Author: Ohart

A documentary “Period. End of Sentence,” which won an Oscar last month, centers on a small village in Uttar Pradesh state in Northern India where a machine to make affordable sanitary napkins was installed with the help of a crowdfunding initiative by a student group in the United States. The film, made by Iranian-American filmmaker Rayka Zehtabchi,  has revolutionized attitudes toward the subject of menstruation. Anjana Pasricha brings this report.
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When polo comes to Lagos, the champagne flows and exuberant fashion colors adorn the green fields.

While most Nigerians would never trade their love of soccer, the commercial capital still hosts the biggest polo tournament in West Africa, with trophies fiercely disputed against a backdrop of glitz and glamour for the upper class.

“Polo has shifted from just the sports to a fashion statement,” said Mudrakat Alabi-Macfoy, wearing an airy white kaftan with a multi-colored floral necklace and head wrap at the Lagos Polo Club.

“For me it is something fun, something playful, something whimsical, something comfortable… a bit of color, a bit of pop,” said Alabi-Macfoy, who works as a lawyer when not watching polo.

In a nation with the world’s highest number of people in extreme poverty, the often-dubbed “sport of kings” is prohibitively expensive for the majority.

First introduced by British colonial servicemen, polo has been played in Nigeria for over a hundred years and nearly all the teams are owned by local multi-millionaires.

“It is an expensive sport because, you know, your horses are like babies,” said Koyinsola Owoeye, who has been playing polo since 2007, seduced by his father’s love of the sport.

A horse can cost about $40,000 — then there is upkeep.

“Maintenance is not easy. Today they can be well, tomorrow they can have, you know, malaria, fever, colic, or even get injured on the field or on their way to the tournament,” Owoeye said.

The 2019 Lagos International Polo Tournament, which wound up on Sunday, fielded 33 teams from Nigeria, Argentina, South Africa, Kenya and the United Kingdom.
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At the 27th annual Environmental Film Festival in the nation’s capital, over 100 hundred films were showcased in 25 locations around the city. Many of them focused on the human impact on Climate Change worldwide, pointing to severe weather phenomena already underway, such as rising sea levels, and disappearing biodiversity. VOA’s Penelope Poulou spoke with filmmakers who came to DC to present their work.
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Larry Cohen, the maverick B-movie director of cult horror films “It’s Alive” and “God Told Me To,” has died. He was 77.

Cohen’s friend and spokesman, the actor Shade Rupe, said Cohen passed away Saturday in Los Angeles surrounded by loved ones.

Cohen’s films were schlocky, low-budget films that developed cult followings, spawned sequels and gained esteem for their genre reflections of contemporary social issues.

His 1974 “It’s Alive,” about a murderous mutant baby, dealt with the treatment of children. Bernard Herrmann, Alfred Hitchcock’s frequent composer, supplied the score.

His New York-set 1976 satire “God Told Me To” depicted a series of shootings and murders carried out in religious fervor. Andy Kaufman played a policeman who goes on a shooting spree during the St. Patrick’s Day parade. There were also aliens.

In Cohen’s 1985 film “The Stuff,” Cohen skewered consumerism with a story inspired by the rise of junk food. It’s about a sweet yogurt-like substance that’s found oozing out of the ground and is then bottled and marketed like an ice cream alternative without the calories. The “stuff” turns out to be a parasite that turns consumers of it into zombies.

“It wasn’t just going to a studio like a factory laborer and making pictures and going home every night,” Cohen told the Ringer last year. “We were out there in the jungle making these movies, improvising, and having fun, and creating movies from out of thin air without much money.”

“You’ve gotta make the picture your way and no other way,” he added, “because it can’t be made otherwise.”

Cohen’s approach — he would often shoot extreme scenes on New York City streets without permits or alerting people in the area — made him, like Roger Corman, revered among subsequent generations of independent genre-movie filmmakers. A documentary released last year, “King Cohen: The Wild World of Filmmaker Larry Cohen,” paid tribute to Cohen.

“Larry Cohen truly was an independent freewheeling movie legend,” the writer-director Edgar Wright (“Shaun of the Dead,” ″Baby Driver”) said on Sunday, praising him “for so many fun, high-concept genre romps with ideas bigger than the budgets.”

The New York-native Cohen began in television, where he wrote episodes for series like “The Fugitive,” ″The Defenders” and “Surfside 6.” New York would be the setting for many of Cohen’s films, including 1982′s “Q,” in which a giant flying lizard nests atop the Chrysler Building.

Cohen’s 1973 blaxspoitation crime drama “Black Caesar,” scored by James Brown, was about a Harlem gangster. He and star Fred Williamson reunited the next year for “Hell Up in Harlem.”

Cohen later directed Bette Davis’ last film, “Wicked Stepmother,” in 1989. More recently, he wrote the 2002 Colin Farrell thriller “Phone Booth” and 2004′s “Cellular,” with Chris Evans.

Cohen was often his own producer, director, writer and sometimes prop-maker and production manager. “Otherwise,” he told the Village Voice, “I’d have to sit down with producers, and producers are a real pain in the ass, believe me.”
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Jordan Peele has done it again. Two years after the filmmaker’s “Get Out” became a box-office sensation, his frightening follow-up, “Us,” debuted with $70.3 million in ticket sales, according to studio estimates Sunday.

The opening, well above forecasts, had few parallels. It was the largest debut for an original horror film (only the “It” remake and last year’s “Halloween” have surpassed it in the genre) and one of the highest openings for a live-action original film since “Avatar” was released 10 years ago.

In today’s franchise-driven movie world, seldom has a young director been such a draw. But moviegoers turned out in droves to see what kind of freak-out Peele could muster in his sophomore release.

“Peele has really crafted an extraordinary story that I think once again is going to capture the cultural zeitgeist,” said Jim Orr, distribution chief for Universal. “He is recognized as just an amazing talent. He crafts films that make you think, that are extraordinarily well-acted, well-written and are amazingly entertaining.”

“Us” took over the top spot at the box office from “Captain Marvel,” which had reigned for two weeks. The Marvel Studios superhero release slid to second place with $35 million in its third week. In three weeks of release, it’s made $910 million worldwide, and will soon become the first $1 billion release of 2019.

Other holdovers — the animated amusement “Wonder Park” and the cystic fibrosis teen romance “Five Feet Apart”— trailed in third and fourth with about $9 million each in their second week.

But the weekend belonged overwhelming to “Us,” which more than doubled the $33.4 million domestic debut of 2017′s Oscar-winning “Get Out.” The former “Key & Peele” star’s first film as writer-director, “Get Out” ultimately grossed $255.4 million on a $4.5 million budget.

“Us” cost $20 million to make, meaning it’s already a huge hit for Peele and Universal Pictures, which notched its third No. 1 release of the year following “Glass” and “How to Train Your Dragon: The Hidden World.”

It’s also, as Peele has said, more thoroughly a horror film. While “Us” has drawn very good reviews (94 percent fresh on Rotten Tomatoes), audiences gave it a relatively low “B″ CinemaScore. Paul Dergarabedian chalked that up mainly to moviegoers feeling shell-shocked when they emerged from the theater.

“Us” stars Lupita Nyong’o and Winston Duke as vacationing parents whose family is faced with eerie doppelgangers of themselves. The film added $16.7 million from 47 international territories.

While “Us” was propelled by a number of things, including Nyong’o and buzz out of its SXSW premiere, the main selling point was Peele. The 40-year-old director already has an imprimatur matched only by veteran filmmakers like Clint Eastwood.

“It’s really difficult for a director to become a superstar whose name gets people in theater, and Jordan Peele has done just that,” said Dergarabedian. “He’s a superstar director with a brand all his own, and that’s with two feature films under his belt. That’s pretty astonishing. That just doesn’t happen.”

After a sluggish January and February, the overall box office has rebounded thanks to “Captain Marvel” and “Us.” The weekend was up 15.3 percent from last year, according to Comscore.

The weekend followed an especially tumultuous week in Hollywood. On Monday, Warner Bros. chief Kevin Tsujihara stepped down following a sex scandal. On Wednesday, the Walt Disney Co. completed its $71.3 billion acquisition of 21st Century Fox.

In absorbing one of the six major studios in 20th Century Fox, Disney quickly made many layoffs and shuttered Fox 2000, the Fox label behind hit book adaptations like “Hidden Figures” and “Life of Pi.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included.

