Author: Ohart

Authentic Ukrainian ethnic folk attire made a recent appearance on a runway at Metropolitan Fashion Week Seattle, held in the city’s suburb of Woodinville. Natasha Mozgovaya has more.
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There is nothing like the promise of a chapter closing to draw people to the movie theater, especially when tied to the Marvel Cinematic Universe. This weekend, ” Guardians of the Galaxy Vol. 3,” which says goodbye to this iteration of the space misfits and its driving creative voice, director James Gunn, earned $114 million in ticket sales from 4,450 locations in North America, according to studio estimates Sunday.

Internationally, where the film opened in 52 territories including China, “Vol. 3” earned $168 million, giving it a $282 million global debut.

Domestically, it’s both an impressive sum for any movie and slightly less than what we’ve come to expect from a Marvel opening. Last year on the same weekend, “Doctor Strange in the Multiverse of Madness,” riding on the success of “Spider-Man: No Way Home,” raked in $187.4 million in its first three days in North America. And in November, “Black Panther: Wakanda Forever” also opened over $181.3 million.

But things have come back to earth this year, at least by high-flying superhero standards. “Ant-Man and the Wasp: Quantumania” debuted just over $106 million on its way to $474 million worldwide. At rival studio DC/Warner Bros., “Shazam! Fury of the Gods” only made $133.4 million total. The question on some analysts’ minds this weekend is whether it’s because of the specific character or a bigger issue of “superhero fatigue.”

“Guardians Vol. 3″ bumped ” The Super Mario Bros. Movie ” out of first place after four weekends atop the charts and kicked off the summer movie season, a vital and usually profitable corridor for Hollywood that runs through Labor Day and often accounts for 40% of a year’s box office.

For Comscore senior media analyst Paul Dergarabedian, it’s still a solid opening for the summer season, which he said is poised to deliver the most robust profits since 2019.

“Though ‘Guardians of the Galaxy Vol. 3’s’ debut may reflect a bit of audience fatigue for the reliable superhero genre, this is just the beginning for what promises to be an irresistible movie marketplace with a killer combination of appealing films for every taste and every audience demographic,” Dergarabedian said.

The next major superhero movie on the schedule is DC’s “The Flash,” set for June 16, which has its own flurry of intrigue around it because of star Ezra Miller’s legal and personal troubles.

“Guardians Vol. 3” sees the return of actors Chris Pratt, Zoe Saldaña, Dave Bautista, Karen Gillan, Pom Klementieff, Bradley Cooper and Vin Diesel. Reviews have been mostly positive, but a little more divided than previous installments. And it remains difficult to compare a pre-pandemic opening such as Vol. 2’s $146 million debut (May 2017) with a post-pandemic one.

“Vol. 3” is Gunn’s last Guardians/Marvel movie as he turns his focus to leading DC Studios.

“The Super Mario Bros. Movie” added $18.6 million in its fifth weekend to take second place, bringing its domestic total to $518.1 million. Globally, it has now surpassed $1.1 billion.

Third place went to “Evil Dead Rise” with $5.7 million, and in fourth place was “Are You There God? It’s Me, Margaret,” with $3.4 million — both were holdovers.

Studios left the weekend mostly clear for the superhero behemoth, but Screen Gems and Sony did debut their new Priyanka Chopra Jonas romantic comedy “Love Again” (featuring Celine Dion and some new songs) in 2703 locations. It made a modest $2.4 million to take the fifth place spot.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Guardians of the Galaxy Vol. 3,” $114 million.

2. “The Super Mario Bros. Movie,” $18.6 million.

3. “Evil Dead Rise,” $5.7 million.

4. “Are You There God? It’s Me, Margaret,” $3.4 million.

5. “Love Again,” $2.4 million.

6. “John Wick: Chapter 3,” $2.4 million.

7. “Dungeons & Dragons: Honor Among Thieves,” $1.5 million.

8. “Air,” $1.4 million.

9. “Guy Ritchie’s The Covenant,” $1.2 million.

10. “Sisu,” $1.1 million.
    …

As teqball continues its fast growth with its debut at the Southeast Asian Games, the young sport has drawn resentful glances from similar sports in the region that feel it is treading on their turf.

Invented in Hungary in 2012, teqball is a nonmedal exhibition sport at this year’s SEA Games in Phnom Penh, Cambodia, being played over three days with the finals on Monday. It is also on the schedule for the European Games in Poland in June and July.

Teqball already has more than 140 national federations, leading its backers to call it “the fastest-growing sport in the world.”

Top international football teams, including Spain and Portugal, bond over games of teqball during downtime, and stars such as Brazilian footballer Ronaldinho have become ambassadors for the game.

Played on a curved table, teqball melds elements of football, volleyball and ping-pong. Players — alone or in pairs — trade shots without using their arms. The catch is they cannot use the same body part twice consecutively.

“In Europe, North America, South America, it’s more developed than in Asia,” said Marton Keresztury, from governing body Fiteq. “So here, it’s just starting slowly.”

On Sunday, the much-fancied Thai men’s doubles team ruthlessly saw off their Cambodian opposition, the affront to their hosts compounded by Phakpong Dejaroen’s acrobatic winning shots repeatedly bouncing up and scudding into the home fans.

That set the Thais up for a final on Monday against another Cambodian duo.

In the women’s doubles, the Thai duo of Suphawadi Wongkhamchan and Jutatip Kuntatong also swatted away the opposition on their way to the final.

One reason Thailand excels at the sport is a pre-existing love for the game of sepak takraw, a similar sport popular around the region, played on something more resembling a volleyball court.

Fahrish Khan, of the Singapore men’s doubles team that beat Brunei in their last group game, but did not progress, noted the overlap.

“We play football. So, if you see a lot of them are sepak takraw players. It’s very different,” said the 27-year-old.

“The difference is they know how to kill,” he said, referring to the bouncing winners that the Thai team reeled off with elan.

Keresztury said teqball had more tournaments coming in Asia soon, in China, Thailand, “and maybe Indonesia.”

He noted that the sport risked butting heads with sepak takraw.

“The players who are here, they come from (sepak takraw). Sometimes you have clashes with sepak takraw federations because they don’t want to let their players play teqball. That’s why it’s developing slowly in Asia,” Keresztury said. “I think 80% of the players come from sepak takraw, from all nations.”

But, he added: “It’s easy to get some skills from sepak takraw, but if you want to have all the skills you have to play more teqball.”
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Newton N. Minow, who as Federal Communications Commission chief in the early 1960s famously proclaimed that network television was a “vast wasteland,” died Saturday. He was 97.

Minow, who received a Presidential Medal of Freedom in 2016, died Saturday at home, surrounded by loved ones, said his daughter, Nell Minow.

“He wanted to be at home,” she told The Associated Press. “He had a good life.”

Though Minow remained in the FCC post just two years, he left a permanent stamp on the broadcasting industry through government steps to foster satellite communications, the passage of a law mandating UHF reception on TV sets and his outspoken advocacy for quality in television.

“My faith is in the belief that this country needs and can support many voices of television — and that the more voices we hear, the better, the richer, the freer we shall be,” Minow once said. “After all, the airways belong to the people.”

Minow was appointed as FCC chief by President John F. Kennedy in early 1961. He had initially come to know the Kennedys in the 1950s as an aide to Illinois Gov. Adlai Stevenson, the Democrats’ presidential nominee in 1952 and 1956.

Minow laid down his famous challenge to TV executives on May 9, 1961, in a speech to the National Association of Broadcasters, urging them to sit down and watch their station for a full day, “without a book, magazine, newspaper, profit-and-loss sheet or rating book to distract you.”

“I can assure you that you will observe a vast wasteland,” he told them. “You will see a procession of game shows, formula comedies about totally unbelievable families, blood and thunder, mayhem, violence, sadism, murder, Western bad men, Western good men, private eyes, gangsters, more violence and cartoons. And, endlessly, commercials — many screaming, cajoling and offending.”

As he spoke, the three networks were just about all most viewers had to choose from. Pay television was barely in the planning stage, PBS and Sesame Street were several years away, and HBO and niche channels such as Animal Planet were far in the future.

The speech caused a sensation. “Vast wasteland” became a catch phrase. Jimmy Durante opened an NBC special by saying, “Da next hour will be dedicated to upliftin’ da quality of television. … At least, Newt, we’re tryin’.”

Minow became the first government official to get a George Foster Peabody award for excellence in broadcasting. The New York Times critic Jack Gould (himself a Peabody winner) wrote, “At long last there is a man in Washington who proposes to champion the interests of the public in TV matters and is not timid about ruffling the industry’s most august feathers. Tonight some broadcasters were trying to find dark explanations for Mr. Minow’s attitude. In this matter the viewer possibly can be a little helpful; Mr. Minow has been watching television.”

CBS President Frank Stanton strongly disagreed, calling Minow’s comments a “sensationalized and oversimplified approach” that could lead to ill-advised reforms “on the ground that any change is a change for the better.”

