Author: Ohart

Ray Phiri, a South African jazz musician who founded the band Stimela and became internationally known while performing on Paul Simon’s Graceland tour, died of cancer on Wednesday at age 70.

Phiri, a vocalist and guitarist known for his versatility in jazz fusion, indigenous South African rhythms and other styles, received many music awards in his home country. His death was met with nationwide tributes.

“He was a musical giant. This is indeed a huge loss for South Africa and the music industry as a whole,” President Jacob Zuma said in a statement.

Political parties also expressed condolences, saying Phiri’s songs resonated among many South Africans, particularly during the era of white minority rule that ended in 1994.

“An immensely gifted composer, vocalist and guitarist, he breathed consciousness and agitated thoughts of freedom through his music,” said the ruling African National Congress party, which was the main movement against apartheid until it took power in the country’s first all-race elections.

South Africa’s main opposition party, the Democratic Alliance, said many people grew up with Phiri’s music. “In the 1970s, Phiri’s music spoke to issues that are still affecting our people today,” the party said.

Stimela’s best-known albums include Fire, Passion and Ecstasy and Look, Listen and Decide, and Phiri contributed as a guitarist to Simon’s Graceland album in the 1980s. The album evolved from Simon’s interest in indigenous South African music.
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A Spanish court has given permission for the remains of famed surrealist painter Salvador Dali to be exhumed as part of a paternity test.

The judge in Catalonia ruled the body will be dug up July 20.

A woman claims Dali was her father. She has given a saliva sample that will be used to compare her DNA with that of Dali’s.

Maria Pilar Abel, 61, alleges her mother and Dali had an affair in the fishing village where he lived.

Abel said she only wants to be recognized as the artist’s daughter and has no interest in collecting any money.

The Salvador Dali Foundation is appealing the exhumation order.

Dali, who died in 1989, is the world’s most renown surrealist painter. His picture melting watches, The Persistence of Memory, is an icon of surrealism.

He is also known for a long pencil-thin moustache and eccentric behavior.
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With peeling paint and crumbling plasterwork, an abandoned picture house and its renovation in the northern Lebanese town of Tripoli is more than a dream for Qassem Istanbouli.

The 31-year-old has reopened three such cinemas, two in his home city of Tyre in southern Lebanon, and another in Nabatiyeh, and has transformed them into hubs for film, art and theater.

“When I embarked on this journey, I felt I shared this dream with people in my city who are eager to have a cultural life restored,” said Istanbouli, who shows films by directors such as Woody Allen, Pedro Almodovar, David Lynch and Lars Von Trier.

Istanbouli, who was born in Tyre and studied fine arts and directing at the Lebanese University, initially relied on a bank loan and donations from the public for his projects but now gets financial support from the Lebanese ministry of culture, a Dutch NGO and the United Nations force in Lebanon.

Istanbouli’s dream is also driven by a family connection, his father used to repair cinema projectors, while his grandfather screened movies from Greece and the Palestinian territories, projecting them on a wall.

“This is a way to achieve my father’s dream,” he said.
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Before America put the first men on the moon in 1969, NASA astronauts prepared for their lunar missions on the volcanic terrain at a national park.

Lunar landscape

National parks traveler Mikah Meyer says he now knows why those astronauts visited Craters of the Moon National Monument and Preserve in south-central Idaho.

“The area was the site of immense volcanic activity in the past,” he explained, so what’s left “is a kind of a ruins of volcanic rock…” — which, with its vast ocean of lava flows and islands of cinder cones, resembles the surface of the moon.

Mikah got a great 360-degree view of the surreal landscape after hiking to the top of the Inferno Cone – a massive mound of cinder that rises out of the ground like a black mountain.

“It looks like a mountain but it’s a cinder cone with this really loud, crunchy, sharp volcanic rock,” he said. “All throughout the park, whether it’s the big Inferno Cone or smaller volcanoes, you’re basically walking around on this black volcanic lava that was once magma and is now hard rock.”

Otherworldly encounters

Since much of the moon’s surface is also covered by volcanic materials, in 1969, NASA sent astronauts Eugene Cernan, Joe Engle, Alan Shepard and Edgar Mitchell to Craters of the Moon to learn the basics of volcanic geology before their lunar missions.

Becoming familiar with the materials would help them when collecting samples of different rocks on the moon, and, since only a limited amount of material (385 kilos total in 6 moon landings) could be brought back, it was important that they know enough geology to pick up the most scientifically valuable specimens and be able to describe the surface features they were exploring to geologists back on Earth.

In 1999, astronauts Mitchell, Engle and Cernan returned to Craters of the Moon to help celebrate the site’s 75th Anniversary, 30 years after training there. Alan Shepard had passed away in 1998.

A window into the past

Apollo 14 lunar module pilot Edgar Mitchell said their purpose and training “was to sample virtually all types of volcanic activity and the processes that go along with volcanism, because we had to be the eyes of the geological community on the moon and be able to accurately describe the various types of flows.”

He noted that the surreal lunar landscape was also quite beautiful. “It has this peculiar, eerie beauty, like these flows do here, that are magnificent. I mean, they excite your imagination.”  

Shuttle astronaut Joe Engle noted that it wasn’t known before the Apollo missions what kind of rocks were on the lunar surface, “so Craters of the Moon was one of the really valuable places to come and look at and study lava flows.”

Apollo 17 commander Eugene Cernan, the last man to walk on the moon, in December, 1972, described Craters of the Moon as “a spectacular place… an ideal place to study a high, broad range of the geologic impact.”

“The volcanic activity that occurred on the moon is not dissimilar to the kind of thing we have seen here… the geology that’s exposed here, it’s just an open window into the past and this is what we were looking for in trying to learn something about geology… and this is the kind of place where we were able to do something like that.”

Ancient rocks, new grass

Craters of the Moon formed during eight major eruptive periods between 15,000 and 2,000 years ago. Today its lava field covers 1600 square kilometers.

The site continues to be an important setting for space science research. In 2014, two research projects — FINESSE and BASALT — were launched at the park.

In the meantime, the lunar-like landscape continues to inspire visitors like Mikah. Looking out from the top of the Inferno Cone, he said, “You see the majestic contrast between the black dirt, the snow-capped mountains, and the older cinder cone which now have sagebrush and other grass and greens growing on them… it’s quite the beautiful juxtaposition.”

Mikah, who’s on a mission to visit all 417 units within the National Park Service, invites you to learn more about his travels across America by visiting him on his website, Facebook and Instagram.
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China is trying to contain the awesome influence of social media celebrities, some of whom have tens of millions of followers that dwarf more Western media icons like Oprah Winfrey. For example, the top 10 Chinese celebrities on Internet have between 67 million and 90 million online followers.

Recent weeks have seen the closure of social media accounts of several celebrities while the Beijing Cyber Administration (BCA) shut down the accounts of 60 celebrity gossip magazines. It also asked Internet portals hosting these accounts to “adopt effective measures to keep in check the problems of the embellishment of private sex scandals of celebrities, the hyping of ostentatious celebrity spending and entertainment, and catering to the poor taste of the public.”

