NEW YORK – Lincoln Center for the Performing Arts and the Center for the China Shanghai International Arts Festival hosted Shanghai Day as part of Summer for the City, bringing a lively wave of culture to New York City.

From early afternoon into the night, crowds enjoyed a full mix of shows and hands-on activities across Lincoln Center. The day blended classic and modern styles, mixed fashion with tradition, and celebrated young artists. Audiences in the thousands joined in, getting a genuine taste of Shanghai’s creative spirit.

Li Ming, President of the Center for the China Shanghai International Arts Festival, shared that bringing Haipai (Shanghai-style) culture to New York was an honour. She said this celebration gave Shanghai artists a place to share their energy and ideas with the world, thanks to Lincoln Center’s invitation.

Mariko Silver, President and CEO of Lincoln Center, welcomed everyone to discover new cultures at the centre. She said today’s events offered a strong example of sharing traditions and creativity across borders, bringing people of all ages together. She highlighted the joy of working with the Shanghai International Arts Festival team.

Shanghai Day introduced Haipai culture at its best, with fresh takes on long-held traditions. These interactive moments showed a different side of Chinese arts, inviting visitors to see them in new ways.

Inside the David H. Koch Theatre, the Shanghai Grand Theatre brought Lady White Snake to a U.S. audience for the first time. This original dance, inspired by the Chinese solar calendar, paired traditional Chinese instruments with Western classical music and electronic sounds.

Bold visuals, including clocks and geometric patterns, set the scene and added emotional weight. The show brought together ballet, Chinese dance, and contemporary moves, as artistic director Tan Yuanyuan and her team created a vivid retelling of an ancient tale. Their work brought together ballet finesse, flowing water sleeves, and poetic stage design shaped by Jiangnan, casting a classic legend in a fresh light.

Shanghai Day Excites

In the lobby at the David Rubenstein Atrium, families watched The Monkey King: Uproar in Heaven, a colourful film from Shanghai Animation Film Studio. Children enjoyed live music from the Shanghai Chinese Orchestra in the family area, where suona and pipa mixed with water ink animation by Zhang Lelu. Kids got to try out traditional instruments and learn through play.

As evening set in, Lincoln Center’s garden turned into the “Shanghai Cultural Pavilion.” Visitors could try their hand at papercutting, knot buttons, calligraphy, qipao making, and cotton crafts. There were also vegetarian snacks from Longhua Temple and unique cloisonné boxes from Lao Feng Xiang.

The “Guochao Punk” Peking Opera makeup booth stood out, with lines of New Yorkers eager for custom face paint. The Zi-Ka-Wei Library display nearby featured creative designs and souvenirs inspired by Shanghai’s heritage.

Damrosch Park came alive with the Arknights Concert, created with famous composers like Gareth Coker. The music shifted between electronic, folk, and symphonic styles, pulling the audience into worlds inspired by video games.

On the Dance Floor, young dancers from China wowed the crowd with street dance, including breaking, popping, and locking. Their energetic routine to Spread Your Wings got everyone moving, with the audience joining in.

 

Jazz trumpeter Li Xiaochuan added his sound, blending jazz with Chinese themes. Late into the night, the Silent Disco drew crowds who danced with wireless headphones, listening to a mix of erhu, pipa, and electronic beats.

Throughout the celebration, symbols of Shanghai filled the Lincoln Center—from the skyline of Lujiazui to the outlines of Yuyuan Garden. New Yorker Fromm, visiting for the first time, shared how it felt like stepping into a different city, with every sense taken up by sights, sounds, and flavours that mixed the old with the new.

As the evening closed, the spirit of Shanghai Day stayed with everyone. From the elegance of ballet to the sounds of folk instruments, from hands-on crafts to dancing under the stars, the event created a bridge between cultures. Through art and connection, a fresh chapter in cultural exchange between China and the United States began.

Trending News:

China’s Multi-Billion Dollar Push to Shape U.S. Media and Academia

DELEWARE – French President Emmanuel Macron and his wife, Brigitte Macron, have filed a major defamation lawsuit against US commentator Candace Owens over her exposé becoming Brigitte in Delaware.

The 218-page filing accuses Owens of running a “campaign of global humiliation,” targeting Brigitte Macron with false claims that she was born male. The suit includes 22 counts covering defamation, false light, and defamation.

The Lawsuit alleges Owens spread these stories to promote her podcast Becoming Brigitte and profit from her large online following: nearly 7 million on X and 4.5 million on YouTube.