For the criticism over his speech, Minow said he didn’t support censorship, preferring exhortation and measures to broaden public choices. But he also said a broadcasting license was “an enormous gift” from the government that brought with it a responsibility to the public.

His daughter, Nell Minow, told The Associated Press in 2011 that her father loved television and wished he would have been remembered for championing the public interest in television programming, rather than just a few words in his much broader speech.

“His No. 1 goal was to give people choice,” she said.

Among the new laws during his tenure were the All-Channel Receiver Act of 1962, that required that TV sets pick up UHF as well as VHF broadcasts, which opened up TV channels numbered above 13 for widespread viewing. Congress also passed a bill that provided funds for educational television, and measures to foster communications satellites.

In a September 2006 interview on National Public Radio, Minow recalled telling Kennedy that such satellites were “more important than sending a man into space. … Communications satellites will send ideas into space, and ideas live longer than people.” On July 10, 1962, Minow was one of the officials making statements on the first live trans-Atlantic television program, a demonstration of AT&T’s Telstar satellite.

Children’s programming was a particular interest of Minow, a father of three, who told broadcasters the few good children’s shows were “drowned out in the massive doses of cartoons, violence and more violence. … Search your consciences and see if you cannot offer more to your young beneficiaries whose future you guide so many hours each and every day.”

Minow resigned in May 1963 to become executive vice president and general counsel for Encyclopedia Britannica Inc. in Chicago.

Nell Minow said her father also was instrumental in getting presidential debates televised, starting with Kennedy and Richard M. Nixon, after watching Stevenson struggle to use the new medium during his 1956 presidential run.

“Minow was appalled by … the whole charade of having to image-make on television,” said Craig Allen, a mass communications professor at Arizona State University who wrote a 2001 book about Minow.

In 1965, Minow returned to his law practice in Chicago, and later served as board member at PBS, CBS Inc. and the advertising company Foote Cone & Belding Communications Inc. He was director of the Annenberg Washington Program in Communications Policy Studies of Northwestern University.

He also gave Barack Obama a summer job at the law firm, where the future president met his wife, Michelle Robinson. Minow also was one of Obama’s earliest supporters when the then-Illinois senator considered running for president, Nell Minow said.

Television is one of our century’s most important advances “and yet, as a nation, we pay no attention to it,” Minow said in a 1991 Associated Press interview.

He continued to push for reforms such as free airtime for political ads and more quality programming while also praising advances in diversity in U.S. television.

“In 1961, I worried that my children would not benefit much from television. But in 1991 I worry that my grandchildren will actually be harmed by it,” he said. 
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The commuter trains that take wearied workers out of Moscow every day can be difficult — a long and slow trip in close quarters with strangers, some of them drinking alcohol or sprawled sleeping across the seats.

But a few days a week, riders might get a lift when Oksana comes aboard to soothe them with her violin artistry. Classics, jazz, Russian folk music and children’s songs all flow as she glides her bow across the strings.

It’s not just her repertoire that raises the passengers’ spirits, but her instruments themselves. She makes her own violins from kits and decorates them with intricate, colorful paintings of flowers and winding vines.

The 49-year-old Oksana, who did not want her surname reported out of safety concerns, once worked at a cultural center in the southern city of Rostov-on-Don but moved to Moscow after she lost that job. There was a house loan to pay off along with support for her two children, who live with their father.

At first she worked as a dishwasher. One day she fell into conversation with a street musician after giving him some money and he encouraged her to follow his example, saying it would likely pay more than her scullery job.

She took his advice, except that she chose the trains known as elektrichki as her venue rather that the street. They have been her stage for the past four years.

It’s not lucrative. In a good month she can take in 80,000 rubles ($750), but that’s enough to pay for her room on the Moscow outskirts and to send some money to her kids.

She could make more, but standing for hours on the swaying trains while playing is hard on her legs and she plays only two or three times a week.
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Tennessee organizers booked more than 50 drag entertainers for next month’s Midsouth Pride festival in Memphis now that the state’s new law placing strict limits on cabaret shows is temporarily on hold.

But they are being cautious, making adjustments to performances should the limits of the first-in-the-nation law essentially banning drag from public property or in the presence of minors kick in before June celebrations.

“As soon as this stuff started making its way, I immediately started coming out with plans to be able to counteract that,” said longtime festival organizer Vanessa Rodley. “Because, at the end of the day, we can’t put on an event that then segregates a huge portion of our community, right? We just can’t do that. So you have to find ways around it.”

The show must go on.

Organizers of Pride festivals and parades in mostly conservative states where there’s been a broader push targeting LGBTQ+ rights have been under increasing pressure to censor their events. They’re taking steps like editing acts and canceling drag shows in order to still hold their annual celebrations of lesbian, gay, bisexual, transgender and queer identity in today’s contentious climate.

In some cases, they are trying navigate broad legislative language that can equate drag performances and story hours with “adult-oriented performances that are harmful to minors,” as in the Tennessee law. In other places, Pride organizers have had to fight for local permits that were pro forma in past years, facing off with critics at local city council meetings who oppose drag.

Most Pride organizations are busy “doing their homework” and investigating how legislation popping up around the country may impact their events, said Ron deHarte, co-president for the U.S. Association of Prides. And in more progressive states like California, this year’s Pride events will be an opportunity to make a larger statement and raise awareness about the LGBTQ+ community, he said.

“Our members attract more than 20 million people in the United States to their events every year,” deHarte said. “So when you talk about the collective impact that Pride organizers can have, not only in their community but across the country, it is powerful.”

Bills to limit or ban drag were filed in more than a dozen states. The only other state set to enact a law is Florida, where Republican Gov. Ron DeSantis is expected to sign a bill.

Kayla Bates, a founder of ELGbtq+, an organizer of the community Pride festival and parade in Elgin, Illinois, said she expects a large turnout for the inaugural event given the legislation targeting transgender rights and drag shows elsewhere.

“I think people want to really make it known that they back us and that we should feel safe and protected in our community,” she said.

Often held in June, Pride events began as way to commemorate the uprising by New York’s LGBTQ+ communities in 1969, known as the Stonewall rebellion, and as a way to celebrate the LGBTQ+ rights movement.

In New York City, a Pride rally planned for June 17 and a parade on June 25 will have a national theme: “Strength in Solidarity.” Sue Doster, co-chairperson of NYC Pride, said they’re putting a spotlight on the transgender community and drag queens, targets of the recent legislation in conservative states.

“They’re attacking these people because they’re less likely to stand up and fight back, which is why it’s important that we all come together in solidarity and speak up when we see these injustices,” she said.

Backlash against transgender individuals, drag performances and Pride events is not new. Last year, 31 members of a white supremacist group were arrested near an Idaho Pride event after they were found packed into the back of a U-Haul truck with riot gear.

This year, the Pride Alliance of the Treasure Coast in Port St. Lucie, Florida has reacted to possible legislation, canceling a planned gay pride parade and restricting other events to people 21 years and older.

The Pride festival in Hutchinson, Kansas, has also adjusted its program and secured a new venue after losing its original one when a local business owner posted a video on social media decrying the event, which included a drag queen story hour, as depraved.

“Our event is completely family friendly,” said Hutchinson Salt City Pride chair Julia Johnson.

Meanwhile, organizers in the Nashville, Tennessee, suburb of Franklin, opted not to include drag performances in their Pride celebrations so they can work with local officials to get other events permitted.

In Naples, Florida, Pride organizers agreed they wouldn’t allow drag performers to be tipped on stage, and later announced that the drag show portion of its festival will be held at an indoor venue because of safety concerns.

In Memphis, drag entertainers plan to not change costumes mid-performance or accept tips from the audience if the limits are reinstated.

Even in progressive-leaning Massachusetts, there’s been debate about whether a drag show could be part of a Pride celebration in the small town of North Brookfield, about 50 miles (80 kilometers) west of Boston. The three-member select board had rescinded a previous vote and determined a drag show violated restrictions on “adult entertainment.” Last week, the town’s lawyer said the event could take place on the town common as planned after the ACLU got involved.

Support for the community is also making a difference. In Iowa, the Cedar Falls Mayor Rob Green, this week reversed his controversial decision not to sign a proclamation declaring June as Pride Month. He wrote on Facebook that he signed the proclamation out of concern for the safety and health of LGBTQIA+ residents after hearing stories and receiving letters from constituents.

“I learn a lot from these kind of letters and very much appreciate the opportunity to re-examine my assumptions and thought processes,” he wrote.
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King Charles III’s coronation is a chance to unite people with the history and pageantry of the monarchy, but those traditions are also full of potential controversies as he tries to show that the monarchy still has a role to play in modern Britain.

The new king has already recognized these challenges by adjusting the coronation festivities to the realities of today.

This coronation will be shorter and more inclusive than his mother’s in 1953. Faith leaders from outside the Church of England will take an active role in the ceremony for the first time. And people from all four nations of the United Kingdom, as well as the Commonwealth, will take part.

Here are five artifacts that will play a central role in Saturday’s events.

The Coronation Chair and Stone of Scone

King Charles III will sit atop more than 1,500 years of Irish, Scottish and English history when he is crowned Saturday at Westminster Abbey.

