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NEW YORK — The Metropolitan Museum of Art on Wednesday unveiled the theme for the Costume Institute’s 2024 exhibition and gala, the fashion world’s party of the year — “Sleeping Beauties: Reawakening Fashion”.

Every year, the Met Gala draws a who’s who of A-listers from the worlds of fashion, film, politics and sports — a list tightly curated by Vogue editor-in-chief Anna Wintour.

Next year, the party will take place in Manhattan on May 6 to celebrate the opening of the exhibition, which the public can view from May 10 through September 2. Both are cosponsored by popular video sharing app TikTok.

The sweeping and immersive exhibition will feature about 250 garments and accessories spanning four centuries, from the Costume Institute’s vast archives of 33,000 pieces — from a 17th century embroidered jacket to an Alexander McQueen gown from spring-summer 2001 made of shells.

“Using the natural world as a uniting visual metaphor for the transience of fashion, the show will explore cyclical themes of rebirth and renewal, breathing new life into these storied objects,” the Met said.

Costume Institute curator Andrew Bolton explained that when items enter the museum’s collection, “It can’t be worn, obviously. So you don’t see the movement. You can’t smell it, you can’t hear it, you can’t touch it.”

With the exhibition, he said he hopes to “reawaken the sort of sensorial capacities within fashions in the Costume Institute, through various technologies”.

Fanned out on a large table in a room resembling a laboratory was a full silk satin House of Worth ball gown from the late 19th century, its embroidery, beads and sequins still resplendent despite the years.

The 1887 dress is now too fragile and damaged to be placed on a mannequin. So it will be displayed flat, but also restored to its original magnificence thanks to computer imaging and the use of a hologram — a nod to immersive exhibitions that are all the rage today.

Bolton said the museum approached Chinese-owned TikTok to cosponsor the event because of the platform’s “accessibility”.

“We really wanted to have the biggest, broadest sort of platform possible in terms of how the show is actually disseminated more globally,” he said.

The Met Gala is the primary source of funding for the Costume Institute. Wintour took over the charity gala in the 1990s and transformed it into one of the world’s buzziest fetes.

Awaited with some apprehension ahead of its 2018 launch, the concept of a high-luxury SUV was still novel, with the Rolls Royce Cullinan then only preceded by the Bentley Bentayga. But given the popularity and sales potential of the SUV segment, it was inevitable that the most illustrious of British luxury carmakers would throw its hat in the proverbial ring. In fact, Rolls Royce vehicles serving in inhospitable terrain and demanding conditions is not unprecedented, and famously included nine lightly modified examples used by T.E. Lawrence during the Great Arab Revolt.

Described as a “high-bodied all-terrain car” in Rolls Royce-speak, the Cullinan is no successor to Lawrence’s improvised fleet, but is rather a modern and ultra-luxuriously appointed and off-road capable SUV with all the comforts expected from its manufacturer. Rolls Royce’s first five-door wagon body and off-road oriented vehicle, the Cullinan design combines tough off-roader themes in an elegantly conservative package. Under the skin, it shares much with the second generation Phantom flagship saloon, including architectural elements, aluminium construction, electronics, gearbox and its silky smooth and richly ample large displacement engine.

Brisk brute

If not as enormous as images suggest, the Cullinan’s haughty brutalist demeanour, lines and vertical orientation, nevertheless, make it an imposing sight, best appreciated up close. Squared-off and statuesque with a high waistline and long bonnet, Rolls Royce’s design themes, vast proportions and huge, upright neo-classical style chrome grille in fact translate naturally for a five-door SUV wagon body format, and contrast well with more subtle surfacing and elegant signature details like its retractable “Spirit of Ecstasy” statuette. Optional tailgate-mounted electrically-operated pop-up viewing seats are meanwhile a practical, indulgent and new feature.

Powered by a vast low pressure twin-turbocharged 6.75-litre V12 producing 627lb/ft torque at just 1,600rpm, the Cullinan enjoys virtually lag-free progression from standstill, and effortlessly muscular on-the-move versatility. Progressive and eager through to redline, the Cullinan is however is in its element through a comparatively low rev range, with its full 563BHP achieved at just 5,000rpm. Propelling its bulky 2,660kg mass from standstill with near-immediate response, the Cullinan’s hurtles briskly through -100km/h in just 5.2-seconds. Power build-up is meanwhile underwritten by a brutally abundant, yet, ever-present and seemingly indefatigable avalanche-like torrent of torque.

