Paris, France | SoundCloud announced Tuesday it would become the first streaming service to link subscribers' payments directly to the independent artists they support, a move welcomed by musicians campaigning for fairer pay.

At the moment, streaming services like Spotify, Deezer and Apple put royalty payments into one big pot and dish them out based on which artists have the most global plays. 

Many artists and unions argue this system is grossly unfair, giving a huge slice of the pie to mega-stars like Drake and Ariana Grande while leaving almost nothing for lesser-known musicians. 

From April 1, SoundCloud will start using a new system in which the royalties taken from each individual subscriber will only go to artists they stream. 

However, this will only apply for the roughly 100,000 independent artists who monetise directly through the site. Musicians licenced from major labels will continue to be paid via the traditional pooled method.

SoundCloud said the new payment system -- known as "fan-powered royalties" or a "user-centric model" -- would empower listeners and encourage greater diversity in musical styles. 

"Artists are now better equipped to grow their careers by forging deeper connections with their most dedicated fans," the statement said. "Fans can directly influence how their favorite artists are paid."

- 'Distortion in value' -

Major record labels are thought to be resistant to "user-centric" payments, in part because the current system allows them to generate massive profits through a relatively small number of huge stars. 

A study by France's National Music Centre earlier this year found that 10 percent of all revenues from Spotify and Deezer go to just 10 artists at the very top.

That has allowed the major labels to amass record revenues over the past year, just as most musicians were thrown into crisis by the cancellation of live tours due to the pandemic. 

French streaming platform Deezer, which has been pushing for the user-centric system for months but has been blocked by label resistance, said SoundCloud's scheme was "a great first step". 

"Deezer stands ready to launch a full (user-centric payment system) pilot and we look forward to having SoundCloud on our side in convincing the labels to do it," chief content and strategy officer Alexander Holland told AFP.

Earlier this year, label bosses told a British parliamentary commission investigating the streaming economy that it may be too complicated for platforms to shift to fan-based royalty payments. 

SoundCloud, which has been trialing the new model for months, said this was exactly wrong -- that its computing calculations took just 20 minutes for user-centric, compared with 23 hours for the pooled model. 

"The most important takeaway from SoundCloud's data is that none of the previous modeling has been accurate, that when you actually run a user-centric system, the rewards to artists that have an audience are significantly improved," said Crispin Hunt, chair of the British Ivors Academy. The Academy has been running a campaign to "fix streaming". 

"It proves the distortion in value that the existing model delivers," he said.

- 'Interesting initiative' -

The French National Music Centre study, which only used data from Spotify and Deezer, found that changing to fan-based royalties would make only a slight difference to the income of smaller artists.

It would take around 4.5 million euros from the top 10 but distribute it very thinly around lower tiers, it said.

But SoundCloud found it made a significant difference. Using the example of an artist with 124,000 followers, it said they would see an increase in royalties from $120 to $600 per month.

It said the overall effect was that 90 percent of royalty payouts would now be driven by 90 percent of listeners, rather than just 40 percent of listeners under the existing model. 

SoundCloud said its positive data may be linked to the particular nature of its users, who tend to be "younger and much more active". 

It was launched in Berlin in 2007 as a sort of YouTube for music, allowing anyone to upload their music, from scrappy garage band covers to dubstep DJ sets. 

This made it hugely popular, with some 175 million users by 2019. But it struggled to generate revenues and landed in legal trouble over the number of unauthorised remixes and covers on the site.

In 2016, it shifted strategy, signing deals with the major labels to provide a premium service with a catalogue similar to those of its rivals. But it has remained a long way off the customer numbers of Spotify, Amazon and Deezer.

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Rabat, Morocco |Hollywood's Angelina Jolie and Britain's iconic wartime prime minister Sir Winston Churchill,a keen artist who took inspiration from the Moroccan city of Marrakesh, combined for a March 1 date at Christie's auction house in London.

"The Tower of the Koutoubia Mosque", an oil painting Churchill produced during a World War II visit, sold for £7 million ($9.75 million), smashing expectations it would fetch between £1.5 million and £2.5 million ($2 million and $3.5 million).

Put up for auction by Angelina Jolie, it was vaunted in Christie's catalogue as "Churchill's most important work. Aside from its distinguished provenance, it is the only landscape he made" during the war.

A career army officer before entering politics, Churchill started to paint relatively late, at the age of 40.