Analysts said the Chinese Communist Party (CPP) has reason to worry about the massive influence of celebrities, according to Bill Bishop, who runs the widely read The Sinocism China Newsletter.

Money and values

“The Party is really pushing hard on Socialist Core Values and very few of the popular Internet celebrities are paragons of those values,” he said. “Individual media creators are much harder to control, and one of the core pillars of the CCP is propaganda and ideological control,” he said.

Celebrities are an important tool for marketing and advertising, and thousands of companies depend on them to disseminate product messages. The size of Internet marketing by Chinese celebrities was estimated at $58 billion in 2016 and is expected to reach $100 billion in 2018, according to Beijing-based research agency Analysus.

Many of the social media celebrities come from the world of cinema, television, and sports. But there have been a large number of upstarts who have emerged from nowhere.

Their claim to fame is their ability to raise sensitive social issues, such as the neglect suffered by some so-called “leftover women” who have not found husbands. One such celebrity is Teacher Xu, a popular internet celebrity, who runs a hugely popular account on the WeChat platform.

Almost all celebrities make sure they do not cross the government’s policy line in their posts in texts and videos, said Mark Tanner, Managing Director of China Skinny, an internet based marketing company.

“Everyone in China knows that if you want to be a successful and effective voice in China, you need to toe the party line. So right to Pappi Chang to the little guys on the road, they know what to say and what not to say,” he said.

Analysts say the immense popularity of these high profile individuals is itself seen as a challenge to the authorities even if they do not take up political issues. A lot of what they talk about is indirectly connected to governance issues like the environment, and this is what bothers top officials.

Censor troubles

“Celebrities happen to hold a powerful microphone to speak to society, and in CCP leaders’ eyes, that alone is threatening no matter how non-political most of them may be,” said Christopher Cairns, a Cornell scholar.

The government also has things to worry at the technological level, where the popularity and content production of celebrities seem to be running far ahead of the government’s technical ability to control them.

“A lot of it has to do with lack of control. It is really hard for them to censure real time video. the software hardware for voice and video is just not there yet,” said Jacob Cooke, CEO of Web Presence in China. “And still, a lot of the system depends upon real-time monitoring. So, there are a lot of vague rules in terms of censorship including harming feelings of the Chinese people.”

The censors are using other reasons to crack down on celebrities they don’t like.The BCA reportedly told executives of Internet companies the new cybersecurity law required websites “to not harm the reputation or privacy of individuals.”

The government has said the new law is necessary for security reasons, but many analysts fear it can be used to surpress freedom of speech on the Internet.

 
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A new exhibition in southern Poland shows the brutality of the Nazi German death camp of Auschwitz through the artistic work of its inmates. Some of the artworks are being shown publicly for the first time.

The “Face to Face: Art in Auschwitz” exhibition opened last week at the Kamienica Szolayskich (Szolayski Tenement House) of the National Museum in Krakow to mark 70 years of the Auschwitz Museum. The museum’s task is to preserve the site in the southern town of Oswiecim and to educate visitors about it. More than 2 million people visited the museum last year.

The curator of the Krakow exhibit, Agnieszka Sieradzka, said Wednesday it includes clandestine as well as commissioned drawings and paintings by Jews, Poles and other citizens held at Auschwitz during World War II.

“These works help us see Auschwitz as the inmates saw it and experienced it,” Sieradzka told The Associated Press. “We stand face to face with the inmates.”       

The Nazis sometimes ordered talented inmates to make paintings for various purposes. One such painting is a portrait of a Roma woman that pseudo-scientist Josef Mengele experimented on. Mengele ordered portraits like this from inmate painter Dina Gottliebova, a Jewish woman from Czechoslovakia.

The task helped Gottliebova survive. After the war, she traveled to the U.S. and started a family. She died in 2009 in California under the name Dina Babbitt.

Among the clandestine art is the so-called Auschwitz Sketchbook by an unknown author. It has 22 drawings of scenes of beatings, starvation and death. It was found in 1947, hidden in a bottle in the foundation of a barrack at Birkenau, a part of the Auschwitz-Birkenau complex. It is the first time it is being shown to the general public. It is housed at the museum and only shown on request. 

Also being displayed is the original “Arbeit Macht Frei” (Work Sets You Free) gate top that was stolen and retrieved in 2009 and is now kept under guard at the museum. 

From 1940 to 1945, some 1.1 million people, mostly European Jews but also Poles, Roma and Russians, were killed in the gas chambers or died from starvation, excessive forced labor and disease at Auschwitz, which Nazi Germany operated in occupied Poland.
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Introducing a brand-new, multimillion-dollar intergalactic adventure film based on a French comic book strip during a summer box office dominated by superheroes and sequels may be considered a big risk to take by an independent filmmaker.

But French director Luc Besson was so confident in his vision for adapting the Valerian and Laureline sci-fi comics into a film, he took his script and sketches to buyers at the Cannes Film Festival three years ago with the hopes of securing funding for the $150 million project.

“They all raised their hands because they loved the script, so we had almost 90 percent of the funding in one day,” Besson told Reuters.

Set in the 28th century where humans and aliens have found a home on the space station Alpha, Valerian and the City of a Thousand Planets follows two space agents, the cocky Valerian (Dane DeHaan) and the spirited Laureline (Cara Delevingne), trying to uncover the origins of a mysterious force.

They journey through the different environments and diverse population of Alpha, known as the city of a thousand planets where species include sea monsters, organic robots, winged reptilians and thuggish, bug-eyed ogres.

The film comes out in theaters on July 21 and is the fruition of Besson’s nearly 50-year obsession with the comic strip he discovered at age 10, setting him on a path to make films such as The Fifth Element and Lucy.

Lots of competition

The stakes are high for Besson’s EuropaCorp film studio as Valerian enters a box office saturated with superhero films such as Wonder Woman and Spider-Man: Homecoming and sequels such as War for the Planet of the Apes and Despicable Me 3.

Still, the director didn’t consider it a gamble.

“You take risks when you do a first-time director movie at $8 million and no cast. That’s a gamble,” Besson said, adding that Valerian’s theatrical rights had already been bought across nearly 120 countries.

Early reviews for the film have been mixed, with critics praising the vibrant visuals but criticizing the plot and performances.

Variety’s Peter Debruge said the film’s “creativity outweighs its more uneven elements.” Hollywood Reporter’s Todd McCarthy dubbed it a front-runner for the Razzies, Hollywood’s annual tongue-in-cheek “worst film” awards.

But Besson believes the audience will determine the success of the film and future installments.

“I wish they love the film because I’m dying to make another one because I love Cara and Dane,” he said.
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Organizers of the International Folk Art Market in Santa Fe say shifting U.S. policies on security and immigration have not hampered participation by artists from 53 countries, from Cuba to Jordan.

