Ƶ

Something to get your teeth into: ‘Jaws’ exhibit marks 50 years

Something to get your teeth into: ‘Jaws’ exhibit marks 50 years
1 / 4
A visitor peruses a wall of photographs of "Jaws" director Steven Spielberg during the production of the 1975 film at the "Jaws: The Exhibition" press preview on Wednesday, Sept. 10, 2025, at the Academy Museum of Motion Pictures in Los Angeles. (AP Photo/Chris Pizzello)
Something to get your teeth into: ‘Jaws’ exhibit marks 50 years
2 / 4
Vintage "Jaws"-themed gumball machines are pictured during the "Jaws: The Exhibition" press preview on Wednesday, Sept. 10, 2025, at the Academy Museum of Motion Pictures in Los Angeles. (AP Photo/Chris Pizzello)
Something to get your teeth into: ‘Jaws’ exhibit marks 50 years
3 / 4
A visitor to the "Jaws: The Exhibition" press preview turns back to look at the sole surviving full-scale model of "Bruce," the shark from the 1975 film, on Wednesday, Sept. 10, 2025, at the Academy Museum of Motion Pictures in Los Angeles. (AP Photo/Chris Pizzello)
Something to get your teeth into: ‘Jaws’ exhibit marks 50 years
4 / 4
Guests arrive for the "Jaws: The Exhibition" press preview on Wednesday, Sept. 10, 2025, at the Academy Museum of Motion Pictures in Los Angeles. (AP Photo/Chris Pizzello)
Short Url
Updated 12 sec ago

Something to get your teeth into: ‘Jaws’ exhibit marks 50 years

Something to get your teeth into: ‘Jaws’ exhibit marks 50 years

LOS ANGELES: Take one very large shark, a boat (we’re gonna need a bigger one of those) and a movie that ran way over budget and you’ve got all the ingredients of a career-making film for one of Hollywood’s most successful directors.
Now fans of “Jaws” — Steven Spielberg’s terrifying thriller about a man-eating shark — can re-live the movie as it celebrates its 50th anniversary in an exhibition at the Academy Museum in Los Angeles.
“The film certainly cost me a pound of flesh, but gave me a ton of career,” Spielberg told reporters as he toured exhibits of props and memorabilia from the movie that propelled him to the top ranks of Hollywood directors.
“I thought my career was virtually over halfway through production on ‘Jaws’, because everybody was saying to me: ‘You are never going to get hired again.’
“’This film is way over budget and way over schedule, and you are a real liability as a director.’
“So I really thought that I better give this my all, because I’m not working in the industry again.”
History had different ideas.
“Jaws,” starring Roy Scheider, Richard Dreyfuss and Robert Shaw, established a benchmark for thrillers, winning three Oscars and spawning three sequels as it catapulted Spielberg to stardom.
With more than 200 artifacts spread across several galleries, “Jaws: The Exhibition” is the largest display dedicated to a single film at the Academy Museum.
They join “Bruce,” a life-size model of a shark that is on permanent display at the museum, and the only one that was ever actually on set (Spielberg named the model after his lawyer.)
Production notes, stills, costume pieces, and original set items from collectors — and from the director’s personal archive — were all tracked down for the exhibition.
“It really was a cinematic treasure hunt,” curator Jenny He told AFP.
Museum staff focussed on finding objects “that would put the story of Jaws together for our visitors in a tangible, physical way,” He said.
In addition to seeing behind-the-scenes footage of the production, the public will also be able try their hand at reproducing the menacing, unmistakable “da-dum-da-dum” music that announces the arrival of the predator — music that earned composer John Williams an Oscar.
They will also be able to handle a replica of the shark used in the film.
Spielberg said the exhibition was a wonderful showcase of work by collectors “who somehow knew something that I didn’t.”
“When we shot the opening scene of Chrissie Watkins being taken by the shark and we had a buoy floating in the water, how did anybody know to take the buoy and take it home and sit on it for 50 years?“
“Jaws: The Exhibition” opens to the public on September 14.