His passion for the translucent light of Marrakesh, far from the political storms and drab skies of London, dates back to the 1930s when most of Morocco was a French protectorate, and he went on to make six visits to the North African country over the course of 23 years.

"Here in these spacious palm groves rising from the desert the traveller can be sure of perennial sunshine... and can contemplate with ceaseless satisfaction the stately and snow-clad panorama of the Atlas Mountains," he wrote in 1936 in Britain's Daily Mail newspaper.

He would set up his easel on the balconies of the grandiose La Mamounia hotel or the city's Villa Taylor, beloved by the European jet set of the 1970s.

It was from the villa, after a historic January 1943 conference in Casablanca with US president Franklin Roosevelt and France's Charles de Gaulle, that he painted what came to be regarded as his finest work, of the minaret behind the ramparts of the Old City, with mountains behind and tiny colourful figures in front.

"You cannot come all this way to North Africa without seeing Marrakesh," he is reputed to have told Roosevelt. "I must be with you when you see the sun set on the Atlas Mountains."

A newspaper photograph taken at the time shows the two wartime Allied leaders admiring the sunset.

- 'Truly remarkable panorama' -

After the US delegation had left, Churchill stayed on an extra day and painted the view of the Koutoubia Mosque framed by the mountains.

He sent it to Roosevelt for his birthday.

"This is Churchill's diplomacy at its most personal and intense," said Christie's head of modern British and Irish art, Nick Orchard. "It is not an ordinary gift between leaders. This is soft power, and it is what the special relationship is all about."

Sold by the Roosevelt family in the 1950s, it changed hands several times before passing on to Hollywood dream couple Angelina Jolie and Brad Pitt in 2011, well before their high-profile separation.

A second Churchill landscape, "Scene in Marrakesh", painted on his first visit to Morocco in 1935, also went under the hammer at Christie's on Monday.

That was painted while on a stay at Mamounia, where he marvelled at the "truly remarkable panorama over the tops of orange trees and olives", in a letter to his wife Clementine.

The hotel today has a suite and a bar named after its illustrious guest. 

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Dakhla Oasis, Egypt | Surrounded by thousands of live scorpions in a laboratory deep in Egypt's Western Desert, Ahmed Abu al-Seoud carefully handles one of the curved-tailed arachnids before extracting a drop of its venom.

A mechanical engineer who worked in the oil sector for almost two decades, Abu al-Seoud decided in 2018 to strike a different path -- producing scorpion venom for pharmaceutical research purposes.

"I was surfing the internet and saw scorpion venom was one of the most expensive on the market," said the 44-year-old, clad in a white lab coat.

"So I thought to myself: Why not take advantage of this desert environment where they roam around?"

Biomedical researchers are studying the pharmaceutical properties of scorpion venom, making the rare and potent neurotoxin a highly sought-after commodity now produced in several Middle Eastern countries.

"Dozens of scorpion-derived bioactive molecules have been shown to possess promising pharmacological properties," said a review published last May in the journal Biomedicines.

It said labs are now studying its potential anti-microbial, immuno-suppressive and anti-cancer effects, among others, hoping to one day use or synthesise them for medicines.

Abu al-Seoud is from the Dakhla oasis, located in Egypt's vast New Valley province and around 800 kilometres (500 miles) southwest of the capital Cairo.

Sand dunes and towering palms surround his laboratory, which he affectionately calls the "Scorpion Kingdom".

"Here, every family has a story about a scorpion sting," Abu al-Seoud said.

To get the animals to secrete venom in the controlled conditions of the lab, the scorpions are given a slight electric shock.

Workers wait 20-30 days between extractions to obtain the highest quality venom.

"What matters is the level of purity," Abu al-Seoud said, adding that one gram requires the venom of 3,000-3,500 scorpions.

- Deathstalker -

The liquid is refrigerated and transported to Cairo, where it is dried and packaged for sale as powder.

The laboratory "is certified (by the government) and has the ability to export this unique product", said 25-year-old Nahla Abdel-Hameed, a pharmacist who works at the centre.

Abdel-Hameed referred to some scientific studies that explored the healing benefits of the venom in curing certain diseases.

Mohey Hafez, a member of the pharmaceutical chamber at the Federation of Egyptian Industries, was more cautious in his assessment of its current uses.

"Scorpion and snake venoms can be used in making antisera," he explained to AFP.

"There is no ready-made medication that entirely depends on the venom as a direct ingredient, but there has been promising research into its uses".