The crown will be placed on Charles’ head as he sits in the Coronation Chair suspended over the Stone of Scone (pronounced “scoon”) — the sacred slab of sandstone on which Scottish kings were crowned. The chair has been part of every coronation since 1308.

The 2.05-meter-tall chair is made of oak and was originally covered in gold leaf and colored glass. The gold has long since worn away and the chair is now pocked with graffiti, including one message that reads “P. Abbott slept in this chair 5-6 July 1800.”

Edward I had the chair built specifically to enclose the Stone of Scone, known by Scots as the Stone of Destiny, after he forcibly took the artifact from Scotland and moved it to the abbey in the late 13th century. The stone’s history goes back much further, however. Fergus Mor MacEirc, the founder of Scotland’s royal line, reputedly brought the stone with him when he moved his seat from Ireland to Scotland around 498, Westminster Abbey said. Before that time, it was used as the coronation stone for Irish kings.

In 1996, Prime Minister John Major returned the stone to Scotland, with the understanding that it would come back to England for use in future coronations. In recent days, the stone was temporarily removed from its current home at Edinburgh Castle in a ceremony overseen by Scottish First Minister Humza Yousaf, then transported to the abbey, where a special service was held to mark its return.

Coronation spoon

The gold-plated silver coronation spoon is the only piece of the coronation regalia that survived the English Civil War. After King Charles I was executed in 1649, the rest of the collection was either melted down or sold off as Parliament sought to abolish the monarchy forever.

The spoon is central to the most sacred part of the coronation ceremony, when the Archbishop of Canterbury will pour holy oil from an eagle-shaped ampulla, or flask, into the spoon and then rub it on the king’s hands, breast and head.

The ceremony has roots in the biblical story of the anointing of King Solomon and was originally designed to confirm that the sovereign was appointed directly by God. While the monarch is no longer considered divine, the ceremony confirms his status as supreme governor of the Church of England.

The 26.7-centimeter spoon is believed to have been made during the 12th century for either King Henry II or King Richard I and may have originally been used for mixing water and wine, according to the Royal Collection Trust.

The Cullinan Diamond

Two stones cut from the Cullinan Diamond — the largest rough diamond ever found — will feature prominently in the coronation, fueling controversy the royal family would rather avoid.

For many in South Africa, where the original stone was found in 1905, the gems are a symbol of colonial oppression under British rule and they should be returned.

Cullinan I, a huge drop-shaped stone weighing 530.2 carats, is mounted in the Sovereign’s Scepter with Cross. On Saturday, the scepter will be handed to Charles as a symbol of his temporal power.

Cullinan II, a cushion-shaped gem of 317.4 carats, is mounted on the front of the Imperial State Crown that Charles will wear as he leaves Westminster Abbey.

Charles sidestepped a similar controversy when Buckingham Palace announced that his wife, Camilla, wouldn’t wear the crown of Queen Elizabeth, the queen mother, on coronation day.

That crown contains the famous Koh-i-noor diamond that India, Pakistan and Iran all claim. The gem became part of the Crown Jewels after 11-year-old Maharaja Duleep Singh was forced to surrender it after the conquest of the Punjab in 1849.

St. Edward’s Crown

The crowning moment of the coronation ceremony will occur, literally, when the Archbishop of Canterbury places St. Edward’s Crown on Charles’ head.

Because of its significance as the centerpiece of the coronation, this will be the only time during his reign that the monarch will wear the solid gold crown, which features a purple velvet cap, ermine band and criss-crossed arches topped by a cross.

After the ceremony, Charles will swap the 2.08-kilogram crown for the Imperial State Crown, which weighs about half as much, for the procession back to Buckingham Palace.

Queen Elizabeth II once said that even the lighter crown was tricky because it would fall off if she didn’t keep her head upright while reading the annual speech at the state opening of Parliament.

“There are some disadvantages to crowns, but otherwise they’re quite important things,” the late queen told Sky News in 2018, flashing a smile.

The current St. Edward’s Crown was made for the coronation of King Charles II in 1661 and has been used in every coronation since then. It is a replica of the original crown, which was created in the 11th century and melted down after the execution of Charles I in 1649.

The crown glitters with stones including tourmalines, white and yellow topazes, rubies, amethysts, sapphires, garnet, peridot, zircons, spinel and aquamarines.

Until the early 20th century, the crown was decorated with rented stones that were returned after the coronation, according to the Royal Collection Trust. It was permanently set with semi-precious stones ahead of the coronation of George V in 1911.

The Gold State Coach

King Charles III and Queen Camilla will travel back to Buckingham Palace from Westminster Abbey in the Gold State Coach, a 261-year-old relic that is renowned as much for its uncomfortable ride as its lavish decoration.

The coach was built in 1762 under the reign of King George III and it has been used in every coronation since 1831.

It is made of wood and plated with gold leaf, from the cherubs on the roof to the Greek sea gods over each wheel. About the only things that aren’t gilded are the side panels painted with Roman gods and goddesses and, of course, the interior, which is upholstered in satin and velvet.

But the coach is heavy — 4 tons — and old, meaning it only ever travels at walking speed.

And while it may look luxurious, the coach features a notoriously bumpy ride because it is slung from leather straps rather than modern metal springs.

The late queen wasn’t a fan.

“Horrible! It’s not meant for traveling in at all,” she said in 2018 in an interview with Sky News. “Not very comfortable.”

That’s one reason Charles and Camilla will ride to the coronation in the Diamond Jubilee State Coach, which is equipped with hydraulic shock absorbers, as well as heat and air conditioning. 
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The ceremony for King Charles’ coronation at Westminster Abbey in London on Saturday will involve historic regalia ranging from sceptres and maces to a ring and a spoon.

Here are details of some of the Crown Jewels that will be used during the ceremony:

St. Edward’s Crown

Charles will be crowned with the historic St. Edward’s Crown that has been used since the coronation of King Charles II in 1661 after the monarchy was restored following the 10-year republic of Oliver Cromwell. It was removed from the Tower Of London in December for modifications.

The crown, which weighs about 2.2 kilograms, is made up of a solid gold frame set with rubies, amethysts, sapphires, garnet, topazes and tourmalines and has a velvet cap with an ermine band.

It replaced an original crown believed to date back to the 11th century Anglo-Saxon king of England, Edward the Confessor.

Charles will also wear the 1-kilogram Imperial State Crown at the end of the service, the headwear regularly used by British monarchs for official occasions such as the State Opening of Parliament.

Made for the coronation of Charles’ grandfather George VI in 1937, it is set with 2,868 diamonds in silver mounts including the 105-carat Cullinan II, the second biggest stone cut from the Cullinan Diamond, which was given by the government of the Transvaal in South Africa to Edward VII on his birthday in 1907.

The crown also features the large “Black Prince’s Ruby”, along with 17 sapphires, 11 emeralds and 269 pearls, including some of which are said to have been bought as earrings by Tudor monarch Queen Elizabeth I.

Sovereign’s scepter with cross

The Cullinan 1 diamond, also known as the Star of Africa, which weighs in at 530 carats and is the world’s largest colorless cut diamond, was set in the bejeweled golden scepter which has been used in every coronation since 1661.

The scepter, which has undergone a number of alterations over the centuries, represents the sovereign’s temporal power and is associated with good governance.

Sovereign’s scepter with dove

This is the second scepter used in the ceremony, representing the sovereign’s spiritual role. It also dates from 1661. It is made from a gold rod in three sections, mounted with diamonds, rubies, emeralds, sapphires and spinels. At the top is an enameled dove with outspread wings, which represents the Holy Ghost.

The Sovereign’s Orb

The Sovereign’s Orb, another item commissioned for Charles II’s coronation, is a globe of gold with a cross mounted on top, surrounded by a band of diamonds, emeralds, rubies, sapphires and pearls with a large amethyst at the summit. It is a representation of Christian sovereignty.

Coronation ring

The coronation ring, known as “The Wedding Ring of England” and composed of a sapphire with a ruby cross set in diamonds, was made for the coronation of King William IV in 1831. Worn at every coronation since then, it symbolizes kingly dignity.

Swords and maces

A number of swords will feature in the coronation procession.

These include the Sword of State, which symbolizes royal authority and was made in about 1678, and was used at Charles’ investiture as Prince of Wales in 1969. Also to feature will be the Sword of Temporal Justice, the Sword of Spiritual Justice and the Sword of Mercy, which were first used in the coronation of Charles I in 1626.

The bejeweled Sword of Offering, made for the coronation of George IV in 1821, will be presented to Charles, with the message it is a symbol not of might or violence but for the protection of good.

Two maces, made of silver gilt over oak and date from between 1660 and 1695, will also feature. These are the ceremonial emblems of authority which are carried before the sovereign at events such as the State Opening of Parliament.

Ampulla

The golden ampulla, which dates from 1661, is a flask in the shape of an eagle that holds the holy oil, which was consecrated in Jerusalem in March and will be used to anoint the king.

