Author: Ohart

Actor John Malkovich will take the starring role in a new play by Pulitzer Prize winner David Mamet about a disgraced Hollywood studio head, a story he said was written partly in reaction to the scandal engulfing film producer Harvey Weinstein.

Speaking to BBC Radio on Tuesday, Malkovich described “Bitter Wheat,” which opens in London in the summer, as “a black farce about a very badly behaved movie mogul,” who he said was “not particularly” Weinstein. The producer will go on trial in New York in May on charges of sexually assaulting two women.

“It’s a great deal about that business and a great deal about how people in that business, in positions say as studio heads have behaved really for more or less a century now. So many of them were so notoriously badly behaved,” he said.

“The idea…maybe started as reaction to all the news that came out last year, in particular about Harvey Weinstein but actually about many many people, some of whom were also higher ups in various studios. I think David kind of took the idea from there and went with it.”

More than 70 women, mainly young actresses and others working in film, have accused Weinstein, 66, of sexual misconduct, including assault, dating back decades.

Weinstein, who pleaded not guilty after his arrest last May, has denied all the accusations, saying any sexual encounters were consensual.

The scandal helped kick off the #MeToo movement, in which dozens of powerful men in Hollywood and beyond have been accused of sexual misconduct.

“Of course it might upset people who’ve experienced the kind of treatment that the play contains and shows and describes and that we watch but what can I do about that?” Malkovich said.

“I am sure a lot of people will laugh and a lot of people will be upset and a lot of people may not like it. Personally I think it’s a terrific piece of writing.”

Malkovich, most recently seen on screens in Netflix thriller “Bird Box” and on British television as legendary detective Hercule Poirot in “The ABC Murders”, said he met Weinstein when making 1998 drama “Rounders” but “didn’t really have any connection with him”.

In “Bitter Wheat”, the 65-year-old actor will play Barney Fein, described in a press release as “a bloated monster- a studio head, who, like his predecessor, the minotaur, devours the young he has lured to his cave.

“His fall from power to shame is a mythic journey which has been compared to ‘The Odyssey’ by people who claim to have read that book.”

Mamet, known for plays such as “Sexual Perversity in Chicago” and “Glengarry Glen Ross,” has written about sexual misconduct before, namely in “Oleanna” about a female student and her professor.
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In 1807, a wealthy 37-year-old scholar was captured in West Africa, in what is now Senegal, and transported to the United States to be sold into slavery.

That man, Omar Ibn Said, lived the remainder of his life enslaved in the American South, and his story might have been forgotten if not for the handwritten autobiography he left behind.

Written in Arabic and recently acquired by the Library of Congress, “The Life of Omar Ibn Said” is not only a rare handwritten personal story of an American slave, but it’s also one of the first intimate accounts of the early history of Muslims in the United States.

Ibn Said was among the approximately one-third of American slaves who were Muslim. While the exact number of enslaved Muslims is unknown, up to 40 percent of those who were captured and enslaved came from predominantly Muslim parts of West Africa.

“It challenges this notion of this being a Christian nation,” says Zaheer Ali, an oral historian at the Brooklyn Historical Society and project director of the Muslims in Brooklyn project. “It opens us up to understanding that there were non-Christians present at the founding of this nation, and not only at the founding of this nation, but that helped build this nation…It challenges the idea that this was a quote ‘Christian nation’ from the beginning.”

America’s first Muslims were slaves

The subsequent erasure of the black Muslim identity among the enslaved people in the United States was part of a strategy to strip enslaved Africans of their individual identities and reduce them to chattel both legally and in the public imagination.

“The black classification was devised to mark enslaved Africans as property. So, if you were black, you were no longer a human being,” says Khaled Beydoun, an author and law professor at the University of Arkansas. “If you acknowledge some of these religious identities, then you’re in turn acknowledging their humanity.”

During the antebellum period in the South, the Muslim identity took on very different identity from the stereotype of an African slave.

“When people thought of a Muslim at that time, they thought Arab, they thought Ottoman, they thought Middle Eastern,” Beydoun says. “Enslaved Africans did not fit within that racial ethnic caricature or form.”

This narrow understanding of both Muslims and Africans led to the widespread belief that the two identities could not overlap and helped hasten the erasure of Muslim African slaves from the historical record. In addition, the names of enslaved Muslims were often anglicized, which further obscured them from the history.

Writing themselves into history

Enslaved Muslims who left behind a written record challenged the idea that enslaved men and women were a brute workforce solely capable of physical labor because they lacked the intellectual capacity that would make them deserving of independence and freedom.

“These were people who were essentially writing themselves into existence both in terms of leaving a record of their life but also in terms of challenging the racist assumptions about people of African descent,” Ali says.

What we know about the masses of African Muslim slaves who left no written record can be garnered from the remembrances of their descendants and their names on bills of sale or runaway notices.

How long they adhered to Islam is unknown. Some converted to Christianity while others pretended to convert in order to satisfy their captors. But there are signs that some enslaved Muslims held onto the religion of their homelands.

Ali points to burial grounds on islands off the southern state of Georgia, where slave tombstones bear Islamic markings, and churches that were built facing the east, the direction Muslims face while praying. And there are descendants who recall seeing their elders using prayer rugs and Islamic prayer beads.

These recollections suggest that despite any coercion, some enslaved Muslims held onto their religious practices for life.

Leaving their mark 

While the existence of a sizable number of African Muslim slaves might not be well known to most Americans, they are believed to have left their mark on American culture.

Author and scholar Sylviane Diouf has suggested that slave work songs are related to the vocal pattern of Koranic recitation and the call to prayer. Those work songs — such as “Levee Camp Holler” a century-old song that originated in Mississippi — eventually gave birth to the blues.

And Ali says it’s possible that the banjo and guitar came from a traditional West African instrument.

Perhaps the most lasting legacy of Muslim slaves is the modern movement among some African Americans to embrace what they believe to be the original religion of their people.

“The movement towards Islam in the African American community in the 20th century was in part understood by its adherents as a reclaiming of a lost heritage, that this was not a new religion,” Ali says. “Islam is not new to the United States; it was here before the country was founded; it was present among the people who helped build this country; and it has very much been a part of the thread of America’s story.”

Beginning with the period of American slavery until today, black Muslims continue to comprise the largest segment of the Muslim community in the United States.
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Before Islamic State militants were dislodged from Iraq in 2017, they stole thousands of ancient artifacts. Most are still missing, and an international team of archaeologists is turning detective to recover as many as possible.

In 2014 and 2015, during its occupation of most of the country, the jihadist group raided and wrecked historical sites on what UNESCO called an “industrial” scale, using the loot to fund its operations through a smuggling network extending through the Middle East and beyond.

“We’re trying to recover a lot of artifacts and need all local and international resources to work. Iraq cannot do this on its own,” said Bruno Deslandes, a conservation architect at the U.N. cultural agency.

He spoke at a workshop at Baghdad’s National Museum convened to coordinate international retrieval efforts.

Video that went viral after it was released by Islamic State in 2014 showed militants using bulldozers and drills to tear down murals and statues the 3,000-year-old Assyrian site of Nimrud near Mosul. What they did not destroy they smuggled and traded.

Deslandes was the first international expert to access the site in early 2017 while Islamic State was still being driven out.

With the battle raging just kilometers away, he and his team had to work quickly to assess damage to the site, using 3D scanning and satellite imagery. Within minutes, they gathered a trove of data he says will be critical in tracking lost items down.