 

In its 14th year, the annual bazaar is expanding its mission to highlight innovation and high-fashion within folk art traditions, from flower-petal dyed scarves from India to Amazonian basketry with mesmerizing patterns and symmetry.

 

A crowd of 20,000 is expected at the three-day sale that starts Friday. They will shop among wares from nearly 200 artists and artisans, many from remote areas in developing countries.

Here is a look at this year’s event:

 

Trading Places

 

Market organizers say that more than nine out of 10 invited artists have been able to secure temporary business visas and attend.

 

That access is on a par with previous years, despite a partial reinstatement of President Donald Trump’s executive order banning citizens of six mainly Muslim countries and refugees from coming into the U.S.

 

Work from one of those six banned countries will be on display: blown glass in a century-old style created by Syrian artists who decided last fall to sell goods at the market without attending because of their country’s civil war.

 

Female artists from a cooperative in South Sudan known for its beaded jewelry and clothing also chose to stay home amid unrest and famine there. The Roots Project, founded by South Sudanese human rights activist Anyieth D’Awol, is sending artwork with an outside representative to Santa Fe.

 

Four other countries are making their market debut with an Argentine leatherworker, a Bedouin-style rug weaver from Jordan, a jeweler from Tajikistan and beadwork by women from northern Tanzania.

 

Organizers of the market say it has evolved into a tool for visiting artists to better their lives and their communities, and for Americans to learn more about diverse artistic traditions.

 

Cuba Connections

 

The Trump administration’s partial reversal of the Obama-era detente with Havana has had little bearing on the market’s strong ties to Cuba.

 

Among five visiting Cuba artists is Leandro Gomez Quintero — who creates out of painted cardboard startlingly realistic miniatures of vintage American-made Jeeps and safari-style vehicles that roam the eastern end of the island nation. The 40-year-old history teacher hopes to earn enough on his first trip abroad to repair his hurricane-ravaged home and studio in the town of Baracoa.

 

The house band from the famed Havana restaurant La Bodeguita del Medio will play in an artist procession through downtown Santa Fe on Wednesday evening.

 

Peggy Gaustad, a board member of International Folk Art Alliance that produces the market, says the Cuban exchanges during the market began in 2010 under exceptions to the U.S. trade embargo and have endured partly because every visiting Cuban artist has returned home afterward.

 

She notes the U.S. Embassy in Havana is publicizing the visits by Cuban artists on its Facebook page.

 

Innovation and Tradition

 

A new exhibit area at the market this year is devoted to innovation, with a juried selection of 30 contemporary artists whose work brings a fresh perspective to time-honored folk art traditions.

 

Those booths will be selling high-end fashion accessories dyed with flower offerings recycled from Hindu temples in Mumbai, India; hand-beaded jewelry from a women’s cooperative in Tanzania; rugs in Guatemala made out of cast off T-shirts from the United States; and indigo- and mud-dyed textiles from Mali in Africa.

 

Returning artist Manisha Mishra of India says the new category freed her to transfer ornate paintings of mythological scenes to much larger canvases and three-dimensional busts of humans and animals.

 

Keith Recker led a selection committee for the “Innovation Inspiration” exhibit area and says it combines cultural preservation “with an expanded conversation about personal expression, about art that acknowledges 21st century life.”

 

Jeff Snell, CEO of the International Folk Art Alliance, became an advocate for the new approach after noticing artists in Uzbekistan were hiding their more adventuresome work from view for fear it would disqualify them from the International Folk Art Market.
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In a sprawling military base on the outskirts of the Afghan capital Kabul, Mohammad Esa, who lost both legs to a roadside bomb, is getting ready to compete in the Invictus Games in Canada later this year.

Seven Afghan soldiers have been selected to compete against peers from 17 different countries in the Games, an international paralympic-style event for military personnel wounded in action.

Thirteen nations taking part were in the NATO-led coalition that has supported the Kabul government since the U.S.-led campaign to oust the Taliban in 2001.

Locked in an intractable battle with Taliban and Islamic State insurgents, Afghan security forces have struggled to handle high casualties, including at least 13,000 soldiers and police wounded last year.

Esa, 24, said that despite his disability, he had never lost hope and was very excited to represent his country on the world stage.

“I was so shattered when I lost my legs but now I am happy that I am back to life and want to achieve something through sport,” Esa said from an army gym in Kabul where he was going through exercises for wheelchair volleyball and powerlifting, the two events he will be competing in.

“I am training for Canada and want to make my country proud and come back with an achievement,” said Esa.

The Invictus Games were created three years ago by Britain’s Prince Harry, who served two deployments in Afghanistan as an officer in the British army.

The name — “Invictus” means unconquered in Latin — symbolizes the way that sport can help wounded soldiers overcome trauma suffered in combat.

Esa lost his legs to a roadside bomb during a security patrol in northern Baghlan province two years ago, one of tens of thousands of Afghan soldiers and police to have been wounded since the U.S.-led campaign to oust the Taliban in 2001. Many thousands of others have been killed.

The Games have been held twice before, in London in 2014 and in Orlando, Florida, in 2016. More than 550 competitors will take part in the competition in Toronto, from Sept 23-30.

Sports, with specially adapted rules, include archery, athletics, indoor rowing, wheelchair basketball, tennis and rugby, and powerlifting.

The seven-member team is the largest Afghanistan has sent to the Invictus Games.

All of Esa’s teammates have suffered severe injuries that have changed their lives, but they say the focus needed to compete in the Games has provided a goal to channel their energies.

“I haven’t lost hope, despite losing a leg and this sport gives me a lot of motivation,” said Salahuddin Zahiri, another Afghan army soldier who will be competing in Canada.
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Idaho is known for potatoes, but at City of Rocks and Craters of the Moon national park sites, it’s rocks that take center stage – for rock climbers, astronauts and lovers of the rugged outdoors. Julie Taboh reports.
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On stage in their grass skirts and colorful shirts, the hula dancers look like a traditional island group. But when the music starts, it’s obvious this performance is anything but traditional. With their stylized, lively movements, the dance seems closer to Broadway than to the ancient dance developed in Hawaii by the Polynesians. But for those familiar with Patrick Makuakane’s style, it is another opportunity to enjoy his interpretation of hula mua, or progressive hula.

 

‘The Natives Are Restless’

Kumu Hula (Master) Patrick Makuakane and his innovative form of hula are the subject of a new book, The Natives Are Restless: A San Francisco Dance Master Takes Hula Into The 21st Century, by journalist and writer Constance Hale.

Hale, who was born in Hawaii, but is not ethnically Hawaiian, started dancing hula at the age of 7, and wanted to explore the long history and rich tradition of the art.

She says that to many people, hula is all about pretty girls in traditional costumes waving their arms. But hula is not about movement at all. In its traditional form, she explains, hula is all about poetry and storytelling.