Coronation spoon

The silver-gilt spoon is the oldest piece in the regalia, probably made for Henry II or Richard I in the 12th century. It was used to anoint King James 1 in 1603 and has featured at every coronation since.

Bracelets

Two armills, golden bracelets representing sincerity and wisdom, are placed on the sovereign’s wrists. They are thought to relate to ancient symbols of knighthood and military leadership.

They date back to 1661 and have been used at every coronation from King Charles II’s until King George VI’s in 1937, with new armills specially prepared for Queen Elizabeth in 1953.
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The cast of characters for the 149th Kentucky Derby was rewritten in the days before the race. What didn’t change: Forte is the early 3-1 favorite on Saturday in a seemingly wide-open field of 19 horses.

Four horses were scratched — Practical Move, Lord Miles, Continuar and Skinner — and three horses waiting on the also-eligible list moved into the field. They are Cyclone Mischief, Mandarin Hero and King Russell.

Last year’s Derby was a stunner: 80-1 shot Rich Strike weaved his way through traffic and came rushing up the rail to win. NBC Sports’ overhead replay of the race was viewed more than 36 million times.

A crowd of about 150,000 is expected to jam Churchill Downs to wager and watch the 1 1/4-mile Derby. Post time is 6:57 p.m. EDT.

Forte breaks from the No. 15 post, which has produced six winners. The dark brown colt is trained by two-time Derby winner Todd Pletcher, who also has the second favorite in Tapit Trice, at 5-1.

The Todd Squad includes Kingsbarns, and it’s an impressive trio.

Forte was last year’s 2-year-old champion and has six wins in seven career starts, including five in a row. Tapit Trice is 4 for 5 and Kingsbarns is 3 for 3.

“You could say it’s the deepest squad we’ve brought so far,” Pletcher said.

Louisville-born Brad Cox won his first Derby belatedly when Mandaloun was elevated to first place after Medina Spirit’s disqualification nine months after the 2021 race.

“There’s no thrill of winning the Derby through a phone call,” he said. “There’s no celebration, there’s no winning picture.”

Cox has a leading four chances to make the winner’s circle in person this year: early 8-1 third choice Angel of Empire; Hit Show; Verifying; and Jace’s Road.

“I’m sure it would be a feeling like no other,” he said.

Gary and Mary West, who own Hit Show, are seeking retribution of their own.

Their horse, Maximum Security, crossed the Derby finish line first in 2019, but was disqualified for interference after a 22-minute delay while stewards reviewed video. Country House was awarded the garland of red roses. The Wests sued unsuccessfully to have the stewards’ decision reversed.

“They would like to cross the wire first and stay up,” Cox said. “They got a really live crack. This colt is really doing well.”

A couple of jockeys are looking for similar satisfaction.

Luis Saez rode Maximum Security in 2019 and received a 15-day suspension for interfering with others; he’s seeking his first Derby win aboard Tapit Trice. Florent Geroux, who was on Mandaloun, is on Jace’s Road.

For the second straight year, the Derby is without Bob Baffert. The Hall of Fame trainer with a record-tying six victories is soon to complete a two-year ban by Churchill Downs Inc. He was punished after Medina Spirit flunked a post-race drug test.

Baffert’s shadow still looms large over the Twin Spires. A colt previously trained by him, Reincarnate, will be in the starting gate.

Trainer Saffie Joseph Jr. found himself on the sideline after being indefinitely suspended Thursday by Churchill Downs Inc. His Derby entry, Lord Miles, was scratched. Two of Joseph’s horses died after races at the track in the days leading up to the Derby. No cause of death has yet been found.

New antidoping and medication rules to be enforced by the sport’s new central governing body won’t take effect until May 22, after the Derby and the Preakness.

Japan is represented by Derma Sotogake and Mandarin Hero, giving the nation two chances to win the Derby for the first time.

Derma Sotogake and Two Phil’s are the most experienced runners in the field, having made eight career starts.

“He has a lot of experience and it has made him tougher and tougher,” said Christophe Lemaire, who will ride Derma Sotogake. “It is important to have that experience with 18 other horses in a high-level race.”

Confidence Game, a 20-1 shot, will try to win coming off an unheard of 10-week layoff.

Saturday’s forecast calls for partly sunny skies and a high of 25 Celsius.

 
…

To the casual viewer, competing at the Westminster Kennel Club dog show might look pretty simple: Get a dog. Groom it. Pose it. Lead it around a ring.

But there’s a lot more than that to getting to and exhibiting in the United States’ most prestigious canine event, now in its 147th year.

So here are the ins and outs of the show, which starts Saturday at the USTA Billie Jean King National Tennis Center in New York.

How Many Dogs Compete?

Twenty-five hundred dogs from 210 different breeds and varieties signed up to vie for the best in show trophy that gets awarded Tuesday night. (Varieties are subsets of breeds. Think smooth, longhaired and wirehaired dachshunds.)

Hailing from 49 states and 13 countries, contestants range from tiny Chihuahuas to giant Great Danes. They include familiar breeds like Labrador retrievers, rarities such as the sloughi, and a newcomer, the bracco Italiano. Agility and obedience contests Saturday involve a few hundred more dogs, including some mixed-breed ones.

How Do Dogs Get Into The Show?

All the dogs are champions, meaning they’ve racked up a certain amount of prior wins and points. Certain top dogs in the sport’s complicated rankings are invited, but other pooches also can enter.

The process of becoming a potential best in show begins when breeders suss out which puppies in a litter have the physical attributes and disposition to shine in what’s known as “conformation” competition.

Some pups eventually get to Westminster with owners who learned the ropes after unexpectedly getting a show-quality dog. Other canine contestants crisscross the country by road or even air, hitting shows every weekend with big-name professional handlers and a strategy that can entail gathering intel about rivals’ schedules, pondering judges’ past picks and even running ads to celebrate the animal’s accomplishments and boost its profile. They don’t call it “campaigning a dog” for nothing!

What’s a Dog Show Doing at a Tennis Facility?

It’s a new venue for Westminster, which was held for decades all or partly at Madison Square Garden. The pandemic prompted a move to outdoor digs at an estate in suburban Tarrytown, New York, for the past two years. Organizers were keen to return to New York City this year. Amid construction plans at a pier building that used to house the show’s early rounds, organizers linked up with the U.S. Open tennis tournament’s base in Flushing Meadows. “An iconic dog show event in an iconic venue,” Westminster President Donald Sturz enthuses.

How Does it Work?

“Conformation” dogs first face off against others of their breed – sometimes dozens of others, sometimes few or even none. Each breed’s winner moves on to a semifinal round of judging against others in its “group,” such as hounds, herding dogs or terriers. In the final round, the seven group winners compete for best in show.

What Do Judges Look For?

They’re tasked with determining which dog best matches the ideal, or “standard,” for its breed.

The standard is derived from the breed’s original function and may speak to anything from teeth to tail to temperament. For example, a hound developed to hunt in rough terrain might be required to have thick paw pads. A herding dog might need proportions that allow for quick, tight turns.

Judges do hands-on examinations and watch the dogs in motion, taking in each dog’s assets and imperfections. Especially in the finals, distinctions can be very subtle. Show folk often say that victory can go to “the dog on the day” — or as the rest of us might say, the one that just brings it.

What Breeds Have Won The Most?

In records going back to 1907, Wire fox terriers have scampered away with the top prize 15 times, most recently in 2019. Scottish terriers, English springer spaniels, standard poodles and Pekingeses all have five or more wins.

Many breeds have yet to triumph, including such popular ones as the Labrador retriever. But winless breeds should never say never: A bloodhound took best in show for the first time just last year.

Westminster’s agility and obedience competitions were added only within the last decade. So far, almost all the agility championships have gone to border collies, and nearly all the obedience titles to Labs. One Lab, named Heart, won five times in a row.

Has A Mixed-Breed Dog Ever Won?

While Westminster has said there a few mixed-breed entrants in early shows, the best in show prize wasn’t awarded until 1907 and has gone only to purebreds. The pedigreed set also has won all the agility and obedience trials to date, but there’s a special prize every year for the top mix (or “all American dog,” in show parlance).

The focus on purebreds irks groups such as People for the Ethical Treatment of Animals, which regularly protests Westminster as a reprehensible canine beauty pageant. The kennel club says it celebrates all dogs while highlighting “preservation breeding” of those with skills and traits that have been honed over generations. 

What Do Winners Get?

Bragging rights and trophies. There are no cash prizes, though the agility and obedience winners each get to direct a $5,000 Westminster donation to a training club or to the American Kennel Club Humane Fund.

So What’s The Point?

Showcasing dogs, particularly breeds that many people don’t see regularly, participants say. Many also value the friendships that develop at shows that bring dog lovers together across miles and backgrounds.

“We can all talk about dogs,” says dog expert David Frei, who hosted the Westminster telecast for over two decades. “That’s the beauty of the sport, and the beauty of dogs.”

 
…

Hong Kong police seized an exhibit Friday in connection with what they said was an attempt to incite subversion, with media reporting it was a statue commemorating Beijing’s Tiananmen Square crackdown on democracy protesters in 1989.