“When an artifact has been taken, we can document the footprint left,” Deslandes said.

“We document this very precisely… so we can recover it… When we have an artifact in Europe or somewhere matching this specification we can… yes!” he added, clapping his hands together for emphasis.

‘Tip of the Iceberg’

The workshop, which brought together Iraqi and foreign police, customs officials and archeological experts, was the second in two years organized by the European Union Advisory Mission in Iraq.

Law enforcement officials said they can help Iraqi police track down the objects using databases of seizures and other information, including smuggling routes.

Mariya Polner of the World Customs Organization (WCO) said reports of cultural heritage seizures by customs officials worldwide were “only the tip of the iceberg,” and that better coordination between the WCO’s 183 members states had helped increase recoveries.

In 2017, the WCO said customs officers recovered more than 14,000 items looted worldwide including antiquities, paintings and statues, 48 percent up from the previous year.

Eckhard Laufer, a participating police officer from Germany, said many private collectors and some museums often did not question the provenance of artifacts. “It is one of the biggest problems in crime.”

Deslandes said sites inside Iraq were still at risk. “When a site is liberated, it doesn’t mean the looting has finished.”
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Dan Gilroy’s satirical contemporary art world thriller “Velvet Buzzsaw” will be available to Netflix subscribers worldwide this Friday, but he and his team gave audiences at the Sundance Film Festival a sneak peek at the film Sunday night where the most-common word used to praise it was “weird.”

“Dan is crazy,” Rene Russo, who is married to Gilroy, said in Park City, Utah. “He’s got this crazy imagination and he’s just kind of outside the box.” 

The film reunites Gilroy with Jake Gyllenhaal, who starred in his directorial debut “Nightcrawler.” That dark thriller about an ambulance chasing journalist went on to become a box office hit and, so, when Gilroy landed on the idea for “Velvet Buzzsaw,” which would star Gyllenhaal as a snobby critic and Russo as a savvy gallery owner and art dealer, there were a lot of film studios who wanted to put their name behind it. Netflix was one of them. 

Gilroy was unsure at first about Netflix, though, so he started reading a little more about the company. He came across a quote where someone said that Netflix was going to destroy the theatrical experience, but following it were 50 comments about how that person must live in New York or Los Angeles or Chicago where, “You can see everything.” 

”I suddenly thought, wow, democratization,” Gilroy said. “It is an elitist point of view to think that everybody in the world has access to the things that New York, LA and Chicago have. That really was the deciding factor. If you really want to reach the widest possible audience, here’s this technology that can do this … And what is the theatrical experience? 500 people in a theater? 100? Does 50 count? Does four people on a Friday night on my 50-inch widescreen count? It does to me.” 

Films that defy genre

Producer Jennifer Fox, who has been behind films like “Michael Clayton,” said Netflix made it, “At a level that it should have been made at. They got it. And it’s really out there.” 

Out there is right, for the ensemble film that co-stars John Malkovich, Toni Collette, Daveed Diggs, Billy Magnussen and relative newcomer Zawe Ashton in which the discovery of a dead artist’s works ends up taking its own body count. But that’s Gilroy’s operating mode for his own films which aren’t bound by traditional genre or constraints. 

It’s why “Velvet Buzzsaw” is about everything — the pretentiousness of the contemporary art world, the fluidity of criticism and even sexuality, and, you know, a demon art spirit out for blood. 

“If I follow one rule in any form of entertainment it is, ‘Do Not Bore.’ You cannot bore,” Gilroy said. “My (playwright) father pounded that into my head.”

‘Fearless’ actor​

 

Gilroy wrote the critic character Morf, who is as fluid in his sexuality as he is in his art opinions, specifically for Gyllenhaal who he said is, “One of the most fearless actors alive right now.” 

“He’s always pushing himself with the craziest ideas that often end up in the movie,” Gilroy said. “I like working with people who want to take a sledgehammer to all this and Jake is that person.” 

The feeling is mutual for Gyllenhaal who said their connection is, “Sort of inexplicable.” 

Netflix believer

“But I’m not asking any questions about it,” Gyllenhaal said. “I just show up when he asks.” 

After the “Velvet Buzzsaw” experience, Gilroy himself is a Netflix believer. 

“I couldn’t speak highly enough about Netflix. The traditional studios in some way have created Netflix. The traditional studios have gone from making a broad range of films to doing branded IP and franchises and it has left a void for original, range of films to get made,” Gilroy said. “And Netflix is making them en masse and it’s a very exciting time. I think history is being written right now.” 

 

 
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“You Oughta Know” Alanis Morissette is coming to Broadway.

 

The singer-songwriter has allowed songs from her 1995 breakthrough album “Jagged Little Pill” to be used in a new musical and producers plan to land it on Broadway this fall. “You Oughta Know” was a song on that Grammy-winning album.

 

“Jagged Little Pill” played the American Repertory Theater last summer. It’s directed by Diane Paulus and has an original story by Diablo Cody, who wrote “Juno.”

 

Morissette wrote the album with Glen Ballard, who collaborated with Dave Stewart of the Eurythmics on the music for “Ghost: The Musical.”

 

Morissette joins a glut of pop and rock stars to try their hand at Broadway, including Bruce Springsteen, Sting, The Go-Go’s, Sara Bareilles, Billy Joel and Cyndi Lauper.
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The U.S. Postal Service is honoring entertainer Gregory Hines with a Black Heritage Series stamp.

Acting chief postal inspector Gary Barksdale will host the first day of issue ceremony Monday at the Peter Norton Symphony Space in New York.

Hines, who was known for his unique style of tap dancing, won a Tony Award in 1992 for “Jelly’s Last Jam.” He died of cancer at age 57 in 2003.

The forever stamp features Hines smiling on one knee with one foot raised to show the taps on the bottom of his shoe.
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Archaeologists have found wine cellars dating back to the Greco-Roman period in Egypt’s Nile Delta.

The Antiquities Ministry says Monday that the excavations took place in Tel Kom al Trogy, north of Cairo, an area known for producing fine wines in antiquity. There was no wine found in the storage galleries.

Mostafa Waziri, secretary general of the Supreme Council of Antiquities, says the storage rooms were built out of mud-brick with irregularly shaped limestone blocks inside, apparently to control the temperature.

The Greco-Roman period in Egypt spans from its fall to Alexander the Great in the 4th century B.C. to the Islamic conquest in the 7th century.

Egypt hopes such discoveries will spur tourism, which suffered a major setback during the unrest that followed the 2011 uprising.

 
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“Black Panther” took the top award at Sunday’s 25th Screen Actors Guild Awards, giving Ryan Coogler’s superhero sensation its most significant awards-season honor yet and potentially setting up Wakanda for a major role at next month’s Academy Awards.

The two leading Oscar nominees – “Roma” and “The Favorite” – were bypassed by the actors guild for a best ensemble field that also included “BlacKkKlansman,” “Crazy Rich Asians,” “Bohemian Rhapsody” and “A Star Is Born.” Although “Black Panther” wasn’t nominated for any individual SAG Awards, it took home the final award at the Shrine Auditorium in Los Angeles.

Before a stage full of actors, Chadwick Boseman tried to put into context the moment for the trailblazing “Black Panther,” which also won for its stunt performer ensemble. “To be young, gifted and black,” he said, quoting the Nina Simone song.