Stealthily swift

Almost silent and stealthily near-silent in operation, the Cullinan’s sweet soaring V12 soundtrack, however, becomes more evident at revs rise to redline. Swift but unhurried in character, Rolls Royce’s first four-wheel-drive is capable of an electronically-limited 250km/h top speed. Its thirsty 15l/100km combined fuel consumption is meanwhile considered modest for its weight, size and shape. Channeling power through a smooth shifting 8-speed automatic gearbox, the Cullinan can allocate power between front and rear wheels as necessary through a permanent four-wheel-drive system, and incorporates strengthened off-road capable driveline components.

Comfortable and compliant, but reassuringly stable at speed, the Cullinan glides with a trademark “wafting” ride quality. Smoothing out imperfections with supple grace — despite vast low profile 255/45R22 tyres — the Cullinan’s front double wishbone and rear multi-link adaptive air suspension “reads” the road ahead through a stereo camera and makes constant adjustments in response. Leaning into corners with progressive tautness, its adaptive air suspension automatically adjusts for firmer body control or more forgiving ride comfort, as needed. It also allows for longer off-road wheel travel and increased ride height for 540mm water fording

Composure and comfort

Comfortable as expected, the huge Cullinan also proved more nimble than anticipated. With light but accurate steering, commandingly high driving position, plenty of road-holding and numerous driver assistance and safety systems working in the background, the Cullinan also features electro-mechanically actuated anti-roll bars that tauten for improved cornering body control and composure. Meanwhile, variable four-wheel-steering effectively shortens its wheelbase by turning rear wheels opposite to front at low speed for enhanced agility and turn-in, and in the same direction at speed to simulate a longer wheelbase for improved stability and lane change response.

Extravagantly appointed, the Cullinan’s thoroughly refined cabin is decked with rich leathers, woods, metals and generously padded soft textures crafted for an elegant and luxuriously enveloped ambiance. Spacious in front and rear, it features a comfortable upright driving position with good front visibility. Offered with a standard and practical folding rear bench, it can be optioned with individual rear seats with a luggage compartment glass partition. Signature Rolls Royce touches meanwhile include rear-swinging rear “coach” doors, thin steering column-mounted gear selector stalk and power dial in place of a rev counter.

SPECIFICATIONS

• Engine: 6.75-litre, twin-turbo, in-line V12-cylinders
• Bore x stroke: 92 x 84.6mm
• Valve-train: 48-valve, DOHC, direct injection
• Gearbox: 8-speed automatic, four-wheel-drive
• Power, BHP (PS) [kW]: 563 (571) [420] @5,000rpm
• Specific power: 83.4BHP/litre
• Power -to-weight ratio: 211.6BHP/tonne (unladen)
• Torque, lb/ft (Nm): 627 (850) @1,600rpm
• Specific torque: 125.9Nm/litre
• Torque-to-weight ratio: 319.5Nm/tonne (unladen)
• 0-100km/h: 5.2-seconds
• Top speed: 255km/h (electronically governed)
• Fuel economy, combined: 15-litres/100km
• CO2 emissions, combined: 341g/km
• Length: 5,341mm
• Width: 2,000mm
• Height: 1,835mm
• Wheelbase: 3,295mm
• Water fording: 540mm
• Boot capacity, min/max: 560-/1,930-litres
• Unladen / kerb weight: 2,660kg / 2,753kg
• Suspension, F/R: Double wishbones / five-link, adaptive air suspension, 48V active anti-roll bars
• Steering: Electric-assisted variable ratio four-wheel-steering
• Brakes: Ventilated discs
• Tyres: 255/45R22

By Sarah Saman,
Beauty Consultant

Empowering Breast Cancer Warriors

Breast cancer patients often face a unique set of challenges on so many levels, physical, mental and emotional. The battle with cancer and the subsequent treatment scan lead to hair loss, including the eyebrows. For many women, maintaining or regaining their normal look helps in boosting their self-confidence and a sense of normalcy, which is essential for their healing process.

Powder brows unveiled

Powder brows are the latest in brow shaping and tinting techniques and the most natural looking; this technique offers a path to regaining confidence and reclaiming control over one’s appearance especially for breast cancer warriors whose brows disappear with medical treatments.

