Latest news with #cultural
Associated Press
8 hours ago
- Associated Press
Uncharted Japan Celebrates First Anniversary with Over 5,000 Subscribers and Hundreds of Thousands of Views
06/27/2025, Black Mountain, North Carolina // PRODIGY: Feature Story // John and Josephine Haynes on their travels (source: Uncharted Japan) Uncharted Japan, an independent travel storytelling venture, has announced major milestones. Following its first anniversary, its YouTube channel has crossed 5,000 subscribers and accumulated hundreds of thousands of views. Uncharted Japan's growth, especially within the niche category of culturally rich, off-the-beaten-path Japanese travel, reflects a growing demand for authentic, meaningful travel content and the channel's distinct voice. 'We never imagined this would resonate the way it has. I'm in my 60s, and before we started, I had never uploaded a video, never used editing software, and certainly had no experience running a YouTube channel,' says John Haynes, co-founder of Uncharted Japan. 'Most creators on this platform are half our age, and yet here we are, a couple with zero production background, reaching thousands and being recognized in Japan by viewers who've changed their travel plans because of us.' Founded by John and his wife, Josephine, Uncharted Japan began as a passion project inspired by a decades-long love affair with Japan's culture, countryside, and people. John, a former top-producing real estate professional in the US, left a successful career of nearly four decades to launch this channel alongside Josephine, whose ties to Japan run generations deep. Born in Japan, Josephine represents the fourth generation of her American family to have lived there. In 1861, her great-great-grandparents arrived as some of the earliest missionaries permitted into the country after centuries of isolation. That legacy, as well as their frequent visits to the family home near Nagano, gives the Hayneses a unique perspective in the online travel space. Uncharted Japan isn't a typical travel channel. It doesn't showcase the same viral hotspots found on every influencer's itinerary, from Tokyo's Shibuya Crossing to Kyoto's Fushimi Inari or Osaka's Dotonbori. The channel delves into quiet villages, forgotten temples, mom-and-pop eateries, and historic neighborhoods that rarely, if ever, appear on travel blogs or Instagram feeds. Uncharted Japan's content is carefully curated for an older, more discerning audience who value substance over spectacle. 'We avoid clickbait thumbnails or outrageous challenges,' says John. 'We offer in-depth storytelling to travelers who want a slower pace and a genuine connection with Japan's culture and communities.' This focus on depth and discovery distinguishes Uncharted Japan. It has always been dedicated to revealing the side of Japan that most visitors and even some locals overlook. Uncharted Japan's impact is evident in the comments across its videos. Viewers praise its sincere approach and the richness of its recommendations. For instance, its episode on the Osaka Expo 2025 has drawn over 185,000 views, providing viewers with a comprehensive guide to one of Japan's largest events in decades. The Hayneses also receive heartfelt emails and comments almost daily, not only from viewers but also from the Japanese locals whose stories they help amplify. Remote innkeepers and small-town restaurateurs express deep gratitude for the exposure Uncharted Japan provides. Viral travel content usually chases clicks over connection. Uncharted Japan represents a return to what travel is supposed to be about: discovery, understanding, and storytelling. 'Our passion is to show people that there's so much more to Japan than neon lights and cherry blossoms,' John says. 'It's a country of astonishing diversity, history, and quiet beauty, especially in the places most tourists never go. If we can help people experience that, then we've done something worthwhile.' This is what Uncharted Japan remains committed to doing as it moves into its second year. Media Contact Name: John Haynes Email: [email protected]
Yahoo
7 days ago
- Entertainment
- Yahoo
Scottish Government announces £3 million in funding for 14 festivals
THE Scottish Government has awarded £3 million in funding to 14 festivals, the Culture Secretary has announced. The events will receive a share of the £2.8m Festivals Expo Fund, and Festivals Edinburgh will get £200,000 from Creative Scotland for branding and marketing support for the events in the capital. The Expo Fund spending has increased from £1.7m last year. READ MORE: Presiding Officer to step down at Holyrood election The Edinburgh Festival Fringe will receive £670k, while the Edinburgh International Book Festival will be given £200k, the same amount as for the Scottish International Storytelling Festival. Culture Secretary Angus Robertson (below) said: 'Scotland's festivals are our cultural shopfront to the rest of the world. Angus Robertson MSP 'As well as offering performers and creatives an unrivalled international platform, they also deliver an annual economic uplift to businesses, jobs and livelihoods right across the country. 