1. “Us,” $70.3 million ($16.7 million international).

2. “Captain Marvel,” $35 million ($52.1 million international).

3. “Wonder Park,” $9 million ($5 million international).

4. “Five Feet Apart,” $8.8 million ($6.2 million international).

5. “How to Train Your Dragon: The Hidden World,” $6.5 million ($6 million international).

6. “A Madea Family Funeral,” $4.5 million.

7. “Gloria Bell,” $1.8 million.

8. “No Manches Frida,” $1.8 million.

9. “Lego Movie 2: The Second Part,” $1.1 million ($6.2 million international).

10. “Alita: Battle Angel,” $1 million ($1.6 million international).

 
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Native American leaders are banding together to pressure U.S. officials to ban oil and gas exploration around a sacred tribal site that features massive stone structures and other remnants of an ancient civilization but are facing the Trump administration’s pro-drilling stance. 

Creating a formal buffer around Chaco Culture National Historical Park has been a long-running issue, but tribes are pushing for further protections as U.S. officials revamp the management plan for the area surrounding the world heritage site as well as large portions of northwestern New Mexico and southern Colorado.

Federal officials repeatedly have denied drilling leases within a 10-mile (16-kilometer) radius of the park as tribes, environmentalists and archaeologists have raised concerns about the potential effects on culturally significant sites like ceremonial structures called kivas outside Chaco’s boundaries. 

A thousand years ago, the site was a ceremonial and economic hub for the Pueblo people, historians say. 

Solidarity among tribes

Tribes gathered Thursday at Acoma Pueblo, a Native American community about 60 miles (97 kilometers) west of Albuquerque, amid an All Pueblo Council of Governors meeting to reaffirm support for protecting the land.

Navajo Nation President Jonathan Nez, head of the largest American Indian reservation, sat among pueblo governors and said it’s only right that they support each other, just as their ancestors did.

“Navajo culture and tradition dictate respect for our relatives who have come before us,” he said. “As Native people, we are connected to the land, and it is important to preserve the dwellings and the belongings of the ancient ones.”

The tribes want specific language in a U.S. Bureau of Land Management plan that would prevent drilling near the park, instead of protesting four times a year when the energy industry requests lease sales on certain parcels.

 Pueblo council Chairman E. Paul Torres said the threat to Chaco, which he called the “heart of pueblo culture,” is financially driven. 

 

“On our side, it has nothing to do with money,” said Torres, who also is the Isleta Pueblo governor. “It has to do with where we come from. These sites, to us, are living sites because the spirits are still there.”

Communicating the importance of the sites to non-Native people is challenging because the stories are sacred knowledge not shared outside tribal communities, said Phoebe Suina, who is Cochiti and San Felipe.

She thinks about her young children who have visited Chaco Canyon and of future generations, mindful of the legacy she would leave if she didn’t work to protect the larger landscape. 

“We’re put in that role as living beings of our ancestors,” she said. “We have this time, this life, what are we going to do with it? At least we are trying.”

​Aggressive public land development

President Donald Trump’s administration has pushed aggressively to open more public lands to energy development. It also went against the wishes of tribes and others by scaling back two national monuments in Utah that protected tribal artifacts and other sensitive land. 

Lawmakers and tribal leaders said at a congressional committee hearing this month that a 2017 Trump administration review of lands protected nationwide by past presidents didn’t take tribal interests into account despite some of the lands being sacred to them.

U.S. Sen. Martin Heinrich of New Mexico said Thursday that legislation will be reintroduced soon in Congress to safeguard the land around Chaco Canyon. He said he would not trust the Trump administration to include protections in the federal plan for the area.

“Let’s not leave Chaco to the whims of one administration or another,” he said. “We have a sense that this place is incredibly important and deserves protection.”

New Mexico State Land Commissioner Stephanie Garcia Richard said an executive order from her office is expected next month that would make state land around Chaco off-limits to any new oil, gas and mineral leases. Most of the land surrounding the park is federal and tribal land. 

Accessible only by dirt roads, Chaco takes effort to reach, and supporters say they want to protect the sense of remoteness that comes with making the journey, along with the ancient features that remain.

Acoma Pueblo Gov. Brian Vallo sees Chaco in the way his pueblo is set up, with homes, ceremonial structures, ladders and lookout points in much of the same places. Growing up, he said he heard the migration story of the Acoma people who were at Chaco Canyon before settling in the present-day location. 

“To me, it was the center of where the intelligence of our ancestors evolved,” he said. “It was the place where we observed solar and lunar cycles, all of that was tested at Chaco.”
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The Paris-based U.N. Educational, Scientific and Cultural Organization on Thursday launched a campaign to fight prejudice. The move coincided with International Day for the Elimination of Racial Discrimination.

Begun with the French city of Bordeaux, the UNESCO billboard campaign features a variety of faces — old and young, men and women, and of many ethnic backgrounds. The tagline, “us different?” aims to make us think about who we are, and our prejudices.

 

“You would walk by it and hopefully react. … [Is that] person on the screen different?” said Magnus Magnusson, partnerships and outreach director at UNESCO’s social and human science division.

Mindful of stereotypes

“Ultimately, it’s about our own awareness of our own stereotypes, and we need to work, each one of us, on those stereotypes that could illustrate or be reflections on racism,” he said.

The campaign rollout comes at a time when experts say brazen forms of racism are resurging — in sports, on social media and in politics.

The initiative follows last week’s mass shooting in Christchurch, New Zealand, in which a self-proclaimed white nationalist opened fire on worshippers at two mosques. Fifty people were killed. The suspect has been charged with murder.  

 

Migration is one factor behind the increase in racist incidents, experts say, but so is the power of social media in spreading and enforcing stereotypes.

 

Activists are fighting back. A round-table hosted by UNESCO featured imaginative ways to counter prejudice, including through chess. 

 

Cameroonian artist Gaspard Njock fights it with his pen. He’s the author of comic books and graphic novels sold in bookstores across France. 

Versatile medium

 

Njock said comics can be a powerful tool to fight racism, because it’s a medium that reaches all types of people and can tackle important themes. 

 

One of Njock’s graphic novels, Un voyage sans retour, is about the dangerous migration of sub-Saharan migrants to Europe. Njock arrived in Europe several years ago, making his way to France after a few years in Italy. 

Njock said he never considered himself a victim of racism — not because he never encountered it, but because he developed ways to fight it.

Magnusson of UNESCO said education is key to wiping out racism. So is being more aware of how we think and feel.
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An exhibition of art about Michael Jackson is opening in Germany amid fresh controversy over the singer’s alleged abuse of children.

Curator Nicholas Cullinan said Thursday the show at Bonn’s Bundeskunsthalle was conceived long before the recent broadcast of HBO documentary “Leaving Neverland,” which details Jackson’s alleged molestation of two boys.

Some radio stations in North America have since stopped playing Jackson’s music. Jackson died in 2009.

The show previously was exhibited in London.

Cullinan said it “was never celebratory. It’s about the complexity of Michael Jackson, how he means very different things to many very different people.”

Ellen Heimes, who heads a local branch of Germany’s largest child protection organization, said the show should prompt a debate about spotting and preventing child abuse.
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Dubai found itself entangled in the sex abuse case against American R&B singer R. Kelly on Thursday after the performer asked a U.S. judge to allow him to come to the Arabian Peninsula sheikhdom to perform shows and “meet with the royal family.”

Officials in Dubai and the wider United Arab Emirates did not immediately respond to requests for comment from The Associated Press regarding the singer’s request, which an Illinois judge could consider at a court hearing on Friday.

However, Kelly’s request highlighted the close political and security ties between the U.S. and the UAE, a federation of seven sheikhdoms. It also comes as celebrities and even world leaders on the run have chosen Dubai as a safe haven.

Kelly was charged on Feb. 22 with 10 counts of aggravated sexual abuse for allegedly assaulting three underage girls and one adult woman, coming after the release of a documentary “Surviving R. Kelly.” He has denied ever abusing anyone.

In a court filing Wednesday, Kelly’s lawyer Steven A. Greenberg said the singer needed to raise money as “he has struggled of late to pay his child support and other child related expenses.”

“Before he was arrested Mr. Kelly had signed a contract to perform between 3-5 shows in Dubai, UAE, in April 2019,” the court filing read. “He requests permission to travel to Dubai for the shows. While there he is supposed to meet with the royal family.”

