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    Who Took the ‘Napalm Girl’ Photo?

    Questions about the credit for a famous photograph from the Vietnam War have divided the photojournalism community for months.The photo is indelible, and its importance unmistakable: a Vietnamese girl burned by napalm, naked and screaming, her arms outstretched in despair. It drove home the consequences of the Vietnam War to readers in the United States, where it won a Pulitzer Prize.But who took the photo, widely known as Napalm Girl? That is the question dividing the photojournalism community 53 years after it was taken.The image, from a road in the village of Trang Bang, Vietnam, has been credited to Nick Ut, a photographer who worked for The Associated Press. In the decades since, Mr. Ut has repeatedly talked publicly, in interviews and elsewhere, about his role in capturing the photo and his later friendship with its subject, Kim Phuc Phan Thi.Yet a documentary that premiered early this year, “The Stringer,” set off investigations into the creator of the image. The film argues that a freelance photographer took the image, and that an Associated Press photo editor misattributed it to Mr. Ut.On Friday, the World Press Photo Foundation, a prominent international nonprofit, weighed in. It said a monthslong investigation had found that two other photojournalists “may have been better positioned to take the photograph than Nick Ut.”Mr. Ut’s lawyer, James Hornstein, has repeatedly disputed the film’s claims and called them “defamatory.” He said in a statement that the World Press Photo decision was “deplorable and unprofessional” and “reveals how low the organization has fallen.” Mr. Hornstein declined to make Mr. Ut available for an interview.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Max Kozloff, Art Critic Who Became an Artist Himself, Dies at 91

    He wrote extensively about the New York art scene in the 1960s and ’70s, then shifted to become a prominent street photographer.Max Kozloff, a leading art critic who helped readers of The Nation and Artforum navigate the array of movements that followed Abstract Expressionism in the 1960s and ’70s, and who later became a well-regarded photographer in his own right, died on April 6 at his home in Manhattan. He was 91.His wife, Joyce Kozloff, said the cause was Parkinson’s disease.As a writer, Mr. Kozloff established himself early on. He became the art critic for The Nation in 1961, when he was a 28-year-old doctoral student at New York University’s Institute of Fine Arts. He became an associate editor at Artforum three years later and eventually became the editor.He wrote extensively about painting, especially those New York artists who were pushing beyond the waning dominance of Abstract Expressionism, like Jasper Johns and Robert Rauschenberg. And he tussled with older critics, especially Clement Greenberg, whose ideas he found too doctrinaire to be useful in a time of proliferating artistic movements.Though Mr. Kozloff was far from ideological, he was interested in the ways ideology and political context shaped artistic production.In perhaps his most famous essay, “American Painting During the Cold War,” published in Artforum in 1973, he argued that Abstract Expressionism, precisely because it claimed to exist outside of politics, served as a handmaiden of postwar American dominance, showing the world that a techno-liberal powerhouse could foster great art.As a student of photography, Mr. Kozloff was especially interested in what he considered street photography — seemingly random, spontaneous images of anonymous people engaged in mundane activities.University of New Mexico PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    How Do the iPhone 16E and Google Pixel 9A Compare to More Expensive Models?

    With all the talk about tariffs driving up costs, the word “cheaper” should bring comfort to just about anyone. That’s why I’m delighted to share that the cheaper smartphone from Google has arrived, a few months after Apple released a somewhat cheaper entry-level iPhone — and that both products are very good.Google this week released the Pixel 9a, the $500 sibling of its $800 flagship smartphone, the Pixel 9. It competes directly with the $600 iPhone 16e released in February, the cheaper version of Apple’s $800 iPhone 16.Both of the new phones have the staples that people care most about — great cameras, nice screens, zippy speeds, modern software and long battery life. To cut costs, they omit some fancier extras, like advanced camera features.Is it a wise idea to save some bucks, or better to spend more on the fancier phones? To find out, I strapped on a fanny pack and carried all four phones with me for the last week to run tests.The upshot: As is often the case, you get what you pay for. The $800 phones are slightly better in terms of features and performance than the cheaper versions, and the $600 iPhone is faster and has a better camera than the $500 Pixel.But more important, the cheaper Pixel and iPhone were nearly indistinguishable from their $800 counterparts in several of my tests. In some cases, like battery life, the cheaper phones were even better.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Actress Candy Clark Captured Some of the Most Famous Faces. Then She Put Them in a Drawer.