“‘Hula kahiko,’ that means ancient dance, is generally a dance to chant. Hula kahiko also praises gods and goddesses [and] places in the island. Sometimes hula tells love stories, especially native classical love stories.”

The movements in this traditional hula are powerful and angular. Hale says it begins, for example, when the dancer bends at the knees, goes as low to the ground as possible, and then the movements of the legs and the arms are straighter, with angles.  

Modern hula

The dance has evolved over a long period of time. In the late 1700s and early 1800s, hula began to change with the introduction of Western instruments. That’s how the modern hula, or what’s called hula auana, came into existence.

“And, of course, in the 20th century, you have the influence of Hollywood and the tourism industry,” Hale said. “Many more hula songs were written in English and described quite secular subjects. Hula auana is very fluid and graceful and more danced to guitars and ukuleles and Western melodies, as opposed to Hawaiian chants.”

By the mid-20th century, Hawaiian culture was in decline. “Hawaii had been annexed to the U.S,” Hale noted. “There was a great influx of the American culture. And the Hawaiian language had almost become extinct. And many cultural practices were on the way. There was a resurgence in the late 20th century. In 1970s, 1980s, hula was really part of that resurgence.”

Kumu Hula Patrick Makuakane

That’s when Patrick Makuakane was attracted to hula.

“He sort of discovered hula at the age of 13 or 14,” Hale said. “He loved it and was actually dancing professionally in Honolulu as a teenager with one of the famous musicians in Hawaii. He practiced hula in a traditional way, but when he moved to San Francisco and started to participate in the underground club scene, he started to push hula in new directions.”

In The Natives Are Restless, Hale describes this master’s style through the dances he choreographed for his company.

“The hula company is Na Lei Hulu i ka Wekiu. Kumu Hula Patrick Makuakane has invented his new style of hula, which he calls ‘hula mua’.”

Hula mua

Sometimes hula mua dancers dress in hula traditional costumes. Often, they don’t. “For example, it might be a tree leaf skirt,” Hale said. “Then on their head, they might be wearing a garland of ferns or wearing wrist and ankle bracelets of nuts. Those are the traditional costumes. In hula mua, or modern hula, they might be wearing black velvet gowns or colorful street clothes. It always is going to depend on the song.”

Though the hula mua style uses many traditional movements, Makuakane incorporates some very nontraditional choreography.

“For example, in some dances, you’ll see movements that look more like Broadway than like hula. The dancers align themselves in a formation and throw open their arms in a way that’s very Broadway.”

And the music is different. “[It] might be Michael Jackson’s Dangerous, or it might be Madonna’s song, Rain, or it might be an electronic track by a British band. He takes music from all over the word and pairs that with traditional Hawaiian vocabulary.”

Hula narratives

What also separates Makuakane from other hula choreographers is that he’s imagined narrative shows. Hale explained, “He’s choreographed a full-length evening like a one-hour or two-hour show taking on a major theme or a major story, a piece of mythology, or a historical account. ‘Salva Mea,’ one of the dances in the troupe’s Natives Are Restless show, is an example.”

Salva Mea depicts — in a traumatic way and with electronic music — the clash of Christianity and the native Hawaiian culture, when Christian missionaries came to the islands in the 1820s. “He has dancers going across the stage as in ballet, or maybe it looks a little bit like Riverdance, if people are familiar with the Irish clog dance,” she said. “He’s taken some movements from other dance styles, he’s integrated them into some dances.”

Hale says Kumu Hula Patrick Makuakane is not the only native Hawaiian artist who realized that in order to live, hula must change and grow. But he stands out as a pioneer in pushing the boundaries further and exploring what it means to be Hawaiian in the 21st century.
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For his work in films reflecting U.S. history such as “Saving Private Ryan,” “Apollo 13” and “Bridge of Spies,” actor Tom Hanks has won this year’s Records of Achievement Award, the National Archives Foundation said on Monday.

Hanks, 61, will receive the award, given to individuals who bring a broad awareness of U.S. history through their work, at an Oct. 21 event at the National Archives Museum in Washington, the nonprofit organization said in a statement.

“As a dive into archives of almost any kind is, to me, a swim in the finest of waters, I’m dazzled to be a part of this event,” said Hanks, a two-time Oscar winner, who last year was one of 21 people awarded the 2016 Presidential Medal of Freedom – the highest U.S. civilian honor.

“Part of my job has always been one not far from that of a lay-Historian, to understand that I am a part of the documenting of the human condition and the American idea, even in the silliest of stories,” he added in the statement.

Hanks has appeared in numerous films based on historical events and figures, including the World War II drama “Saving Private Ryan” and crime thriller “Catch Me If You Can,” based on the true story of fraudster Frank Abagnale.

More recently, Hanks played the title role in “Sully,” based on pilot Chesley Sullenberger’s 2009 emergency landing of a passenger flight on the Hudson River. He was also an executive producer and co-writer/director on the 2001 World War II television miniseries “Band of Brothers.”

“He’s served in World War II [in both the European and Pacific Theaters], negotiated for the U.S. in the Cold War, fought in Vietnam, worked in Congress, and led the space program,” said David Ferriero, archivist of the United States and board member of the National Archives Foundation.

A past winner of the award is Steven Spielberg, who directed Hanks in “Saving Private Ryan,” “Bridge of Spies” and the upcoming Pentagon Papers movie “The Papers.”

Previous recipients also include Pulitzer Prize-winning historian Ron Chernow, Tony award-winning film and theater director Thomas Kail and Tony award-winning “Hamilton” composer, lyricist and performer Lin-Manuel Miranda.
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A federal appeals court on Monday revived a lawsuit seeking to force a Madrid museum to return an Impressionist masterpiece to the family of a Jewish woman who was compelled to sell it to a Nazi art appraiser for $360 in 1939 so she could flee Germany.

The 9th U.S. Circuit Court of Appeals said two of Lilly Cassirer’s great-grandchildren may sue the Thyssen-Bornemisza Museum for the return of Camille Pissarro’s 1897 depiction of a Paris street scene, “Rue Saint-Honoree, Apres-midi, Effet de Pluie.”

Monday’s decision revived a 16-year legal battle that began after the Cassirers learned that the Pissarro, whose value may exceed $40 million, was on display in the Madrid museum, its home since 1992.

Applying Spanish law, the appeals court said it was an open question whether the museum knew the painting was stolen when it acquired it in 1993 in a $338 million purchase of Baron Hans Heinrich Thyssen-Bornemisza’s art collection.

It said that price was well below the collection’s estimated $1 billion to $2 billion value, and the baron may have known he also got a bargain when he bought the Pissarro from a New York art dealer for $275,000 in 1976.

“The Cassirers have created a triable issue of fact whether [the Thyssen-Bornemisza Collection] knew the painting was stolen from Lilly when TBC purchased the painting from the Baron,” Circuit Judge Carlos Bea wrote. “There is a triable issue of fact as to the Baron’s good faith.”