Ethiopians dream of an electric car future

Ethiopians dream of an electric car future
Updated 11 September 2025

Ethiopians dream of an electric car future

Ethiopians dream of an electric car future

ADDIS ABABA: Kemeriya Mehammed Abduraheman set her sights on an electric car four months ago, joining more than 100,000 Ethiopians who have made the green switch.
While electric vehicle  sales in Africa accounted for only one percent of the global market in 2024, according to the International Energy Agency, Ethiopia wants to change that.
In a world first, the government last year banned the import of petrol and diesel vehicles, partly for green reasons but also to help wean the country off increasingly expensive fuel.
Many welcomed the shift.
“I was tired of waiting in line to fill up,” Abduraheman, a 36-year-old development consultant, told AFP in the capital Addis Ababa, where petrol queues can stretch for hundreds of meters  and eat up half of a day.
Bareo Hassen Bareo, who heads green mobility at the Department of Transport, said there were already 115,000 EVs — seven percent of vehicles — on the road.
“In 10 years, we will have more than 500,000,” he told AFP.

Saving time and money 

But the vehicles remain hugely expensive, especially in a country where nearly 40 percent of the population lives on less than $3 a day, according to the World Bank.
Abduraheman paid around $34,000 to buy a model from Chinese brand BYD, describing it as a “long-term” decision.
“I’ve been able to save on costs, I’ve been able to save on time, in terms of not lining up for gas,” she said.
The landlocked country depends on the ports of neighboring Djibouti and often faces fuel shortages.
Abduraheman used to spend about 4,000 birr  each month on fuel, but now spends the equivalent of $4 on charging.
EVs are increasingly visible in the capital, mostly Chinese brands.
Residents have even glimpsed an outlandish Tesla Cybertruck, which retails for over $100,000, crawling through Addis Ababa’s streets.
The city’s buses are also now electric.
Economic analyst Samson Berhane said the EV transition had been “more successful than initially anticipated.”
“This can be attributed to the country’s rapidly growing middle class and the surging demand for new vehicles,” he told AFP.
While charging stations have mushroomed across the capital, he said, “many consumers have taken the initiative to install chargers at home and at work.”

Mega-dam hope

The rapid transition has not come without challenges.
There are reports of shortages of EV parts and qualified mechanics.
And there are only around 100 charging stations in the whole country, meaning drivers cannot plan long journeys outside the capital.
“We need more than 2,300,” admitted Bareo at the transport department.
High prices for EVs are also a pressing issue, which the government hopes to counter by tempting foreign manufacturers to produce locally.
The unreliable electricity supply is also a worry, though the government hopes the inauguration of a massive mega-dam this week — expected to double the country’s electrical capacity — will facilitate the green transition.
It cannot come soon enough: near Addis Ababa International Airport, dozens of EV drivers wait to use chargers operated by the national operator Ethio Telecom.
“It has been four days since the power went out in my area, so I am charging it here,” said one customer, Semagn Getnet.
“Electric cars are good and pleasing, but there are some problems,” he added.


Perplexity finalizes $20 billion valuation round, the Information reports

Perplexity finalizes $20 billion valuation round, the Information reports
Updated 11 September 2025

Perplexity finalizes $20 billion valuation round, the Information reports

Perplexity finalizes $20 billion valuation round, the Information reports

AI startup Perplexity has secured commitments from investors for $200 million in new funding at a $20 billion valuation, the Information reported on Wednesday, citing a person with knowledge of the matter.
Reuters could not immediately verify this report and Perplexity did not immediately respond to a request for comment.
Run by Aravind Srinivas, Perplexity in August made a $34.5 billion unsolicited all-cash offer for Alphabet’s Chrome browser, a bid far above its own valuation.
The Nvidia-backed startup has an AI browser, Comet, that can perform certain tasks on a user’s behalf. Buying Chrome would have allowed it to tap the browser’s more than three billion users, giving it the heft to better compete with bigger rivals such as OpenAI, which is also working on its own AI browser.


400-year-old Rubens found in Paris mansion

400-year-old Rubens found in Paris mansion
Updated 10 September 2025

400-year-old Rubens found in Paris mansion

400-year-old Rubens found in Paris mansion
  • Osenat, the head of the eponymous auction house, said he had found the painting in September 2024
  • “It is an extremely rare and incredible discovery“