The filing does not elaborate on where Kelly is supposed to perform. There was no immediately publicized event for which Kelly was known to be a performer, nor did anyone in the entertainment industry hear about one.

However, Dubai’s luxury nightclubs often host hip hop and other artists for days at a time to perform and be seen among the millionaires of this skyscraper-studded city that is home to the world’s tallest building. Rich families also pay for celebrities at their parties.

It is also unclear what is meant by “royal family.” The UAE’s seven emirates are overseen by hereditary rulers who hold absolute power. Dubai’s ruler is Sheikh Mohammed bin Rashid Al Maktoum, 69. His 36-year-old son, Sheikh Hamdan bin Mohammed Al Maktoum, serves as Dubai’s crown prince and is next in line to be ruler.

The state-linked Abu Dhabi newspaper The National, which has written several times about the case against Kelly, reported Thursday on the singer’s request to come to Dubai, without mentioning his claim of seeing its rulers.

The R. Kelly filing comes as some in Dubai questioned the decision to host a Michael Jackson tribute show there later this month, after another documentary aired allegations the late pop star sexually abused children. Dubai Opera, which will host that event, told the AP the show would still be performed and that the venue will “have no further comment.”

Dubai, home to the world’s largest manmade archipelago the Palm Jumeriah and an indoor ski slope in its desert climes, has long drawn celebrities craving both luxury and seclusion. Will Smith is a repeated visitor. Lindsay Lohan lives off and on in the sheikhdom. David Beckham, Shah Rukh Khan and others are believed to own property in Dubai.

Yet it also has drawn world leaders seeking to escape their own countries. Pakistani Gen. Pervez Musharraf, facing criminal charges back home, fled to Dubai in 2016. Former Thai Prime Minister Yingluck Shinawatra came to Dubai to avoid a criminal conviction in 2017, following in the footsteps of her brother, the ousted former Prime Minister Thaksin Shinawatra.

The U.S. does not have an extradition treaty with the UAE. However, the U.S. stations some 5,000 troops in the country and Dubai’s Jebel Ali port is the biggest port of call for the U.S. Navy outside of America.

Kelly’s lawyer acknowledged that in his filing.

“The United States and the UAE have great relations and they (UAE) are not going to (jeopardize) that relationship to harbor R. Kelly,” the filing said.
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An American woman has filed a lawsuit against Harvard University, accusing the prestigious institution of “shamelessly” profiting from photos of her ancestors who were slaves in the 19th century.

Tamara Lanier of Norwich, Connecticut, is suing the Ivy League school for “wrongful seizure, possession and expropriation” of images of her great-great-great grandfather, Renty, and his daughter, Delia.

She wants Harvard to hand the images over to her family and pay an unspecified amount in damages. 

Early type of photography used

The lawsuit says the 1850 daguerreotypes, an early type of photograph, were commissioned by Harvard biologist Louis Agassiz who was seeking racially “pure” slaves born in Africa.

The father and daughter were stripped and photographed from various angles in an effort to “prove” Agassiz’s theory that black people are inferior and to “justify their subjugation, exploitation and segregation.”

“To Agassiz, Renty and Delia were nothing more than research specimens,” the suit says. “The violence of compelling them to participate in a degrading exercise designed to prove their own subhuman status would not have occurred to him, let alone mattered.”

The suit says Harvard has over the years exploited the images, including using an image of Renty to promote a 2017 conference called “Universities and Slavery: Bound by History,” which explored the relationships between universities and slavery, and as a cover of a book that explores the use of photography in anthropology. 

History shared by mother

Lanier said as a child she heard stories about Renty from her mother who made sure to pass down family history.  She alleges that in 2011 she wrote to then-Harvard president Drew Faust, detailing her ties to Renty.

At the time, she wanted to learn more about the images and how they would be used. In another letter sent in 2017, she demanded that Harvard relinquish the photos. In both cases, she said, Harvard did not address her requests.

The suit charges that “by contesting Lanier’s claim of lineage, Harvard is shamelessly capitalizing on the intentional damage done to black Americans’ genealogy by a century’s worth of policies that forcibly separated families, erased slaves’ family names, withheld birth and death records, and criminalized literacy.”
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Labrador retrievers aren’t letting go of their hold on U.S. dog lovers, but German shorthaired pointers are tugging on the top ranks of doggy popularity, according to new American Kennel Club data.

Labs topped the list for the 28th year in a row. Yet there’s been plenty of movement over time on the purebred pup-ularity ladder. 

Here’s a look at the 2018 rankings being released Wednesday. 

Top top 10

After Labs, the top five breeds nationwide are German shepherds, golden retrievers, French bulldogs and bulldogs. Rounding out the top 10 are beagles, poodles, Rottweilers, German shorthaired pointers and Yorkshire terriers.

Labs smashed the record for longest tenure as top dog back in 2013. Fans credit the Lab’s generally amiable nature and aptitude in many canine roles: bomb-sniffer, service dog, hunters’ helper, dog-sport competitor and patient family pet. 

At No. 9, the German shorthaired pointer notched its highest ranking since getting AKC recognition in 1930. These strikingly speckled hunting dogs are also versatile — some work as drug — and bomb-detectors — and active companions. 

“I think people are learning about how fun the breed is,” says AKC spokeswoman Brandi Hunter. 

The suddenly ubiquitous French bulldog remains the fourth most popular breed for a second year, after surging from 83rd a quarter-century ago.

The numbers

The rankings reflect a breed’s prevalence among the 580,900 puppies and other purebred dogs newly registered in 2018 with the AKC, the country’s oldest such registry.  Some 88,175 of these dogs were Labs. 

AKC says registrations, which are voluntary, have been growing for six years.

Estimates of the total number of pet dogs nationwide range from about 70 million to 90 million.

The consistent fave

Beagles, now No. 6, can boast they’re uniquely beloved. No other breed has made the top 10 in every decade since record-keeping began in the 1880s. 

Why? “They’re a good general family dog,” lively, friendly, relatively low-maintenance and comfortable with children, says breeder Kevin Shupenia of Dacula, Georgia. Beagles also work sniffing out contraband meat and plants at airports, detecting bedbugs in homes and doing their traditional job: hunting rabbits. 

“They have a sense of humor, and they’re just characters,” Shupenia says. 

The rarest of them all

The most scant breed was the sloughi (pronounced SLOO’-ghee). The greyhound-like dog has a long history in North Africa but garnered AKC recognition only three years ago. It replaces the Norwegian lundehund in the rarest-breed spot. 

How did doodles do?

Wonder where goldendoodles, puggles, or cockapoos stand? You won’t find these and other popular “designer dogs” among the 193 breeds recognized and ranked by the AKC.

That’s not to say they never will be, if their fanciers so desire. New breeds join the club periodically, after meeting criteria that include having at least 300 dogs nationwide and three generations. 

Meanwhile, designer and just plain mixed-breed dogs can sign up with AKC to compete in such sports as agility, dock diving and obedience. 

The whys, pros and cons of popularity

Many factors can influence a breed’s popularity: ease of care, exposure from TV and movies, and famous owners, to name a few. 

Popularity spurts can expand knowledge about a breed, but many people in dogdom rue slipshod breeding by people trying to cash in on sudden cachet. 

Elaine Albert, a longtime chow chow owner and sometime breeder, is glad the ancient Chinese dog is now 75th in the rankings, after leaping into the top 10 in the 1980s. Albert recalls that she and other chow rescue volunteers were swamped as people gave up dogs with temperament and health problems, which she attributes to careless breeding.

“I certainly wouldn’t want (chows) to be number one, ever,” says Albert, of Hauppauge, New York. “They belong where they are…. They’re not for everybody.”

On the other hand, aficionados of rare breeds sometimes worry about sustaining them.  

The purebred debate 

Some animal-welfare groups feel the pursuit of purebred dogs puts their looks ahead of their health and diverts people from adopting pets. Critics also say the AKC needs to do more to thwart puppy mills.

The club says it encourages responsible breeding of healthy dogs, not as a beauty contest but to preserve traits that have helped dogs do particular jobs. 

 

 

                
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Organizers of the Tokyo 2020 Olympics on Wednesday unveiled a cherry-blossom shaped torch for the Games as the city prepares for the famed flower season to begin in coming days.