Media reported the exhibit was the “Pillar of Shame,” an 8-meter-tall statue depicting dozens of torn and twisted bodies that commemorates protesters killed in the crackdown in and around Tiananmen Square more than three decades ago.

Police did not give details of the exhibit they said they had seized in the Yuen Long district of the former British colony.

“The National Security Department … conducted searches with a warrant this morning. An exhibit related to an ‘incitement to subversion’ case was seized,” police said in a statement.

They did not say who was suspected of wanting to use the statue, which was being kept in storage, to incite subversion.

Tiananmen anniversary looming

The seizure came weeks ahead of the June 4 anniversary of the Tiananmen Square crackdown.

Hong Kong had traditionally held the largest annual vigils in the world to commemorate the crackdown.

The crackdown is taboo in the rest of China, and Hong Kong’s vigil, traditionally in a city park, was banned beginning in 2020, ostensibly because of coronavirus restrictions.

Statue first exhibited in 1997

The two-ton copper “Pillar of Shame” was first exhibited at a Tiananmen Square commemoration in Hong Kong in 1997, the same year Britain handed the city back to China.

In 2021, the University of Hong Kong dismantled and removed the statue “based on external legal advice and risk assessment for the best interest of the university.” It has since been kept in a cargo container on university-owned land.

Danish sculptor Jens Galschiot, who created the work, said he had not been informed about its seizure by police.

“This is outrageous. This is my sculpture, and nobody has consulted or informed me about anything,” he said in email response to Reuters.

It is not clear if the Tiananmen Square vigil will take place this year.

The city government said this week that sections of Victoria Park, where the rally is usually held, would be closed for maintenance.

The vigil organizer, the Hong Kong Alliance, was disbanded in 2021 after its leaders were arrested and charged with inciting subversion under a national security law imposed by China in 2020 after anti-government protests.

Authorities have been using the law to clamp down on pro-democracy activity in Hong Kong, and about 250 people, including opposition politicians, lawyers and journalists, have been arrested for suspected national security offenses.

Authorities say they are maintaining order necessary for the financial hub’s prosperity.
…

U.S. director Damien Chazelle, best known for the Oscar-winning La La Land, will lead the jury of the upcoming Venice Film Festival, organizers announced Friday.

The 80th edition of the prestigious festival will take place from Aug. 30-Sept. 9 on the swanky, beach-lined Lido island.

“For 10 days each year this city of the arts, of Tintoretto and Titian and Veronese, becomes a city of cinema, and I am humbled and delighted to be invited to lead this year’s jury,” said Chazelle, 38, whose most recent film is Babylon.

Chazelle’s musical about making it in Hollywood, La La Land, opened the Venice festival in 2016, and went on to win six Academy Awards, including for its director, the youngest ever to win the prize.

Heading the jury for Venice’s parallel competition, Orizzonti, will be Italy’s Jonas Carpignano, director of a trilogy (Mediterranea, A Ciambra, A Chiara) based in the Calabrian port city of Gioia Tauro.

Last year, the festival’s top Golden Lion prize went to U.S. director Laura Poitras for All the Beauty and the Bloodshed. The documentary traced the campaign by photographer and activist Nan Goldin to hold the rich Sackler family accountable for the U.S. opioid crisis.

U.S. actress Julianne Moore headed last year’s jury, with Spanish director Isabel Coixet at the helm of Orizzonti.
…

When Greg Brockman, the president and co-founder of ChatGPT maker OpenAI, was recently extolling the capabilities of artificial intelligence, he turned to “Game of Thrones.”

Imagine, he said, if you could use AI to rewrite the ending of that not-so-popular finale. Maybe even put yourself into the show.

“That is what entertainment will look like,” said Brockman.

Not six months since the release of ChatGPT, generative artificial intelligence is already prompting widespread unease throughout Hollywood. Concern over chatbots writing or rewriting scripts is one of the leading reasons TV and film screenwriters took to picket lines earlier this week.

Though the Writers Guild of America is striking for better pay in an industry where streaming has upended many of the old rules, AI looms as rising anxiety.

“AI is terrifying,” said Danny Strong, the “Dopesick” and “Empire” creator. “Now, I’ve seen some of ChatGPT’s writing and as of now I’m not terrified because Chat is a terrible writer. But who knows? That could change.”

AI chatbots, screenwriters say, could potentially be used to spit out a rough first draft with a few simple prompts (“a heist movie set in Beijing”). Writers would then be hired, at a lower pay rate, to punch it up.

Screenplays could also be slyly generated in the style of known writers. What about a comedy in the voice of Nora Ephron? Or a gangster film that sounds like Mario Puzo? You won’t get anything close to “Casablanca” but the barest bones of a bad Liam Neeson thriller isn’t out of the question.

The WGA’s basic agreement defines a writer as a “person” and only a human’s work can be copyrighted. But even though no one’s about to see a “By AI” writers credit at the beginning a movie, there are myriad ways that regenerative AI could be used to craft outlines, fill in scenes and mockup drafts.

“We’re not totally against AI,” says Michael Winship, president of the WGA East and a news and documentary writer. “There are ways it can be useful. But too many people are using it against us and using it to create mediocrity. They’re also in violation of copyright. They’re also plagiarizing.”

The guild is seeking more safeguards on how AI can be applied to screenwriting. It says the studios are stonewalling on the issue. The Alliance of Motion Picture and Television Producers, which bargains on the behalf of production companies, has offered to annually meet with the guild to go over definitions around the fast-evolving technology.

“It’s something that requires a lot more discussion, which we’ve committed to doing,” the AMPTP said in an outline of its position released Thursday.

Experts say the struggle screenwriters are now facing with regenerative AI is just the beginning. The World Economic Forum this week released a report predicting that nearly a quarter of all jobs will be disrupted by AI over the next five years.

“It’s definitely a bellwether in the workers’ response to the potential impacts of artificial intelligence on their work,” says Sarah Myers West, managing director of the nonprofit AI Now Institute, which has lobbied the government to enact more regulation around AI. “It’s not lost on me that a lot of the most meaningful efforts in tech accountability have been a product of worker-led organizing.”

AI has already filtered into nearly every part of moviemaking. It’s been used to de-age actors, remove swear words from scenes in post-production, supply viewing recommendations on Netflix and posthumously bring back the voices of Anthony Bourdain and Andy Warhol.

The Screen Actors Guild, set to begin its own bargaining with the AMPTP this summer, has said it’s closely following the evolving legal landscape around AI.

“Human creators are the foundation of the creative industries, and we must ensure that they are respected and paid for their work,” the actors union said.

The implications for screenwriting are only just being explored. Actors Alan Alda and Mike Farrell recently reconvened to read through a new scene from “M(asterisk)A(asterisk)S(asterisk)H” written by ChatGPT. The results weren’t terrible, though they weren’t so funny, either.

“Why have a robot write a script and try to interpret human feelings when we already have studio executives who can do that?” deadpanned Alda.

Writers have long been among notoriously exploited talents in Hollywood. The films they write usually don’t get made. If they do, they’re often rewritten many times over. Raymond Chandler once wrote “the very nicest thing Hollywood can possibly think to say to a writer is that he is too good to be only a writer.”

Screenwriters are accustomed to being replaced. Now, they see a new, readily available and inexpensive competitor in AI — albeit one with a slightly less tenuous grasp of the human condition.

“Obviously, AI can’t do what writers and humans can do. But I don’t know that they believe that, necessarily,” says screenwriter Jonterri Gadson (“A Black Lady Sketchshow”). “There needs to be a human writer in charge and we’re not trying to be gig workers, just revising what AI does. We need to tell the stories.”

Dramatizing their plight as man vs. machine surely doesn’t hurt the WGA’s cause in public opinion. The writers are wrestling with the threat of AI just as concern widens over how hurriedly regenerative AI products have been thrust into society.

Geoffrey Hinton, an AI pioneer, recently left Google in order to speak freely about its potential dangers. “It’s hard to see how you can prevent the bad actors from using it for bad things,” Hinton told The New York Times.

“What’s especially scary about it is nobody, including a lot of the people who are involved with creating it, seem to be able to explain exactly what it’s capable of and how quickly it will be capable of more,” says actor-screenwriter Clark Gregg.

The writers find themselves in the awkward position of negotiating on a newborn technology with the potential for radical effect. Meanwhile, AI-crafted songs by “Fake Drake” or “Fake Eminem” continue to circulate online.

“They’re afraid that if the use of AI to do all this becomes normalized, then it becomes very hard to stop the train,” says James Grimmelmann, a professor of digital and information law at Cornell University. “The guild is in the position of trying to imagine lots of different possible futures.”

In the meantime, chanting demonstrators are hoisting signs with messages aimed at a digital foe. Seen on the picket lines: “ChatGPT doesn’t have childhood trauma”; “I heard AI refuses to take notes”; and “Wrote ChatGPT this.”
…

Adidas is set to update investors Friday about the unsold Yeezy shoes that have put the German sportswear giant in a predicament since it cut ties with Kanye West over his antisemitic comments late last year.