PARIS : A long-lost painting by 17th-century Flemish master Peter Paul Rubens has been found in a Paris mansion, a French auctioneer said on Wednesday.
“It is a masterpiece,” said Jean-Pierre Osenat, who had made the discovery, referring to the sketch of Jesus Christ on the cross painted in 1613.
“It was painted by Rubens at the height of his talent,” he told AFP, adding that the artwork was in “very good condition.”
Osenat, the head of the eponymous auction house, said he had found the painting in September 2024 while preparing to sell the private mansion in the French capital’s chic 6th district.
“It is an extremely rare and incredible discovery,” he told AFP.
The painting has been authenticated by German art historian Nils Buttner, known for his research on the master of the Flemish Baroque, Osenat said.
Its provenance was certified through methods including X-ray imaging and pigment analysis, he added.
Osenat remembered pacing back and forth while a committee of experts was deciding on the authenticity of the painting. Then came a phone call from Buttner. “Jean-Pierre, we have a new Rubens!” he said Buttner had told him.
The auctioneer called the painting “a true profession of faith and a favorite subject for Rubens, a protestant who converted to Catholicism.”
“It’s the very beginning of Baroque painting, depicting a crucified Christ, isolated, luminous and standing out vividly against a dark and threatening sky,” he said.
Although Rubens produced many works for the Church, the newly discovered painting, measuring 105.5 by 72.5 centimeters (42 by 29 inches), is likely to have been created for a private collector.
It is thought to have belonged to the 19th-century French academic painter William-Adolphe Bouguereau and later to the owners of the Parisian mansion where it was found.
The painting is set to be auctioned off on November 30.


In eastern India, villages employ centuries-old musical tradition to stop wildfires

In eastern India, villages employ centuries-old musical tradition to stop wildfires
Updated 09 September 2025

In eastern India, villages employ centuries-old musical tradition to stop wildfires

In eastern India, villages employ centuries-old musical tradition to stop wildfires
  • Sankirtan mandalis devotional song-and-dance troupes originated in 15th century
  • Using them to raise awareness has helped reduce forest fires by 60% since 2023

NEW DELHI: Pramila Pradhan led a normal life in her eastern Indian village, managing household chores and occasionally performing devotional songs for the community. But two years ago, everything changed when forest officials placed her at the forefront of efforts to revive a 15th-century musical tradition — a new tool in preventing wildfires.

Keonjhar district in Odisha state, where Pradhan lives, is an ecologically sensitive region with vast stretches of tropical forests, where most trees shed their leaves during the dry months, making the area highly prone to forest fires.

Many of the fires have been caused by human activity, as people burned leaves to collect fruit, medicinal plants and other produce crucial for rural livelihoods, and believed that burning the soil made it more fertile. But the fires have instead for years threatened the region’s rich biodiversity — including tigers, elephants, sloth bears, and barking deer — and degraded forest ecosystems.

To create awareness against the practice, district officials engaged women like Pradhan to revive the practice of sankirtan mandalis — devotional song-and-dance troupes — and spread the message.

“I was part of a religious group spreading religious messages. I used to move around with that group from one village to another. After joining the awareness campaign, my focus is now on spreading the message about forest fires,” Pradhan, a 32-year-old mother of two, told Arab News.

 

 

Encouraged by her husband, she now leads the troupe of 14 women and two men in Murgapahadi village, performing with drums and small percussion instruments, as they dance and sing in local languages and add to devotional lyrics also lines about forest conservation.

“I am happy that I am part of a mission to save the forest, which shelters us, and which is our lifeline. We cannot think of our existence without the forest,” Pradhan said.

“Forest fires have dropped drastically … Earlier, the whole forest used to burn. I am very happy that our efforts are yielding results.”

The campaign and Pradhan’s role were recognized by Indian Prime Minister Narendra Modi, who in his monthly radio talk in late July spoke about her as an “inspiration” and praised Odisha singers who chanted mantras for environmental protection.

The sankirtan mandalis devotional song-and-dance troupes originated in the 15th-century Bhakti — social and religious reform — movement in eastern India. They became embedded in religious and village life, particularly in Odisha and Bengal, but are no longer that common in present times.

The local forest department decided to revive them as part of its awareness fund.

“We thought of reviving this dying art form in each village using the fund, and we thought that no one can spread the awareness about forest fires better than them, so we engaged them,” Dhanraj Hanumant Dhamdhere, Keonjhar district forest officer, told Arab News.

“These groups are having an impact. People (feel more) connected when they hear these cultural troupes in their own language.”

There are now 80 such troupes in Keonjhar district, working in villages with a history of forest fires.

Members of the troupes often perform voluntarily, especially in their own villages, but are also supported by the forest department, and can make some $60 to $100 a month from their work, which helps their communities, too.

“This gives livelihood. Depending upon the number of persons in the group, they get money, and this helps in sustaining the livelihood in villages,” Dhamdhere said.

The community engagement has helped reduce by about 60 percent the number of forest fire incidents in Keonjhar — from 1,772 in 2023 to 727 in 2025.