New Valley province boasts around five different species of scorpions, including the sought-after deathstalker (Leiurus quinquestriatus), whose venom sells for up to $7,500 per gram, according to Abu al-Seoud.

While he himself also catches the creatures, he employs residents of nearby villages for the risky activity, equipping them with gloves, tweezers, boots, UV lights -- and antivenom.

The scorpion hunters earn one to 1.5 Egyptian pounds (around six to 10 cents) per animal.

Pharmacist Abdel-Hameed said the arachnids are caught in residential areas so as not to harm "the ecological balance".

"I classify them according to the area where they were caught, the species and size," she said.

Her colleague Iman Abdel-Malik said that although the scorpions could go without eating for long periods, they were given "food and protein to increase the toxin excretion" -- comprised of cockroaches and worms twice a month in the summer, and less during the winter hibernation.

- 'Bad reputation' -

There are plans to breed the scorpions in the future rather than catching them, the veterinarian aged in her 20s added.

About 20,000 of the animals have been collected so far, according to business partner Alaa Sabaa, while the lab has a maximum capacity of 80,000.

He said the first scorpion venom extractions took place in December and January after two years of preparations, and yielded "three grams of venom".

The self-financed project has so far cost about five million pounds, or around $320,000, he said, and has also attracted government support.

They also extract bee venom and sell agricultural products, including aromatic plants.

While Egypt has been producing various types of venom for years, Abu al-Seoud said, it was often done illegally or was of poor quality.

He said he hoped his operation would one day be an antidote to the country's "bad reputation" in the sector.

"We are trying to show off the country's capabilities... through a high-quality product that has been studied scientifically as well as produced and exported legally," he said.

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Timeless ease fills the room as passengers wait to embark on the fabled Blue Train for a luxurious two-night trek across South Africa.

But even in this cosseted world, 2021 intrudes, showing that nothing can escape the grip of the coronavirus pandemic.

Passengers are discreetly ushered off in small groups to a fast-track coronavirus testing centre nearby. 

A negative result, sent by text, is followed by an elegant appetiser lunch -- the final step before "All aboard!" signals the start of the adventure. 

In the background stands the dashing Blue Train, ready to accommodate excited passengers in 19 plush wagons lined with wooden panels and polished brass.

Forty-eight hours of pampering begins as the train rolls out of the station on a 1,600-kilometre (994-mile) trip through the Karoo desert, slicing up the middle of the country to the capital Pretoria.

Arid ochre landscapes gradually morph into rolling hills and green pastures sporadically broken up by mining towns and informal settlements.

The Blue Train is a perfect escape from the cares of the world.

Ironically, most South Africans could never have dreamed of affording its luxury before Covid appeared.

But coronavirus travel restrictions have stemmed the flow of wealthy international tourists that long dominated the train's clientele, mainly from Australia, Britain and Japan.

Service resumed in November with heavily discounted prices. Today nearly all its passengers are from South Africa.

"I grew up knowing there was a Blue Train, it was unaffordable," said Cape Town-based doctor Mashiko Setshedi, accompanied by her 67-year-old mother. "Thanks to Covid it became possible."

Unlike Setshedi, most of the passengers were white couples in their 50s and 60s. 

"Our trip to the US was cancelled in 2020," said Bennie Christoff, a 54-year-old financial advisor, flanked by his wife.

"We are locked in and the Blue Train is one of the things I wanted to do. My grandparents told us about it." 

The decades-old train is run by Southstate logistics firm Transnet African , which has struggled to keep rail traffic smooth since the economic setbacks of the pandemic fuelled a surge in cable theft.

- 'Once-in-a-lifetime' - 

A discounted ticket still comes at a steep minimum price of 23,000 rand ($1,544) -- about four times the average monthly minimum wage in one of the world's most unequal countries. 

"Returning guests are rare," barman Simon Moteka said. "It's often a once-in-a-lifetime experience for them."

Sliding drinks over the counter, the 43-year-old expertly navigated conversation, peppering discreet small talk with the occasional well-placed joke.  

As dinner time neared, a loudspeaker announcement politely reminded men to don a coat or waistcoat and "women to be as elegant as possible". 

Flip-flops and shorts gave way to dark suits and dresses before passengers made their way to the restaurant car, filling the narrow passageway with the scent of perfume.

The sun was setting as diners were shown to their tables, casting a golden glow over the sheep-dotted Karoo whizzing past the windows.