Executives are expected to tackle the issue when the company reports first-quarter results Friday which will likely show a 4% decline in net sales to $5.07 billion, according to a company-compiled consensus.

Investors have high hopes new CEO Bjorn Gulden can turn Adidas around: the stock has gained around 65% since Nov. 4 when the former Puma CEO was first floated as a successor to Kasper Rorsted, despite Adidas warning it could make a $700 million loss this year if it writes the Yeezy shoes off entirely.

Adidas has been in discussions over the footwear, including with people who “have been hurt” by West’s antisemitic comments, Gulden said in March, but there are no easy fixes.

The value of Yeezy shoes in the resale market has rocketed since Adidas stopped producing them, with some models more than doubling in price, but the company has yet to decide what to do with its unsold stock.

If Adidas decides to sell the shoes, any proceeds should go towards efforts to fight antisemitism, said Holly Huffnagle, U.S. Director for Combating Antisemitism at the American Jewish Committee, a non-governmental organization.

“The challenge is if these shoes are going to be out there and be worn by people, we must ensure that the antisemitic messaging of the shoes’ creator doesn’t spread,” she said.

Gulden in March said the company could donate the proceeds of the Yeezy sale to charities, but Adidas has given no updates since. “We continue to evaluate options for the use of the existing Yeezy inventory,” an Adidas spokesperson said, declining to comment on the possible timeline for a decision.

The market would welcome a resolution, but it may be too early given the complexities involved, said Geoff Lowery, analyst at Redburn in London, who sees a donation to charities as the most likely outcome.

The Anti-Defamation League, an international Jewish non-governmental organization based in New York, told Reuters it “stands ready and prepared to work with Adidas.”

Adidas in November donated more than $1 million to the organization.

The American Jewish Committee met with Adidas executives in December to discuss their commitment to reject antisemitism.

Adidas said it continues to “stand with the Jewish community in the fight against antisemitism and with all communities around the world facing injustice and discrimination.”

Shareholders want Adidas to draw a line under the Yeezy episode and develop ways to reboot the brand.

“Being successful with Yeezy probably made Adidas lazy on finding other growth drivers,” said Cedric Rossi, nextgen consumer analyst at Bryan Garnier in Paris.
…

The fountain pen is a writing instrument declared obsolete numerous times by technological innovations — the ballpoint pen, the typewriter, the computer keyboard, and now by rendering our voices into text on mobile phones. But the 19th-century invention is still evolving, thanks in part to an American mechanical engineer. VOA’s chief national correspondent Steve Herman reports from Philadelphia.
…

The recording studios at Afghanistan national radio and television where generations of male and female musicians and singers produced songs and melodies have gone silent for nearly two years.

The country’s Islamist Taliban regime does not air music on the national broadcasting network because their extreme interpretation of Islam considers it forbidden. Instead, they run so-called singsongs, which sound like chants with no music.

Known as the Taliban songs and nasheeds, the singsongs, voiced only by men, are mostly tributes to Taliban leaders, Islamic jihad and Afghanistan as a graveyard of foreign interventionists.

Many Taliban listen to these singsongs on their phones, in their cars and elsewhere as a source of entertainment, attachment and inspiration.

“Since the Taliban are religious zealots, they use songs for entertainment as well. It’s a form of competition for young Taliban to show off their voices. Songs are also designed to add some pleasure to an otherwise puritanical way of life,” said Wahed Faqiri, an Afghan analyst.

“[The Taliban] play it on radios and so, if you are in your car at that time and it’s on the radio, you listen to it because it’s kind of a captive/trapped audience,” Ali Latifi, a Kabul-based independent journalist, told VOA by email. “When I see Taliban playing them it’s usually on their phones (even little Nokia ones) while they’re standing or walking down the street (less often).”

Since the Taliban’s ascent to power in Afghanistan, the group’s singsongs have increasingly found their way to digital platforms where they are accessible to global audiences. Social media companies often prohibit official Taliban accounts and groups, but the group’s sympathizers have maintained a presence under pseudonyms.

Given the group’s longstanding disapproval of television, pro-Taliban songs loaded to YouTube carry only still images of Taliban leaders and symbols. During their first reign in 1994-2001, the Taliban completely banned television and the group’s morality police broke down private TV sets and displayed them on poles to deter the public from watching television even in their homes.

As an insurgent group, the Taliban ran sophisticated digital propaganda campaigns including videos of violent attacks on Afghan and foreign soldiers.

‘Genocide of music’

The Taliban’s swift return to power in 2021 saw an exodus of artists, singers, musicians and journalists from Afghanistan.

Over the past 20 months, about 3,000 artists and singers have sought relocation outside Afghanistan, according to Artistic Freedom Initiative, an organization that offers free immigration and resettlement assistance for artists at risk.

The country’s National Institute of Music (ANIM) has been closed as all of its trainers, students and personnel were evacuated to Europe in 2021.

“We are witnessing a termination of the rich musical heritage of Afghanistan,” Ahmad Sarmast, ANIM director, told VOA while describing the many ways musicians and artists suffer under the Taliban rule.

While most popular Afghan musicians and singers reside abroad, those left in the country have reportedly quit music and have resorted to other jobs.

Sarmast said his ANIM staff and other artists are trying to keep the Afghan music alive in exile by organizing concerts and events in different parts of the world.

For many Afghans caught in recurring cycles of brutal wars, extreme and widespread poverty, and many social and cultural restrictions, music is a source of spiritual strength and a means to mental and psychological healing, experts say.

“The Taliban’s anti-music policies are turning Afghans into a mentally impaired nation,” warned Sarmast, who said the Taliban’s singsongs are praising and promoting violence.

A Taliban spokesperson received VOA’s request for comment on the regime’s policies about music but did not respond.
…

Hollywood writers picketing to preserve pay and job security outside major studios and streamers braced for a long fight at the outbreak of a strike that immediately forced late-night shows into hiatus, put other productions on pause and had the entire industry slowing its roll.  

The first Hollywood strike in 15 years commenced Tuesday as the 11,500 members of the Writers Guild of America stopped working when their contract expired.  

The union is seeking higher minimum pay, more writers per show and less exclusivity on single projects, among other demands — all conditions it says have been diminished in the content boom of the streaming era.  

“Everything’s changed, but the money has changed in the wrong direction,” said Kelly Galuska, 39, a writer for “The Bear” on FX and “Big Mouth” on Netflix, who picketed at Fox Studios in Los Angeles with her 3-week-old daughter. “It’s a turning point in the industry right now. And if we don’t get back to even, we never will.” 

The last Hollywood strike, from the same union in 2007 and 2008, took three months to resolve. With no talks or even plans to talk pending between the WGA and the Alliance of Motion Picture and Television Producers, which represents studios and productions companies, there is no telling how long writers will have to go without pay, or how many major productions will be delayed, shortened or scrapped.  

“We’ll stay out as long as it takes,” Josh Gad, a writer for shows including “Central Park” and an actor in films including “Frozen,” said from the Fox picket line.  

The AMPTP said in a statement that it presented an offer with “generous increases in compensation for writers as well as improvements in streaming residuals” and was prepared to improve its offer “but was unwilling to do so because of the magnitude of other proposals still on the table that the guild continues to insist upon.” 

The writers were well aware that a stoppage was likely. Yet the breakoff of contractual talks hours before a deadline that negotiations in previous years have sailed past for hours or even days, and the sudden reality of a strike, left some surprised, some worried, some determined.  

“When I saw the refusals to counter and the refusing to even negotiate by the AMPTP, I was like on fire to get out here and stand up for what we deserve,” Jonterri Gadson, a writer whose credits include “A Black Lady Sketch Show,” said on a picket line at Amazon Studios as she held a sign that read, “I hate it here.”  

All of the top late-night shows, which are staffed by writers that pen monologues and jokes for their hosts, immediately went dark. NBC’s “The Tonight Show,” Comedy Central’s “Daily Show,” ABC’s Jimmy Kimmel Live,” CBS’ “The Late Show” and NBC’s “Late Night” all made plans for reruns through the week. 

NBC’s “Saturday Night Live,” which had been scheduled to air a new episode Saturday, will also go dark and air a rerun, and the two remaining episodes in the season are in jeopardy.  

The strike’s impact on scripted series and films will likely take longer to notice — though some shows, including Showtime’s “Yellowjackets,” have already paused production on forthcoming seasons.  

If a strike persisted through the summer, fall TV schedules could be upended. In the meantime, those with finished scripts are permitted to continue shooting.  

Union members also picketed in New York, where less known writers were joined by more prominent peers like playwright and screenwriter Tony Kushner (“The Fabelmans”) and “Dopesick” creator Danny Strong. 

Some actors including Rob Lowe joined the picket lines in support in Los Angeles. Many striking writers, like Gad, are hybrids who combine writing with other roles.  

Speaking from his acting side, Gad said of his fellow writers, “We are nothing without their words. We have nothing without them. And so it’s imperative that we resolve this in a way that benefits the brilliance that comes out of each of these people.” 