The top part of the torch is shaped in the traditional emblem of the sakura, or cherry blossom using the same cutting-edge technology as in production of Japan’s bullet trains, the organizers said.

The shiny rose-gold torch, which is 71 centimeters (28 inches) long and weighs 1.2 kilograms (2 pounds 10 ounces), uses aluminum construction waste from temporary housing built for victims of the 2011 quake and tsunami.

“Cherry blossoms drawn by kids in the disaster-hit area (in Fukushima)… inspired me,” designer Tokujin Yoshioka, whose works are known internationally, told reporters.

Fukushima was chosen as the starting point for the Olympic torch relay.

The passing of the flame is scheduled to start on March 26, 2020, and the torch will head south to the sub-tropical island of Okinawa – the starting point for the 1964 Tokyo Games relay – before returning north and arriving in the Japanese capital on July 10.

The designer added the torch is designed to ensure the flame will not go out even during the typhoon season.

The March 2011 tsunami, triggered by a massive undersea quake, killed around 18,000 people and swamped the Fukushima nuclear plant, sending its reactors into meltdown and leading to the world’s worst nuclear disaster since Chernobyl.

More than 50,000 people have not returned to their home towns.

Japan has dubbed the 2020 Games the “Reconstruction Olympics” and wants to showcase recovery in regions devastated by the disaster.

 
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The Fox Studio backlot, first built in 1926 on a Culver City ranch in Los Angeles, was enormous. Before much of it was sold off in the 1960s, it was four times the size of its current, and still huge, 53 acres.

 

Shirley Temple’s bungalow still sits on the lot, as does the piano where John Williams composed, among other things, the score to “Star Wars.” A waiter in the commissary might tell you where Marilyn Monroe once regularly sat.

 

When the Walt Disney Co.’s $71.3 billion acquisition of Fox is completed at 12:02 a.m. Wednesday, the storied lot — the birthplace of CinemaScope, “The Sound of Music” and “Titanic” — will no longer house one of the six major studios. It will become the headquarters for Rupert Murdoch’s new Fox Corp., (he is keeping Fox News and Fox Broadcasting) and Fox’s film operations, now a Disney label, will stay on for now as renters under a seven-year lease agreement.

 

The history of Hollywood is littered with changes of studio ownership; even Fox Film Corporation founder William Fox, amid the Depression, lost control of the studio that still bears his name. But the demise of 20th Century Fox as a standalone studio is an epochal event in Hollywood, one that casts long shadows over a movie industry grappling with new digital competitors from Silicon Valley and facing the possibility of further contraction. After more than eight decades of supremacy, the Big Six are down one.

 

“It’s a sad day for students of film history and I think it’s potentially a sad day for audiences too,” said Tom Rothman, former chairman of Fox and the current chief of Sony Pictures. “There will just be less diversity in the marketplace.”

 

Disney’s acquisition has endless repercussions but it’s predicated largely on positioning Disney — already the market-leader in Hollywood — for the future. Disney, girding for battle with Netflix, Apple and Amazon, needs more content for its coming streaming platform, Disney+, and it wants control of its content across platforms.

“The pace of disruption has only hastened,” Disney chief Robert A. Iger said when the deal was first announced. “This will allow us to greatly accelerate our director-to-consumer strategy.”

 

The Magic Kingdom will add 20th Century Fox alongside labels like Marvel, Pixar and Lucasfilm. But film production at Fox, which has in recent years released 12-17 films a year, is expected to wane. Due to duplication with Disney staff, layoffs will be in the thousands.

 

Disney will also take over FX, NatGeo and a controlling stake in Hulu, which has more than 20 million customers. It will gain control of some of the largest franchises in movies, including “Avatar,” “Alien” and “The Planet of the Apes.” Fox’s television studios also net Disney the likes of “Modern Family,” “This Is Us” and “The Simpsons.” Homer, meet Mickey.

 

Some parts of Fox, like the John Landgraf-led FX and Fox Searchlight, the specialty label overseen by Stephen Gilula and Nancy Utley, are expected to be kept largely intact. Searchlight, the regular Oscar contender behind films such as “12 Years a Slave,” “The Shape of Water” and “The Favourite,” could yield Disney something it’s never had before: a best picture winner at the Academy Awards.

 

Nowhere is the culture clash between the companies more apparent than in “Deadpool,” Fox’s gleefully profane R-rated superhero. While Spider-Man still resides with Sony, Disney now adds Deadpool, the X-Men and the Fantastic Four to its bench of Marvel characters. How they will all fit with Disney’s PG-13 mission remains to be seen, though Iger last month suggested in a conference call with investors that there may be room for an R-rated Marvel brand as long as audiences know what’s coming.

 

The question of how or if Disney will inherit Fox’s edginess matters because Fox has long built itself on big bets and technological gambits. It was the first studio built for sound. It was nearly bankrupted by the big-budget Elizabeth Taylor epic “Cleopatra.” It backed Cameron’s seemingly-ill-fated “Titanic,” as well as Ang Lee’s “The Life of Pi” and the Oscar-winning hit “Bohemian Rhapsody.”

 

“We were a studio of risk and innovation,” says Rothman, who also founded Fox Searchlight. “It was a very daring place, creatively. That’s what the movies should be.”

 

But will the more button-down Disney have the stomach for such movies? “Deadpool” creator Robert Liefeld, for example, has said Fox’s plans for an X-Force movie have been tabled, a “victim of the merger.”

 

Some were surprised regulators gave the deal relatively quick approval. The Department of Justice approved the acquisition in about six months, about four times less than the time it took investigating AT&T’s acquisition of Time Warner. The New York Times editorial page suggested the deal benefited from President Trump’s relationship with Murdoch.

 

“Disney will have probably north of 40 percent market share in the U.S. That’s one area where a deal does suggest that the market influence is going to be outsized,” says Tuna Amobi, a media and entertainment analyst with investment firm CFRA. “Having one studio control that much is unprecedented. And it could increase from there given the pipeline that we see.”

Disney is about to have more influence on the movies Americans and the rest of the world see than any company ever has. Last year, it had 26 percent of the U.S. market with just 10 movies which together grossed more than $3 billion domestically and $7.3 billion worldwide. Fox usually counts for about 12 percent of market share.

 

Fewer studios could potentially mean fewer movies. That’s a concern for both consumers and theater owners, many of whom already rely heavily on Disney blockbusters to sell tickets and popcorn.

 

“Certainly, consolidation poses a challenge in some respects to the supply of movies,” says John Fithian, president and chief executive of the National Organization of Theater Owners. “The fewer suppliers you have, the chances are we’re going to get fewer movies from those suppliers.”

 

But Fithian believes other companies are stepping into the breach, and he holds out hope that Netflix might eventually embrace more robust theatrical release. More importantly, Fox was bought by a company in Disney that is, as Fithian said, “the biggest supporter of the theatrical window.”

 

Still, Disney has been willing to throw its weight around. Ahead of the release of “The Last Jedi,” the studio insisted on more onerous terms from some theater owners, including a higher percentage of ticket sales.

 

More experimentation in distribution is coming. Later this year, WarnerMedia, whose Warner Bros. is regularly second in market share to Disney, will launch its own streaming platform. Apple is ramping up movie production. Amazon Studios is promising bigger, more attention-getting projects.

 

Ahead of a blizzard of new streaming options, Fox — and a giant piece of film history — will fade into an ever-expanding Disney world. Film historian Michael Troyan, author of “20th Century Fox: A Century of Entertainment,” has studied enough of Hollywood’s past to know that relentless change is an innate part of the business.

 

“It’s sad when any historical empire like that comes to end,” says Michael Troyan. “You can record in other places but when you’re on a lot like Fox, you feel the gravitas, you feel the history.”

 

Rothman says he will pause for a “wistful moment” Wednesday, but he believes consolidation doesn’t mean obsolescence.

 

“I don’t think it remotely arguers the end of the glories of the film business overall,” says Rothman. “I believe there remains eternal appetite for original, vibrant, creative theatrical storytelling.”
…

Jordan Peele’s sweet spot as a filmmaker are the “pit in your stomach” moments. That thing that happens when you realize the woman stirring the tea isn’t just there for conversation. When you notice that the help is a little off. Or, as in his new film Us, when you see that the family of four standing in your driveway late at night looks exactly like you.