Each dish on the three to five-course menu is paired with a different glass of wine.

Dessert -- deconstructed cheesecake or a lemon meringue tart -- was followed by a shot of grappa or a sweet South African white from Klein Constantia. 

"Nelson Mandela's favourite," said restaurant manager Sydney Masenyani, ramrod straight and impeccably dressed.

The 61-year-old started his career as a senior waiter on a smaller train in 1981.

In 1993, he joined an all-white team of staffers, two years after apartheid formally ended.

His first months were tough. Tall and shy, Masenyani was often teased.

Four years later, Mandela himself stepped on board to launch a new, fully revamped Blue Train, flanked by US music producer Quincy Jones and British model Naomi Campbell. 

"It was wonderful," Masenyani recalled, vividly describing the red carpet and the nervous bodyguards.

"Motorbikes on the road, helicopters," he glowed. "We took photos with him."

The highlight was serving Mandela his favourite chocolate fondant "with a passion fruit heart" and a sweet South African dessert wine.        

"In fact, he was sitting at the same table as you," Masenyani gleefully told the AFP journalists.

"That's what he tells everyone," joked a passenger overhearing the conversation.

- Invisible fairies -

Some satisfied diners retreated to their freshly made cabin beds. Others headed to the observation car with its outsize windows, the lounge or the club for a nightcap.

Once on board, everything from the first morning coffee to a midnight cigar is included in the ticket price.

Cash is banished -- passengers are asked to tuck their wallets away and "surrender to the luxury of the show."

Time becomes fluid. Between meals and naps, the day is spent reading, playing cards and making new friends.

Every evening, invisible fairies tiptoe into the cabins while dinner is served. 

They bring firm mattresses down from nooks in the walls and stretch fresh-smelling duvets tightly across.

From fluffy pillows, one can turn to the window and gaze at the moon-lit landscape rolling by under a starry sky.

Tucked under the blankets, a hot shower or bath awaiting in the morning, passengers rocked by the gentle motion drift off to sleep. 

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The Japanese town of Taro had sea walls that were supposed to be able to survive almost anything the ocean could offer up, but the 2011 tsunami still brought utter destruction.

A decade after the deadly waves unleashed by one of the most powerful earthquakes in recorded history, the lesson learned in many coastal towns was: build higher.

That has left a legacy cast in concrete along hundreds of kilometres of Japan's northeastern coast -- with a few notable exceptions where communities have rejected the imposing barriers.

Before 2011, people in Taro assumed their walls would withstand just about everything.

"Taro had built a perfect town to prevent disaster," 63-year-old local tour guide Kumiko Motoda told AFP.

The town adopted sea walls as early as 1934, after being engulfed by huge tsunamis in 1896 and 1933.

Its 10-metre high barriers, running 2.4 kilometres (1.5 miles) in total, were known collectively as "The Great Wall" and came with 44 tsunami evacuation routes, equipped with solar panels to keep the lights on.

Roads were designed with clear views for evacuees, and residents were supposed to be able to get to safety in less than 10 minutes, Motoda explained.

But the 16-metre wave that arrived on March 11 made quick work of those best-laid plans, streaming over the walls and partially destroying them as it carried away homes and cars.

Across Taro, 140 residents were killed and 41 remain missing. 

After the disaster, Japan's government asked coastal regions in the area to consider constructing or rebuilding protective walls, eventually setting aside 1.3 trillion yen ($12 billion) in funds.

In all, 430 kilometres of non-contiguous barriers will be built, with construction around 80 percent complete.

- 'Disaster-prone archipelago' -

The structures have reshaped the coastal landscape, screening long sections of the sea from view.

In Taro, the walls are now up to 14.7 metres high and run for over two kilometres.

At their base, residents must crane their necks to even see the top. For a glimpse of the ocean, they must climb more than 30 steps up a staircase that looks like it leads directly to the sky.

Experts say the barriers are worth it, offering two key protections: bouncing back the power of the waves, which reduces damage, and buying time for evacuation.

Even a few minutes can count for everything, said Tomoya Shibayama, a professor of civil and environmental engineering at Waseda University.

"There were many moments (in 2011) where these few minutes of time decided whether people were able to evacuate or were caught up by the tsunami," he told AFP.  

Newer designs incorporate wider bases and reinforced inner walls to stop the barriers being toppled and better absorb the force of multiple waves.