The powder brows technique is a semi-permanent makeup procedure that aims to create a soft, powdered appearance on the eyebrows. Unliketraditional eyebrow tattooing, which can result in harsh and unnatural lines, powder brows mimic the look of softly applied eyebrow powder or pencil.

This technique involves the application of tiny dots of pigment to the skin’s surface, in different densities to gradually build up colour, with a minimal down time and healing process. The final result is subtle and soft brows that compliment eyes and facial features.

Advantages of the powder brows:

1.Natural Look: Powder brows give a morenatural appearance compared to other eyebrow permanent makeup methods. The technique’s ability to mimic the look of soft brows makes ita more popular choice among women seeking anatural and realistic enhancement

2. Longevity: Powdered brows are consideredsemi-permanent makeup unlike traditional tattoo swhich last longer. They can last anywhere from one to three years

3. Versatility: This technique suits a wide range of eyebrow shapes and can be customised, allowing for adjustments in colour, shape and density. This adaptability ensures that the final result alignswith each individual’s facial structure and preferences

4. Minimal Discomfort: The procedure involves minimal discomfort and downtime. Topical an esthetics are often applied to numb the area, making the experience relatively painless suitable for persons with various skin types, including oily, dry or sensitive skin

5. Minimally Invasive: Powdered brows areconsidered to be the least invasive method of permanent makeup, as the technique deposits adiffused layer of pigmentation on a super ficial layer of the skin

6. Universal: It is suitable for persons with various skin types, including oily, dry or sensitive skin

Redefining self-image

Powder brows also have an impact on mental health, and are convenient and effective. The procedure offers a bridge to self-assuredness and empowerment for all women, particularly breast cancer warriors. During or in the aftermath of a challenging treatment, this technique will help her reclaim her sense of self and beauty. Here’s how:

Confidence restoration: Brows play a large role in how well put-together a face can look; the loss of the brows canhave a significant negative impact on self-confidence. Powderbrows are an opportunity to restore confidence and embracea normal appearance

Convenience: In just a couple of hours, a woman canhave normal brows, without having to stress and waste time on drawing her brows, worry about the colour fading, or getruined while doing daily activities

A customised solution: Powder brows are customisable to each person’s unique facial structure and preferences, to ensure that the end result aligns with the desired look, allowing a woman to feel comfortable and beautiful

A reminder of strength: Powder brows aren’t just about appearance; they serve as a visible reminder of a breast cancer survivor’s strength and resilience. Choosing to live and live better is an available option, now made easier to achieve withthis solution.

Healing, Self-love and abrighter tomorrow

The natural appearance, longevity and versatility of powder brows make them a powerful solution. In there alm of beauty, it’s not merely about aesthetics; it’s about fostering innerstrength and celebrating individuality. Powder brows stand as a symbol of embracing change, finding beauty inimperfections and emerging stronger than ever before. For breast cancerwarriors, this technique can be  powerful step toward healing, self-love and a brighter tomorrow.

Reprinted with permission from Family Flavours magazine

LOS ANGELES — LeBron James shook off an early injury scare to score 32 points and key the Los Angeles Lakers’ 122-119 comeback win over the Phoenix Suns on Friday in his first taste of the NBA’s new in-season tournament.

After a knock to his lower left leg had him hobbing briefly in the first quarter, the 38-year-old superstar settled in and produced another age-defying performance, helping the Lakers snap a three-game losing streak.

He connected on 11 of 17 shots from the field, including three of four from three-point range. He added 11 rebounds and six assists.

James was delighted not only with a first road win of the young season but with a victory in the Lakers’ first game in the new in-season tournament — a Cup-style competition that commissioner Adam Silver hopes will fire players’ competitive instincts and give added interest to early season games with the promise of a trophy and prize money.

“It feels great because it’s an in-season tournament win and we’ll take that,” James told broadcaster ESPN after the game. “We’ll take that for sure. Y’all heard there’s 500,000 (dollars) on the line, so we’re going for that. We’re going for that.”

Kevin Durant scored 38 points to lead the Suns, who led by as many as 14 on the way to a 63-55 halftime lead.

Austin Reaves’ layup with 9:45 left to play gave the Lakers their first lead since the first quarter.