'This year's funding increase for the existing Expo festivals cohort represents an increase of £1 million across the 14 festivals in Glasgow and Edinburgh, the first in 10 years. READ MORE: UK Government 'set to proscribe Palestine Action after RAF protest' 'It recognises the success of festivals in shaping and supporting hundreds of commissions, enhancing the ambitions of thousands of Scottish artists and attracting audiences in the millions for Expo-supported work since the fund's creation in 2007. 'From this foundation we will expand the reach of the Expo fund across the whole of Scotland, and I am working with festivals across the country through the strategic festivals partnership to realise this commitment.' Dana MacLeod, executive director of arts, communities and inclusion at Creative Scotland, welcomed the funding, saying it will enable festivals to 'commission bold ideas, develop creative collaborations and present high-quality programmes for audiences in Scotland and internationally'. Lori Anderson, director of Festivals Edinburgh, said: 'Today's announcement is welcome news for our festivals and for Scotland's cultural sector, ensuring that the guiding principle of the Scottish Government's Festivals Expo Fund – to showcase Scottish talent to the world on the country's premier festival platforms – continues to successfully support creative careers.'
Reuters
20-06-2025
- Entertainment
- Reuters
LoveWatts Launches Global Art Program with Explosive Debut of Anonymous Collective GODS MGMT
NEW YORK, NY, June 19, 2025 (EZ Newswire) -- LoveWatts, opens new tab, the world's most powerful cultural media platform, today announces the debut of its inaugural global art exhibition featuring GODS MGMT, an anonymous conceptual art collective reshaping contemporary visual culture. This marks the official launch of LoveWatts' entry into the global art market—signaling a bold new era of artist discovery, curation, and market leadership. Founded in 2012, LoveWatts has grown into a digital cultural giant, operating a network of channels that reach over four million followers worldwide. From design and fashion to music, fine art, and entertainment, LoveWatts has become a dominant force in curating influence and amplifying the next generation of global tastemakers. Now, following over a decade of unmatched cultural impact, LoveWatts is making a revolutionary move into the physical art world. With an ambitious global art program, the platform aims to disrupt the traditional gallery model, cultivating emerging talent and building a new infrastructure for art discovery and growth. This isn't just curation—it's cultural engineering. 'At LoveWatts, we've built a team with decades of experience developing the careers of blue-chip artists and shaping the visual language of our generation,' said Jordan Watts, founder of LoveWatts. 'Our mission is clear: to take emerging talent and launch them onto the world's biggest stage. This isn't just an art program—it's the Super Bowl for the next wave of culture-defining artists.' GODS MGMT, LoveWatts' debut artist, is an anonymous collective working at the intersection of mass media, celebrity, internet culture, and mythology. Through oil on canvas and a radical practice of appropriation, they dissect illusions of fame, identity, and authorship. Part Warhol, part Banksy, part digital disruptor—their work delivers a visceral critique of contemporary culture with the visual force of a global brand. With GODS MGMT, LoveWatts is defining the template for a new kind of art institution—one powered by digital reach, curatorial excellence, and a community-first ethos. The platform is now positioned to lead the next chapter of global art innovation, transforming the way artists are discovered, championed, and collected. This is not a moment. This is a movement. About LoveWatts Love Watts is a global art platform founded by Jordan 'Watts' Watson in 2011. Known for blending street culture and fine art, it began as an Instagram feed and grew into a cultural force with over 4 million followers. Love Watts curates digital content, hosts exhibitions, and collaborates with major brands to make contemporary art more accessible and inclusive. For more information, visit opens new tab and follow @ opens new tab on Instagram. Media Contact Megan Shockleymegan@ ### SOURCE: LoveWatts Copyright 2025 EZ Newswire See release on EZ Newswire
ABC News
18-06-2025
- ABC News
Roads Unknown: India
Roads Unknown: India follows Australian adventure rider Jess Zahra, as she embarks on an unforgettable 5,000km motorbike journey across India, experiencing the country's scenic landscapes and cultural richness. Saturdays. Posted 27m ago 27 minutes ago Wed 18 Jun 2025 at 2:00am
The National
12-06-2025
- Entertainment
- The National
Review: Mamma Mia! brings sequins, nostalgia and power of community to Abu Dhabi