Filed on July 23, 2025, the case marks a dramatic moment in a dispute that began on minor internet forums but has grown into a high-profile international legal fight.

The Macrons are now at odds with an outspoken US influencer, forcing a conversation about the limits of free speech, defamation across borders, and the responsibilities of public figures.

While Owens’ lawyers argue the suit is a foreign attempt to silence an American journalist, the Macrons’ aggressive stance and refusal to release certain evidence leave lingering questions and fuel online conspiracies.

Macrons Defamation Claims

According to the lawsuit, Owens began publicly asserting in March 2024 that Brigitte Macron, 72, was born male under the name Jean-Michel Trogneux, who is her brother. These allegations featured prominently in Owens’ eight-part YouTube series Becoming Brigitte, which drew over 2.3 million views.

The series also accused the Macrons of being blood relatives, identity theft, and suggested Emmanuel Macron’s rise to power was the result of a US mind-control plot.

The Macrons claim Owens made these statements knowing they were false, meeting the strict “actual malice” standard in US law, which requires proof that Owens either lied knowingly or acted with reckless disregard for the truth.

The suit describes the harm the couple has faced, including constant public insults and an intrusion into their lives. “Every time the Macrons leave their home, they do so knowing that countless people have heard, and many believe, these vile fabrications,” the complaint says.

Their attorney, Tom Clare of Clare Locke LLP, who previously worked on the Dominion Voting Systems case, calls this suit “a clear-cut case of defamation.” Clare says Owens dismissed solid evidence disproving her story and continued to produce content and merchandise that kept the rumours alive.

Owens’ Response and First Amendment Arguments

Candace Owens has responded with characteristic boldness, dismissing the lawsuit as “goofy” and a shallow publicity move. During a livestream on July 23, she doubled down on her attacks, calling Brigitte Macron the “First Lady man of France.”

Owens’ spokesperson asserts that this is an illegal effort by a foreign government to threaten the First Amendment rights of a US journalist.

“Candace repeatedly requested an interview with Brigitte Macron. Instead of talking, Brigitte tries to bully a reporter into silence. In France, politicians bully the press, but this is America.”

Owens and her legal team look forward to discovery, aiming to question Brigitte Macron under oath and, according to them, get to the truth in court. Owens promises her supporters that she will see the Macrons in court and that the process may reveal even more about the couple.

Owen’s defence is based strongly on her freedom of speech as protected in the US. Public figures like the Macrons have a tough standard to meet. Legal analysts note that because Owens is more of a commentator than a traditional reporter, her work blends opinion and fact, which could work in her favour.

Her team insists that even harsh opinions and speculation are protected by law, given the Macrons’ high profile. Since Owens’ businesses are registered in Delaware, that state’s courts—known for protecting speech—will hear the case.

Experts Weigh in on the Suit and Possible Motives

This lawsuit has divided legal experts. Some believe it’s a weak or even “frivolous” effort designed more to protect the Macrons’ reputation than to win in court. Three top US defamation lawyers, speaking off the record, expressed doubts about whether the Macrons could prove actual malice.

One noted, “Owens can say she relied on French sources, even bad ones, and that could protect her.” Another called the case a “face-saving effort” and argued that the Macrons’ refusal to answer Owens’ requests for comment may hurt their position.

A third expert labelled the case “partially frivolous,” highlighting that the high number of accusations and the demand for damages may be more about intimidation and publicity than about justice.

“Filing in Delaware looks like a stunt,” said the expert, “and could end up helping Owens by giving her a platform during discovery.”

Other lawyers point out that the Macrons have carefully documented their attempts to get retractions from Owens and could prevail if they prove she ignored solid evidence. Since Owens has millions of followers, the couple argues, the personal impact is enormous.

French Lawsuits and Accusations of Overreach

This is not the Macrons’ first attempt to tackle these claims. In France, Brigitte Macron has filed lawsuits against two women, Amandine Roy and Natacha Rey, for spreading similar stories online. In late 2021, the two posted a viral video claiming Brigitte was born male.

A French court convicted them of libel in September 2024, ordering damages, but in July 2025, an appeals court overturned the decision, saying that the pair acted in “good faith.” Brigitte Macron is now appealing that decision to a higher court.

The treatment of Roy and Rey has raised concerns. Natacha Rey, who is reportedly battling cancer, has faced intense legal and police pressure that many see as excessive.