Heights have been adjusted based on new predictions of the highest waves that could occur in once-in-a-century tsunamis.

Other lessons have been learned too, with improved warning systems, computer simulations to map evacuation routes and relocations of communities.

While the barriers aren't enough alone, Shibayama said, they remain necessary.

"There is always a risk of natural disasters," even if communities relocate. "Japan is a disaster-prone archipelago," he warned.

Taro's experience in 2011 showed the walls are not a fail-safe solution.

"There were people who didn't evacuate, thinking the tsunami wouldn't reach them," Motoda noted.

- 'This is my home' -

The initial warning described a three-metre wave, and by the time it was upgraded to a 10-metre warning, power outages meant many missed the alert.

A large quake two days earlier had also only produced a minor wave, possibly lulling some into a false sense of security.

"The sea walls are here to buy time for people to evacuate, not to stop a tsunami," Motoda said.

Motoda, whose mother remains missing after the tsunami, believes the walls serve another poignant purpose: keeping bodies from washing out to sea.

"I feel she would have returned home if the sea walls hadn't been destroyed," she said.

But the walls are not without controversy, and some communities have rejected being cut off from the sea, regardless of the risks.

The tiny fishing village of Mone in Miyagi lost 42 of its 55 houses in the 2011 tsunami, but instead of building a wall, it decided to move.

"The only way to protect our lives when a tsunami comes is to evacuate to a higher place. Whether there is a sea wall doesn't matter," said local oyster farmer Makoto Hatakeyama.

The village, which lost four people in the tsunami, relocated 40 metres above sea level.

Hatakeyama, like many fishermen, actually headed into the sea in a bid to protect his boat. He survived only by swimming to a nearby island.

He believes sea walls can offer a false sense of security.

"There is nothing you can do about a tsunami... Humans should understand they live in a place where natural disasters such as tsunamis and quakes happen."

And losing a direct connection to the ocean isn't a sacrifice he's willing to make.

"This view, this community's wind, atmosphere... There's almost nowhere like it in Japan," the 42-year-old said.

"(The sea) is my identity. It makes me feel calm. This is my home."

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Paris, France | AFP | Friday 3/6/2021 - 00:00 UTC+8 | 510 words

Our weekly roundup of offbeat stories from around the world:

- You horny devil -

Cute, chunky 107-stone female seeks caring Japanese male for companionship and maybe more...

Emma, a Taiwanese white rhino at the country's Leofoo Safari Park, has been learning Japanese for her first date with a sauve older male called Moran in Japan.

Zoos want to widen the gene of the captive-bred endangered species.

Hitting the scales at 682 kilos, keepers say Emma is a real lady. She's slim for a rhino and "seldom gets into fights with other rhinos or snatches their food".

#MeToo clearly in mind, one of the Japanese words Emma has been learning is "No".

- Dead lucky -

An Indian man declared dead after a motorcycle crash began to move on an autopsy table as doctors got ready to open him up.

The pathologist saw the body move just before he began to cut into the 27-year-old from Mahalingapur in the southern state of Karnataka.

Officials told AFP that doctors in a private hospital had clearly exercised "bad judgement".

- Smashing fun - 

With no Greek restaurants open to smash plates in, Californians are getting rid of pent up lockdown stress by going to "Rage rooms" where they can take a hammer to the furniture.

"I've wanted to break something for a long time now," satisfied customer Mike told AFP, cradling a crowbar. "But we have a toddler in the house who imitates everything."

It's also therapy for Erika, who worked up a sweat smashing the place up with a sledgehammer.

"I'm cooped up in my house with Covid, I can't see my friends, can't go out, and (am) slowly losing my mind," she said.

- Penguins can finally chill -

But it could be worse, she could be a gentoo penguin. Those at Norway's Bergen Aquarium have been under an uber-strict lockdown since December, banned from sliding on their tummies into their pool or going out to break the ice with their amphibious friends.

They finally got back to penguin normal this week after getting jabs for bird flu -- which is even more deadly than Covid.

- Wanted: Space cadets -

A Japanese fashion tycoon has been dubbed the "Willy Wonka of Space" for inviting eight people to join him on a voyage to the Moon.

Yusaku Maezawa was the first person to book the spaceship being developed by Elon Musk's SpaceX.

The 45-year-old says he wants creative people. "I have bought all the seats, so it will be a private ride," he added.