    The actress Candy Clark documented her unlikely journey through 1970s Hollywood in a series of Polaroids, now published in a memoir.Jeff Bridges taught her how to drive in his Volkswagen bus. Steven Spielberg refused to flirt with her. She successfully talked the actor Rip Torn out of assaulting the director Nicolas Roeg on a movie set. While lying on a beach in Mexico with the painter Ed Ruscha, she was grazed by a stray bullet on the thigh. Once, she pinched David Bowie’s nipples.In Los Angeles, a city built on oversize lore and swaggering legend, where does one file away stories like these? Revealing but not gossipy. Candid but not lurid. Occasionally surreal but consistently sweet.“It’s a confessional era, right?” said Candy Clark, a former actress who wears a neat blonde bob and Warby Parker glasses, sitting in a booth at the Sunset Tower Hotel in West Hollywood, Calif. It was a recent Sunday afternoon, and Ms. Clark — the one behind the wheel of Mr. Bridges’s van, the starlet who tried to flirt with Mr. Spielberg, the peacemaker, the bullet-wound victim and the nipple-twisting culprit — was nibbling on pita and hummus.Dodging a life of mundane midcentury expectations, she started a modeling career in New York and went on to become a darling of the “New Hollywood” era in the 1970s. During her five decades onscreen, she collected over 80 film and television credits, establishing herself as a ubiquitous face who played mostly free-spirited lovers and burnouts like Debbie Dunham in “American Graffiti,” the part that earned Ms. Clark an Oscar nomination. It was her second-ever acting role.“It was my arrival,” she said, recalling the nomination. “You’re just the center of the universe, and it’s really wonderful.”A young Ms. Clark with the X-70 Polaroid camera she used to take photos of her fellow actors, before many of them became mega-famous.Candy ClarkWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Street Style Look of the Week: Textured Clothes

    With flavors of both a bow tie and a cravat, the ribbed scarf knotted around the neck of Evan Naurais immediately stood out when we crossed paths in Paris on a Saturday in early February. It was a dapper finishing touch to a tactile outfit that also involved a fuzzy, olive green jacket and stylishly rumpled dark jeans.Mr. Naurais, 24, who works at an art gallery in Paris, had the type of considered look that suggested a certain amount of thought went into putting it together. So I was surprised when he told me that, on his days off, he paid little mind to his clothing choices.“The weekend is for me to clean my head,” he said.

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    Street Style Look of the Week: Travel Outfits

    The word “timeless” came to mind when I glimpsed Gilang Al Ghifari Lukman, left, and Medina Janneta El-Rahman at a ferry landing in Istanbul while I was in the city on vacation last November. Though it has been months since we met, I thought of them as I prepared to go to Europe for fashion shows this month.They are the type of stylish people I always hope to bump into when I’m traveling — the kind who give me a chance to break out my vintage Rolleiflex film camera, a model that was used by noted fashion photographers like Richard Avedon and Bert Stern and that I do not get to use enough on the street these days.Mr. Lukman, 27, and Ms. Rahman, 25, live in Birmingham, England, and were vacationing in Istanbul. They told me that they always liked to dress smartly. Both grew up in Indonesia, and Mr. Lukman said his style was influenced by how people there dressed and by the elegant fashions of Britain’s Edwardian era.His handsome satchel was made of goat leather, he said, and sentimental to him: “It was purchased with my first-ever salary from a dishwashing part-time job while studying in Kyoto.”

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    Lessons for Elon Musk from the original Doge | Brief letters

    As Elon Musk’s unelected “Doge” troops slash and burn US federal departments (Elon Musk appears with Trump and tries to claim ‘Doge’ team is transparent, 12 February), it is ironic to note that the Doges of ancient Venice were always elected, and by a process that was designed to avoid wealthy families taking too much power.John JacobsAlton, Hampshire I agree with your correspondents about the difficulty of hearing the lyrics in musicals (Letters, 13 February), but there’s little mention of the problem in cinemas, where conversations are drowned out by background music. In the recent film about Bob Dylan, Timothée Chalamet perfectly captured the musician’s mumble. What words he actually said remain A Complete Unknown.Joanna RimmerNewcastle upon Tyne Re the letters on analogue photography (14 February), there is a good compromise. I use a digital camera, which means I can go “snap happy”. Then I can look at all the images, select what I want and get them printed.Peter ButlerRushden, Northamptonshire I’m not entirely convinced that the Guardian style guide does a lot for women’s rights in advising that actresses should always be called actors (Editorial, 14 February). Why not the other way around?John OwensStockport, Greater Manchester My school report read: “Angela has influence, unfortunately in the wrong direction.” I became a probation officer (Letters, 16 February).Angela GlendenningNewcastle-under-Lyme, Staffordshire More

