A colossal cloud of Sahara dust is smothering the Caribbean en route to the US
SAN JUAN, Puerto Rico (AP) — A massive cloud of dust from the Sahara Desert blanketed most of the Caribbean on Monday in the biggest event of its kind this year as it heads toward the United States.
The cloud extended some 2,000 miles (3,200 kilometers) from Jamaica to well past Barbados in the eastern Caribbean, and some 750 miles (1,200 kilometers) from the Turks and Caicos Islands in the northern Caribbean down south to Trinidad and Tobago.
'It's very impressive,' said Alex DaSilva, lead hurricane expert with AccuWeather.
The hazy skies unleashed sneezes, coughs and watery eyes across the Caribbean, with local forecasters warning that those with allergies, asthma and other conditions should remain indoors or wear face masks if outdoors.
The dust concentration was high, at .55 aerosol optical depth, the highest amount so far this year, said Yidiana Zayas, a forecaster with the National Weather Service in San Juan, Puerto Rico.
The aerosol optical depth measures how much direct sunlight is prevented from reaching the ground by particles, according to the U.S. National Oceanic and Atmospheric Administration.
The plume is expected to hit Florida, Louisiana, Alabama and Mississippi late this week and into the weekend, DaSilva said.
However, plumes usually lose most of their concentration in the eastern Caribbean, he noted.
'Those islands tend to see more of an impact, more of a concentration where it can actually block out the sun a little bit at times,' he said.
The dry and dusty air known as the Saharan Air Layer forms over the Sahara Desert in Africa and moves west across the Atlantic Ocean starting around April until about October, according to NOAA. It also prevents tropical waves from forming during the Atlantic hurricane season, which runs June 1 to Nov. 30.
June and July usually have the highest dust concentration on average, with plumes traveling anywhere from 5,000 feet to 20,000 feet above the ground, DaSilva said.
In June 2020, a record-breaking cloud of Sahara dust smothered the Caribbean. The size and concentration of the plume hadn't been seen in half a century, prompting forecasters to nickname it the 'Godzilla dust cloud.'
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
4 minutes ago
Stephen King on 'The Life of Chuck,' the end of the world and, yes, joy
NEW YORK -- NEW YORK (AP) — Stephen King 's first editor, Bill Thompson, once said, 'Steve has a movie camera in his head.' So vividly drawn is King's fiction that it's offered the basis for some 50 feature films. For half a century, since Brian De Palma's 1976 film 'Carrie,' Hollywood has turned, and turned again, to King's books for their richness of character, nightmare and sheer entertainment. Open any of those books up at random, and there's a decent chance you'll encounter a movie reference, too. Rita Hayworth. 'The Wizard of Oz.' 'Singin' in the Rain.' Sometimes even movies based on King's books turn up in his novels. That King's books have been such fodder for the movies is owed, in part, to how much of a moviegoer their author is. 'I love anything from 'The 400 Blows' to something with that guy Jason Statham,' King says, speaking by phone from his home in Maine. 'The worst movie I ever saw was still a great way to spend an afternoon. The only movie I ever walked out on was 'Transformers.' At a certain point I said, 'This is just ridiculous.'' Over time, King has developed a personal policy in how he talks about the adaptations of his books. 'My idea is: If you can't say something nice, keep your mouth shut,' he says. The most notable exception was Stanley Kubrick's 'The Shining,' which King famously called 'a big beautiful Cadillac with no engine inside.' But every now and then, King is such a fan of an adaptation that he's excited to talk about it. That's very much the case with 'The Life of Chuck,' Mike Flanagan's new adaptation of King's novella of the same name published in the 2020 collection 'If It Bleeds.' In 'The Life of Chuck,' which Neon releases in theaters Friday (nationwide June 13), there are separate storylines but the tone-setting opening is apocalyptic. The internet, like a dazed prize fighter, wobbles on its last legs before going down. California is said to be peeling away from the mainland like 'like old wallpaper.' And yet in this doomsday tale, King is at his most sincere. 'The Life of Chuck,' the book and the movie, is about what matters in life when everything else is lost. There is dancing, Walt Whitman and joy. 'In 'The Life of Chuck,' we understand that this guy's life is cut short, but that doesn't mean he doesn't experience joy,' says King. 'Existential dread and grief and things are part of the human experience, but so is joy.' It's telling that when King, our preeminent purveyor of horror, writes about doom times, he ends up scaling it down to a single life. While darkness and doom have, and probably always will, mark his work, King — a more playful, instinctual, genre-skipping writer than he's often credited as — 'The Life of Chuck' is a prime example of King, the humanist. 