Bea also said Lilly Cassirer did not waive her ownership rights when Germany’s government paid her 120,000 marks for the loss of the painting in 1958, when its whereabouts were unknown.

The Pasadena, California-based appeals court returned the case to U.S. District Judge John Walter in Los Angeles, who dismissed the lawsuit in June 2015.

“We’re obviously very pleased,” said Stephen Zack, a Boies, Schiller & Flexner partner representing the Cassirers, in a phone interview. “This has been a scar they’ve had to deal with for generations.”

David Boies, a prominent U.S. lawyer, had argued the Cassirers’ appeal.

Thaddeus Stauber, a lawyer for the foundation that runs the museum, wrote in an email that the baron and the museum acquired the Pissarro in good faith.

“We remain confident that the foundation’s ownership of the painting will once again be confirmed,” Stauber said.

Both sides agreed that Lilly Cassirer’s sale of the Pissarro to Berlin art dealer Jackob Scheidwimmer amounted to a forcible taking. Pissarro’s works had been popular among European Jewish collectors.

The case is Cassirer v Thyssen-Bornemisza Collection Foundation, 9th U.S. Circuit Court of Appeals, Nos. 15-55550, 15-55977, 15-55951.
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They wanted to show the old seven-starred flag from their homeland. And when the Venezuelan players from the Pittsburgh Pirates finally found one on Amazon, they promptly held it upside down.

“When you carry it reversed, that’s a symbol of protest,” Pirates catcher Francisco Cervelli said about the display before a game in Arizona in May.

Their rejection of the Venezuelan authorities becomes emboldened with those seven stars, instead of the eight that now appear after one was added by the late President Hugo Chavez’s government.

Amid three months of often-violent confrontations and economic turmoil in their country, an increasing number of Venezuelan players in Major League Baseball are speaking out against the government and showing solidarity with their compatriots protesting in the streets.

“Our country needs help and we want to show that we’re supporting them,” Cervelli said.

Detroit Tigers star Miguel Cabrera, the most famous baseball player from Venezuela, has rejected the violence in videos posted on social media. The two-time American League MVP appeared with other Venezuelan players from the Tigers and the Texas Rangers.

“We want a better country, we want a solution. We want to have someone that steps up and stop this because we cannot continue living like this, killing, and fighting for something not worth,” Cabrera said in Spanish during an ESPN Sunday Night Baseball broadcast.

One of the gestures of disapproval against President Nicolas Maduro’s government is the use of the upside-down flag, something that started with another wave of protests in 2014.

Cervelli posed with that flag alongside reliever Felipe Rivero, outfielder Jose Osuna and bullpen catcher Heberto Andrade, all from Venezuela. They wanted to make sure that the flag didn’t have the eighth star added by Chavez, so Rivero went shopping online to find that particular emblem.

The almost-daily protests have left at least 90 people dead and hundreds injured. The protests have been fueled by widespread discontent over shortages of basic goods, runaway inflation and allegations that Maduro is undermining democracy in the country.

Venezuela is the second-biggest exporter of foreign players in the majors, behind the Dominican Republic. The 76 Venezuelan players on the 25-man rosters of the 30 MLB teams was a record at the start of the season.

No one has been more vocal than the 31-year-old Cervelli, particularly on his social media accounts. He also has written “SOS Venezuela” in his eye black and has a foundation that ships food, medicine and personal hygiene products to Venezuela.

Cervelli should be enjoying the peak of his MLB career. He signed a $31 million, three-year contract to keep him in Pittsburgh from 2017-19. He has to plans to marry Migbelis Castellanos, a former Miss Venezuela.

But what’s happening daily in Venezuela makes him outraged.

He still has family in the country, but his parents moved to neighboring Colombia “due to the shortages.” His grandparents returned to their native Italy when they couldn’t find the medicine they need.

“It’s not me trying to be a leader, that’s not what’s it all about,” Cervelli said. “Venezuela is a country in shambles. We have to rebuild it from scratch.”

The unrest has also caused players to not want to go back to Venezuela during the offseason. Many are trying to have close family members join them permanently in the United States.

Yangervis Solarte, the San Diego Padres infielder who was widowed last year, brought his mother to live with his three daughters in Florida. But others want to remain in Venezuela, like his father, Gervis, and his uncle, 11-year major leaguer Roger Cedeno.

“I live in the United States, but you never stop worrying with those in the country,” Solarte said. “When you call back home and get all the anguish, that they cannot get this or that. We are tired of this.”

Solarte mentions the struggles of less heralded players, who don’t have the same resources as established stars.

“The ones speaking out are players with million-size contracts,” he said. “But with the rookie ones, it’s different. With or without a big contract, you worry about your family.”

Cervelli hopes to be able to go to Venezuela one day “without the need of bodyguards and armored cars.”

He intends to maintain his activism: “This is not going to stop, is not a fight of just one day. The least I can do is to express that I’m with you and raised my voice because my country need helps. We had the perfect country, but look it a now … it’s a mess.”
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A remote Iranian desert city, Ice Age-era caves in Germany and a stone wharf in Brazil built for arriving African slave ships are three new additions to UNESCO’s list of World Heritage sites.

The World Heritage Committee spent a week meeting in Kraków, Poland, to consider 34 significant historical and cultural sites to add to the list.

This year’s selections include the Iranian city of Yazd, which UNESCO describes as a “living testimony to the use of limited resources for survival in the desert.”

The city has managed to avoid so-called modernization that destroyed many similar Iranian towns, and has preserved its traditional homes, bazaars, mosques and synagogues.

Another site UNESCO added to the list is in the Swabian Jura in southern Germany, one of the areas in Europe where humans first arrived more than 40,000 years ago, during the last Ice Age. They settled in caves, first discovered in the 1860s, and where they created some of the oldest known figurative art.

The U.N. cultural organization said the ancient musical instruments and prehistoric carved figures of animals and humans found in the caves help shed light on the origins of human artistic development

UNESCO also placed the Valongo Wharf in central Rio de Janeiro on the World Heritage List. The stone wharves were built in the early 1800s for slave ships sailing from Africa to Brazil. UNESCO called the wharves “the most important physical trace of the arrival of African slaves on the American continent.”

UNESCO added the World Heritage designation to more than 22 sites during its weeklong meeting in Poland, including choices that were controversial.

They include the Hoh Xil area in the China’s Qinghai province, a traditionally Tibetan area. By designating this a World Heritage site, the International Camnpaign for Tibet, an advocacy group critical of China’s administration there, said UNESCO endorses the forced relocation of Tibetan nomads by Chinese authorities.

China has promised to preserve the traditions and cultural heritage of the Tibetan region.

UNESCO also designated the Old City and Tomb of the Patriarchs in Hebron as a Palestinian World Heritage Site, angering Israel.