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    The Long Wave: Unearthing the real story of Black voters at the US election

    Hello and welcome to The Long Wave. This week, I had a chat with Lauren N Williams, the deputy editor for race and equity at the Guardian US, about the country’s election results and the role Black voters played. I wanted to discuss the reported swing among Black voters to Donald Trump, which seemed pretty significant. However, talking to her made me see things from a different angle. But first, the weekly roundup.Weekly roundupView image in fullscreenBarbados PM invites Trump for climate talks | At the UN’s Cop29 climate summit in Baku, Azerbaijan, Mia Mottley told the Guardian that she would “find common purpose in saving the planet” with the president-elect of the US. Trump’s re-election has aggravated fears about the future of climate action.Malcolm X family sues over assassination | The family of Malcolm X have filed a $100m federal lawsuit against the CIA, FBI and New York police department over his death. The lawsuit alleges that law enforcement agencies knew of the plot to assassinate the civil rights leader in 1965 but did not act to stop it.Kenyans embrace standup comedy | Comedy is booming in Kenya, with new venues and a fresh wave of standups picking up the mic. As our east Africa correspondent, Carlos Mureithi, reports: “Topics encompass daily life and the entire range of challenges that beset the country … as performers tap into the power of standup to make people laugh about their difficulties.”Steve McQueen reveals cancer treatment | The Oscar-winning film director and artist Steve McQueen underwent treatment for prostate cancer in 2022. The Blitz producer, whose father died of the disease in 2006, has helped raise awareness of the higher risk of prostate cancer among Black men, and directed a short campaign film, Embarassed.Evaristos connect at Rio book festival | The British Booker prize-winner Bernardine Evaristo and Brazil’s most celebrated living Black author, Conceição Evaristo, met for the first time at Festa Literária das Periferias in Rio de Janeiro last Wednesday. The two Evaristos, who are unrelated, spoke on a panel discussion about their shared surname and its ties to Brazil and the transatlantic slave trade.In depth: A Black political shift – math or myth?View image in fullscreenThe headlines seemed clear: Trump’s support among Black voters had soared. In the US election this month, some media reported that he doubled his share of the Black male vote and won more Black voters than any other Republican in almost 50 years. This was history! Well, not quite, Lauren N Williams tells me. “The numbers overall are almost identical to how people voted in 2020,” she says. According to exit polls, Black voters turned out for Harris at 85%, and for Joe Biden at 87%. The only real difference is that the number of Black men who voted for Kamala Harris dropped slightly, while Black male Trump support increased slightly from 19% in 2020 to 21% in 2024. But, she says, more than 7 million fewer people voted for Harris than Biden. While Trump picked up more Black male voters than he did back then – a detail heavily emphasised in media coverage before and after the election – the prevailing narrative does not account for the fact that: “It’s not only this switch to Trump,” Lauren says. People stayed home, or people voted third party. If you don’t look at the whole picture, then yes, you arrive at the narrative that Black people are swinging one way.”Why was this contextualisation missing from post-election analysis? Because it doesn’t make for a sexy story. “It’s really interesting to people when you have a character like Trump and he attracts folks who you wouldn’t normally think would be into his policies and persona,” Lauren says. “It’s typical that white male voters vote for him overwhelmingly – but what’s not typical is when people of colour do so. For a lot of news media, that is a really attractive story.”I asked her about the viral clip of Barack Obama scolding Black male voters for seemingly not turning out as strongly for Harris as they did for him when he ran. Even I flinched when I saw it, and thought, wow, the Democrats must really be in trouble. But, according to Lauren, the emergency button on that narrative had so constantly been pressed by poll analysts (a narrative that, if I may, the Guardian avoided), that even the Democrats panicked and fell for it, sending Obama to “finger-wag” at prospective voters.‘Complicating the narrative’View image in fullscreenIt’s still interesting to me that a candidate like Trump, with his record on racism, could win over more Black men, even in context. But Lauren calls my attention to a far bigger and more interesting story that has been reduced to a footnote of the election: Harris won almost the entire Black female vote. “If you had white women voting 90%-plus for a candidate, you would not hear the end of that story. It would be endlessly curious and interesting and fascinating. We lose a lot by not applying that same level of curiosity to the ways that other demographics vote.” I can see that this also applies to Black men, three-quarters of whom still voted Democrat. “This story could have been ‘look at the power that Black voters wield’, but that’s just not the American narrative.”And what we lose is a big deal. By writing off those who voted for Harris as doing so simply out of blind loyalty, the reasons for Trump’s victory risk becoming detached from reality. Another broad headline after the election was that there was actually nothing sinister going on – it was “just” the economy. But the Black people who voted for Harris are disproportionately working class, Lauren says, and have made informed decisions despite their economic status because they are accustomed to making compromises and always thinking about “the greater good”. “In the discussions that a lot of the media has about the working class, the undertone is that they are only talking about the white working class”, because considering Black voters as part of the American working class “complicates the narrative”. People would have to reckon with the fact that “Black Americans who experience disfranchisement and a huge racial wealth gap were not wooed by this idea of economic anxiety”.Anti-racism has fallen out of fashionView image in fullscreen“Complicating the narrative” raises the question: why is it that white people are seemingly more anxious about the economy than Black people who are less well off? There is little interest in the answer to this question, says Lauren. “I think people have decided that race is boring,” she says, even though it’s “at the root of so much. Any time we talk about identity politics, we’re talking about people of colour, even though Trump ran on white male identity.” By only treating white people as rational economic voters, we pay “an undue amount of attention” to factors outside race, even though it’s “right up there”. I have definitely noticed a shift since Trump’s first election victory eight years ago. The myriad “white rage” takes of 2016 are thin on the ground this time, despite Trump’s 2024 campaign being even more explicitly racist.skip past newsletter promotionafter newsletter promotionA growing backlash to Black Lives Matter also played a role. “We shifted so far after George Floyd,” Lauren says, “whether we saw corporations – symbolic or not – changing their behaviour and relationships to racism and people were pissed about that. Not everyone was on the Black Lives Matter bandwagon.”What next for Black Americans?View image in fullscreenIf this is how the election analysis has played out, it does not bode well for the next four years. Perhaps we’ll see wall-to-wall coverage of Trump’s “appeal” to the white working class and continued disregard for the millions of Black people who didn’t vote for him, who now have to live under a regime that “aims to dismantle federal anti-discrimination policies”. Lauren’s approach is to widen the historical lens. “One thing that has helped me is just remembering that we have been here before. Any time there is progress, there is always a backlash to it. One step forward, two steps back. That is peak American history.”As a journalist, Lauren says showing Black lives as fuller than they are often depicted in the mainstream media, insisting on art, culture, and “the Black rodeo down in Mississippi”, is the way to plough ahead. In other words: if you’re a glass-half-full person, which I am, it’s focusing on that one step forward and then the next one. Or, to borrow from Harris, “weeping may endure for a night but joy cometh in the morning”.What we’re intoView image in fullscreen

