rebuke from UK Health Secretary Wes Streeting Tuesday. Streeting called West’s attempt to use his mental health diagnosis to justify his harmful actions “appalling” in remarks to British broadcasters.

    Prime Minister Keir Starmer had already publicly voiced concern over the booking over the weekend, noting that it was troubling that West had been confirmed to perform given “his previous antisemitic remarks and celebration of Nazism.”

    Leadership of British Jewish organizations have reacted to the ban with mixed but broadly supportive stances. Phil Rosenberg, president of the Board of Deputies of British Jews, had previously said the group would be open to meeting with West only if he canceled his Wireless Festival appearance. Ahead of the ban, Rosenberg noted that “the Jewish community will want to see genuine remorse and change before believing that the appropriate place to test this sincerity is on the main stage at the Wireless Festival.”

    The Campaign Against Antisemitism, which had publicly called on the UK government to block West’s entry, praised the decision as a victory for efforts to root out antisemitism in public life. “For once, when it said that antisemitism has no place in the UK, it backed up its words with action,” the group said in a statement. It added: “Someone who has boasted of making tens of millions of dollars from selling swastika T-shirts and who released a song called ‘Heil Hitler’ just months ago clearly would not be conducive to the public good in the UK.” The organization urged remaining potential sponsors to continue to avoid any partnership with events involving West.

    The visa ban is the latest in a string of setbacks for West’s attempted European comeback. Earlier this year, the mayor of Marseille, France, publicly declared that the rapper was “not welcome” to perform a scheduled June concert in the city, mirroring the UK government’s stance that West’s harmful views make him an inappropriate guest for major public events.

  • Carnival fever hits Lagos as locals celebrate Afro-Brazilian heritage

    Carnival fever hits Lagos as locals celebrate Afro-Brazilian heritage

    On a bustling Monday this April, the streets of Nigeria’s Lagos Island transformed into a vibrant tapestry of color, sound, and celebration as the annual Fanti Carnival kicked off its 2026 iteration. For over two centuries, this beloved festival has turned Lagos’ central financial hub into a stage for cultural joy, drawing attendees from across the country and beyond to honor a unique shared history.

    The roots of the Fanti Carnival stretch back to the 19th century, when hundreds of formerly enslaved Africans and their descendants chose to resettle on the African continent after generations living in Brazil and Cuba. Many of these Afro-Brazilian returnees put down roots on Lagos Island, bringing with them a rich tapestry of new cultural traditions, performance styles, and community practices that had evolved during their time in the Americas.

    Over decades, these imported customs blended seamlessly with the longstanding cultural traditions of Nigeria’s majority Yoruba people, giving birth to a one-of-a-kind celebration that cannot be traced to either origin alone. As carnival organizers put it, the Fanti Carnival is “neither wholly Brazilian nor wholly Yoruba, but entirely its own.”

    This year’s event lived up to its storied reputation, featuring a packed lineup of spectacles that wowed onlookers. Booming live musical performances echoed between island buildings, while elaborately costumed stilt walkers danced through crowds alongside ornately decorated horses and giant, vibrant dragon displays. Seven historic community associations, each rooted in a different neighborhood of Lagos Island, have carried the responsibility of organizing and sustaining the carnival for generations, with each group identifiable by its own distinct signature color palette. The Lafiaji association, for example, sticks to a iconic red and white color scheme that sets its participants apart during processions. One attendee even designed a custom eye-catching outfit emblazoned with the names of all seven organizations to honor their work.

    For attendees, the carnival is far more than just a street party: it is a vital link to shared history that must be preserved for future generations. “I love the energy, the artistic splendour, the creativity” of the event, Glamour Sandra, a first-time attendee, told the Associated Press on the sidelines of the parade. Longtime participant Ademola Oduyebo emphasized the cultural importance of the annual gathering, noting: “It is important that we preserve this, so that… generation after generation everybody will get to understand the importance of this and how Brazilians and Lagos came to be.”

    That commitment to intergenerational transmission was on clear display Monday, as dozens of children and teenagers joined the processions, decked out in handcrafted creative costumes that reflected the event’s traditions. After days of celebration wrapping up this week, organizers have already confirmed that the beloved festival will return to Lagos Island next April, continuing a legacy that has endured for more than 200 years.

  • Thousands flood Lagos’ vibrant Fanti Carnival to celebrate Afro-Brazilian heritage

    Thousands flood Lagos’ vibrant Fanti Carnival to celebrate Afro-Brazilian heritage

    LAGOS, Nigeria — Against the bustling backdrop of Nigeria’s coastal megacity Lagos, thousands of celebrants from across the region packed the streets this year for the long-standing annual Lagos Fanti Carnival, a vivid cultural celebration honoring the unique Afro-Brazilian legacy of the Aguda community—descendants of formerly enslaved people who resettled in West Africa from Brazil in the 19th century.

    In recent years, the vibrant gathering has been held during the Easter season, and has grown to become one of West Africa’s most high-profile cultural festivals, drawing comparisons to Brazil’s world-famous Rio Carnival, the largest public celebration on the globe.

    The roots of the carnival stretch back to the arrival of the returning formerly enslaved people, the majority of whom made their new homes in Lagos alongside the city’s existing Yoruba community. Rather than abandoning the cultural traditions they adopted during their time in Brazil, these returnees wove Brazilian and Portuguese cultural practices into their daily lives, leaving enduring marks on local music, cuisine, architecture, religious traditions and social customs. Over generations, this blended cultural identity gave rise to the Fanti Carnival that continues to draw crowds today.