Peele knows how to get under your skin and stay there, and it’s what made him the must-see horror filmmaker of the moment. Us, out nationwide Friday, is only his second and yet it’s been an event-in-the-making ever since it was announced. That’s what happens when your debut is Get Out.

Get Out wasn’t even finished when the former sketch-comedian started cooking up the idea for his follow-up about doppelgangers, loosely inspired by the Twilight Zone episode “Mirror Image.” Then the wild success of Get Out — four Oscars nominations, one win (Peele for original screenplay), over $255 million in tickets sold against a $4.5 million budget, and general cultural impact — put Peele on another level. So by the time Universal Pictures agreed to make Us, not only did he have a budget over five times higher than his first, but he had his pick of collaborators too.

“Because of Get Out, I was privileged enough to be able to tap the best talent in the industry,” Peele said recently.

Nyong’o and Duke

That goes for stars Lupita Nyong’o and Winston Duke, who play dual roles as the nuclear American family, the Wilsons, and the terrifying red jumpsuit-wearing and gold scissor-wielding Red and Abraham, as well as the below-the-line talent: Production designer Ruth De Jong (Twin Peaks); cinematographer Mike Gioulakis (It Follows); and costume designer Kym Barrett (The Matrix) among them.

“I had an amazing team on Get Out,” Peele said. “But this group sort of allowed me to stretch a little bit more.”

Duke was impressed by his calm. He knew there were “sophomore pressures” — he had his own set following his breakout role in Black Panther — but said Peele never brought any of that to set.

“Day one, [Peele] said, ‘Before we do anything I just want to let you guys know that I’m here for you. I won’t stop until we get the shot. When I say cut, we got the shot. So trust me, believe in me,”‘ Duke said. “And I was like, that’s all I need.”

Duke and Nyong’o already had a short hand working together. Yes, they had just both been in Black Panther, but they were also Yale Drama School graduates and have seen one another do everything from clown work to Chekov.

“It was great to be able to perform with someone who I value as much more than a friend — I value her as a cohort. I value her as an ally. I went to work every day trying to make sure we could create a space where she could excel. I thought that was my duty,” Duke said. “We had a female lead and in our climate in Hollywood we were doing the work and leading by example.”

And Peele put them both through the wringer. The days on set as the Wilsons were full of laughter and fun. But the days as the murderous doppelgangers known as The Tethered, Peele said, felt like “a morgue.”

“The air getting sucked out of the room is an understatement. But it was kind of cool,” Peele said. The actors went “pretty method” on those days.

Nyong’o had it especially hard. She’d chosen to affect a strained vocal condition — spasmodic dysphonia — to make Red even more haunting. And she had to do Red’s first big monologue 11 times with that raspy, painful sounding voice.

Horror movie

Us is chock full of pop culture references, subtle and overt: A Jaws T-shirt here, a C.H.U.D. VHS there.  Even the setting, the Santa Cruz boardwalk, is a callback to The Lost Boys. And every reference works “on two different levels and hopefully more,” Peele said. But don’t stress if you don’t catch or decipher them all.

“There are many of these things that only I will ever know,” Peele revealed.

Although one thing is not really up for interpretation: the genre. He tweeted the other day that “Us is a horror movie.”

“I can see the debate already beginning and people are calling it different things. I have a little bit of fun with the big genre conversation,” he said. “But I saw enough little pieces of like ‘horror-thriller,’ ‘horror-comedy,’ ‘social-thriller,’ out there that I just want to make it nice clean and defined: It’s a horror movie.”

Race

Peele hasn’t tired of explaining that Us isn’t about race, either. Though he understands why people might think it would be, considering Get Out.

“I know the way we are, the lack of representation in the industry and genre has led us to this point where it’s almost impossible to not see race in a movie with a black family in the center. And I wanted people to be ready to expand their expectations,” Peele said. “My fear was if I didn’t say anything, that people would take away that this was a movie about black-on-black violence which was not my intention.”

As for whether Peele has felt internal or external pressures to match Get Out’s magic?

“There are, but it’s OK,” he laughed. “It’s just movies.”
…

Warner Bros. chief Kevin Tsujihara, one of the highest ranking Hollywood executives to be felled by sexual misconduct allegations, stepped down from the studio Monday following claims that he promised roles to an actress with whom he was having an affair.

WarnerMedia chief executive John Stankey announced Tsujihara’s exit as chairman and chief executive of Warner Bros., saying his departure was in the studio’s “best interest.”

 

“Kevin has contributed greatly to the studio’s success over the past 25 years and for that we thank him,” said Stankey. “Kevin acknowledges that his mistakes are inconsistent with the company’s leadership expectations and could impact the company’s ability to execute going forward.”

 

Earlier this month, WarnerMedia launched an investigation after a March 6 Hollywood Reporter story detailed text messages between Tsujihara and British actress Charlotte Kirk going back to 2013. The messages suggested a quid pro quo sexual relationship between the aspiring actress and the studio head in which he made promises that he’d introduce her to influential executives and she’d be considered for roles in movies and television.

 

In a memo to Warner Bros. staff on Monday, Tsujihara said he was departing “after lengthy introspection, and discussions with John Stankey over the past week.”

 

“It has become clear that my continued leadership could be a distraction and an obstacle to the company’s continued success,” said Tsujihara. “The hard work of everyone within our organization is truly admirable, and I won’t let media attention on my past detract from all the great work the team is doing.”

 

Tsujihara’s attorney, Bert H. Deixler, earlier stated that Tsujihara “had no direct role in the hiring of this actress.” He declined further comment Monday.

 

Tsujihara, who has headed the Burbank, California, studio since 2013, earlier pledged to fully cooperate with the studio’s investigation and apologized to Warner Bros. staff for “mistakes in my personal life that have caused pain and embarrassment to the people I love the most.”

 

The scandal unfolded just as Warner Bros. was restructuring on the heels of AT&T’s takeover of WarnerMedia, previously known as Time Warner. Tsujihara’s role had just been expanded on Feb. 28 to include global kids and family entertainment including oversight of Adult Swim and the Cartoon Network.

Kirk appeared in Warner Bros.’ “How to Be Single” in 2016 and “Ocean’s 8” in 2018. She has denied any inappropriate behavior on the part of Tsujihara or two other executives, Brett Ratner and James Packer, who she communicated with. “Mr. Tsujihara never promised me anything,” Kirk said in an earlier statement.

 

But the details of the leaked text messages between Tsujihara and Kirk immediately put his future at Warner Bros. in jeopardy. Kirk wrote in one 2015 message to him: “Are u going to help me like u said u would?” Tsujhara responded, “Richard will be reaching out to u tonight,” referring to Richard Brener, president of Warner Bros.’ New Line label.

 

Other exchanges suggested the kind of give-and-take of Hollywood’s “casting couch” culture. Kirk was introduced to Tsujihara by James Packer, the Australian billionaire. Warner Bros. was then finalizing a $450-million co-financing deal with Packer and Brett Ratner, the director-producer. In a message to Ratner, Kirk said she was “used as icing on the cake.”

 

WarnerMedia, the studio’s parent company, said Monday that its internal investigation into the situation, carried out by a third-party law firm, will continue.

 

Tsujihara’s exit follows other high-profile executive departures in the post-Harvey Weinstein (hash)MeToo era. CBS Chairman Leslie Moonves was pushed out after numerous women accused him of sexual harassment. Walt Disney Animation chief John Lasseter was ousted after he acknowledged missteps in his behavior with employees.

 

The 54-year-old Tsujihara, the first executive of Asian descent to head a major Hollywood studio, presided over a largely positive Warner Bros. era with little fanfare. A former home video and video game executive at the company, Tsujihara focused on franchise creation, some of which have worked, some of which haven’t.

 

After poor marks from fans and critics, the studio’s DC Comics films have recently been retooled and found their footing in hits like “Wonder Woman” and “Aquaman.” Other franchises — like “The Lego Movie” and the “Harry Potter” spinoff “Fantastic Beasts and Where to Find Them” — have seen diminishing returns on their latest incarnations. The studio has also fostered its connection with filmmakers like Christopher Nolan (“Dunkirk”) and Bradley Cooper (whose “A Star Is Born” was Warner Bros.’ top Oscar contender). Warner Bros. last year amassed $5.6 billion in global ticket sales, its best haul ever.