The city is split between Israeli and Palestinian control with the Old City and tomb in the Israeli sector. The tomb is sacred to Jews, Muslims, and Christians. Israel accuses UNESCO of trying to hide Jewish ties to Hebron, while Palestinians contend Israel is seeking to undermine their history.

 

 
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The IOC has balked at helping Rio Olympic organizers pay a debt estimated at $35-40 million.

 

The executive board of the International Olympic Committee, meeting Sunday in Lausanne, Switzerland, said it had already contributed a “record” $1.53 billion to last year’s Olympics, and questioned giving more after meeting with organizing committee President Carlos Nuzman.

 

In a statement, the IOC said “more detailed information” was needed and said it “deferred any further consideration at this stage.” It added that it “has closed all its obligations with the organizing committee.”

 

Contractually, host cities and countries are obligated to pay Olympic debts.

 

In Rio’s case, if governments step in to help pay creditors, it is sure to anger police, teachers, and other public employees who are getting paid late – caught up in Brazil’s deepest recession in decades.

 

The IOC, trying to move on to future games including the Pyeongchang Winter Olympics in seven months, said in addition to record help for Rio, there had been “an exceptional effort to significant cost savings and additional financial undertakings by all the Olympic stakeholders, which amounted to hundreds of millions of dollars.”

 

The Rio Olympics opened just under a year ago and were plagued by organizational problems, spotty attendance, corruption scandals, and Brazil’s worst recession in decades. At the last minute, organizers needed millions in a government bailout to hold the Paralympic Games.

 

Some infrastructure built for the Olympics has found uses – a subway line, a renovated port, and high-speed bus lines. But sporting venues are mostly vacant, a $20 million Olympic golf course is struggling to find players, and fewer than 10 percent of the apartments in the 3,600-unit Athletes Village are reported to have found buyers.

 

Last month, an AP analysis – supported by city, state and federal data – put the cost of the Olympics at $13.1 billion, a mix of public and private money. However, the exact figure is likely larger and may never be known.
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With the delicacy of a conductor, Ammar Alobaidi runs his right index finger across his acrylic work — a bright, abstract piece that reflects his love for cubism and three sources of inspiration: Pablo Picasso, Piet Mondrian and Salvador Dalí.

“The paintings and the colors look like music,” he said. “It has tones.”

His bachelor pad, a modern apartment overlooking a turquoise pool, near the upscale Galleria complex in Houston, Texas, doubles as his art studio and personal gallery. The space is sparse but immaculate. Original canvases occupy every wall.

Alobaidi, 48, feels completely at home here, calling Houston his “mother city,” even though he is originally from Baghdad, Iraq.

“I’m a local artist, not a refugee anymore,” he said. “This feeling gives me more power to create more beautiful things.”

Watch: Ammar Alobaidi, Immigrant and Artist, Calls Houston Home Now

Formerly an established nuclear engineer, Alobaidi resettled in the United States nearly four years ago after a life divided between Iraq, Jordan and Libya. In Houston, home to the country’s largest resettled refugee community, he made a living as a case manager with YMCA International Services’ refugee cash assistance program, in part to give back to the community that afforded him “the opportunity to develop,” but also to fund his passion.

“A lot of professional artists come here as refugees or as immigrants,” said Joe Saceric, director of Community Relations at YMCA International Services. “Whereas they might have been a well-respected professional artist in their country of origin, now they’re having to start from scratch.”

‘I am limitless’

Texas withdrew from the U.S. Refugee Resettlement Program in 2016, citing security concerns. But in Houston, the YMCA has continued to provide resettlement and legal support, in more than 20 languages, to clients representing roughly 92 countries, Saceric said.

YMCA International Services noticed the range of talent within its own refugee and immigrant community, including Alobaidi, and hosted an art exhibit and silent auction in 2016 — the first of its kind — called “Triumph of the Human Spirit.”

Tina Aldebashi, a 29-year-old featured immigrant artist from Yemen and outreach worker at YMCA International Services, recalled her move to Houston as a moment of self-discovery.

“The girl who came two years ago to Houston is not the same girl sitting here and talking today,” she told VOA.

“I just wanted to explore — I’ve always wanted to explore since I was a child — but I was limited to the resources I had, or the places I could go to explore,” Aldebashi said. “When I came here, I just thought, ‘I am limitless.’”

Out of darkness

Aldebashi’s medium of choice is resin, one that interprets her emotions but also “holds colors beautifully.” Apart from a “rebellious” charcoal phase, she admits her life has not been one of extreme hardship. Nonetheless, she has made it her mission to empower refugee women through the creation and sale of artwork, an idea based on her personal upbringing.

“I have seen the women in my family, and how reliant they are on their husbands,” she said. “You are an individual; you should be independent enough to do things for yourself, and not be reliant on somebody to help you.”

Alobaidi’s earlier works, like Aldebashi’s, were occasionally dark. Inside his apartment, he reveals one of fallen, dismembered corpses, reflecting the horrors of war. But his newer canvases reveal “strength of love, solidarity,” and “exchanges of generosity,” impressions that he says come as a surprise to some viewers.

“‘Oh, we thought you are a refugee,’” he said. “They thought they will see sadness … they see the opposite.”

Alobaidi, who recently left YMCA to pursue his art full time, claims to paint feelings, not figures — a truth that speaks to his positivity, as he looks ahead.

“I am sure that I will succeed, because [in] this country, when you work hard, you will succeed.” He lights up, like the paintings that surround him. “That is an equation.”
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After 1,400 kilometers (nearly 900 miles) in eight days of racing, the suffer-fest Tour de France now turns the pain dial up a notch or five. How does scaling half the height of Everest in one day sound?

That’s the monstrous challenge lurking Sunday for the 193 tired, sunbaked riders who have made it this far.

For the moment, when race leader Chris Froome looks over his shoulder, he sees a gaggle of challengers hot on his heels. Just 61 seconds separate him from 10th-placed Rafal Majka of Poland. More dangerous contenders are closer still to the three-time Tour champion.

Climbs defy categorization

All that will likely change on the succession of seven climbs in eastern France’s Jura mountains Sunday — three of them so tough they defy categorization on cycling’s sliding scale of climbing toughness. “A monster stage” is how Froome described it, predicting the race standings will “get blown to pieces.”

Total elevation, when all the ascents are added together: 4,600 meters (15,000 feet). That’s just shy of the height of western Europe’s highest peak, Mont Blanc, and about belly button-height on Everest.

The last “hors categorie” climb, Mont du Chat, may be named after a cat but looks on Tour maps like a lion’s fang. With an average 10 percent gradient, and even steeper than that in parts, it will push riders already exhausted by the previous six climbs to the very limit. Hearts pounding, legs burning, they will have no time to recover from its hairpin bends before plunging into more fast, twisting bends on the descent. Clear heads and quick reactions are a must: Not easy when body and brain are screaming for rest.

“That climb is savage,” Froome said. “I imagine it’s going to blow the general classification right open.”

Tired legs

Complicating matters: Saturday’s stage, also in the Jura mountains, was far from easy.