It was part of a 14-0 Lakers run, and Los Angeles were able to make the lead stand up.

“I think we just finally got sick of being out-rebounded,” James said of the Lakers’ improvement on the boards late in the contest. “We kept bodies in front of bodies.

“We finally started hitting our three pointers and that definitely helped us get back into game,” added James, whose Lakers made 12 three-pointers — nine of them in the second half.

While James wasn’t shy about targeting the in-season tournament, Boston star Jayson Tatum was more pleased to see the Celtics end a two-game skid with a 121-107 victory over Brooklyn.

Jaylen Brown scored 28 points and Tatum added 23 in a relatively comfortable victory.

Stung by back-to-back defeats, the Celtics came out strong and led by as many as 17 in a first half in which they made 12 three-pointers.

“Yeah, it would be nice to win [the in-season tournament], but more importantly it was just good to get back in the winning column.

“We lost two in a row, so it was important to come back home and get a win.”

Eight teams will advance from group play to knockout rounds, all culminating with a title match on December 9 in Las Vegas.

All the games in the tournament, except for the final, count in the regular-season standings.

Doncic dominates 

The Dallas Mavericks improved to 1-1 in tournament play, and 7-2 for the season, with a 144-126 victory over the Los Angeles Clippers, fueled by 44 points from Luka Doncic and 27 from Kyrie Irving.

The Mavericks exploded for 47 points in the second quarter to take control on the way to a 144-126 victory over the Los Angeles Clippers.

Doncic — who now has five 40-point games against the Clippers — was devastatingly efficient, connecting on 17-of-21 shots from the field.

Kawhi Leonard led the Clippers with 26 points. James Harden scored all 14 of his points in the first quarter and the Clippers lost their fourth straight — their third with Harden in the lineup after his trade from Philadelphia.

In other games, sensational San Antonio rookie Victor Wembanyama scored 29 points with nine rebounds, four assists and four blocked shots but came up short in a duel of French big men as his Spurs fell to Rudy Gobert’s Minnesota Timberwolves 117-110.

Karl-Anthony Towns scored 29 points and pulled down 12 rebounds for Minnesota, who won their fifth straight. Anthony Edwards added 28 points and Gobert had 11 points and 10 rebounds.

Reigning NBA Most Valuable Player Joel Embiid scored 33 points and Tyrese Maxey added 29 to lead the Philadelphia 76ers back from a 16-point deficit to a 114-106 victory over the Pistons in Detroit.

Embiid added 16 rebounds for the Sixers, who shook off a slow start to win their seventh straight game — and hand the Pistons a seventh straight defeat.

LOS ANGELES — Hollywood celebrated on Thursday after actors ended a crippling months-long strike, kicking off a race to get the cameras rolling and salvage next year’s movies and television shows.

The Screen Actors Guild (SAG-AFTRA) called off its 118-day strike after reaching a tentative agreement with studios for a new contract including higher pay and protections against the use of artificial intelligence.

While the deal needs to be ratified, and details of the contract have not yet been released, actors can return to making — and promoting — films right away.

“Effective immediately, all SAG-AFTRA members should fulfill their contractual obligations and return to work,” the union said in a message to members on Thursday.

The deal comes just in time for studios to finish movies still penciled in for next summer’s blockbuster season, and some television shows can even be completed in time for spring.

“WE DID IT!!!” wrote actor Noah Schnapp, posting on Instagram an image of a screenplay for the final season of hit Netflix show “Stranger Things”, which had to delay filming earlier this year.

“Oh, We’re very back,” wrote Quinta Brunson, star of “Abbott Elementary”, on Instagram.

While some movies, including Tom Cruise’s next “Mission Impossible”, had already abandoned release dates next summer, the timing of the deal will raise hopes that other big titles can be delivered on schedule.

Filming on Ryan Reynolds’ and Hugh Jackman’s eagerly awaited superhero sequel “Deadpool 3”, which was forced to pause for four months, will resume before Thanksgiving (November 23), Variety reported.

“There will be a summer movie season next year — which was in great peril if this deal hadn’t gotten done before the holidays,” said entertainment lawyer Jonathan Handel.

“We would have seen a complete exodus.”

And the timing of the agreement will also reinvigorate Hollywood’s imminent awards season.