'An awful lot of people assume, because he writes so much stuff that's so scary, they kind of forget the reason his horror works so well is he's always juxtaposing it with light and with love and with empathy,' says Flanagan, who has twice before adapted King ('Doctor Sleep,' 'Gerald's Game') and is in the midst of making a 'Carrie' series for Amazon. 'You forget that 'It' isn't about the clown, it's about the kids and their friendship," adds Flanagan. ''The Stand' isn't about the virus or the demon taking over the world, it's ordinary people who have to come together and stand against a force they cannot defeat.' King, 77, has now written somewhere around 80 books, including the just released 'Never Flinch.' The mystery thriller brings back King's recent favorite protagonist, the private investigator Holly Gibney, who made her stand-alone debut in 'If It Bleeds.' It's Gibney's insecurities, and her willingness to push against them, that has kept King returning to her. 'It gave me great pleasure to see Holly grow into a more confident person,' King says. 'She never outgrows all of her insecurities, though. None of us do.' 'Never Flinch' is a reminder that King has always been less of a genre-first writer than a character-first one. He tends to fall in love with a character and follow them through thick and thin. 'I'm always happy writing. That's why I do it so much,' King says, chuckling. 'I'm a very chipper guy because I get rid of all that dark stuff in the books.' Dark stuff, as King says, hasn't been hard to come by lately, he grants. The kind of climate change disaster found in 'The Life of Chuck,' King says, often dominates his anxieties. 'We're creeping up little by little on being the one country who does not acknowledge it's a real problem with carbon in the atmosphere,' King says. 'That's crazy. Certain right wing politicians can talk all they want about how we're saving the world for our grandchildren. They don't care about that. They care about money.' On social media, King has been a sometimes critic of President Donald Trump, whose second term has included battles with the arts, academia and public financing for PBS and NPR. Over the next four years, King predicts, 'Culture is going to go underground.' In 'Never Finch,' Holly Gibney is hired as a bodyguard by a women's rights activist whose lecture tour is being plagued by mysterious acts of violence. In the afterward of the book, King includes a tribute to 'supporters of women's right to choose who have been murdered for doing their duty.' 'I'm sure they're not going to like that,' King says of right-wing critics. The original germ for 'The Life of Chuck' had nothing to do with current events. One day in Boston, King noticed a drummer busking on Boylston Street. He had the vision of a businessman in a suit who, walking by, can't resist dancing with abandon to the drummer's beat. King, a self-acknowledged dancer (though only in private, he notes), latched onto a story that would turn on the unpredictable nature of people, tracing the inner life of that imagined passerby. In the film, he's played by Tom Hiddleston. Chuck first appears, oddly, on a billboard that haunts and confuses a local teacher (Chiwetel Ejiofor) who's struggling to get his students to care about literature or education with the possible end of the world encroaching. It's a funny but maybe not coincidental irony that many of the best King adaptations, like 'Stand By Me' and 'The Shawshank Redemption," have come from the author's more warm-hearted tales. 'The Life of Chuck,' which won the People's Choice Award last fall at the Toronto International Film Festival, is after a similar spirit. When King reached out about attending the TIFF world premiere, Flanagan was shocked. The last time King had done that for one of his own adaptations was 26 years ago, for 'The Green Mile.' That movie, like 'The Shawshank Redemption' were box-office disappointments, King recalls, a fate he's hoping 'The Life of Chuck' can avoid. 'He views this movie as something that's a bit precious,' says Flanagan. 'He's said a few things to me in the past about how earnest it is, how this is a story without an ounce of cynicism. As it was being released into a cynical world, I think he felt protective of it. I think this one really means something to him.' The Stephen King industrial complex, meanwhile, keeps rolling along. Coming just this year are series of 'Welcome to Derry' and 'The Institute' and a film of 'The Long Walk.' King, himself, just finished a draft of 'Talisman 3.' If 'The Life of Chuck' has particular meaning to King, it could be because it represents something intrinsic about his own life. Chuck's small, seemingly unremarkable existence has grace and meaning because, as Whitman is quoted, he "contains multitudes' that surprise and delight him. King's fiction is evidence — heaps of it — that he does, too. 'There are some days where I sit down and I think, 'This is going to be a really good day,' and it's not, at all,' says King. 'Then other days I sit down and think to myself, 'I'm really tired and don't feel like doing this,' and then it catches fire. You never know what you're going to get.'