    I am broadly not a fan of beauty pageants. But I can’t lie, the variations of African dress during this year’s Miss Universe had me mesmerised. It’s impossible to pick a favourite as each one was more stunning the next. Nesrine

    The Afrikan Alien mixtape by Pa Salieu is going platinum on my phone. I love his musings on family, alienation and freedom (he was released from a 21-month prison stint in September). Jason

    I know we are at a saturation point with social media, but hear me out: Bluesky is like the old, less toxic Twitter, and has a handy way of grouping users so you can follow by theme. I mass followed Blacksky, a selection of interesting Black accounts on the app. Check it out. Nesrine

    I can’t wait to catch Cynthia Erivo’s performance as Elphaba in the film Wicked. She is a generational talent and I can’t stop watching her perform an R&B rendition of The Sound of Music on The Tonight Show. Jason
    Black catalogueView image in fullscreenWhen the prominent Fani-Kayode family fled the civil war in Nigeria, the UK gained a curious and radical artist and photographer in Rotimi Fani-Kayode, famous for his portraits exploring race, culture, sexuality, desire and pain. He had a short career, with much of his work accomplished between 1983 and his death from Aids-related complications in London in 1989. Fani-Kayode was a member of the Brixton Artists Collective and a founding member of the Autograph ABP (Association of Black Photographers), and much of Rotimi’s never-before-seen works are being presented at a new exhibition in London that captures his legacy and impact.Tap inDo you have any thoughts or responses to this week’s newsletter? Share your feedback by replying to this, or emailing us on thelongwave@theguardian.com and we may include your response in a future issue. More