 

The studio will now begin a search for a new chief as it also prepares to launch a streaming service designed to compete with Netflix.
…

Japanese Olympic Committee (JOC) chief Tsunekazu Takeda, who is expected to announce plans to step down on Tuesday, is also set to resign as a member of the International Olympics Committee, Kyodo News reported.

French prosecutors questioned Takeda in Paris and placed him under formal investigation in December for suspected corruption in Japan’s successful bid to host the 2020 Summer Games.

French investigators have led a years-long probe into corruption in athletics and in early 2016 extended their inquiry into the bidding and voting processes for the hosting of the 2016 Rio de Janeiro and the 2020 Tokyo Olympic Games.

Multimillion-dollar payments made by the Tokyo bid committee to a Singapore consulting company are under probe and Takeda is suspected of paying bribes to secure the winning bid.

Takeda has denied any wrongdoing, saying that there was nothing improper with the contracts made between the committee and the consultancy and that they were for legitimate work.

Although there was no formal announcement of the 71-year-old’s resignation, Takeda is expected to announce his decision at the JOC’s executive board meeting in Tokyo later on Tuesday.

The IOC’s ethics commission has opened an ethics file on Takeda, who chairs the IOC’s marketing commission. Takeda has been a member of the IOC since 2012 and was president of the Tokyo 2020 bid committee.
…

Like Dorothy in the “Wizard of Oz,” the Southern California city of Lake Elsinore is being overwhelmed by the power of the poppies.

 

About 150,000 people over the weekend flocked to see this year’s rain-fed flaming orange patches of poppies lighting up the hillsides near the city of about 60,000 residents, about a 90-minute drive from either San Diego or Los Angeles.

 

Interstate 15 was a parking lot. People fainted in the heat; a dog romping through the fields was bitten by a rattlesnake.

 

The lure of poppies was used in the “Wizard of Oz” when the wicked witch infuses them with poison knowing Dorothy cannot resist them. She falls asleep in a vibrant field and the good witch casts a spell to make it snow to break the spell after her friends fail at trying to carry her out of the fields on their way to Oz.

 

Lake Elsinore had tried to prepare for the crush of people drawn by the super bloom, a rare occurrence that usually happens about once a decade because it requires a wet winter and warm temperatures that stay above freezing.

 

It offered a free shuttle service to the top viewing spots, but it wasn’t enough.

 

Sunday traffic got so bad that Lake Elsinore officials requested law enforcement assistance from neighboring jurisdictions. At one point, the city pulled down the curtain and closed access to poppy-blanketed Walker Canyon.

 

“It was insane, absolutely insane,” said Mayor Steve Manos, who described it as a “poppy apocalypse.”

 

By Monday the #poppyshutdown announced by the city on Twitter was over and the road to the canyon was re-opened.

 

And people were streaming in again.

Young and old visitors to the Lake Elsinore area seemed equally enchanted as they snapped selfies against the natural carpet of iridescent orange.

Some contacted friends and family on video calls so they could share the beauty in real time. Artists propped canvasses on the side of the trail to paint the super bloom, while drones buzzed overhead.

 

Patty Bishop, 48, of nearby Lake Forest, was on her second visit. The native Californian had never seen such an explosion of color from the state flower. She battled traffic Sunday but that didn’t deter her from going back Monday for another look. She got there at sunrise and stayed for hours.

 

“There’s been so many in just one area,” she said. “I think that’s probably the main reason why I’m out here personally is because it’s so beautiful.”

 

Stephen Kim and his girlfriend got to Lake Elsinore even before sunrise Sunday to beat the crowds but there were already hundreds of people.

 

The two wedding photographers hiked on the designated trails with an engaged couple to do a photo shoot with the flowers in the background, but they were upset to see so many people going off-trail.

 

“There were lots of disrespectful tourists flying drones, letting their dogs off leash, taking photos in the fields, stomping on flowers to get on top of a rock for a selfie,” said Kim, 24, of Carlsbad. “Looking at all these people, I realized this is not sustainable. This bubble is going to burst and it’s going to get taken away because people are taking advantage. Four hours later I looked at Facebook and saw it was closed.”

 

Kim said they were also distraught to see so much garbage. They picked up as many discarded water bottles as they could carry.

 

“You see this beautiful pristine photo of nature but then you look to the left and there’s plastic Starbucks cups and water bottles on the trail and selfie sticks and people having road rage because some people were walking slower,” he said.

 

Andy Macuga, honorary mayor of the desert town of Borrego Springs, another wildflower hotspot, said he feels for Lake Elsinore.

In 2017, a rain-fed super bloom brought in more than a half-million visitors to the town of 3,500. Restaurants ran out of food. Gas stations ran out of fuel. Traffic backed up on a single road for 20 miles.

 

The city is again experiencing a super bloom.

The crowds are back. Hotels are full. More than 6,000 people on a recent Saturday stopped at the visitor’s center at the Anza-Borrego Desert State Park, California’s largest park with 640,000 acres (1,000 square miles).

 

But it helps that the masses of blooms are appearing in several different areas this time, and some sections are fading, while others are lighting up with flowers, helping to disperse the crowds a bit.

 

Most importantly, Macuga said, the town’s businesses prepared this time as if a major storm was about to hit. His restaurant, Carlee’s, is averaging more than 550 meals a day, compared to 300 on a normal March day.

 

“We were completely caught off guard in 2017 because it was the first time that we had had a flower season like this with social media,” he said. “It helps now knowing what’s coming.”
…

When you think of a chess champion, you generally picture a serious gentleman in a suit and tie, stroking his beard while he stares at the board, contemplating his next move.

New York’s newest champ defies all those categories — he’s an 8-year-old smiling Nigerian refugee who lives in a Manhattan homeless shelter with his family.

Tanitoluwa “Tani” Adewumi was crowned New York State’s chess champion in the kindergarten through third-grade age group last week.

Coaches at the tournament were dazzled by Tani’s aggressive style and stunned to find out that he’s been playing chess for about a year, learning the game at public school.

He and his family, including an older brother, fled Nigeria in 2017 to escape Boko Haram terror threats against Christians. 

Tani’s father works two jobs and his mother is hoping to find work as a home health aide so the family can move out of the homeless shelter into their own place.

Then Tani can have his own room to store his seven chess trophies, including one that is almost as big as he is.

His next goal is a national championship for elementary school students in May. He said his ultimate goal is to become the world’s youngest grandmaster.
…

Dick Dale, whose pounding, blaringly loud power-chord instrumentals on songs like “Miserlou” and “Let’s Go Trippin’” earned him the title King of the Surf Guitar, has died at age 81.

His former bassist Sam Bolle says Dick Dale passed away Saturday night. No other details were available.

Dale liked to say it was he and not the Beach Boys who invented surf music — and some critics have said he was right.

An avid surfer, Dale started building a devoted Los Angeles fan base in the late 1950s with repeated appearances at Newport Beach’s old Rendezvous Ballroom. He played “Miserlou,” ″The Wedge,” ″Night Rider” and other compositions at wall-rattling volume on a custom-made Fender Stratocaster guitar.

“Miserlou,” which would become his signature song, had been adapted from a Middle Eastern folk tune Dale heard as a child and later transformed into a thundering surf-rock instrumental.

His fingering style was so frenetic that he shredded guitar picks during songs, a technique that forced him to stash spares on his guitar’s body. “Better shred than dead,” he liked to joke, an expression that eventually became the title of a 1997 anthology released by Rhino Records.

Dale said he developed his musical style when he sought to merge the sounds of the crashing ocean waves he heard while surfing with melodies inspired by the rockabilly music he loved.

He pounded rather than plucked the strings of his guitar in a style he said he borrowed from an early musical hero, the great jazz drummer Gene Krupa.

“Dale pioneered a musical genre that Beach Boy Brian Wilson and others would later bring to fruition,” Rolling Stone magazine said in its “Encyclopedia of Rock & Roll” adding “Let’s Go Trippin’” was released in 1961, two months ahead of the Beach Boys’ first hit, “Surfin.’”

The magazine called Dale’s song “the harbinger of the ’60s surf music craze.”

Although popular around Southern California, Dale might have remained just a cult figure if surfing had not exploded in worldwide popularity during his peak creative years.

When the first of a series of “Beach Party” movies made to cash in on the phenomenon was released in 1963, it included Dick Dale and the Del-Tones performing “Secret Surfing Spot” as teen heartthrob Annette Funicello danced on the beach.