Associated Press
14 minutes ago
- Associated Press
Join scientists as they drive into hailstorms to study the costly weather extreme
SHAMROCK, Texas (AP) — As severe storms once again soak, twist and pelt the nation's midsection, a team of dozens of scientists is driving into them to study one of the nation's costliest but least-appreciated weather dangers: Hail. Hail rarely kills, but it hammers roofs, cars and crops to the tune of $10 billion a year in damage in the U.S. So in one of the few federally funded science studies remaining after Trump administration cuts, teams from several universities are observing storms from the inside and seeing how the hail forms. Project ICECHIP has already collected and dissected hail the size of small cantaloupes, along with ice balls of all sizes and shapes. Scientists in two hail-dimpled vehicles with special mesh protecting the windshields are driving straight into the heart of the storms, an area known as the 'shaft' where the hail pelting is the most intense. It's a first-of-its-kind icy twist on tornado chasing. 'It's an interesting experience. It sounds like somebody on the outside of your vehicle is hitting you with a hammer,' said Northern Illinois University meteorology professor Victor Gensini, one of the lead researchers. A team of journalists from The Associated Press joined them this week in a several-day trek across the Great Plains, starting Tuesday morning in northern Texas with a weather briefing before joining a caravan of scientists and students looking for ice. Driving toward the most extreme forecasts The caravan features more than a dozen radar trucks and weather balloon launching vehicles. At each site, the scientists load and unload drones, lasers and cameras and other specialized equipment. There are foam pads to measure hail impact and experimental roofing material. There are even special person-sized funnels to collect pristine hail before it hits the ground and becomes tainted with dirt. Already in treks across Kansas, Oklahoma and Texas, the team has found hail measuring more than 5 inches (13 centimeters) in diameter — bigger than a softball, but not quite a soccer ball. The team's equipment and vehicles already sport dings, dimples and dents that scientists show off like battle scars. 'We got a few good whacks,' said forensic engineer Tim Marshall, who was carrying roofing samples to see if there were ways shingles could better handle hail. 'I look at broken, busted stuff all the time.' At Tuesday's weather briefing, retired National Weather Service forecaster David Imy pointed to potential hot spots this week in Texas, Oklahoma and New Mexico. Computer models show the potential for a 'monster storm down here near the Red River' later in the week, he said. Acting on the latest forecasts, Gensini and other leaders told the team to head to Altus, Oklahoma, but be ready to cross the Red River back into Texas at a moment's notice. A few hours after his briefing, Imy had the opportunity to chase one of the bigger storms, packing what radar showed was large hail at 8,000 feet (2,438 meters) in the air. Because of the warm air closer to the surface, the hail was only pea sized by the time it hit the ground. But the outing still provided good data and beautiful views for Imy, who was with a group that stationed themselves about a half-mile from the center of the storm. 'Beautiful colors: turquoise, bluish green, teal,' Imy said, pointing to the mushroom shaped cloud dominating the sky. 'This is beauty to me and also seeing the power of nature.' A costly but overlooked severe weather problem This is not just a bunch of scientists looking for an adrenaline rush or another sequel to the movie 'Twister.' It's serious science research into weather that damages a lot of crops in the Midwest, Gensini said. Hail damage is so costly that the insurance industry is helping to pay for the mission, which is primarily funded by the National Science Foundation. 'These are the stones that do the most damage to lives and property,' Gensini said. 'We want the biggest hail possible.' A 2024 study by Gensini found that as the world warms from human-caused climate change, small hailstones will become less likely while the larger ones become more common. The bigger, more damaging ones that the ICECHIP team is studying are projected to increase 15% to 75% this century depending on how much the world warms. That's because the stronger updrafts in storms would keep stones aloft longer to get bigger, but the heat would melt the tinier ones. The experiment is unique because of the combination of driving into the hail and deploying numerous radars and weather balloons to get an overall picture of how the storms work, Gensini said, adding that hail is often overlooked because researchers have considered it a lower priority than other extreme weather events. Outside scientists said the research mission looks promising because there are a lot of unanswered questions about hail. Hail is the No. 1 reason for soaring costs in billion-dollar weather disasters in the United States, said meteorologist Jeff Masters, who cofounded Weather Underground and is now at Yale Climate Connections. 