The other side of his hyphenated role could be in the same space soon, with many of the same issues at the center of negotiations for both the actors union SAG-AFTRA and the Directors Guild of America. Contracts for both expire in June.  

Streaming has exploded the number of series and films that are annually made, meaning more jobs for writers. But writers say they’ve been made to make less under shifting and insecure conditions that the WGA called “a gig economy inside a union workforce.” 

The union is seeking more compensation for writers up front, because many of the payments writers have historically profited from on the back end — like syndication and international licensing — have been largely phased out by the onset of streaming. 

Galuska said she is among the writers who have never seen those kind of once common benefits.  

“I’ve had the opportunity to write on great shows that are very, very popular and not really seen the compensation for that, unfortunately,” she said.  

The AMPTP said sticking points to a deal revolved around so-called mini-rooms — the guild is seeking a minimum number of scribes per writer room — and the duration of employment contracts.  

Writers are also seeking more regulation around the use of artificial intelligence, which the WGA’s writers say could give producers a shortcut to finishing their work.  

“The fact that the companies have refused to deal with us on that fact means that I’m even more scared about it today than I was a week ago. They obviously have a plan. The things they say no to, are the things they’re planning to do tomorrow.”  
…

The union that represents U.S. film and television writers sent their members on strike Tuesday after failing to reach an agreement with studios and production companies over a new labor contract. 

The Writers Guild of America announced late Monday that their 11,500 members would put down their pens and turn off their computers at midnight Los Angeles time ((Tuesday 3:00 a.m. Washington time, 0700 GMT)) when their current contract expires.  

The union has been negotiating with the Alliance of Motion Picture and Television Producers for increased pay and stronger employment guarantees on episodic television shows as more and more scripted series are being shown on Internet-based or “streaming” platforms.   

In a statement announcing the strike, the WGA said major studios such as Walt Disney and Netflix have “created a gig economy inside a union workforce,” a reference to the growing trend of people taking on freelance jobs as opposed to permanent, full-time work.  

Streaming television platforms have transformed the entertainment industry in recent years, offering more opportunities for writers but for lesser pay on shows that run fewer episodes per season than traditional broadcast networks.  

Artificial intelligence is another issue for WGA members. The union wants to prevent studios from using AI to create scripts based on writers’ previous work. It also doesn’t want writers to be asked to work on scripts generated by AI. 

SEE ALSO: A related video by VOA’s Mike O’Sullivan

The AMPTP issued a statement saying it was prepared to offer higher pay and better royalty payments for writers for streaming shows, but that it was “unwilling to do so because of the magnitude of other proposals still on the table.” The alliance says a major point of contention is a union proposal for a show to maintain a certain number of staff writers “whether needed or not.” 

The strike is the first by the WGA in 15 years. The last walkout began in late 2007 and stretched 100 days into the next year, costing the California economy an estimated $2.1 billion. Late night talk and variety shows such as “The Tonight Show with Jimmy Fallon” and “Saturday Night Live” will go off the air immediately as their writing staffs are members of the WGA.  

Some information for this report came from The Associated Press, Reuters and Agence France-Presse.  
…

Gordon Lightfoot, Canada’s legendary folk singer-songwriter whose hits including “Early Morning Rain” and “The Wreck of the Edmund Fitzgerald” told a tale of Canadian identity that was exported worldwide, died on Monday. He was 84. 

Representative Victoria Lord said the musician died at a Toronto hospital. His cause of death was not immediately available. 

Considered one of the most renowned voices to emerge from Toronto’s Yorkville folk club scene in the 1960s, Lightfoot went on to record 20 studio albums and pen hundreds of songs, including “Carefree Highway” and “Sundown.” 

Once called a “rare talent” by Bob Dylan, dozens of artists have covered his work, including Elvis Presley, Barbra Streisand, Harry Belafonte, Johnny Cash, Anne Murray, Jane’s Addiction and Sarah McLachlan. 

Most of his songs are deeply autobiographical with lyrics that probe his own experiences in a frank manner and explore issues surrounding the Canadian national identity. 

His 1975 song “The Wreck of the Edmund Fitzgerald” chronicled the demise of a Great Lakes ore freighter, and 1966’s “Canadian Railroad Trilogy” depicted the construction of the railway. 

“I simply write the songs about where I am and where I’m from,” he once said. “I take situations and write poems about them.” 

Often described as a poetic storyteller, Lightfoot remained keenly aware of his cultural influence. It was a role he took very seriously. 

“I just like to stay there and be a part of the totem pole and look after the responsibilities I’ve acquired over the years,” he said in a 2001 interview. 

While Lightfoot’s parents recognized his musical talents early on, he didn’t set out to become a renowned balladeer. 

He began singing in his church choir and dreamed of becoming a jazz musician. At age 13, the soprano won a talent contest at the Kiwanis Music Festival, held at Toronto’s Massey Hall. 

“I remember the thrill of being in front of the crowd,” Lightfoot said in a 2018 interview. “It was a steppingstone for me…” 

The appeal of those early days stuck and in high school, his barbershop quartet, The Collegiate Four, won a CBC talent competition. He strummed his first guitar in 1956 and began to dabble in songwriting in the months that followed. Perhaps distracted by his taste for music, he flunked algebra the first time. After taking the class again, he graduated in 1957. 

By then, Lightfoot had already penned his first serious composition — “The Hula Hoop Song,” inspired by the popular kids’ toy that was sweeping the culture. Attempts to sell the song went nowhere so at 18, he headed to the U.S. to study music for a year. The trip was funded in part by money saved from a job delivering linens to resorts around his hometown. 

Life in Hollywood wasn’t a good fit, however, and it wasn’t long before Lightfoot returned to Canada. He pledged to move to Toronto to pursue his musical ambitions, taking any job available, including a position at a bank before landing a gig as a square dancer on CBC’s “Country Hoedown.” 

His first gig was at Fran’s Restaurant, a downtown family-owned diner that warmed to his folk sensibilities. It was there he met fellow musician Ronnie Hawkins. 

The singer was living with a few buddies in a condemned building in Yorkville, then a bohemian area where future stars including Neil Young and Joni Mitchell would learn their trade at smoke-filled clubs. 

Lightfoot made his popular radio debut with the single “(Remember Me) I’m the One” in 1962, which led to a number of hit songs and partnerships with other local musicians. When he started playing the Mariposa Folk Festival in his hometown of Orillia, Ontario that same year, Lightfoot forged a relationship that made him the festival’s most loyal returning performer. 

By 1964, he was garnering positive word-of-mouth around town and audiences were starting to gather in growing numbers. By the next year, Lightfoot’s song “I’m Not Sayin'” was a hit in Canada, which helped spread his name in the United States. 

A couple of covers by other artists didn’t hurt either. Marty Robbins’ 1965 recording of “Ribbon of Darkness” reached No. 1 on U.S. country charts, while Peter, Paul and Mary took Lightfoot’s composition, “For Lovin’ Me,” into the U.S. Top 30. The song, which Dylan once said he wished he’d recorded, has since been covered by hundreds of other musicians. 

That summer, Lightfoot performed at the Newport Folk Festival, the same year Dylan rattled audiences when he shed his folkie persona by playing an electric guitar. 

As the folk music boom came to an end in the late 1960s, Lightfoot was already making his transition to pop music with ease. 

In 1971, he made his first appearance on the Billboard chart with “If You Could Read My Mind.” It reached No. 5 and has since spawned scores of covers. 

Lightfoot’s popularity peaked in the mid-1970s when both his single and album, “Sundown,” topped the Billboard charts, his first and only time doing so. 

During his career, Lightfoot collected 12 Juno Awards, including one in 1970 when it was called the Gold Leaf. 

In 1986, he was inducted into the Canadian Recording Industry Hall of Fame, now the Canadian Music Hall of Fame. He received the Governor General’s award in 1997 and was ushered into the Canadian Country Music Hall Of Fame in 2001. 
…

Negotiators for Hollywood writers and film and television studios engaged in 11th-hour contract talks on Monday to try to avert a strike that would disrupt TV production across an industry grappling with seismic changes. 

The Writers Guild of America (WGA) could call a work stoppage as early as Tuesday if it cannot reach a deal with companies such as Walt Disney Co. and Netflix Inc. A strike would be the first by the WGA in 15 years. 

Writers say they have suffered financially during the streaming TV boom, in part due to shorter seasons and smaller residual payments. They are seeking pay increases and changes to industry practices that they say force them to work more for less money. 

Half of TV series writers now work at minimum salary levels, compared with one-third in the 2013-14 season, according to Guild statistics. Median pay for scribes at the higher writer/producer level has fallen 4% over the last decade. 

“The way that it’s looking now is that there won’t be a middle class in Hollywood,” said Caroline Renard, a Guild liaison and writer whose credits include the Disney Channel’s “Secrets of Sulphur Springs.”  

Artificial intelligence is another issue at the bargaining table. The WGA wants safeguards to prevent studios from using AI to generate new scripts from writers’ previous work. Writers also want to ensure they are not asked to rewrite draft scripts created by AI.  