    For long-time attendees, the carnival is far more than a street party—it is a critical act of historical preservation for Lagos. “If you know the history of Lagos, you will understand how this carnival is important to the city and its history,” shared Ademola Oduyebo, a first-time attendee this year. “It is important that we preserve this for our children.”

    This year’s celebration, held under the official theme “A Homecoming of Heritage”, culminated in a grand procession where community groups from across Lagos marched to the iconic Tafawa Balewa Square in the city center. The procession included Aguda descendants of all age groups, reflecting the intergenerational bond of the community’s shared history.

    Revelers turned out in eye-catching, culturally rooted attire that nodded to their blended Afro-Brazilian identity: many danced on foot in vibrant patterned costumes, while others paraded through the streets on horseback. Artists and performers from across the continent wore elaborate ensembles adorned with handcrafted beads and flowing feathers, and some participants decorated their bodies with bright, symbolic body paint, all moving to the hypnotic beat of traditional Yoruba rhythms.

    Glamour Sandra, a frequent attendee who has also joined Rio Carnival celebrations in Brazil, says the Lagos event holds a special place on her annual calendar. “I love the energy, the artistic splendor that they create,” she said of the Fanti festival.

    Unlike large national-scale festivals, the Fanti Carnival remains deeply rooted in local community leadership: community associations representing the original Aguda settlements play a central role in organizing the event every year, ensuring the celebration stays true to its historical and cultural origins.

  • Generations leap: 50 years of the unbroken lion

    Generations leap: 50 years of the unbroken lion

    Fifty years ago, a Chinese master named Wan Chi Ming carried a centuries-old cultural inheritance across continents and planted its roots in the heart of New York City. This year marks the golden anniversary of that momentous journey, and the legacy Wan brought to the United States remains as vibrant and resonant as ever: the roar of the traditional Chinese lion dance still echoes across New York’s communities, unbroken by five decades of change.

    Wan’s line of transmission stretches all the way back to the legendary Chinese martial artist Wong Fei-hung, a icon of kung fu and folk culture whose legacy has been preserved carefully through successive generations of practitioners. When Wan chose to build a new life in New York after being born and raised in China, he did not leave his cultural heritage behind. Instead, he committed himself to sharing this centuries-old tradition with new audiences in the United States, and to passing his skills and knowledge down to a new generation of learners rooted in American life.

    Today, half a century after Wan first brought the legacy to New York, that commitment has borne lasting fruit. Young New Yorkers from different backgrounds now step into the role of the lion, learning the intricate movements, the cultural significance, and the core values that have defined the tradition for hundreds of years. For these new practitioners, the lion dance is far more than a performance art—it has become a space to connect with their cultural roots, to build community, and to discover their own sense of identity. What began as one man’s promise to preserve his ancestral tradition has grown into a living, evolving practice that continues to thrive across generations, proving that authentic traditional spirit never fades when it is nurtured and passed forward.

  • Ye offers to meet UK Jewish community as calls mount for him to be ditched from Wireless Festival

    Ye offers to meet UK Jewish community as calls mount for him to be ditched from Wireless Festival

    LONDON — A growing political and corporate firestorm has erupted over the scheduled headline appearance of rapper Ye, formerly known as Kanye West, at London’s 2025 Wireless Festival, with a top British cabinet member publicly declaring Tuesday that the artist has no place taking the stage at the event.

    The controversy stretches back to 2023, when Ye sparked global outrage with a series of unapologetic antisemitic comments, public praise for Nazi leader Adolf Hitler, the release of a track titled “Heil Hitler”, and the sale of swastika-branded apparel through his personal website. In January 2024, the 48-year-old artist issued a public apology via a full-page Wall Street Journal advertisement, attributing his harmful actions to a four-month manic episode driven by his bipolar disorder, claiming the period of psychotic, paranoid and impulsive behavior upended his public and personal life.

    Ye is currently set to perform across three sold-out nights from July 10 to 12 at Finsbury Park’s open-air Wireless Festival, where he is expected to draw a combined crowd of roughly 150,000 music fans. Since the artist was confirmed as a headliner, event organizers Festival Republic have faced mounting pressure from political leaders and corporate partners to scrap the booking. Three major festival sponsors — Pepsi, Rockstar Energy and Diageo — have already withdrawn their partnerships and financial support in response to the announcement. Prime Minister Keir Starmer has also publicly labeled the decision to book Ye “deeply concerning”.

    In a new statement released this week, Ye extended an olive branch to the British Jewish community, saying he would welcome the chance to meet in person to listen to concerns about his past actions. “I know words aren’t enough — I’ll have to show change through my actions,” the rapper said. “If you’re open, I’m here.”

    Despite widespread backlash, Festival Republic has stood firm in its commitment to keep Ye on the lineup. In a statement released Monday, managing director Melvin Benn called on the public to extend “forgiveness and hope” to the artist, arguing that the festival is only providing a stage for him to perform hit tracks that already receive regular rotation on UK radio and streaming platforms, where they are enjoyed by millions of listeners.

    That defense was quickly rejected by UK Health Secretary Wes Streeting, who called the organizers’ position “absurd” and reiterated that Ye “absolutely not” be allowed to perform at the festival. Streeting also confirmed that Home Secretary Shabana Mahmood is currently reviewing whether to bar Ye from entering the United Kingdom by revoking his entry visa. Benn acknowledged the Home Secretary’s full authority to make that decision, telling BBC on Tuesday: “If she does, she does, and then the issue is over.”

    As of Tuesday afternoon, a representative for Ye had not responded to requests for additional comment on the ongoing controversy.