'Now a large part of that reason is because we simply have more people with more stuff in harm's way,' said Masters, who wasn't part of the research. 'Insurance has become unaffordable in a lot of places and hail has become a big reason.' In Colorado, hail is 'actually our most costly natural disaster,' said Lori Peek, director of the Natural Hazards Center at the University of Colorado, adding that 'hail does such incredible damage to property.' ___ The Associated Press' climate and environmental coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP's standards for working with philanthropies, a list of supporters and funded coverage areas at
19 minutes ago
Edmund White, a groundbreaking gay author, dies at 85
NEW YORK -- NEW YORK (AP) — Edmund White, the groundbreaking man of letters who documented and imagined the gay revolution through journalism, essays, plays and such novels as "A Boy's Own Story" and "The Beautiful Room is Empty," has died. He was 85. White's death was confirmed Wednesday by his agent, Bill Clegg, who did not immediately provide additional details. Along with Larry Kramer, Armistead Maupin and others, White was among a generation of gay writers who in the 1970s became bards for a community no longer afraid to declare its existence. He was present at the Stonewall raids of 1969, when arrests at a club in Greenwich Village led to the birth of the modern gay movement, and for decades was a participant and observer through the tragedy of AIDS, the advance of gay rights and culture and the backlash of recent years. A resident of New York and Paris for much of his adult life, he was a novelist, journalist, biographer, playwright, activist, teacher and memoirist. "A Boy's Own Story" was a bestseller and classic coming-of-age novel that demonstrated gay literature's commercial appeal. He wrote a prizewinning biography of playwright Jean Genet and books on Marcel Proust and Arthur Rimbaud. He was a professor of creative writing at Princeton University, where colleagues included Toni Morrison and his close friend, Joyce Carol Oates. He was an encyclopedic reader who absorbed literature worldwide while returning yearly to such favorites as Tolstoy's 'Anna Karenina' and Henry Green's 'Nothing.' "Among gay writers of his generation, Edmund White has emerged as the most versatile man of letters," cultural critic Morris Dickstein wrote in The New York Times in 1995. "A cosmopolitan writer with a deep sense of tradition, he has bridged the gap between gay subcultures and a broader literary audience." In early 1982, just as the public was learning about AIDS, White was among the founders of Gay Men's Health Crisis, which advocated AIDS prevention and education. The author himself would learn that he was HIV-positive in 1985, and would remember friends afraid to be kissed by him, even on the cheek, and parents who didn't want him to touch their babies. White survived, but watched countless peers and loved ones suffer agonizing deaths. Out of the seven gay men, including White, who formed the influential writing group the Violet Quill, four died of complications from AIDS. As White wrote in his elegiac novel "The Farewell Symphony," the story followed a shocking arc: "Oppressed in the fifties, freed in the sixties, exalted in the seventies and wiped out in the eighties." But in the 1990s and after he lived to see gay people granted the right to marry and serve in the military, to see gay-themed books taught in schools and to see gay writers so widely published that they no longer needed to write about gay lives. "We're in this post-gay period where you can announce to everybody that you yourself are gay, and you can write books in which there are gay characters, but you don't need to write exclusively about that," he said in a Salon interview in 2009. "Your characters don't need to inhabit a ghetto any more than you do. A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people." In 2019, White received a National Book Award medal for lifetime achievement, an honor previously given to Morrison and Philip Roth among others. 