“We know what it’s like to be told there isn’t a screen for you to be featured on, a stage for you to be featured on. … We know what’s like to be beneath and not above. And that is what we went to work with every day,” said Boseman. “We knew that we could create a world that exemplified a world we wanted to see. We knew that we had something to give.”

​The win puts “Black Panther” squarely in contention for best picture at the Academy Awards where it’s nominated for seven honors including best picture. Actors make up the largest percentage of the academy, so their preferences can have an especially large impact on the Oscar race. In the last decade the SAG ensemble winner has gone on to win best picture at the Academy Awards half of the time.

In the lead acting categories, Glenn Close and Rami Malek solidified themselves as front-runners with wins that followed their triumphs at the Golden Globes. The 71-year-old Close, a seven-time nominee but never an Oscar winner, won best actress for her performance in “The Wife.” In her speech, she spoke about the power of film in a multiscreen world. 

“One of the most powerful things we have as human beings are two eyes looking into two eyes,” said Close. “Film is the only art form that allows us the close-up.”

Malek, wining best actor over Christian Bale (“Vice”) and Bradley Cooper (“A Star Is Born”) for his performance in “Bohemian Rhapsody,” seemingly sealed the Oscar many are predicting for him. Malek’s awards are mounting even as the director of “Bohemian Rhapsody,” Bryan Singer, is facing multiple accusations of sexual assault with minors. Singer has denied the claims.

As he did at the Globes, Malek dedicated his award to Mercury. 

“I get some power from him that’s about stepping up and living your best life, being exactly who you want to be and accomplishing everything you so desire,” said Malek.

More surprising was Emily Blunt’s best supporting actress win for her performance in the horror thriller “A Quiet Place.” Blunt, also nominated by the guild for her lead performance in “Mary Poppins Returns,” was visibly shocked. She wasn’t among Tuesday’s Oscar nominees for either film.

“Guys. That truly has blown my slicked hair back,” said Blunt, who praised her husband and “A Quiet Place” director John Krasinski as a “stunning filmmaker.” “Thank you for giving me the part. You would have been in major trouble if you hadn’t.”

Best supporting actor in a film went more as expected. Mahershala Ali, who won two years ago for “Moonlight,” won for his performance in Peter Farrelly’s interracial road trip “Green Book.”

The Amazon series “The Marvelous Mrs. Maisel” won the first three awards handed out Sunday, sweeping the comedy series awards. It won best ensemble in a comedy series, as well as individual honors for Rachel Brosnahan and Tony Shalhoub, whose win was a surprise in a category that included Bill Hader (“Barry”) and Michael Douglas (“The Kominsky Method”).

​”We cannot thank you enough,” said Shalhoub, speaking for the cast. “Stay with us.”

Tom Hanks presented the lifetime achievement award to Alan Alda , who in July revealed that he had been living with Parkinson’s disease for more than three years. The 83-year-old actor took the stage to a standing ovation while the theme to “M.A.S.H” played. He said the award came at a reflective moment for him.

“I see more than ever now how proud I am to be a part of our brotherhood and sisterhood of actors,” said Alda. “It may never have been more urgent to see the world through another person’s eyes. When a culture is divided so sharply, actors can help – a least a little – just by doing what we do. And the nice part is it’s fun to do it. So my wish for all of us is: Let’s stay playful.”

For the second time, the cast of “This Is Us” won best ensemble in a drama series. Other TV winners included Sandra Oh (“Killing Eve”), Darren Criss for “Assassination of Gianni Versace”, Jason Bateman (“Ozark”) and Patricia Arquette (“Escape at Dannemora”). Arquette thanked Special Counsel investigator Robert Mueller “and everyone working to make sure we have sovereignty for the United States of America.”

The SAG Awards had one thing the Oscars don’t: a host. Emcee Megan Mullally kicked off the awards by tweaking their role among the many honors leading up to next month’s Oscars. She called the SAGs “the greatest honor an actor can receive this weekend.”

The show did not boost the chances of other Oscar hopefuls, “A Star Is Born,” “The Favorite” and “BlacKkKlansman,” which were all shut out Sunday night.

Among the attendees Sunday was Geoffrey Owens, the “Cosby Show” actor who caused a stir when he was photographed working at a New Jersey Trader Joe’s. He was among the performers who began the show with the SAG Awards’ typical “I am an actor” testimony. The SAGs also made time for one reunion: “Fatal Attraction” stars Michael Douglas and Glenn Close joined each other on stage as presenters.
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A New York disc jockey wearing a policeman’s uniform. The outfit is not a costume, it’s the work uniform of New York City Police officer who takes his hobby as a DJ seriously. Lieutenant Acu Rhodes says it started as a casual pastime, but quickly became a serious devotion. So serious that Rhodes, or DJ Ace, turned it into part of the NYPD’s community policing outreach. Evgeny Maslv reports from New York City, in this story narrated by Anna Rice.
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Prolific French composer Michel Legrand, who won three Oscars and five Grammys during a career spanning more than half a century, died Saturday aged 86, his spokesman said.

Legrand lived in a musical whirlwind, with the same appetite for popular music to jazz, from conducting to film.

“Since I was a child, my ambition has been to live completely surrounded by music, my dream was to not miss anything, which is why I have never focused on a single musical discipline,” he said.

He first won an Academy Award in 1969 for the song “The Windmills of Your Mind” from the film “The Thomas Crown Affair”.

He followed that with Oscars for his music for “Summer of ’42” in 1972 and for “Yentl” in 1984.

Legrand, who had been scheduled to stage concerts in Paris in April, died early Saturday with his wife, the actress Macha Meril, his spokesman told AFP.

During his long career, he worked with some of the music world’s biggest stars such as Miles Davies, Ray Charles, Frank Sinatra, Aretha Franklin, Barbra Streisand, Liza Minnelli and Edith Piaf.

He also won five Grammys from 17 nominations, including one for the theme from “Summer of ’42”.

“For me, he is immortal, through his music and his personality”, French composer and conductor Vladimir Cosma told AFP on hearing of Legrand’s passing.

“He was such an optimistic personality, with a kind of naivety in optimism, he saw everything in rosy colours!”

‘A magical world’

Born in Paris on February 24, 1932, Legrand belonged to a family of musicians.

His father, who left the family home when Legrand was just three, was a composer and conductor.

“The world of childhood, mine, was a lonely world, I did not like going to school, I did not like the world of children and adults, I hated to hear ‘eat your soup, go bed’,” he remembered.

At just 10 years old, he entered the Paris Conservatory of music.

“For me, who hated life, when I first came to the Conservatory I crossed the threshold into a magical world where the only question was music”, he said.

He began composing film music in the 1960s with the emergence of French New Wave directors such as Agnes Varda, Jean-Luc Godard and Jacques Demy.

He composed the scores for Demy’s “Les Parapluies de Cherbourg” (“The Umbrellas of Cherbourg”) in 1964 and “Les Demoiselles de Rochefort” (“The Young Ladies of Rochefort”) in 1967, for both of which Legrand received Academy Award nominations.

He moved to the United States in the 1960s.

“It was a real risk to leave France, landing in Hollywood without real commitment,” he wrote in his 2013 autobiography, describing this step as “part of Russian roulette”.

The father of three children, he married his third wife, Macha Meril, in 2014.

 
…

Prolific French composer Michel Legrand, who won three Oscars and five Grammys during a career spanning more than half a century, died Saturday aged 86, his spokesman said.