The Oscars are set to be held in March, and nominations for precursor events such as the Golden Globes and Critics Choice Awards will be announced as soon as next month.

Already by Thursday morning, invitations to star-studded Los Angeles premieres were being dispatched to awards group voters, including a gala featuring Natalie Portman and Julianne Moore for Netflix movie “May December” at the Academy Museum of Motion Pictures.

Upcoming world premieres for eagerly awaited movies such as “Wonka” starring TimotheeChalamet, and “Aquaman and the Lost Kingdom”, starring Jason Momoa, will be able to wheel out their A-list talent, to boost publicity.

‘Relief and happiness’ 

“We can really celebrate with this contract,” SAG-AFTRA President Fran Drescher told CNN on Thursday, adding that the new contract “broke so much ground”.

“How I feel is great relief and happiness that we stood firm, we held our ground, and we got a historic and seminal contract at a point in history where it was necessary,” she said.

In addition to pay rises, and bonuses for starring in hit shows, the contract ensures for the first time that studios need to “ask for permission for everything” when using artificial intelligence to digitally insert famous actors into movies, said Drescher.

Details of the new contract will be shared following a SAG-AFTRA board meeting on Friday.

The deal was hailed by politicians including US President Joe Biden, who said in a statement: “Collective bargaining works”.

“There is power in a union. Congratulations @sagaftra!” wrote Alexandria Ocasio-Cortez, a prominent progressive Democrat.

Outside Los Angeles studios, the picket lines that have become a daily feature since May were gone, although a small group of SAG-AFTRA members gathered outside Warner Bros. to celebrate.

“I feel relieved... we had been tensing up, not knowing how long this fight was gonna go, and now we can release that tension,” actor D.W. McCann told AFP.

“Hopefully the contract is what we need it to be. And it can just be behind us and we can get back to work.”

LOS ANGELES — Hollywood is no stranger to sequels. But few recent films have come saddled with as much backstory — on and off the screen — as “The Marvels”.

The first all-female ensemble movie in Disney’s sprawling superhero franchise, out Friday, not only takes place after the events of the 32 previous Marvel films, but also picks up the plot of two television series.

Brie Larson’s Carol Danvers, first seen in the film “Captain Marvel”, is joined by Monica Rambeau and Kamala Khan, two sidekicks who were introduced to audiences in Disney+ TV spin-offs “WandaVision” and “Ms Marvel”.

The three women are forced to team up after a glitch results in them involuntarily swapping bodies every time they use their superpowers.

Such complexities are not exactly new to the Marvel movies, but feed into growing fears of audience “superhero fatigue”, with one Variety critic describing the challenge of keeping up with the franchise these days as “homework”.

Director Nia DaCosta said the challenge of the movie came in striking a balance between exploring the women’s backstories, and moving forward to their new, wacky, outer space-hopping adventures.

“We tried to focus on honoring their stories,” she said. “Like, what do we need to see in this next stage for all the characters, and how do we balance it out?”

But off the screen too, “The Marvels” faced an uphill climb.

The movie underwent four weeks of reshoots, and its release was delayed multiple times.

This led to claims that Marvel studio boss Kevin Feige had taken over the reins, with one Variety report even claiming DaCosta had left the film during post-production.

DaCosta has denied those reports, and told AFP that “we” figured out how to balance the film’s many story elements while “developing the film” and “going through the process” in post-production.

“Just like any other movie, that perhaps doesn’t have TV shows and films that come before it, at the core of the story, it’s about three characters coming together and meeting and reconnecting for the first time,” said producer Mary Livanos.

“So I think people will be able to follow along and enjoy the experience of the story.”

‘Sisterhood’

Meanwhile, the long Hollywood actors’ strike — which finally appeared to have been resolved Wednesday — had prevented stars like Larson and Samuel L. Jackson from promoting the film.

And while Larson’s 2019 film “Captain Marvel” grossed more than $1 billion, it suffered from sexist trolling and “review-bombing” online — patterns that have sadly been repeated and amplified with “The Marvels” and its three female leads.

Analysts predict it will make around $60 million at the US box office on its opening weekend, which would be low for a Marvel film.

Still, Livanos pointed out that female-led movies have confounded expectations by dominating the box office this year.

“It’s really exciting and feels very serendipitous to be coming out after this incredible summer with ‘Barbie’, and Taylor Swift this fall in theaters as well,” she said.