Froome’s teammates at Sky had to ride hard to make sure that riders who rode off at the front of the race, chasing the stage victory, didn’t get too far ahead and take the overall lead away from him. The question now is whether Sky will pay for the effort Sunday and run out of juice on the 181.5-kilometer (112-mile) Stage 9 from Nantua to Chambery in the Alps, arguably the most grueling of this Tour’s 21 stages.

“It was good to see them pull on the front,” said Australian Richie Porte of the rival BMC team, who is 39 seconds behind Froome overall, in fifth place. “I hope there’s some tired legs among them tomorrow.”

Grinding away from pursuers on a small mountain road more suited to goats than riders, Lilian Calmejane won Stage 8 to the Rousses ski station, for his first victory in his first Tour.

Calmejane, riding for French team Direct Energie, fought cramps after breaking away on the final climb and hung on, tongue lolling, for victory in only the second visit by the Tour to the Rousses, with its cross-country ski trails through dense forests.

It was the second win at this Tour for a French rider, after Arnaud Demare’s on Stage 4.

Froome rode in 50 seconds after Calmejane — plenty close enough to retain the yellow jersey — in a group with all of the other top contenders for overall victory in Paris on July 23.

Saturday frights

Froome’s day wasn’t without incident: On a downhill, right-hand bend after the second of three rated climbs on the 187.5 kilometer (116-mile) stage from Dole, the Briton went into roadside gravel instead of cornering. Froome stayed on his bike and quickly recovered. But teammate Geraint Thomas went over roadside barriers. Thomas quickly rejoined the race, and Froome said his teammate was uninjured.

The corner “sprang up on us a little bit,” Froome said. “One moment you’re in control, the next thing you’re in a ditch.”

Calmejane held off Dutch rider Robert Gesink, hot on his heels, on the final climb and rolling finish. Cramping from his effort, Calmejane had to slow and rise off his saddle to stretch his legs in the final section and then gritted his teeth and pedaled onward to the line.

“I gave myself a huge fright,” Calmejane said of his cramps. “It would have been so sad to lose the stage like that.”

Gesink, of the Netherlands’ Lotto-Jumbo team, rode in 37 seconds after Calmejane. French rider Guillaume Martin placed third on the stage, another 13 seconds back.

By being the first rider to scale the day’s last climb, Calmejane enjoyed the added bonus of picking up enough points to take the polka-dot jersey, awarded for points collected on climbs, off the shoulders of Italian Fabio Aru.

“Winning alone like that is incredible,” said Calmejane, who also won a stage at his first Grand Tour, the Spanish Vuelta, last year. “It’s everything I dreamed of.”
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Former Beatles drummer Ringo Starr celebrated his 77th birthday on Friday by announcing a new album that will feature former bandmate Paul McCartney.

Starr’s 19th solo album “Give More Love” will be released on Sept. 15 and will include McCartney on two tracks – “We’re on the Road Again” and “Show Me the Way,” which is dedicated to Starr’s wife, Barbara Bach.

“We are still mates,” Starr told Reuters of his former bandmate. “He’s out on the road, he’s got his own life. I’m out on the road a lot making records and he was in town so I called him and I said, ‘I’ve got this track for you to play on.'”

Starr called McCartney “the most melodic bass player in the world.”

“I love the way he plays,” he said.

Starr holds his birthday celebrations in public every year, raising awareness of his peace-and-love message.

On Friday he led a crowd gathered on the sunny, hot streets of Hollywood in a “peace and love” chant, joined on stage by guests including guitarist Joe Walsh, who is a member of Starr’s band and also his brother-in-law, as well as “Twin Peaks” director David Lynch.

“There is a lot of trouble in the world, a lot of violence in the world and a lot of starvation and a lot of people without water,” Starr said. “I’m a big supporter of Water Aid because everyone should at least have water … It’s not all bombs and

guns.”

Starr and McCartney made musical history as members of seminal 1960s English band the Beatles, along with the late George Harrison and John Lennon. The “Fab Four” led the British invasion into U.S. pop music and became one of the most successful bands in the world.

All four Beatles have been inducted into the Rock and Roll Hall of Fame both as part of the band and as solo artists.
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At the peak of his career in the 1930s, Carlos Gardel’s fans used to gather at the curb outside his home, hoping to hear one of Argentina’s greatest tango singers practice a tune before a show. Now, they can gather inside to hear him again.

 

Visitors to the remodeled “Carlos Gardel Museum Home” at his former house in the Argentine capital can see black-and-white images of key moments in the career of the singer who gave tango a huge boost worldwide.

 

And the voice is on tap as well. Visitors can hear 893 recordings, which make up most of his repertoire, through headphones installed there.

“It’s very interesting to visit the house where he lived and to give children a chance to understand that there are other types of music,” said Siomara Gordon, a Colombian tourist visiting the museum. “He expresses love like no other.”

 

Gardel’s cult remains powerful more than eight decades after his death in a 1935 air crash in Colombia at the age of 44. Argentines often leave carnations and burning cigarettes at his tomb in Chacarita cemetery in Buenos Aires and couples dance to his songs in packed halls.

Iconic images of him with a fedora hat pulled over his brow and a cigarette dangling from his lips are plastered on walls throughout Buenos Aires — and on those of Argentine restaurants worldwide.

The museum was first inaugurated in 2003, and reopened in June. It is located in the tango-crazed Abasto neighborhood of Argentina’s capital, where Gardel used to frequent cafes and often perform. Gardel bought the home in 1926 at the peak of his career and lived there with his mother, Marie-Berthe Gardes. The place became the gathering point for journalists and friends visiting the singer.

 

“Gardel had this grand piano where he would rehearse his compositions. Guitarists and other musicians would get together with other friends and Gardel’s mother, who was a great cook, would cook for all of them,” museum director Carlos Koffman, said near the windows through which Gardel’s fans outside could hear him practice.

 

The museum is filled with mementos including unpublished audiovisual material made shortly before his death. There is an authenticated copy of Gardel’s birth certificate, which shows that he was born in Toulouse, France, on Dec. 11, 1890.

One room in the exhibition focuses on Gardel’s tour of Latin America before his death. Images from Argentina’s National Archives show Gardel’s remains returning to Buenos Aires in 1936, his wake and his funeral.

 

“Gardel is huge today,” said museum visitor Mariano Herrera. “And he’ll continue to be great throughout time.”
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Mexico coach Juan Carlos Osorio has been effectively banned from the Gold Cup by FIFA for insulting match officials.

FIFA banned Osorio for six matches on Friday for his behavior during the Confederations Cup third-place game last Sunday, when Mexico lost to Portugal 2-1.

Mexico will have to play up to six games to retain the Gold Cup in the U.S., starting on Sunday against El Salvador in San Diego.

Osorio was incensed when his team was not awarded a penalty against Portugal.