Legrand lived in a musical whirlwind, with the same appetite for popular music to jazz, from conducting to film.

“Since I was a child, my ambition has been to live completely surrounded by music, my dream was to not miss anything, which is why I have never focused on a single musical discipline,” he said.

He first won an Academy Award in 1969 for the song “The Windmills of Your Mind” from the film “The Thomas Crown Affair”.

He followed that with Oscars for his music for “Summer of ’42” in 1972 and for “Yentl” in 1984.

Legrand, who had been scheduled to stage concerts in Paris in April, died early Saturday with his wife, the actress Macha Meril, his spokesman told AFP.

During his long career, he worked with some of the music world’s biggest stars such as Miles Davies, Ray Charles, Frank Sinatra, Aretha Franklin, Barbra Streisand, Liza Minnelli and Edith Piaf.

He also won five Grammys from 17 nominations, including one for the theme from “Summer of ’42”.

“For me, he is immortal, through his music and his personality”, French composer and conductor Vladimir Cosma told AFP on hearing of Legrand’s passing.

“He was such an optimistic personality, with a kind of naivety in optimism, he saw everything in rosy colours!”

‘A magical world’

Born in Paris on February 24, 1932, Legrand belonged to a family of musicians.

His father, who left the family home when Legrand was just three, was a composer and conductor.

“The world of childhood, mine, was a lonely world, I did not like going to school, I did not like the world of children and adults, I hated to hear ‘eat your soup, go bed’,” he remembered.

At just 10 years old, he entered the Paris Conservatory of music.

“For me, who hated life, when I first came to the Conservatory I crossed the threshold into a magical world where the only question was music”, he said.

He began composing film music in the 1960s with the emergence of French New Wave directors such as Agnes Varda, Jean-Luc Godard and Jacques Demy.

He composed the scores for Demy’s “Les Parapluies de Cherbourg” (“The Umbrellas of Cherbourg”) in 1964 and “Les Demoiselles de Rochefort” (“The Young Ladies of Rochefort”) in 1967, for both of which Legrand received Academy Award nominations.

He moved to the United States in the 1960s.

“It was a real risk to leave France, landing in Hollywood without real commitment,” he wrote in his 2013 autobiography, describing this step as “part of Russian roulette”.

The father of three children, he married his third wife, Macha Meril, in 2014.

 
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Pope Francis celebrated Mass on Saturday in the centuries-old colonial Cathedral Basilica of Santa Maria la Antigua, telling Panama’s priests and nuns to try to find joy in their work despite what he called “wounds of the church’s own sin.” 

 

He did not specify what he meant by that, but in his message, titled “The Weariness of Hope,” he encouraged members of the clergy to remain faithful despite the frustrations and anxieties of serving the church in today’s world. 

 

“The Lord knew what it was to be tired, and in his weariness so many struggles of our nations and peoples, our communities, and all who are weary and heavily burdened can find a place,” he said. 

 

The pope noted that the cathedral in which he spoke had recently reopened its doors after a long renovation. “This restoration has sought to preserve the beauty of the past while making room for all the newness of the present,” he said. “That is how the Lord works.” 

 

The pope made his address as part of World Youth Day, the Catholic Church’s international youth rally held every two to three years. Several hundred people were estimated to have turned out for the pope’s Way of the Cross procession in Panama City on Friday evening, according to the Associated Press. 

Student priests

 

On the fourth day of his visit to Panama, the leader of the Roman Catholic Church was also to meet with student priests at the seminary of San Jose.  He was expected to talk with the young men about the dwindling number of men entering the priesthood and the reasons for the declining numbers. Francis has admitted in other locations that sex scandals and cover-ups have contributed to a drop in the number of men seeking religious vocations.    

 

On Friday, the pope went to a youth detention center, enabling the inmates to participate in World Youth Day.  Francis also heard the confessions of five of the detainees.  

 

In an emotional homily at the detention center, Francis said he deplored society’s tendency to label people as good or bad, the righteous or sinners. Instead, he said, society should focus on creating opportunities that enable people to change.  

 

In a veiled swipe at U.S. President Donald Trump and his insistence on a wall between the U.S. and Mexico, the Argentina-born pope said of the tendency to label: “This attitude spoils everything, because it erects an invisible wall that makes people think that, if we marginalize, separate and isolate others, all our problems will magically be solved.”  

Francis added, “When a society or community allows this, and does nothing more than complain and backbite, it enters into a vicious circle of division, blame and condemnation.”  
…

Pope Francis celebrates Mass Saturday in the centuries-old colonial Cathedral Basilica of Santa Maria la Antigua, Panama’s patron saint, as part of World Youth Day festivities.

On the fourth day of his visit to Panama, the leader of the Roman Catholic Church is also to meet with student priests at the seminary of San Jose. He is expected to talk with the young men about the dwindling number of men entering the priesthood and the reasons for the declining numbers. 

Francis has admitted elsewhere that the sex scandals and cover-ups have contributed to fewer men seeking religious vocations.

Later Saturday, Francis and the Archbishop of Panama, Cardinal Jose Domingo Ulloa, are hosting a lunch for 10 young people attending the WYD celebrations.

On Friday, the pope went to a youth detention center, enabling the inmates to participate in WYD. Francis also heard the confessions of the five of the detainees.

In an emotional homily at the center, Francis said he deplored society’s tendency to label people as good or bad, the righteous or sinners. Instead, he said, society should focus on creating opportunities that enable people to change.

In a veiled swipe at U.S. President Donald Trump and his insistence on a wall between the U.S. and Mexico, the Argentinean-born pope said of the tendency to label: “This attitude spoils everything, because it erects an invisible wall that makes people think that, if we marginalize, separate and isolate others, all our problems will magically be solved.” Francis added, “When a society or community allows this, and does nothing more than complain and backbite, it enters into a vicious circle of division, blame and condemnation.”
…

When thinking about people with cancer, the images that first come to mind are usually dark, sad and depressing. But that’s not what photographer Linda McCarthy sees. With her “Survivors” project, her goal was to put a face on breast cancer, photographing women who survived or are being treated for the disease.

“I wanted to photograph them as whole women not the parts that they see of themselves,” she explained. “So, I didn’t want scars, I didn’t want anything like that. I wanted them to see how beautiful they are. They are survivors, they change their outlook on life and say, ‘Yes, this is me, and I’m a survivor.’ So, you see the transformation going on while I photograph them.”

One of the survivors is Cheryl Listman. The single mother was diagnosed with stage 2-B breast cancer in 2013, and told she had a 40 percent chance of survival. Thinking about her two kids made her determined to not give up and to keep fighting the disease.

The Survivors photography project fit nicely with her attitude.

“I work with women, I help educate women who are going through the journey and just help them navigate through the medical side of it,” Listman said. “When she (Linda McCarthy) asked me, I thought, ‘Well, maybe it’s just another impact that I could have on women.’ And then also I would be able to look back and see how far I came.”

Focusing on the whole woman

The idea of featuring breast cancer survivors came to McCarthy when she was searching for a ballerina to photograph for her portfolio.

“I was introduced to Maggie, who is known as the Bald Ballerina,” she recalled. “She was diagnosed at the age of 23 with stage-4 metastatic breast cancer. So, I met her and asked if I could photograph her, not as a ballerina, but as a beautiful girl who happens to have breast cancer.”

Through the lens of her camera, McCarthy says she has always sought to capture the spirit and essence of her subjects.