French journalists and activists argue that the Macrons’ focus on these individuals, who have limited resources, threatens press freedom and could discourage open discussion. As one Paris-based journalist put it, “It looks like the Macrons are trying to silence critics rather than address the claims.

Targeting a cancer patient doesn’t help their case, especially when a court already said the allegations were made in good faith.”

Owens has pointed to the appeals court’s ruling as evidence supporting her case, saying the Macrons have switched tactics after failing to win in France. But that leaves out the fact that the ruling focused on good faith, not the truth of the claims.

A Persistent Question: The Missing Proof

A key point in this story is Brigitte Macron’s refusal to release photos, medical documents, or other evidence that could end the rumours for good. The Macrons say they provided Owens with credible information, but have not made it public.

Critics argue that a simple birth certificate or old photos could clear things up quickly. Owens raised this issue again during her recent live stream, and many of her supporters on X agree.

Macron’s lawyers argue public figures should not have to reveal private records just to refute baseless attacks. The lawsuit notes that Brigitte had three children in her first marriage as further proof of her biological sex.

Still, the lack of clear evidence has allowed conspiracy theories to grow even as the couple fights to clear their name in court. The Macrons’ lawsuit situates Owens’ claims within this toxic pattern, accusing her of using gender stereotypes and bigotry for profit and attention.

Owens and her supporters push back, saying she is simply conducting real journalism by investigating these allegations. They point to her use of sources from France, like Natacha Rey, whose claims have not been fully disproven in public.

The recent appeals court ruling in France, they argue, supports their right to discuss unproven stories as long as they act in good faith, which blurs the Macrons’ position as clear-cut victims.

What’s Next: A Case with International Impact

The Delaware case guarantees further debate about the role of social media, the boundaries of speech, and how reputations are protected or damaged worldwide.

If the Macrons win, it could set an example for public figures seeking recourse against false claims made by global influencers. If Owens wins, it would reaffirm broad speech protections for American commentators and raise questions about how far defamation law should go in an era of viral rumours.

Macron’s decision to avoid interviews with Owens or release decisive evidence may be strategic, but it has fed doubts online. At the same time, French authorities’ tough handling of smaller players like Natacha Rey and Amandine Roy has alarmed many about the state of press freedom in France.

As the court proceedings continue, the conflict will highlight the tension between privacy, reputation, and free speech in the age of internet-driven conspiracy theories. The outcome will shape the future of defamation law—on both sides of the Atlantic.

Related News:

Google and Facebook Under Huge Pressure Over User Privacy

Nashville, TN – The Newsboys have stood as a major force in Christian rock for decades, sharing their music and message with millions. Their story began in Australia and grew into a worldwide success, filling arenas and shaping a unique place in Christian music.

While many remember the band for their uplifting songs and positive image, recent events have added new layers to their history, especially as old allegations about former frontman Michael Tait return to public view.

The group first drew attention in the late 1980s, with lively performances and lyrics that spoke to young believers. Original singer Peter Furler, alongside John James and, later, Michael Tait, helped create big hits like “Shine,” “Breakfast,” and “God’s Not Dead.” Their approach blended energetic music with messages of hope, earning them many Dove Awards and nominations for Grammys.

Over time, the lineup shifted. Peter Furler, who played a key role in shaping their sound, stepped down from singing lead in 2009. Michael Tait, known from his work with DC Talk, took his place.

With Tait, the group moved forward, keeping up a steady stream of albums and live shows. His style brought fresh life to the band and helped keep their popularity strong.

Newsboys Stay Silent

But Michael Tait’s past has come under scrutiny again. Tait has spoken about his past struggles with drugs, but recent attention has focused on allegations of sexual assault, some reaching back many years.

These claims, discussed online and within Christian music circles, have not led to criminal charges, but their presence has raised concerns among fans and others in the industry.

The band and Tait have mostly chosen not to comment on these recent claims, referring instead to previous statements or focusing on their music and outreach. Some feel this silence falls short of real accountability. Others believe that someone’s past, especially before joining the group, should not erase current achievements.

The Newsboys continue to perform and release new songs, with Michael Tait still leading. Their concerts draw large crowds, and their faith-based message still appeals to many. Yet, questions about Tait’s history, especially the unresolved nature of the allegations, remain.

The Newsboys’ journey highlights how personal lives and public careers can overlap, even in Christian music. Their successes and challenges both shape how fans see them today. As they move forward, their story remains a mix of faith, controversy, and the need for honesty and responsibility.

Trending News:

Candace Owens Champions Conservative Christian Values for Women