FIFA said Osorio “used insulting words towards the match officials while displaying an aggressive attitude towards them.”

If Mexico plays fewer than six games at the Gold Cup, Osorio’s suspension will carry over to its next internationals.
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Entertainer Bill Cosby will be retried on charges of sexually assaulting a former employee of his alma mater in November, five months after his first trial on those charges ended in a hung jury, a Pennsylvania judge ruled on Thursday.

Montgomery County Court of Common Pleas Judge Steven O’Neill said the 79-year-old comedian would be tried again beginning on Nov. 6. He is accused of the sexual assault of Temple University administrator Andrea Constand in his Philadelphia-area home in 2004.

Cosby built a long career on a family-friendly style of comedy exemplified by the 1980s TV hit “The Cosby Show” before dozens of women came forward to accuse him of sex assault in a series of incidents dating back to the 1960s.

The vast majority of those alleged incidents were too old to be the subject of criminal prosecution, but Cosby has faced one criminal trial because prosecutors in Pennsylvania charged him in December 2015, just days before the statute of limitations was to run out on Constand’s claim.

The jurors who heard Cosby’s first trial in Norristown, Pennsylvania, who were bused in from Pittsburgh, 300 miles (480 km) away, failed to reach a unanimous verdict last month after 52 hours of deliberations that often stretched late into the night.

Cosby has long denied any criminal wrongdoing and has said that any sexual contact he had with his accusers was consensual.

His spokesman, Andrew Wyatt, hailed the hung-jury outcome as a victory for Cosby, who has not performed to a paying audience for more than two years.

Cosby is also awaiting two trials over civil lawsuits filed against him by accusers, with both scheduled for the summer of 2018.
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Director Franco Zeffirelli’s art works and personal library have been moved from his Roman villa to his native Florence to fill a museum honoring his life’s work.

 

The museum and performing arts center will display around 500 sketches of production sets that Zeffirelli made during his vast career, make available his 10,000-volume library and incorporate artistic activities.

His son, Pippo Zeffirelli, said at a presentation Thursday in Rome “the project was born from the maestro’s desire to leave all his artistic treasures” intact and accessible. Zeffirelli was expected to attend, but his son said he was feeling unwell because of a heat wave.

 

The film, TV and opera director, who is 94, also will be honored at La Scala with a revival of his 1963 production of “Aida.”
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Madonna says the children’s wing at a hospital in Malawi she has been building for two years completed its first surgery last week and will officially open July 11.

The Mercy James Institute for Pediatric Surgery and Intensive Care, located at the Queen Elizabeth Central Hospital in the city of Blantyre, had a soft opening and is the first of its kind in Malawi. It was built in collaboration with the Malawian Ministry of Health.

“When you look into the eyes of children in need, wherever they may be, a human being wants to do anything and everything they can to help, and on my first visit to Malawi, I made a commitment that I would do just that,” Madonna said in a statement to The Associated Press.

“I’d like to thank everyone who has joined me on this unbelievable journey. What started out as a dream for Malawi and her children has become a reality, and we couldn’t have done it without your support,” she added.

Madonna adopted four children, David Banda, Mercy James, Stelle and Estere from Malawi. The children’s wing was named after 11-year-old Mercy.

The pop star’s charity, Raising Malawi, has built schools in Malawi and has funded the new pediatric unit, which began construction in 2015. Madonna, 58, visited the site last year.

The children’s unit includes three operating rooms dedicated to children’s surgery, a day clinic and a 45-bed ward. It will enable Queen Elizabeth hospital to double the number of surgeries for children and will provide critical pre-operative and post-operative care. It also includes a playroom, an outdoor play structure and murals curated by Madonna and other artists.

Sarah Ezzy, executive director of Raising Malawi, said the charity has been working with Queen Elizabeth hospital since 2008, helping the hospital’s chief of pediatric surgery, Dr. Eric Borgstein, develop a training program.

“Pediatric intensive care is not something that has formally existed in Malawi. There hasn’t been any training on it. It’s not part of the curriculum in nursing school [or] medical school. People had to leave the country to train … now people don’t have to leave the country to train,” Ezzy said in an interview. “This facility is attached to the college of medicine and nursing so it will be a learning, teaching hospital.”

Trevor Neilson, who works at Charity Network and has been advising Madonna’s philanthropic efforts for the last six years, said “only someone like Madonna could do this. If you weren’t Madonna, you would have given up a long time ago.”

“Hundreds of thousands, if not millions, of lives will be saved by the hospital in the course of it operating,” added Neilson, who has worked on charity projects with Bill Gates, former U.S. President Bill Clinton, Bono and others.

Madonna founded Raising Malawi in 2006 to address the poverty and hardship endured by Malawi’s orphans and vulnerable children.

“Malawi has enriched my family more than I could have ever imagined. It’s important for me to make sure all my children from the country maintain a strong connection to their birth nation, and equally important to show them that together as humans we have the power to change the world for the better,” Madonna said.
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In prehistoric times, millions of bison roamed North America, but by the late 1800s, they were nearly extinct. Through conservation efforts, they can now be found in all 50 states, including national parks, private lands and even on one of the Channel Islands off the coast of Southern California. As VOA’s Elizabeth Lee reports, the story of how the bison crossed 45 kilometers of ocean to get to Catalina Island is right out of a Hollywood movie.
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A newly discovered photograph may provide the answer to one of the 20th century’s greatest unsolved mysteries — the disappearance of Amelia Earhart.

The legendary American pilot vanished 80 years ago this month somewhere over the Pacific. She was attempting to be the first woman to fly around the world.

What is known is that Earhart and navigator Fred Noonan radioed on July 2 that they were in trouble between Papua, New Guinea, and Howland Island.

U.S. investigators quickly gave up the search, concluding they crashed into the ocean and formally pronounced them dead in 1939.

There have been numerous theories of what happened to Earhart and Noonan.

But a new television documentary shows a previously lost photograph of a woman resembling Earhart and a man who experts say is almost certainly Noonan on a dock somewhere in the Pacific.

The woman has her back to the camera and is looking to her right. She has the short hair style and men’s-style pants Earhart was known to favor.

A barge in the background appears to be towing an object that looks like the same size as Earhart’s plane.

The man in the foreground has the same hairline and prominent nose as Noonan’s.

The photo was misplaced in a box at the National Archives in Washington and the filmmakers found it by accident.

Possibly seen as spies

They theorize that Japanese forces captured Earhart and Noonan, believing them to be spies and held them prisoner in the Mariana Islands.

It is unknown when or how they died.

The producers believe someone spying for the U.S. against Japan took the photograph.

They say that may be the reason why the United States hastened to give up looking for Earhart and Noonan.

Shawn Henry, a former assistant director of the FBI and Earhart aficionado, hosts the documentary. He says the aviator was abandoned by her own government and “may very well be the first casualty of World War II.”

The documentary, “Amelia Earhart: The Lost Evidence,” premiers Sunday night on The History Channel.
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