There's a visible shift that spreads across an audience during Mamma Mia! – one that goes from shy engagement to full-bodied joy, as if muscle memory has kicked in and everyone suddenly remembers the words to Dancing Queen. That collective response, so reliably evoked by this long-running musical, raises a deeper question: what purpose should a stage show serve once it has crossed the threshold from hit to institution? Since its West End premiere in 1999, the Abba -fuelled jukebox musical Mamma Mia! has gone from being a breakout success to a shared cultural memory. It is a show so familiar to some in the audience, that they often collectively hum the songs before the curtain even rises. The version currently playing at Etihad Arena in Abu Dhabi, part of an international touring production, is a case study in what it means to stage something so popular and loved. The challenge does not lie in execution. By now, Mamma Mia! has been honed to a fine commercial polish: the touring cast hit their marks, the lighting cues are crisp and the music is performed with faithful gusto. It is, in every sense, a successful production. The more interesting question is whether that success should still be measured in technical proficiency or whether – once a musical enters the cultural canon – the more pressing task is to find something new within it. While bobbing my head along to the familiar tunes, I couldn't help but think: should a show such as Mamma Mia! change? Or perhaps more accurately: for whom must it change? That may not be Mamma Mia! 's burden to bear. Classics endure for a reason, but as the musical celebrates more than two decades of sold-out runs and repeat performances, it invites some reflection: how do we keep something alive without embalming it? This Abu Dhabi run delivers what audiences expect: escapism, warmth, glitter and the familiar groove of Abba songs. The plot, in which a young bride named Sophie invites three of her mother Donna's former lovers to her wedding to discover who her father is, remains secondary to the soundtrack. While the dialogue is breezy and the stakes are gentle, the emotional architecture still has the potential to surprise. In this version, that potential is most visible in Steph Parry's Donna, whose rendition of The Winner Takes It All resists melodrama and leans into a more controlled devastation. It's a performance that momentarily lifts the show out of its party-dress expectations and into something more raw and grounded – a vulnerability I've always found hard to locate in Meryl Streep's otherwise formidable interpretation in the film adaptation. Also deserving of mention is Ellie Kingdon's Sophie, played with a disarming sincerity and vocal clarity that gives the character both weight and warmth. Donna's longtime friends and former bandmates, Tanya and Rosie (brought to life with magnificent flair by Sarah Earnshaw and Nicky Swift) inject the production with verve, comic precision and impeccable timing. Their presence offers a necessary counterbalance to the show's emotional currents, and their scenes together offer pure enjoyment. These are performances likely shaped by experience rather than invention, but maybe that's the point. In a play so well-known, elevation doesn't always mean transformation. For me, having seen Mamma Mia! multiple times, including when it came to Dubai in 2021, the broader production felt like it was playing too close to the template at points. There was a smoothness to the staging that, while admirable, felt cautious. Even some of the more spirited numbers, such as Voulez-Vous or Does Your Mother Know, were energetic but stopped short of fully surrendering to the moment. However, for audiences seeing it for the first time, as many in Abu Dhabi could be, the show remains a revelation. The story's optimism, the undeniable power of hearing Abba sung live – these things still have the capacity to feel fresh, especially when encountered without the weight of prior viewings. In that sense, the production is doing precisely what it needs to: making the old feel new again for someone else. I attended the opening night, and the venue was near capacity. A decade ago, such productions arrived sporadically in the UAE, often met with curiosity rather than fervent demand. But in recent years, the frequency and reception of large-scale international musicals suggest a cultural shift is underway. It seems the capital is not just importing musicals, but also nurturing an audience for them. The show's final encore, a sequinned celebration of Dancing Queen and Waterloo was a beautiful shared moment between the cast, the crowd and even this critic. It was at this point – hands raised, lyrics mouthed back in unison – that Mamma Mia! reminded me why it endures. The production's staying power lies in its ability to gather strangers and turn them, at least temporarily, into a community. Is it a sign of theatre culture taking root in the UAE? I'm excited even just by the idea of it.