Livanos hopes “that this movie can further the momentum that this moment in culture is having”.

For DaCosta, the youngest-ever Marvel director — hired at 30 with a single, acclaimed indie film to her name — that message rings true.

Her debut “Little Woods” followed two sisters struggling to escape poverty, a criminal past and an unwanted pregnancy, who must reconnect to support each other.

“That’s sort of how I saw these three characters... three sisters who have to find themselves — and find each other,” she said.

“In the universe of Marvel, that means becoming a great superhero team.”

SAN FRANCISCO — James Spratt recalls dashing home from school as a teenager to band together online with friends to do battle in “Call of Duty”, the global video game juggernaut that never gets old.

The franchise deployed by Activision Blizzard 20 years ago helped define the military shooter game genre, winning millions of fans and raking more than $30 billion.

And Spratt, to the amazement of his dad, now makes a living sharing his “CoD” sniper skills on his YouTube channel from his home in Britain.

“At school, we were racing home basically to get a squad of six together because if you missed out on being with your friends, you were playing by yourself,” said Spratt, who recently turned 30 years old.

“There was something about that game that just kept me coming back every year; I was hooked.”

Activision published the original “Call of Duty” created by Infinity Ward studio in October of 2003 and has released installments at an annual cadence that continues with the arrival of “Modern Warfare 3” on November 10.

The yearly release cycle is “almost this ingrained holiday” and became a “secret sauce” for the franchise, “Call of Duty” General Manager Johanna Faries told AFP.

“Players almost set their watch to when a new ‘Call of Duty’ is coming to the forefront,” Faries said.

Wedbush entertainment software analyst Michael Pachter described the decision to create annual installments of the game as the “biggest driver” behind its success, combined with varying content between World War II, modern warfare, and “black ops” secret missions.

All the talk 

Another driver of success for the franchise was continually refining an online, multiplayer aspect that won over players like young Spratt and his friends who turned it into group fun.

“It wasn’t just the game itself, but it’s what ‘Call of Duty’ represented — each year you had a massive community that was continuing to grow,” Spratt said.

“You could talk about it with someone down in the garage or down at the shop or people online — everyone just seemed to know what ‘Call of Duty’ was.”

Spratt said his partner has nieces and nephews playing the game, along with her brother-in-law.

“I feel like it was a teenager thing when I started, but now you’ve got the old gamers and the new gamers,” Spratt said.

‘It’s all ages now.’

Guns and Goosebumps 

A Call of Duty forum at Reddit has 1.2 million members, bonding over memories of favorite moments in past installments and opinions on the newest version, which some were able to access early.

“I will always get goosebumps whenever I hit the ‘Of their own accord’ mission in Modern Warfare 2,” wrote a forum member self-described as someone in their 20s who spends 90 per cent of their free time playing video games.

“You go from absolutely decimating a Gulag with the navy, to an absolute hellscape and the music perfectly sets the tone.”

After debuting as a relatively small game for personal computers, the franchise catapulted with the launch of “Call of Duty 2” that came out with the Microsoft Xbox 360 consoles in 2005, according to Circana video game analyst Mat Piscatella.

More than 70 per cent of people who bought an Xbox 360 in the weeks after its launch also bought “Call of Duty”, said Piscatella.

Two years later, “Call of Duty 4: Modern Warfare” became a an even greater blockbuster for the franchise due to improvements to multi-player capabilities, according to the analyst.

“Call of Duty is one of only a handful of what can be referred to as ‘forever games’ that offer enough compelling content and community features to make these games the default go-to for players whenever they want to play or hang out with friends and family in game,” Piscatella said.

“Whole books could be written about this franchise and its impact.”

Call of Duty has been the best-selling premium video game franchise in the United States annually for more than a decade, and the installment available Friday will likely be no different, according to Piscatella.

“We’re really proud,” Faries said.

Video games are, “arguably the most dynamic global form of entertainment right now and to have ‘Call of Duty’ as a leading franchise in that conversation is an honour”.

HAVANA — In Cuba, the home of salsa, young people are being seduced by a music phenomenon from a place that could hardly be more geographically — or ideologically — remote.

K-pop, the South Korean sensation that has already swept over much of the rest of the world, has made it to the shores of a communist isle that once banned the music of the Beatles.