“This remarkable decline in fire incidents is attributed largely to increased community awareness and participation driven by cultural outreach, especially the sankirtan performances … The awareness (campaign) has created a situation where we are getting cooperation from the people,” Dhamdhere said.

“If we don’t get people’s cooperation, we will not succeed in our mission.”


40 years of ‘Mario’ games that have grown up with fans

40 years of ‘Mario’ games that have grown up with fans
Updated 09 September 2025

40 years of ‘Mario’ games that have grown up with fans

40 years of ‘Mario’ games that have grown up with fans
  • Surrounded by thousands of objects bearing the likeness of Nintendo’s moustachioed plumber, 40-year-old Kikai reflects that his “life would be totally different without Mario”

PARIS: Surrounded by thousands of objects bearing the likeness of Nintendo’s moustachioed plumber, 40-year-old Kikai reflects that his “life would be totally different without Mario” who also marks four decades this week.
The colorful “Super Mario Bros.,” released for Nintendo’s home consoles in Japan on September 13, 1985, was a landmark of early video gaming.
Players controlled the eponymous character as he ran and hopped his way from left to right through a colorful world of platforms, pipes and scowling enemies — all set to the jaunty eight-bit music that has stuck in minds for decades.
“My father bought me the game, and I’ve been playing for as long as I can remember,” Kikai told AFP in his office lined with somewhere between 20 and 30 thousand Mario-related objects, from plastic figurines to plush toys and carpets.
Created by legendary game designer Shigeru Miyamoto, Mario has obsessed several generations of fans like Kikai.
The character’s first appearance came in 1981 arcade game “Donkey Kong,” when he was known simply as “Jumpman.”
Mario’s christening came in 1983 with the “Mario Bros.” arcade cabinet, but his true rise to fame was with “Super Mario Bros.” on Nintendo’s Famicom console (known as the NES in Europe), which has sold more than 40 million copies.
“It was a lucky accident, because at the start there was no plan for this character to become a video gaming icon,” said Alexis Bross, the French co-author of the book “Mario Generations.”
The plumber’s look was initially chosen to conserve scarce computing resources and make him stand out on screen, with bright blue overalls and a cap that saved on animating hair.
Miyamoto created Mario as “a completely functional character under very strict technical constraints” governing the few pixels making up his image, Bross noted.
But as the games endured through the years, their star became a “generation-spanning” and even “reassuring” presence, he added.
“He’s a regular man, not unlike us, who has no special powers at the outset and stays a bit frozen in time.”
Beyond Mario’s mainline adventures, spinoff games have dropped him, his buddies like brother Luigi and his rivals like dragon Bowser into “Mario Golf,” “Mario Tennis” and the vastly popular “Mario Kart.”
Graphics have evolved from 2D to 3D as the games’ reach has spread to many hundreds of millions of players worldwide.
But the original pixelated look has long inspired artists making their own riffs on the character.
Lyon-based street artist In The Woup, who declined to give his real name, has been mashing Mario up with other characters like Gandalf from “The Lord of the Rings” or “Star Wars” antagonist Darth Vader in guerilla mosaics dotting cities around the world for years.
“Bringing things from my games console out on the street means bringing immaterial things out into real life. I thought that was pretty crazy,” the 39-year-old said, a Mario mask securely concealing his face to keep up his anonymity.
Many of today’s children and teens have turned toward more recent heavyweight gaming titles such as Fortnite and Roblox.
But Mario still enjoys a high “parental nostalgia” quotient, with those now heading into middle age still buying the games and playing together with their offspring, said Rhys Elliott of analytics firm Alinea.
Nintendo has looked to evolve along with its audience, recently launching a range of baby clothing and accessories in Japan.
Mario also graces goods from luxury watches to Lego, as well as being the star of theme parks in both Japan and the US.
And in 2023, the plucky plumber made a successful leap to the big screen after a 1993 flop that was one of the first ever game-to-movie adaptations.
The more recent film brought in over $1.3 billion, with a sequel in the works for next year.
With gender relations in a different light today than 40 years ago, Mario’s objective in-game is no longer securing a kiss from a grateful rescued princess.
Nintendo’s princesses are more likely these days to star in their own titles, as the company “adapts to new audiences, following little by little developments in society,” author Bross said.
Even now, fans are eagerly awaiting a new Mario-led 3D adventure following the blockbuster release of the Nintendo Switch 2 console this June.
Bross hopes to see “a totally new idea that will be a new milestone in the history of videogames.”