To do that, McCarthy offered each of the participants a consultation session. During that time, they opened up and talked about themselves, giving her a chance to get to know them.

The women were also given a makeover. By the end of the session with makeup artist Victoria Ronan, many were surprised — and delighted.

“In some cases, it’s been a very long time since they had makeup on, it’s been a very long time since they had done something for themselves,” Ronan said. “I had a lot of women look in the mirror and just start tearing up. They couldn’t believe how beautiful I’ve made them look.”

When fighting breast cancer, Listman said, it’s helpful to feel beautiful.

“It’s very important because when you go through a horrific journey and treatment, you don’t feel beautiful,” Listman explained. “There is a lot of things done to your body physically, there is a lot of things done to you emotionally, mentally, things that you will never forget that are not pretty. So, when you get to that point in your journey, you feel like a woman again, you feel beautiful, you feel like you’ve accomplished the mission.”
…

For director Bart Freundlich and Julianne Moore, having their film “After the Wedding” premiere opening at the Sundance Film Festival holds a special significance. Moore and Freundlich came to the festival 22 years ago with another film, “The Myth of Fingerprints,” before marriage, children and everything else.

“In between there have been a ton of movies, mainly by her, but some by me,” Freundlich said. “This is something that is really special to me.”

The family drama “After the Wedding” kicked off the 2019 Sundance Film Festival Thursday night in the Eccles Theater. The film is a remake of an Oscar-nominated Danish film from Susanne Bier, and stars Moore as a wealthy businesswoman looking to donate money to an Indian orphanage run by Michelle Williams’ character, while also planning her daughter’s wedding with her husband, played by Billy Crudup.

Things get a little more complicated than that, but the developments are better left seen for oneself.

There was at least one significant change, however. In the original Danish film, Moore’s character was a man, but she gave her husband the idea to flip the gender.

Moore said the switch “deepened” the story for her.

Sundance founder Robert Redford started off the evening reflecting on the origins of the festival, 34 years ago. He recalled a quainter Park City, with only one theater, the Egyptian and just a few restaurants and a library. In the early years, he remembered standing outside the theater, “Trying to hustle people in.”

“People were just wondering why I was there,” Redford laughed. “But finally, slowly things developed.”

Indeed, Redford hardly has to hustle people into theaters anymore at Sundance. Every one of the half dozen opening night films were sold out Thursday.

“Without you there’s nothing,” Redford told the audience. “Thank you for being part of the equation.”
…

The Screen Actors Guild turns 25 years old Sunday, and executive producer Kathy Connell has shaped every one.

And while the milestone anniversary offers a chance to reflect on the show’s growth and impact, Connell says not to expect too many flashbacks on the telecast, which will be broadcast on TNT and TBS beginning at 8 p.m. Eastern.

“We’re going to have some lookbacks but we only have two hours, our show is very tight,” Connell said.

Connell has produced every SAG Awards, which honors the top performances in film and television each year. Tom Hanks and Jodie Foster were the top film actor winners in 1995, while this year the Bradley Cooper and Lady Gaga-led A Star Is Born is the top film nominee.

Cooper and Gaga, along with actors Chadwick Boseman from Black Panther and Constance Wu from Crazy Rich Asians will be among the presenters Sunday.

Unlike other awards ceremonies that also honor directors, writers and other artists, the SAG Awards are solely focused on actors and the craft of acting.

“It’s really a peer award and it’s very meaningful because to become a union member is one milestone and then to be nominated and awarded by your peers is another major milestone I think for actors,” Connell said during a recent interview. “It’s very personal. The room has fun. Our show is different because the room has fun. We consider it the actors’ party at the actors’ house.”

‘Wonderful moments’

The ceremony also showcases the guild’s Life Achievement Award, which predates the awards show and has been bestowed since 1962.

This year’s recipient is Alan Alda, whom Connell calls a “true TV icon and a wonderful man.”

Previous recipients include Morgan Freeman, Carol Burnett, Betty White, Elizabeth Taylor, Sidney Poitier and George Burns.

Connell’s hands-on approach — she and her team meticulously craft the seating chart — has led to many special memories, including one with 2014 honoree Debbie Reynolds.

The actress wasn’t feeling well, so her daughter Carrie Fisher took her place during rehearsals. Fisher and Connell shared a few moments together.

“My parents had just passed, so I knew what it was like and the concern that she had for Debbie’s health, and so she and I had a couple of wonderful moments together,” Connell said. “Then Carrie and Debbie had a great time onstage, and I think it was the last time they were both onstage together.”

Evolution of SAG awards

Connell has presided over numerous changes to the awards over the years. The inaugural ceremony, for instance, did not include the outstanding film ensemble, added in the second year. The category has become a key bellwether for whether a film will be nominated for best picture at the Academy Awards.

Last year, Kristen Bell served as the show’s first ever host. Megan Mullally, a three-time TV comedy actress SAG winner for Will & Grace, will host this year’s show.

Connell said there’s still at least one awards show mainstay the SAGs hasn’t used: “They still haven’t let me do a song and dance, I don’t know why.”

Above all, she says she tries to keep the show fun.

“It’s a work day for these actors. People don’t understand it. It is really a workday for them,” she said. “Just like any contest, some people are going to go home without a statue. So how do I make it as enjoyable as I can possibly make it for people? That’s my job.”
…

A judge signed off Friday on changes to the legal team representing Harvey Weinstein in his rape and sexual assault case, allowing the film producer to swap out his bulldog New York City defense attorney for a four-person team that’s full of courtroom star power.

The disgraced Hollywood mogul was in court in Manhattan —along with new lawyers Jose Baez, Ronald Sullivan and Duncan Levin, and former lawyer Benjamin Brafman — as Judge James Burke approved the switch.

“Welcome to the New York State Supreme Court,” Burke told Weinstein’s new lawyers.

Weinstein, 66, and Brafman, 70, announced last week that they had “agreed to part ways amicably.” The move came a month after they lost a hard-fought bid to get the case thrown out.

Weinstein’s trial is tentatively scheduled for May.

He is charged with raping a woman in 2013 and performing a forcible sex act on a different woman in 2006. He denies all allegations of nonconsensual sex.

Weinstein’s other new lawyer, Pamela Robillard Mackey, didn’t attend Friday’s hearing because she was out of the country.

Baez is perhaps the best-known name of the four. He first gained fame for representing Casey Anthony, the Florida mom whose televised trial in 2011 ended in an acquittal on charges of killing her young daughter.

Baez and Sullivan, a 52-year-old Harvard law professor, teamed up to successfully defend New England Patriots tight end Aaron Hernandez against murder charges in 2017. Hernandez, in prison for a 2015 murder conviction, killed himself five days later.

Mackey, who’s based in Denver, represented Kobe Bryant when the former basketball star was accused of raping a 19-year-old at a Colorado resort in 2003. The charges were dismissed when prosecutors said the accuser was no longer interested in testifying.

Levin is a former top deputy under Manhattan District Attorney Cyrus Vance Jr.

Weinstein announced the new legal team on Wednesday.

Actress Rose McGowan, one of the first of dozens of women to accuse Weinstein of sexual misconduct, blasted Baez and Sullivan for agreeing to represent Weinstein after they defended her in a drug case last year. She called it a “major conflict of interest.”

Baez and Sullivan said in a statement that McGowan’s case had nothing to do with Weinstein and that they were certain there was no conflict.