“I am myself [with] K-pop. I can free myself,” said afficionado Mikel Caballero, a 17-year-old who like many of his peers, spends hours each week perfecting the carefully choreographed paces of South Korean sensations like BTS and Blackpink.

Since Cubans gained access to the mobile internet just five years ago, much has changed in a nation where the one-party state nevertheless retains a firm grip on many aspects of life.

There are ride and food-delivery apps, social media, and access to some entertainment sites such as YouTube.

Some Cubans now celebrate Halloween, one of the most quintessential festivals of the United States — which has held sanctions against Caribbean nation for more than six decades.

‘I like everything’ 

Caballero’s friend Samyla Trujillo has been a K-pop devotee for the last four of her 14 years on Earth.

“When I saw BTS... I told myself: ‘I want to dance like them,” Trujillo told AFP, her hair dyed bright red in homage to the fashion of her idols.

“And then, when they showed me Blackpink, I thought: ‘Ooh, they’re girls, I want to be like them!”

She has posters and T-shirts plastered with K-pop artists’ faces, and watches K-dramas with subtitles.

In the house she shares with her grandmother in the capital Havana, Trujillo regularly transforms the lounge into a dance floor for her and Caballero to practice the steps for their K-pop routines.

It is serious business: one day, Trujillo — who was in a traditional Caribbean dance troupe as a child — hopes to become Cuba’s first home-grown K-pop idol.

For Trujillo and Caballero both the dream is to go to Seoul one day. “I like everything from there,” the 17-year-old told AFP with bright eyes.

Cuba has diplomatic ties with fellow-communist nation North Korea, but not with its democratic neighbour to the south.

‘Completely new’ 

Alejandro Achin, 21, said K-pop “is a completely new experience” for Cubans, who are “used to always the same rhythm, the same routine” of salsa and Reggaeton.

In 2019, Achin realized a personal dream of performing in Seoul after winning an amateur K-pop competition with his group in Havana.

For Hohyun Joung, who teaches at a South Korean cultural and language centre which opened its doors in the Cuban capital last year, K-pop has a universal appeal that transcends politics.

“In Korean songs... most of them express the concerns of young people, what they think, their concern about the future,” the South Korean national told AFP.

The centre where she teaches with four Cubans has 150 students and not enough space to admit more as the appetite for everything South Korean just keeps growing.

Student Ia Gonzalez, 20, has been learning Korean at the centre for several months and gets excited every time she recognises a word in some of her favourite K-pop songs.

“Korean is not difficult. There are difficult parts, but when you really love what you’re doing, you invest impetus and passion and you can learn,” she told AFP.

First launched in 2017 and mildly face-lifted in 2021, the Audi SQ5 is the sportier, but not quite “super” version of Audi’s premium mid-size SUV. Evolutionary in relation to its predecessor, the more efficient SQ5 is nevertheless distinctly more athletic and a more eager drive that feels smaller and more agile, despite being slightly larger. Swimming in similar waters as sportier versions of the Mercedes-Benz GLC, Jaguar F-Pace and Alfa Romeo Stelvio in size and character, the SQ5 is similarly based on saloon-car derived architecture and five-link suspension.

Built on the same MLB platform as Audi’s A4 and A5 saloon, estate and coupe models, the higher riding SQ5 incorporates similarly high aluminium content in construction and suspension components for a lower un-sprung weight and better ride and handling qualities. Tidier and more accurate, focused and sure-footed in driving dynamics than its heavier predecessor, the SQ5 is similar in character to lower riding siblings, and is powered by the same turbocharged 3-litre V6 engine in non-European markets. It also incorporates more extensive and advanced driver assistance and infotainment tech.

Hunkered-down heft

Adopting a distinctly broader design at launch for a more hunkered down aesthetic than its predecessor, the revised second generation however de-emphasises this somewhat, and ditches the dominant metallic horizontal slats for a snoutier black honeycomb mesh grille, and more delineated and vertical foglight elements. That said, and besides other minor front and rear fascia, bumper and light element updates, the face-lifted SQ5 retains the same level waistline, subtly wavy side crease, rakish windscreen angle and confident stance, with its visual rearward bias to its heft seemingly.