Dale had released his first album, “Surfer’s Choice,” a year earlier. He followed it with four more over the next two years while appearing in several “Beach Party” sequels and other surfer movies.

Other popular Dale songs included “Jungle Fever,” ″Shake-N-Stomp” and “Swingin’ and Surfin’.”

His star dimmed after the Beatles led music’s British invasion onto the pop charts in 1964 and his record label dropped him. His career also was sidelined by a battle with cancer in the 1960s and a serious foot infection in the 1970s that was the result of a surfing injury.

His musical influence was profound and included guitar virtuosos Jimi Hendrix and Stevie Ray Vaughan and movie director Quentin Tarantino, who selected Dale’s “Miserlou,” as the theme song of his 1994 film “Pulp Fiction.” That helped pull the guitarist back into the pop-culture spotlight.

Dale himself had begun to launch a comeback with the 1987 film “Back to the Beach,” which reunited Funicello and her co-star Frankie Avalon as a middle-aged couple returning to their old surfing haunts. He teamed up with Vaughan to record the classic surf instrumental “Pipeline” for that film, earning the pair a Grammy nomination.

In 1993 he released “Tribal Thunder,” his first album of all new material in nearly 30 years. He followed it with “Unknown Territory” the following year.

Dale continued to tour into his 80s, in part he said to pay the medical bills that advancing age was saddling him with. Having beaten cancer in the 1960s, he suffered a serious recurrence in 2015.

Born Richard Anthony Monsour in Boston on May 4, 1937, Dale moved to Los Angeles with his family in 1954, where he immediately fell in love with surfing and the electric guitar.

As a child, he listened to Lebanese and Polish folk tunes played by his parents. Eventually he graduated to big band, swing, country and rockabilly.

Self-taught on guitar, the left-handed Dale couldn’t afford a custom-made model, so early on he played a standard right-hand guitar upside down and backward. That ended after a meeting with legendary guitar builder Leo Fender, who offered to make Dale his own left-handed model if he’d test a line of guitars and amplifiers Fender was developing.

“I became Leo’s personal guinea pig,” Dale told The Associated Press in 1997. “Anything that came out of the Fender company, I played.”

He played so loudly that he blew up one amplifier after another until a frustrated Fender built him a “Dick Dale Dual Showman” doubled-sized amp. It was a model that would become popular with aspiring Los Angeles guitarists.

As he began to become well known, he began calling himself Dick Dale, explaining years later that a radio disc jockey had suggested it was a better name for a rock star than Richard Monsour.

His surfer buddies had already nicknamed him King of the Surf Guitar, a title he said he initially resisted, fearing it would limit his audience. When the spirit of surfing caught on everywhere, however, he came to embrace the crown.

Dale is survived by his wife, Lana, and a son, James, a drummer who sometimes toured with his father.
…

Fox News weekend host Jeanine Pirro’s show didn’t air a week after her comments questioning U.S. Rep. Ilhan Omar over her wearing a Muslim head covering. No explanation was given.

Pirro’s show, “Justice With Judge Jeanine,” was replaced Saturday night by other programming. The Fox News schedule for the upcoming weekend doesn’t include the show.

An email seeking comment was sent Sunday to Fox representatives.

President Donald Trump tweeted Sunday morning about Pirro’s absence, saying she should be brought back.

“Stop working soooo hard on being politically correct, which will only bring you down, and continue to fight for our Country. The losers all want what you have, don’t give it to them,” one of his tweets said.

Fox News had “strongly condemned” Pirro’s commentary on Omar, the first-term representative from Minnesota. Pirro had questioned whether Omar’s wearing of a hijab was “indicative of her adherence to Sharia law, which is in itself antithetical to the U.S. Constitution?”

Fox said Pirro’s views didn’t reflect the network and it had addressed the issue with her, but didn’t specify what that entailed.

Omar, in a tweet, thanked Fox for the statement, saying no one should question a person’s commitment to the Constitution because of a person’s faith or country of origin. Omar is a Somali immigrant.

Pirro said her intention had been to start a debate, but that being Muslim didn’t mean someone didn’t support the Constitution. She invited Omar to her show.

Pirro is the former district attorney from New York’s Westchester County.
…

A Pakistani immigrant who came to the U.S. as an impoverished young adult now helps feed the homeless and needy in his popular Washington restaurant. As a Muslim American, he says he’s simply heeding the will of God; to serve his fellow men with what he has. Which in his case is food, and so much more. VOA’s Julie Taboh has his story.
…

“I hope I die before I get old,” The Who sang in their 1965 hit “My Generation.”

But more than 50 years on, the veteran rock band’s two surviving original members are set for a new tour named “Moving On!” and the release of their first album of new music in 13 years.

Singer Roger Daltrey and guitarist/songwriter Pete Townshend, now in their 70s, will take the stage in May as part of The Who’s current six-member lineup and backed by an orchestra to play venues in the United States and Canada as well as London’s Wembley Stadium in July.

After tours of past hits, namely the hugely influential rock operas “Tommy” and “Quadrophenia,” Daltrey, who performed with an orchestra last year, said it was time to do something “that reflects where we are in our lives at the moment.”

Music that feels ‘kind of grown up’

“We’re old men now … we can’t go out there and pretend it’s going to be anywhere like we were 40, 50 years ago,” he told Reuters in an interview at Wembley.

“Adding the orchestra … can elevate the music into a place where it feels kind of grown up … (but) people mustn’t think just because there’s an orchestra with The Who that it’s going to be watered down. We’ll be playing exactly full throttle like we usually do.”

Emerging in 1960s London, The Who, which included the late drummer Keith Moon and bass player John Entwistle, have sold more than 100 million records worldwide, with hits like “Won’t Get Fooled Again” and “I Can See For Miles.”

“We could never have imagined it (the group’s ongoing success),” Daltrey said. “I was coming to (Wembley) stadium today and taking the same journey I used to take every night in the group van. … All the memories come back.”

‘Lucky to be alive’

Townshend, the band’s principal songwriter and famed for thrashing his guitar on stage, said he felt “grateful” they could still perform.

“Roger and I are very lucky to be alive,” he said. “We’re lucky to be reasonably healthy. We’re lucky that we can still play the music that we grew up with.”

The Who this year are also planning to release their first album of new music since 2006’s “Endless Wire.”

“We went through so many different phases so now really the challenge is just writing music which is good music which suits Roger and I,” Townshend said.

“I’m a real, real hard taskmaster when it comes to what I sing and whether, whether it’s a good song or not. And I’ll tell you, he’s still got it,” Daltrey said.

The singer has said “Moving On!” is not a farewell tour, but acknowledged the duo’s advancing years.

“One of them’s gonna be (a farewell tour), we might not make the end of this one,” he joked. “Every time you hit the stage there’s a possibility of game over at our age.”
…

The Hallmark Channel cut ties Thursday with favored star Lori Loughlin, a day after her arrest in a college admissions scam put the family-friendly network and extended Hallmark brand in uncomfortable proximity to a headline-grabbing scandal.

“We are saddened by the recent allegations surrounding the college admissions process,” Hallmark Cards Inc., parent company of the Crown Media Family Networks umbrella group that includes the Hallmark Channel, said in a statement.

“We are no longer working with Lori Loughlin” and have stopped development of all productions with the actress for Crown Media channels, the statement said.

The company initially took a wait-and-see approach after a federal investigation of the scam involving more than 30 parents, many of them prominent, was revealed Tuesday. Loughlin and her husband, fashion designer Mossimo Giannulli, are accused of paying bribes to gain their daughters’ college admissions.

Loughlin’s career and the Hallmark Channel were deeply intertwined. She’s been among its so-called “Christmas queens” who topline a slate of popular holiday movies, and also starred in the ongoing “Garage Sale Mysteries” movies and the series When Calls the Heart.

“It’s a feel-good, family values-type channel, and obviously scandal is the opposite of that,” said Atlanta-based market strategist Laura Ries.

There was more at stake than image. When Calls the Heart tapes in Canada, and a judge ordered Loughlin’s passport to be surrendered in December after grudgingly allowing her to cross the border for work until then.

Loughlin has not yet entered a plea in the case, and her attorney declined comment Wednesday after her first appearance in a Los Angeles federal court. Loughlin’s publicist declined comment Thursday on Hallmark’s decision to drop her.