But given that his Twitter handle is @yousuckMZ and that he is using crash-dogged SpaceX, even space cadets may be having doubts.

This week another of Musk's test rockets went up in smoke as SpaceX commentator praised its "beautiful soft landing".

Such reality-defying elan almost matched Musk himself who tweeted "Mars, here we come!" after his Starship exploded in a ball of flames at a test launch in December.

- Saw it coming -

A French man who asked his neighbour for the loan of a saw "to get rid of a body" has been arrested for the murder of his lodger.

The body was found wrapped in plastic at his home in the town of Tour-du-Pin in the foothills of the Alps.

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The autumn/winter 2021-2022 collections had an air of hope for when coronavirus is banished or at least brought under control: for when home clothes are shed and new outfits see the light of day, for when life simply returns to a semblance of normal.

- Sequins, glitter and frills -

Sequins set the tone for an irresistably festive mood, with the standard set by Prada.

Raf Simons and Miuccia Prada used them for a sparkling lining of a large faux fur stole.

Elsewhere they were more full-on, entirely covering an otherwise straight-cut coat, or on skirts, bags and shoes.

At Valentino, Pierpaolo Piccioli used sequins on a skin-coloured dress, or a shimmering floor-length cape. 

They were inserted into knitwear at Missoni or Brunello Cucinelli, while at Armani, sequins invaded a black tuxedo jacket, the effect completed with ruffles and gemstones.

- Inside outside -

After months cooped up indoors, intimate wear was given an outing: dresses with thin straps in silk, lace or voile were on the catwalks of all the major houses.

At Fendi, there were fluid silk dresses, extended to the neck with the incorporation of long scarves.

New artistic director Kim Jones also used silk for trousers and tops, as if the working girl had transformed her silk pyjamas into an ultra-chic urban outfit.

Valentino's nets and laces revealed more than they hid, and MM6 Maison Margiela had camisoles with thin straps in a collection where everything was backwards, where underneath was on top.

- Bomber jackets -

Bomber jackets brought a hint of G.I. Jane to the collections, although more in the vein of Marilyn Monroe visiting the Marines than Demi Moore's shaved head. 

At Prada, the nylon jackets were oversized and black. At Etro, they had an ethnic feel, at Pucci they were branded, while at Max Mara they highlighted the label's founding date of 1951.

For Alberta Ferretti they were in leather, while Dolce & Gabbana made them sexy with Madonna-style conical additions to the chest.

- Black -

Black was used to claim a more formal wardrobe.

At Valentino, the colour dominated with only flashes of white, gold and check.

At Prada, it contrasted with elements of colour on the arms, legs, necks or in accessories.

Armani used it to similar effect, the collection based on black with blue, green and lilac. A grand finale of black at Fendi brought hyper-sophisticated looks. 

Meanwhile the strong woman with a contemporary Amazonian spirit at Alberta Ferretti wore black overalls, capes and wide black trousers.

- Fur -

Like an animal coming out of hibernation, the heavy coat of the Yeti or Star Wars' Chewbacca is back, whether real or fake.

For Prada, the fur was synthetic and ubiquitous, used not just for coats and stoles but also in the decor of the show, covering walls and floors.

Fur specialists Fendi presented several grand looks, but with a novel approach -- re-using materials from previous pieces.

Florentine house Ferragamo was fur-free, but showed knitwear with dramatic fur-like fringes.

At Dolce & Gabbana, the fur coat was colourful, sometimes pink, golden or multicoloured, and always oversized.

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New York, United States | New Yorkers are taking advantage of the absence of tourists during the pandemic to visit iconic sites in the Big Apple that they would normally avoid.

At 10:00 am (1500 GMT) on a recent Friday, barely ten people were on Liberty Island's roughly 200-metre (650-ft) promenade, staring up at the Statue of Liberty.

In normal times, even although it is not peak season, hundreds of tourists would be posing for selfies in front of the copper icon of freedom.

Alexander Lumbres, a student at City University of New York, has been to the island 20 times before, but never been able to enjoy a crowd-free view of the statue.

"It was really hard for me to take pictures. Usually, we would go around the backside, just to get like a proper picture with the family and everything," he said.

Roughly 67 million tourists visited New York City in 2019. In 2020, visitor numbers were a third of that, and most came before the pandemic began ravaging the city in the spring.

Today, 90 percent of visitors to the Metropolitan Museum of Art come from the local area, according to a spokesperson. Ordinarily, locals make up fewer than half.