With its big grille, squinting headlights, muscular haunches, big bore quad exhaust ports and athletic aesthetic hinting at its sporting potential, the SQ5’s performance does not disappoint. Producing 349BHP at a wide 5,400-6,400rpm plateau and 368lb/ft throughout a versatile and easily accessible 1,370-4,500rpm band, the revised SQ5’s twin-scroll turbocharged engine output is unchanged and remains brawnier, with broader sweet spots than the supercharged first generation SQ5 of the same displacement. Significantly better 8.7l/100km combined cycle fuel efficiency is partly due to improved aerodynamics and engine thermal management.

Quick and capable

With increased torque and slight weight reduction allowing for improved mid-range urge, the second generation is different in delivery style, but is nevertheless responsive from standstill, owing to optimised gas flow paths to reduce turbo lag, and is also eager through to its rev limit. Progressively urgent and underwritten with a near ever-present torque wave, and subtle high-end growl, the face-lifted SQ5’s output is unchanged. It has however seemingly been fettled for quicker 4.9-second 0-100km/h acceleration than the 5.4-seconds, circa 2017. Top speed meanwhile remains electronically restricted to 250km/h.

Driving with more car-like finesse, focus and control, the SQ5’s new sophisticated five-link suspension lends a more responsive and eager cornering dynamic. Its Quattro four-wheel-drive system provides renowned road-holding levels, but distributes power with a sportier and more agile default 60 per cent rear bias to offset its nose-heavy architecture, given it engine positioned ahead of the front axle. Power allocation can meanwhile alter up to 85 per cent rearwards and 70 per cent frontwards for enhanced agility, stability and traction, while torque vectoring selectively brakes inside wheels for further cornering nimbleness.

Uncluttered comfort

Sportier, tidier and more buttoned down, the SQ5 features quick, meaty and direct steering, and improved understeer threshold when pushed hard into tight corners. Optional adaptive air suspension provides good cornering body control and settled vertical control over imperfections in “dynamic” mode, and a smooth, forgiving ride in “comfort” mode to take the edge off firm low-profile 255/40R21 tyres. The SQ5’s smooth, quick-shifting 8-speed automatic gearbox meanwhile features a wide range of ratios to optimise responsiveness, performance, flexibility and refinement, and allows for automatic free-wheeling coasting to further enhance efficiency.

Sporty, stylish and upmarket, the SQ5’s clear uncluttered cabin design includes digital “virtual cockpit” instrumentation and quality materials and textures. Its driving position is well-centered and ergonomic, with good visibility, supportive and comfortable seats, and controls within easy reach. With its longer wheelbase providing for better stability and cabin space, the SQ5’s cabin room is above average, and includes sliding rear seats for adjustable knee-room, and generous luggage room. Thoroughly well-equipped with convenience, comfort, tech, safety and driver assistance systems, the revised SQ5 also receives a larger, improved infotainment screen.

SPECIFICATIONS

• Engine: 3-litre, turbocharged, in-line V6-cylinders
• Bore x stroke: 84.5 x 89mm
• Valve-train: 24-valve, DOHC, direct injection
• Gearbox: 8-speed automatic, four-wheel-drive
• Drive-line: self-locking centre differential
• Power, BHP (PS) [kW]: 349 (354) [260] @5,400-6,400rpm
• Specific power: 116.5BHP/litre
• Power-to-weight: 179.4BHP/tonne (kerb)
• Torque, lb/ft (Nm): 369 (500) @1,370-4,500rpm
• Specific torque: 167Nm/litre
• Torque-to-weight: 257Nm/tonne (kerb)
• 0-100km/h: 4.9-seconds
• Top speed: 250km/h
• Fuel consumption, combined: 8.7-litres/100km (estimate)
• Fuel capacity: 70-litres
• Length: 4,682mm
• Width: 1,893mm
• Height: 1,614mm
• Wheelbase: 2,824mm
• Aerodynamic drag co-efficient: 0.33
• Headroom, F/R: 1059 / 998mm
• Shoulder width, F/R: 1466 / 1438mm
• Luggage volume, min/max: 550-/1550-litres (estimate)
• Kerb weight: 1,945kg
• Steering: Electric-assisted rack & pinion
• Turning Circle: 11.79-meters
• Suspension: Multilink, anti-roll bars, adaptive air suspension
• Brakes: Ventilated discs, 350/330mm
• Brake calipers, F/R: 6-/1-piston
• Tyres: 255/40R21