 
…

The very first image in Netflix’s new film Close is South Sudan’s flag billowing in the wind.

Shot in Morocco, the opening scene introduces the main character, a professional bodyguard named Sam, played by actress Noomi Rapce, who accompanies two journalists across war-torn terrain in a vehicle that is ambushed by armed men.

The scene is action-packed and lasts only 4½ minutes, but it has dominated heated discussion and sparked questions about why South Sudan’s flag was used. The country has been locked in a civil war since 2013.

“If you use people’s flag, you need to talk to them to see whether you are offending them, because it is not just about leadership, it’s not just about governments, it’s about people,” said Kuir Garang, a South Sudanese-Canadian novelist living in Alberta, Canada. 

Netflix did not respond to requests for comment.

Garang said he feels the internet giant owes South Sudan an explanation.

“There are many people here in Canada, in Australia, in the U.S. who use that flag. And if that flag represents terrorism, or you know, mindless violence, and is seen on the cause of people, those people can easily be associated with terrorism,” he said.

Many people also expressed their concerns on Twitter.

South Sudanese native Malith Dak Gerich, who lives and works in South Korea, said moviemakers did not consider the fact that the South Sudanese flag was a lot more than a plot object to many observers around the world.

“Looking at the movie, I cannot even go through New York City wearing anything to do with the South Sudanese flag without [fear of being] attacked or something like that,” Dak said.

Garang said the larger issue is that the scene pushed a negative narrative about his country, and that Westerners should work harder to understand the context and the sensitivities of each country.

“I think people at Netflix should see that they have resources, moviemakers have resources, so what they should do is to put in resources into making research as to what is appropriate talk to the people,” he said.
…

Japanese tennis star Naomi Osaka says she hopes her sponsors will consult with her about how they portray her, but her focus is on her game as she heads into the final at the Australian Open.

Osaka was asked about criticism over one of her main sponsors, Nissin Foods Holdings, after they took down an online ad campaign that depicted her with pale skin after it was criticized as insensitive. Critics said the depiction does not reflect Osaka’s biracial background

“I’ve talked to them. They’ve apologized,” Osaka said. “I’m tan. It’s pretty obvious.”

Osaka said she didn’t think the ad was intended to “whitewash” her.

“But I definitely think that the next time they try to portray me or something, I feel like they should talk to me about it,” she told reporters in Melbourne.

Osaka used her smooth power to beat Karolina Pliskova of the Czech Republic 6-2, 4-6, 6-4 in the semifinals Thursday.

“I’m just focused on this right now. I’ve gotten to the final of a slam, and that’s sort of my main priority,” said Osaka, whose father is Haitian and mother is Japanese.

Daisuke Okabayashi, a spokesman for Japanese noodle-maker Nissin Foods Holdings, said Thursday the company meant no disrespect for diversity with its two animation clips that went up earlier this month and were deleted from the company’s online site Wednesday.

“We as a company put human rights first, and our stance of valuing diversity is unchanged,” he said in a telephone interview

Okabayashi said the ads were approved by Osaka’s agent, but the company was later asked to take them down. He said the company continues to support Osaka and did not want the flap to be a distraction.

Nissin became Osaka’s corporate sponsor in November 2016, joining a list of companies, such as Nissan Motor Co. and the watch brand Citizen, hoping to cash in on a level of stardom that’s rare among Japanese athletes.

Osaka’s appeal has grown in Japan since she beat Serena Williams in last year’s U.S. Open. Her performance at the Australian Open has topped daily news coverage.

It’s not the first time Japan has been criticized for insensitivity to diversity issues, including race, nationality, gender and sexual orientation. Osaka’s visibility and natural charm are seen as contributions to Japan’s acceptance of racial and other differences.

Baye McNeil, an American who has lived in Japan for more than a decade, said Japanese are often unaware of what might upset a global audience. His commentary in The Japan Times, a local English-language daily, was among the first to express outrage over the Nissin ad.

“She looks totally like a white woman in the ad,” said McNeil, who writes and lectures about the problem of race in Japan. “It was very whitewashed.”

Japanese companies need to become more inclusive if they hope to appeal to a global market, he added.

“They are not thinking on that level,” McNeil said. “It may be painful, but Japan is going through growing pains right now.”

Nissin’s ad was based on a manga and animation series called “The Prince of Tennis,” created by artist Takeshi Konomi. The ad showed characters from the work and also characters meant to depict Osaka and male Japanese tennis star Kei Nishikori, playing on a court.
…

Cardi B will have her first Last Vegas residency this spring.

Palms Casino Resort announced Wednesday the 26-year-old singer’s appearance as part of its debut of KAOS, a dayclub and nightclub amphitheater-style complex that is set to open in April.

Above and Beyond, G-EAZY, Kaskade and Skrillex are among the other artists who will have exclusive residencies at the complex.

KAOS is part of the Palms’ $690 million renovation that features state-of-the-art technology designed to enhance performances including a rotating 360-degree DJ booth.

 

Tickets for select dates are available.
…

A stage musical about Michael Jackson will premiere in Chicago later this year before heading to Broadway in 2020.

 

Officials said Wednesday that “Don’t Stop ‘Til You Get Enough” will begin pre-Broadway performances at Chicago’s Nederlander Theatre on Oct. 29 and run through Dec. 1.

 

The previously confirmed musical, inspired by Jackson’s life and music, is still under development. Two-time Pulitzer Prize winner Lynn Nottage is writing the book, using Jackson’s vast catalog of songs. Tony Award winner Christopher Wheeldon will direct and choreograph.

 

Jackson sold millions of records and was a 13-time Grammy winner. In 1983 he became an international icon with the release of “Thriller,” the best-selling album of all time with such hits as “Beat It” and “Billie Jean.” He died in 2009.

 
…

A coalition of big names in sports and entertainment is taking on criminal justice reform.

Rappers Meek Mill and Jay-Z and the owners of the Philadelphia 76ers, Brooklyn Nets and the Super Bowl-bound New England Patriots came together in New York City on Wednesday to announce the launch of an organization that will lobby for changes to state probation and parole laws.

 

The Reform Alliance will be led by Van Jones, a CNN host, activist and former adviser to President Barack Obama.

 

Sixers co-owner Michael Rubin said the group is dedicating $50 million to the effort.

 

Mill became a symbol for criminal justice reform activists after a judge in Pennsylvania sentenced him to 2-4 years in prison for minor violations of his probation conditions in a decade-old gun and drug possession case. He spent months in prison before a court ordered him released.

 

The performer said the Reform initiative “is one of the most important things I’ve ever done in my life” and that he’s speaking “for people who don’t have a voice.”

About 2.2 million people in the U.S. are incarcerated, and about 4.5 million are on probation or parole, according to government statistics.

 

“If you thought my case was unfair, there are millions of others dealing with worse situations and caught up in the system without committing crimes,” said Mill, who will remain on probation until 2023. “With this alliance, we want to change outdated laws, give people hope and reform a system that’s stacked against us.”

 

Jones said the Reform Alliance is taking aim at the cycle of probation and parole violations that leads people back to prison.

 

“That is the revolving door that keeps people back in and back in and back in,” Jones said. “We’re going to dismantle that revolving door.”

 

Patriots owner Robert Kraft said the current system “is not good for America.”

 

“We can make America better if we really cure this problem,” he said.