NYC & Company, which markets the Big Apple around the world and which cut its workforce by almost a half because of coronavirus, launched the "All in NYC" campaign to encourage New Yorkers to visit their own city.

Getting New York back on its feet is "going to start with New Yorkers" said executive vice president Christopher Heywood.

"When you live here, you take it for granted," said Darlene Vann, who's in the military and stationed in New York for a year. She was visiting the Statue of Liberty for the first time.

Jerry Willis, of the National Park Service, the government agency that manages national parks and sites, said "New Yorkers are famous" for not visiting renowned sites on their doorstep.

Darlene's husband, Jay Vann, prefers outdoor venues over closed spaces because officials are "limiting capacity" at indoor venues, which also come with the threat of some patrons not complying with strict health protocols.

In the fourth quarter of 2020, the Empire State Building observation deck recorded a 94 percent drop in visitors compared to the same period the year before, despite being open for the full three months.

At the 9/11 Memorial, only a few dozen people tend to walk amid the former home of the World Trade Center's Twin Towers.

- Broadway the catalyst -

Many New Yorkers avoided the memorial during its first few years, either out of trauma or because it was too crowded, to the point that organizers launched a specific marketing campaign in 2016 entitled "Our City. Our Story".

Janice Ryan lost a friend in the Al-Qaeda attacks on September 11, 2001. She recently visited to find her friend's name on the engraved list of victims that surround the large pools of water installed where the north and south tower used to stand. 

Today, she came to find her name in the list engraved along the two large pools installed where the 1 and 2 World Trade Center were located.

"It was easier for me to come today because usually it's so crowded," she said.

"It's super emotional for me. I don't know anybody that could come down here and not feel as it is the day that it happened. I've stayed away because it's really hard," Ryan added.

Mark Robinson, a theater director, often visits "Ground Zero" for some peaceful reflection.

"(Normally) I wouldn't be coming down here on a Friday. But the streets down here in the Wall Street area downtown are pretty deserted. So it just seemed like the right thing to do on such a beautiful day," he told AFP.

Despite enjoying New York's new-found quietness, locals are beginning to crave the manic old days.

"It's about time we get back to the normal hustle and bustle of the city. We enjoyed that when we were living here when we were younger," said Jay Vann.

With the partial reopening of cinemas and large arenas such as Madison Square Garden, NYC & Company's Heywood sees positive moves in the right direction.

"It's been gradual, but we are starting to make our way toward a recovery," he said.

But he says the real turning point will be when Broadway reopens, which may not be until September.

"Broadway will be that catalyst that we need to be able to signal to the world that New York City is absolutely open for business," he said.

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© Agence France-Presse

"For being a legendary writer who has enriched Irish literature in inestimable ways and for nurturing French literature we award you the insignia of Commander of "L'Ordre des Arts et Lettres," said French culture minister Roselyne Bachelot-Narquin in a pre-recorded online message.

Bachelot-Narquin praised O'Brien for a "steadfast commitment in favour of liberty, both in your writing and in your life" and for "having inspired countless women by the force of your words".

O'Brien, 90, is the author of 18 novels.

"This award is huge for me," she said in a pre-recorded message from her home in London.

"I will wear this medal... as being talismanic for the rest of my life."

Born in 1930 into a strict Catholic farming family in west Ireland's County Clare O'Brien's father was an alcoholic and her mother saw writing as a sin.

"Writing was a very secret transaction because it was regarded as profane, both in our house and in my country, during my formative years," she explained in her acceptance speech.

O'Brien arrived on the literary scene in the 1960s, with a debut novel that was burned and banned in her native land.

"The Country Girls", about the sexual initiation of rebellious Catholic girls drawn from O'Brien's childhood experiences, is now a marker in modern Irish literature for its breaking of social and sexual taboos.

Her career spans decades with her most recent novel "Girl" published in 2019 -- depicting the trauma of Nigerian schoolgirls kidnapped by Boko Haram militants.

O'Brien has already been awarded the Irish PEN Lifetime Achievement Award and the PEN/Nabokov Award for work which "broke down social and sexual barriers for women in Ireland and beyond."

Her work is "like a piece of fine meshwork", wrote the late US author Philip Roth in the New York Times.

It is "a net of perfectly observed sensuous details that enables you to contain all the longing and pain and remorse that surge through the fiction," he said in 1984.

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© Agence France-Presse