The actress isn’t exclusive to Hallmark. She’s reprised her role as Aunt Becky for Netflix’s Fuller House reboot of the popular series that originated in 1987 on ABC. But the sitcom represents a fraction of the streamer’s flood of programs, while Loughlin has occupied an increasing amount of Hallmark real estate since she starred in Meet My Mom in 2010.

She’s proved a reliable performer. Her 2018 holiday movie, Homegrown Christmas, was the most-watched non-sports cable program the week it aired. In February, the season six premiere of When Calls the Heart was watched by a series-best 2.5 million viewers, putting it behind only The Walking Dead in Sunday night cable dramas.

“They definitely have a formula and you do have to follow the formula. And if you don’t, they rein you back in and say, ‘You have to follow. This is our format, this is what we do,”‘ Loughlin said of the Christmas movies last year in an interview with The Associated Press.

She said the rigidity chafes a bit but called the result “heartwarming,” adding, “You go to bed and you don’t have any bad dreams.”

The New York City native with a sunny smile proved a good fit for the channel that specializes in romantic dramas and comedies with a wholesome touch, while her media-friendly personality allowed her to expertly tout her shows on her website and in TV appearances.

Then came Tuesday’s bombshell government allegation that Loughlin and her husband were among more than 30 parents who paid a consultant to ensure their offspring’s place in college with bribes and falsified exams. Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, although neither is a rower.

Felicity Huffman (Desperate Housewives, American Crime) was among the other prominent parents, including a lawyer, doctor and hedge fund manager, indicted in the scam.
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“Empire” actor Jussie Smollett pleaded not guilty in a Chicago court on Thursday to new charges that he falsely reported to police that he was the victim of a racist and homophobic assault on a city street.

Wearing a navy suit and dress coat, Smollett, 36, appeared serious and quiet standing next to his attorneys as Cook County Circuit Court Judge Steven Watkins was assigned to his case.

In a 16-count indictment returned by a grand jury last Thursday, Smollett, who is black, openly gay and plays a gay musician on Fox’s hip-hop drama, was charged with 16 felony counts of disorderly conduct alleging he gave false accounts of an attack on him to police investigators.

 

Each count carries a maximum penalty of three years in prison and a $25,000 fine.

Smollett was previously charged last month with felony disorderly conduct for making a false report after he told police he was attacked in January by masked supporters of President Donald Trump who beat him, slung a noose round his neck and poured a liquid chemical on him while shouting racist and homophobic slurs.

Detectives investigated the incident as a hate crime but local news outlets cited police sources saying it was believed to be a hoax.

The Chicago Police Department is investigating how information about the alleged attack was leaked to journalists.

Fox cut Smollett’s character in “Empire” after he was arrested.

According to prosecutors, Smollett wrote a $3,500 check to two brothers and gave them $100 to buy the rope, ski masks, gloves and red baseball caps used in the supposed Jan. 29 attack.

Police said Smollett hoped the incident would advance his career and secure him a higher salary.

Police initially arrested the brothers on Feb. 13, after they were recognized from surveillance footage from near the scene of the alleged attack. One had appeared with Smollett on “Empire,” police and their lawyer said. Prosecutors said one had supplied Smollett with “designer drugs” in the past.

The brothers confessed to the plot, police said. They became cooperating witnesses and were released without charges.

After the alleged attack, Smollett received support on social media, including from celebrities and Democratic presidential candidates. Others were skeptical of the incident, which Smollett said occurred at around 2 a.m. on a city street during one of the coldest weeks in recent history.

Outside the courthouse on Thursday, about a dozen supporters gathered with signs, chanting that his prosecution was unjust.

In a “Good Morning America” interview last month, Smollett said he was angry some people questioned his story and suggested racial bias may be behind the disbelief.

 
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South Korea’s entertainment industry was upended this week after a celebrity’s cell phone, which was in for repairs, revealed widespread alleged acts of sexual misconduct. YG Entertainment, which is tied closely to the stars at the center of the scandal, has seen its stock fluctuate this week as high-profile K-pop singers tied to it were implicated in the illegal activity.

It’s a blemish on South Korea’s leading cultural export that’s spawned the creation of a Seoul Metropolitan Police unit to look into the matter.

At the center of the scandal are ex-Big Bang member Seungri (real name Lee Seung-hyun), Jung Joon-young, and FT Island’s Choi Jong-hoon.

While Seungri hasn’t admitted to any specific acts of wrongdoing, Jung has.

On Wednesday, Jung admitted to filming women he had sex with and then sharing the videos online. He said this was done without the knowledge or consent of his partners.

“I admit to all of my sins. I filmed women without their consent, shared the videos in a SNS [social networking service] group chat and did such behavior without feeling any sense of guilt,” Jung said in a statement.

He added, “Most of all, I kneel down to apologize to the women who appear in the videos and all those who might be disappointed and upset at this shocking incident.”

Seungri apologized to his fans via his Instagram account, but has yet to elaborate on his role in the scandal.

“I’ve disappointed so many people and made so many people angry, I want to apologize once more and I will cooperate with the investigation,” he said.

Among K-pop entertainment labels, YG Entertainment, which signed Seungri, was hit hardest by the scandal. The firm’s stock price slid 14 percent on Monday, but has regained some ground since.

JYP Entertainment and S.M. Entertainment, also K-pop powerhouses, saw their shares dip earlier in the week as the scandal’s scope grew, before the market reversed that trend.

Choi’s agency, FNC Entertainment, announced the singer would stop performing with FT Island and place his career on hold.

Some 126 officers are now part of the criminal investigation that includes members from the narcotics unit, serious crime squad, a regional investigation unit, and a cyber investigation team.

Alleged criminal activity

For ex-Big Bang member Seungri, questions over his involvement in alleged illegal activity date back to January, when authorities began investigating claims that the Gangnam club Burning Sun had drugged female patrons, who later said they were raped in the club’s VIP room. Seungri also stands accused of providing prostitutes for wealthy investors.

At one point on South Korean television, Seungri claimed to be the owner of the Burning Sun, but as authorities began their investigation into the allegations the club provided gamma-hydroxybutyrate, a date rape drug to the female guests, it was revealed that the relationship had been severed.

However, Seungri has admitted he bribed policemen in Gangnam with about $18,000 to help facilitate the entrance of underaged guests into the nightclub.

In addition to admitting to using date rape drugs in the past, Jung Joon-young said he uploaded video footage he took to a private chatroom on multiple occasions. Jung said the women in the videos were filmed without their consent and even included some celebrities.

At least 10 victims have been identified by authorities at this time.

It’s not the first time Jung has been involved in a case involving nude images. In 2016, he was alleged to have recorded nude videos of his then-girlfriend. However, the case was dropped after a private digital forensics company contracted to retrieve the potentially illicit material said that nothing could be obtained from his mobile device.

Suspicions have now arisen that some members of the police asked the technology firm to guarantee no data could be recovered in Jung’s case. Local media reported Thursday that the unnamed forensics firm was raided Wednesday in connection to the current scandal.

Other group chat messages allege Choi Jong-hoon and others discussed payment being made to the police to cover up his drunk driving accident in 2016.

Police Commissioner Min Gap-ryong has launched an internal investigation into potential cover-ups and police wrongdoing.

Implications

South Korea remains fixated on the scandal and the plethora of allegations that continue to emerge, but Choi Ji-eun, a former journalist and commentator on South Korean pop culture, said it’s too early to predict the scandal’s impact on the perception of nation’s music industry.

“This is a criminal case of adult men, treating women as goods and sexual objects, but it is a bit early to predict the future of K-pop,” said Choi Ji-eun.

Choi calls the problem “deep-rooted” and asserts it will not be easy to change the culture. But if those charged were to be found guilty and severely punished when they illegally film and share the footage; use date rape drugs, and commit sexual harassment, “it will break down the strong structure [of a male-dominated society] and vicious circle.”

South Korea’s Ministry of Culture, Sports and Tourism, as well as the Ministry of Gender Equality and Family, declined VOA’s request for comment.

Lee Ju-hyun contributed to this report.

 
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In the U.S. these days, cheese is emerging as a product and point of pride that in some circles. That was clear at the United States Championship Cheese Contest held in Green Bay, Wisconsin, last week. A crowd of approximately 500 people packed into a ballroom to see a U.S. Cheese Championship winner named, and a steady stream of even more people had spent two previous days watching judges sniff, taste, spit and rate 2,555 different cheeses from across the nation.
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