 

 
…

Kaye Ballard, the boisterous comedian and singer who appeared in Broadway musicals and nightclubs from New York to Las Vegas and starred with Eve Arden in the 1960s TV sitcom “The Mothers-In-Law,” has died. She was 93.

Ballard died Monday night at her home in Rancho Mirage, California, after a fight with kidney cancer, her friend Marguerite Gordon said Tuesday.

“The Mothers-In-Law,” in which Ballard starred with Arden (of the 1950s sitcom “Our Miss Brooks”), aired from 1967 to 1969. It marked a high point in a career that began when Ballard was 12 and lasted into the 21st century.

She was on hand last week when a documentary on her life and career premiered at the Palm Springs International Film Festival.

“She was so excited to be able to tell her story,” said Dan Wingate, the film’s director. “She was really anxious for young people, especially, who are going into the arts to understand the full breadth of a life in the arts, the ups and downs.”

The audience’s response was gratifying for her, “to hear that applause and feel that love,” Wingate said, and she was thrilled when the documentary was singled out for festival honors.

’The Mothers-In-Law’

​”The Mothers-In-Law” was set in a Los Angeles suburb and featured its stars as women who become thorns in their married children’s lives, with comedic results influenced by the screwball style of “I Love Lucy.” 

Desi Arnaz, who starred with wife Lucille Ball in that classic sitcom, produced and directed 24 episodes of the Ballard-Arden show. The “I Love Lucy” team of Bob Carroll Jr. and Madelyn Pugh Davis were the show’s creators and lead writers.

Ballard made a mark in every form of show business except movies. She did appear as a secondary player in a few films, including 1958’s “The Girl Most Likely” starring Jane Powell and in 1964’s “A House Is Not a Home,” but her high-octane personality may have been too potent for the big screen of that era and its more restrictive portrayals of women.  

Movie stardom

Movie stardom was her first dream, as it was for others of her generation, filmmaker Wingate said, and he wanted the documentary to be seen on the big screen to help fulfill that goal.

But even falling short of a big film career, “she was able to reach and endear herself to so many people,” he said. 

Ballard’s first real break came when she was singing in a Detroit nightclub, The Bowery. Comedy bandleader Spike Jones dropped in one night and quickly drafted the exuberant young singer into his musical contingent. For two years she toured with Jones’ troupe, singing, playing the flute and tuba and engaging in the band’s antics. She also sang with the bands of Vaughn Monroe and Stan Kenton.

Moved to New York

In 1945 she moved to New York and sought work in theater, appearing on Broadway in a small part in the revue “Three to Make Ready.” She toured in summer stock and finally made a dent in New York as a madcap Helen of Troy in 1954’s “The Golden Apple,” drawing applause with her song “Lazy Afternoon.” One critic called her performance “a wonder of insinuation.”

She also won critical praise for her role as “The Incomparable Rosalie,” the magician’s assistant and mistress in 1961’s “Carnival!,” a musicalized version of the movie “Lili.” She sang “Always, Always You” while stretched out in a box the jealous magician was piercing with swords.

Ballard began working on TV in the early 1950s, becoming an in-demand performer on network variety programs including “The Mel Torme Show” and those of Ed Sullivan and Perry Como. She also became a favorite of talk show hosts, making repeat appearances with Jack Paar, Merv Griffin and Johnny Carson.

TV regular

She was a regular on “The Doris Day Show” in the 1970s and the 1990s TV series “Due South.”

Her nightclub act played in first-class venues including the Blue Angel in New York, Mr. Kelly’s in Chicago, the Flamingo in Las Vegas and the hungry i in San Francisco.

She was born Catherine Gloria Ballota to Italian immigrant parents in Cleveland, Ohio, on Nov. 20, 1925, according to her 2006 memoir “How I Lost 10 Pounds in 53 Years.” (She noted she had always said she was born in 1926.) 

She changed her name to Kaye Ballard when she entered show business. On the advice of a numerologist she switched to Kay in midcareer.

“He said my luck would change if I dropped the `e’,” she told a reporter in 1983. “It did. It went steadily downward.”

She eventually returned to being Kaye.

‘Wasn’t pretty enough’

Determined to become an actress, she would not be discouraged by a high school teacher who rejected her for a drama class, concluding she “wasn’t pretty enough,” nor her parents, who didn’t understand the business.

She sang at service clubs and appeared at a “Stage Door Canteen” in Cleveland. After graduating from high school she worked at a burlesque theater, not as a stripper but as straight woman in comedy sketches. She went on the road with her act of songs, comedy and impressions of famous stars and in Detroit made the fortuitous connection with Jones.

In the early 2000s, Ballard toured with other stars in a musical comedy “Nunsense” and joined the touring company of the Broadway hit “The Full Monty” as piano player for six men who stripped to make money with a musical show.

Career came first 

Ballard was engaged four times but never married.

“I didn’t want to,” she told The Associated Press in 1999. “I could have, many times. But I just wanted a career too much. I was smart enough to know, if you get married and have children, that’s it. Being Italian and raised as a Catholic, I took children seriously. Maybe I made a mistake. Who knows?”

She purchased her Southern California desert home from Arnaz in the early 1940s.

“It’s a stone’s throw from Gerald Ford,” she said of her presidential neighbor in a 1981 interview. “When he moved in, he upped my property value. It made me think of becoming a Republican.”

A non-starter was ever leaving show business, even as the years passed.

“I’m not going to retire. I don’t believe in retiring,” she told the AP in 2001. “I do take more time off now to enjoy life and my three dogs and house. But if something wonderful comes up, I’m ready.” 
…

In the cliffs high above the Dead Sea archaeologists chip away with pick axes, hoping to repeat one of the most sensational discoveries of the last hundred years – the finding of the Dead Sea Scrolls.

The scrolls, a collection of manuscripts, some more than 2,000 years old, were first found in 1947 by local Bedouin in the area of Qumran, about 20 km east of Jerusalem.

They gave insight into Jewish society and religion before and after the time of Jesus, and spurred a decade of exploration, before the search fizzled.

Recent finds have stirred fresh excitement however, and archaeologists are probing higher and deeper than before. Hundreds of caves remain unexcavated and the experts are racing against antiquities robbers.

“In the last few years we noticed new pieces of scrolls and parchments arrive on the black market,” said Oren Gutfeld, an archaeologist at Hebrew University in Jerusalem.

“It drove us to return to the caves,” he said, sitting at the entrance of a cliffside grotto known to his team as “52B”.

In 2017 his team discovered remains of storage jugs in a previously-unexcavated cave at Qumran, though any scrolls they may have held were missing.

At about 200 meters (656 ft) above the level of the Dead Sea, 52B is higher than where the scrolls were found in the 1950s, which may or may not have made it an ideal hiding place.

Towards the back of the cave is a narrow burrow, packed with debris from centuries of wind and flash floods, that when cleared could extend about 10 meters. Volunteers sift through buckets of dirt.

“People thought there was nothing left to find … there just wasn’t incentive to do this,” said Randall Price, a professor at Liberty University, a Christian campus in the United States, who helped fund the dig.

But 52B did not appear on previous surveys and could yield precious secrets, Price said.

LOST TREASURES

In the narrow streets of the open-air shuk (market) of Jerusalem’s Old City, Eitan Klein of the Israel Antiquities Authority stops by dealers to make sure their goods appear in an official registry and are not being traded on the black market.