'To go from the most maligned to a highly lauded writer in a half-century is astonishing,' White said during his acceptance speech. White was born in Cincinnati in 1940, but age at 7 moved with his mother to the Chicago area after his parents divorced. His father was a civil engineer "who reigned in silence over dinner as he studied his paper." His mother a psychologist "given to rages or fits of weeping." Trapped in "the closed, sniveling, resentful world of childhood," at times suicidal, White was at the same time a 'fierce little autodidact' who sought escape through the stories of others, whether Thomas Mann's "Death in Venice" or a biography of the dancer Vaslav Nijinsky. "As a young teenager I looked desperately for things to read that might excite me or assure me I wasn't the only one, that might confirm my identity I was unhappily piecing together," he wrote in the essay "Out of the Closet, On to the Bookshelf," published in 1991. As he wrote in "A Boy's Own Story," he knew as a child that he was attracted to boys, but for years was convinced he must change — out of a desire to please his father (whom he otherwise despised) and a wish to be "normal." Even as he secretly wrote a 'coming out' novel while a teenager, he insisted on seeing a therapist and begged to be sent to boarding school. One of the funniest and saddest episodes from "A Boy's Own Story" told of a brief crush he had on a teenage girl, ended by a polite and devastating note of rejection. 'For the next few months I grieved,' White writes. 'I would stay up all night crying and playing records and writing sonnets to Helen. What was I crying for?' He had a whirling, airborne imagination and New York and Paris had been in his dreams well before he lived in either place. After graduating from the University of Michigan, where he majored in Chinese, he moved to New York in the early 1960s and worked for years as a writer for Time-Life Books and an editor for The Saturday Review. He would interview Tennessee Williams and Truman Capote among others, and, for some assignments, was joined by photographer Robert Mapplethorpe. Socially, he met Burroughs, Jasper Johns, Christopher Isherwood and John Ashbery. He remembered drinking espresso with an ambitious singer named Naomi Cohen, whom the world would soon know as "Mama Cass" of the Mamas and Papas. He feuded with Kramer, Gore Vidal and Susan Sontag, an early supporter who withdrew a blurb for "A Boy's Own Story" after he caricatured her in the novel "Caracole." "In all my years of therapy I never got to the bottom of my impulse toward treachery, especially toward people who'd helped me and befriended me," he later wrote. Through much of the 1960s, he was writing novels that were rejected or never finished. Late at night, he would "dress as a hippie, and head out for the bars." A favorite stop was the Stonewall, where he would down vodka tonics and try to find the nerve to ask a man he had crush on to dance. He was in the neighborhood on the night of June 28, 1969, when police raided the Stonewall and "all hell broke loose." "Up until that moment we had all thought homosexuality was a medical term," wrote White, who soon joined the protests. "Suddenly we saw that we could be a minority group — with rights, a culture, an agenda." Before the 1970s, few novels about openly gay characters existed beyond Vidal's 'The City and the Pillar' and James Baldwin's 'Giovanni's Room.' Classics such as William Burroughs' 'Naked Lunch' had 'rendered gay life as exotic, marginal, even monstrous,' according to White. But the world was changing, and publishing was catching up, releasing fiction by White, Kramer, Andrew Holleran and others. White's debut novel, the surreal and suggestive "Forgetting Elena," was published in 1973. He collaborated with Charles Silverstein on "The Joy of Gay Sex," a follow-up to the bestselling "The Joy of Sex" that was updated after the emergence of AIDS. In 1978, his first openly gay novel, "Nocturnes for the King of Naples," was released and he followed with the nonfiction "States of Desire," his attempt to show "the varieties of gay experience and also to suggest the enormous range of gay life to straight and gay people — to show that gays aren't just hairdressers, they're also petroleum engineers and ranchers and short-order cooks." With "A Boy's Own Story," published in 1982, he began an autobiographical trilogy that continued with "The Beautiful Room is Empty" and "The Farewell Symphony," some of the most sexually direct and explicit fiction to land on literary shelves. Heterosexuals, he wrote in "The Farewell Symphony," could "afford elusiveness." But gays, "easily spooked," could not "risk feigning rejection." His other works included "Skinned Alive: Stories" and the novel 'A Previous Life,' in which he turns himself into a fictional character and imagines himself long forgotten after his death. In 2009, he published "City Boy," a memoir of New York in the 1960s and '70s in which he told of his friendships and rivalries and gave the real names of fictional characters from his earlier novels. Other recent books included the novels "Jack Holmes & His Friend" and 'Our Young Man' and the memoir 'Inside a Pearl: My Years in Paris.' "From an early age I had the idea that writing was truth-telling," he told The Guardian around the time 'Jack Holmes' was released. 'It's on the record. Everybody can see it. Maybe it goes back to the sacred origins of literature — the holy book. There's nothing holy about it for me, but it should be serious and it should be totally transparent.'