Klein is deputy director of the authority’s robbery prevention unit, which in late 2016 recovered a fragment of text on a piece of papyrus mentioning the word ‘Jerusalem’ from the 7th century B.C. that had been plundered from a cave by antiquities robbers.

Following the papyrus’ discovery and other intelligence operations, Klein said “the assumption is that there are still artifacts inside the caves waiting to be found. The question is, who will discover them?”

New discoveries could also help solve the debate over who authored the Dead Sea Scrolls.

Expanding the search to further possibilities is the Copper Scroll, found in Qumran in 1952. Unlike its companions that were written on parchment or papyrus, this was a list of 64 hiding places for gold and valuables, etched on copper.

Hebrew University’s Gutfeld said the treasure referred to may be from the ancient Jewish temple in Jerusalem. In 2006 he finished excavating two manmade tunnels not far from Qumran that he believes matched a description in the Copper Scroll of the so-called Valley of Shadow.

One of the tunnels, a two-meter high, shoulder-width corridor, extended 125 meters underground. No treasure was found, but Gutfeld promised to continue searching in new spots.

“I’m not a treasure hunter. I’m an archaeologist,” Gutfeld said. But he added: “We hope to find any hint or relationship to what we know from the text of the Copper Scroll.”

 
…

Oscar voters on Tuesday showered Alfonso Cuaron’s “Roma” and Yorgos Lanthimos’ “The Favourite” with a leading 10 nominations to the 91st Academy Awards, while two dominant but contentious Hollywood forces — Netflix and Marvel — each scored their first best picture nomination.

Though many expected “A Star Is Born,” Bradley Cooper’s tear-inducing revival of one of Hollywood’s most oft-remade show-business myths, to top nominations, Cooper was surprisingly overlooked as director and the academy instead put its fullest support behind a pair of smaller films by international directors.

With “Roma,” Netflix has scored its first best picture nomination, something the streaming giant has dearly sought. Cuaron tied the record for most decorated Oscar nominee ever for one film with four nods for his black-and-white, memory-drenched masterpiece. The Mexican-born director earned nods for direction, cinematography, original screenplay and best picture. Only Orson Welles (“Citizen Kane”) and Warren Beatty (“Reds,” ″Heaven Can Wait”) have landed four.

Lanthimos’ period romp “The Favourite” resounded most in the acting categories thanks to its trio of actresses: Olivia Colman in the best actress category, and Rachel Weisz and Emma Stone in supporting.

Along with “Roma” and “The Favourite,” the nominees for best picture are: “A Star Is Born,” ″Green Book,” ″Black Panther,” ″BlacKkKlansman,” ″Bohemian Rhapsody” and “Vice.”

Marvel also joined the club with “Black Panther,” the first superhero movie ever nominated for best picture. Despite the overwhelming popularity of comic book movies, they had previously been shunned from Hollywood’s top honor, to the consternation of some industry insiders. After “The Dark Knight” was snubbed, the academy expanded the best picture category from five to up to 10 nominees.

There has also been some resistance among some academy members to Netflix films since the company typically bypasses movie theaters. Steve Spielberg has said Netflix films are more like TV movies and deserve an Emmy, not an Oscar. Netflix altered its policy for “Roma” and two other films, premiering them first in theaters.

Spike Lee was nominated for his first directing Oscar 30 years after a writing nod for 1989′s “Do the Right Thing.” Notably left out of the category was Bradley Cooper, whose “A Star Is Born” landed eight nominations, including best actress for Lady Gaga, but was overlooked for Cooper’s direction. The other nominees were Lanthimos, Cuaron, Pawel Pawlikowski (“Cold War”) and Adam McKay (“Vice”).

On behalf of the Academy of Motion Pictures Arts and Sciences, presenters Kumail Nanjiani and Tracee Ellis Ross unveiled nominations Tuesday morning from Los Angeles’ Samuel Goldwyn Theatre.

The nominees for best actor are Bradley Cooper, Christian Bale (“Vice”), Willem Dafoe (“At Eternity’s Gate”), Rami Malek (“Bohemian Rhapsody”) and Viggo Mortensen (“Green Book”).

Up for best actress are Yalitza Aparicio (“Roma”), Glenn Close (“The Wife”), Olivia Colman (“The Favourite”), Lady Gaga and Melissa McCarthy (“Can You Ever Forgive Me?”).

The nominees for best supporting actress are Amy Adams (“Vice”), Marina De Tavira (“Roma”), Regina King (“If Beale Street Could Talk”), Emma Stone (“The Favourite”) and Rachel Weisz (“The Favourite”). Tavira was something a surprise, while Claire Foy of “First Man” was left out.

Up for best supporting actor are: Mahershala Ali (“Green Book”), Adam Driver (“BlacKkKlansman”), Sam Elliott (“A Star Is Born”), Richard E. Grant (“Can You Ever Forgive Me?”) and Sam Rockwell (“Vice”). Notably snubbed was Timothy Chalamet (“Beautiful Boy”).

The lead-up to Tuesday’s nominations was rocky for both the film academy and some of the contending movies. Shortly after being announced as host, Kevin Hart was forced to withdraw over years-old homophobic tweets that the comedian eventually apologized for. That has left the Oscars, one month before the Feb. 24 ceremony, without an emcee, and likely to stay that way.

Some film contenders, like Peter Farrelly’s “Green Book” and the Freddie Mercury biopic “Bohemian Rhapsody,” have suffered waves upon waves of backlash, even as their awards tallies have mounted. On Saturday, “Green Book” won the top award from the Producers Guild, an honor that has been a reliable Oscar barometer. In the 10 years since the Oscars expanded its best-picture ballot, the PGA winner has gone on to win best picture eight times.

The season’s steadiest contender — Cooper’s “A Star Is Born” — looked potentially unbeatable until it got beat. Despite an enviable string of awards and more than $400 million in worldwide box office, Cooper’s lauded remake was almost totally ignored at the Golden Globes. Still, “A Star Is Born” was the sole film to land top nominations from virtually every guild group.

The academy is reportedly planning to go host-less following Hart’s exit, something it has tried only once before in an infamous 1989 telecast that featured a lengthy musical number with Rob Lowe and Snow White.

The Oscars last year hit a new ratings low, declining 20 percent and averaging 26.5 million viewers. Though ratings for award shows have generally been dropping, the downturn prompted the academy to revamp this year’s telecast. Though initial plans for a new popular film category were scuttled, the academy is planning to present some awards off-air and keep the broadcast to three hours.
…

U.S. singer Chris Brown and two other people are in custody in Paris after a woman filed a rape complaint, French officials said Tuesday.

Brown was detained Monday on potential charges of aggravated rape and drug infractions and remained in custody Tuesday, a judicial official said. Investigators have another two days to decide whether to let him go or file preliminary charges.

 

Brown’s publicists at Sony Music would not immediately comment on the complaint or say what Brown, 29, was doing in Paris.

 

Brown has been in repeated legal trouble since pleading guilty to the felony assault in 2009 of his then-girlfriend, Rihanna. He completed his probation in that case in 2015.

 

One of Brown’s bodyguards is among the others detained, according to a Paris police official.

 

The woman who filed the complaint said she met Brown and his friends at the club Le Crystal in the 17th arrondissement of northwestern Paris on Wednesday, and then they all went to the Mandarin Oriental Hotel near the Concorde Plaza in central Paris, according to the official.

 

Neither official was authorized to be publicly named discussing the investigation.

 

 
…