SEE ALSO: A related video by VOA’s Mike O’Sullivan

The negotiations take place against a difficult economic backdrop for the industry. Entertainment conglomerates are under pressure from Wall Street to make their streaming services profitable, after investing billions of dollars in content to attract subscribers.  

They also are contending with declining television ad revenue, as traditional TV audiences shrink and advertisers go elsewhere. The threat of a recession also looms. 

The Alliance of Motion Picture and Television Producers (AMPTP), which represents Comcast Corp., Disney, Warner Bros Discovery, Netflix and hundreds of production companies, has said it is committed to reaching a fair agreement. 

“It’ll affect every part of the industry and people beyond the industry,” actor and director Olivia Wilde said on the red carpet at the star-studded Met Gala, just hours ahead of the midnight Pacific time expiration of the current Writers Guild contract. “But you know, we have to stand up for our rights.” Wilde added.  

“They’ve spent a lot of time thinking about what they deserve,” Wilde said. “I wish it didn’t have to come to this, but tonight at midnight, we’ll see.” 

Actor Penelope Cruz, also at the Met Gala, offered a similar sentiment: “It will affect the rhythm of things, but sometimes things have to be done to be heard.” 

Late night will take a hit  

If a strike is called, late-night shows such as “The Tonight Show with Jimmy Fallon,” “Last Week Tonight with John Oliver” and “Saturday Night Live,” which use teams of writers to craft topical jokes, are expected to immediately stop production. 

That means new episodes will not be available during their traditional TV time slots or on the streaming services that make them available the next day. 

Soap operas and other daytime shows such as “The View” will likely be disrupted. News programs would not be interrupted because those writers are members of a different union. 

Further ahead, the strike could lead to a delay of the fall TV season. Writing for fall shows normally starts in May or June. If the work stoppage becomes protracted, the networks will increasingly fill their programming lineups with unscripted reality shows, news magazines and reruns.  

Netflix may be insulated from any immediate impact because of its global focus and access to production facilities outside of the U.S.  

The last WGA strike in 2007 and 2008 lasted 100 days. The action cost the California economy an estimated $2.1 billion as productions shut down and out-of-work writers, actors and producers cut back spending. 

Studios do not want another disruption after the COVID-19 pandemic halted production worldwide for months. But budgets are tight, and a new era of fiscal austerity has dawned in Hollywood, with studios laying off thousands of employees and curtailing spending on content.  

“The writers have legitimate issues here,” said one talent agent close to the bargaining process. “But the studios and the producers have very legitimate issues also. Their stock prices are down. They’ve overspent on content. They need to show profits to their shareholders.” 
…

Aerosmith will be touring a city near you for the last time to celebrate the rock band’s 50-plus years together. 

The Rock & Roll Hall of Fame band announced Monday the dates for their farewell tour called “Peace Out” starting Sept. 2 in Philadelphia. The 40-date run of shows, which includes a stop in the band’s hometown of Boston on New Year’s Eve, will end Jan. 26 in Montreal. 

“I think it’s about time,” guitarist Joe Perry said in an interview with The Associated Press. 

Perry said the group, with frontman Steven Tyler, bassist Tom Hamilton, drummer Joey Kramer and guitarist Brad Whitford, learned from the staging and production from their recent Las Vegas residency shows. 

Perry believes the time to say goodbye is now, especially with every founding band member over the age of 70. Tyler, 75, is the oldest in the group. 

“It’s kind of a chance to celebrate the 50 years we’ve been out here,” Perry said. “You never know how much longer everybody’s going to be healthy to do this. … It’s been a while since we’ve actually done a real tour. We did that run in Vegas, which was great. It was fun, but (we’re) kind of anxious to get back on the road.” 

Tyler and Perry said the band is looking forward to digging into their lengthy catalog of the group’s rock classics including “Crazy,” “Janie’s Got a Gun” and “Livin’ on the Edge.” 

Over the years, Aerosmith, which formed in 1970, has collected four Grammys. The band broke boundaries intersecting rock and hip-hop with their epic collaboration with Run-DMC for “Walk This Way.” 

Aerosmith performed the Super Bowl halftime show in 2001 and even had their own theme park attraction in 1999 at Disney World in Florida and later in Paris with the launch of the “Rock ‘n’ Roller Coaster Starring Aerosmith” ride. 

“We’re opening up Pandora’s Box one last time to present our fans with the Peace Out tour,” Tyler said in a statement to the AP. His “Pandora’s Box” reference calls out Aerosmith’s 1991 three-disc compilation album that covered the band’s output from the 1970s to the early 1980s. 

“Be there or beware as we bring all the toys out of the attic. Get ready,” Tyler added. 

The band said Kramer decided to not take part in the current dates on the upcoming tour. He’s still a part of the group, but the drummer has been on leave to “focus his attention on his family and health” since their Vegas residency last year. Drummer John Douglas will continue to play in his place. 

Perry called Kramer their brother. The band said his “legendary presence behind the drum kit will be sorely missed.” 

Before the 40-date tour wraps, Perry said other cities domestically and internationally could be added. 

“It’s the final farewell tour, but I have a feeling it will go on for a while,” he said. “But I don’t know how many times we’ll be coming back to the same cities. It could very possibly be the last time.” 
…

Ten years ago, Native American photographer Matika Wilbur embarked on a road trip with an ambitious goal to document all 562 federally recognized Indigenous tribes. Her multiyear work culminated in a new book aiming to change the way people see Native Americans. She launched her book tour in her home state of Washington. VOA’s Natasha Mozgovaya has more from Seattle.
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“The Super Mario Bros. Movie” led ticket sales for the fourth straight weekend in U.S. and Canadian theaters with $40 million as the global haul for the Universal Pictures release surpassed $1 billion, according to studio estimates Sunday.

The Nintendo videogame adaptation dominated the month of April in theaters, smashing records along the way. Over the weekend, it faced little new competition, though that will change next week when Marvel’s “Guardians of the Galaxy Vol. 3” kicks off the summer movie calendar and is expected to move Mario to the side. Studios spent the last week at CinemaCon in Las Vegas promoting coming blockbusters and promising big returns at the summer box office.

“The Super Mario Bros. Movie” was estimated to easily cross $1 billion in worldwide box office Sunday, making it the 10th animated film to reach that milestone and the first since 2019. With a domestic total thus far of $490 million, international sales are even stronger. The Illumination-animated release took in $68.3 million overseas over the weekend, pushing its international haul to $532.5 million.

Second place went to “Evil Dead Rise.” The horror sequel from Warner Bros. held well in its second week, especially for a horror film, dipping 50% with $12.2 million.

Among the weekend’s newcomers, the Judy Blume adaptation “Are You There God? It’s Me, Margaret” fared the best. The Lionsgate release grossed $6.8 million in 3,343 locations, a decent start for the $30 million-budgeted coming-of age tale written and directed by Kelly Fremon Craig (“The Edge of Seventeen”).

As expected, “Are You There God? It’s Me, Margaret,” about an 11-year-old (Abby Ryder Fortson) going through puberty, drew an overwhelming female audience. With stellar reviews (99% fresh on Rotten Tomatoes) and strong audience scores (an “A” CinemaScore), “Are You There God? It’s Me Margaret,” should play well through Mother’s Day.

Lionsgate also released the Finnish action movie “Sisu” in 1,006 locations. The film, about a prospector (Jorma Tommila) whose gold is stolen by Nazis, grossed an estimated $3.3 million. That was a solid result for the rare international film to receive a nationwide opening. Reviews have been good (93% fresh on Rotten Tomatoes) for writer-director Jalmari Helander’s film.

“Sisu” managed to surpass the weekend’s most heavyweight new release: “Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World.” The film, from Sony’s Christian production company Affirm Films, gives a faith-based twist to the sports biopic. But after getting dinged by bad review, it didn’t punch very hard, with $3 million in 3,054 theaters.

Nida Manzoor’s “Polite Society,” about a British-Pakistani high-schooler (Priya Kansara) with dreams of becoming a stuntwoman, debuted with $800,000 in 927 theaters. The Focus Features film, one of the standouts of January’s Sundance Film Festival, blends kung-fu with Jane Austen in a story about London sisters.

One of the weekend’s biggest successes was a familiar box-office force. The Walt Disney Co.’s rerelease of “Star Wars: Return of the Jedi” grossed $4.7 million in just 475 theaters. Disney put “Jedi” (the 1997 special edition version) back into theaters to commemorate the 1983 film’s 40th anniversary.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “The Super Mario Bros. Movie,” $40 million.

2. “Evil Dead Rise,” $12.2 million.

3. “Are You There, God? It’s Me, Margaret,” $6.8 million.

4. “John Wick: Chapter 4,” $5 million.

5. “Star Wars: Return of the Jedi,” $4.7 million.

6. “Dungeons and Dragons: Honor Among Thieves,” $4.1 million.

7. “Air,” $4 million.

8. “Ponniyin Selvan: Part Two,” $3.6 million.

9. “The Covenant,” $3.6 million.

10. “Sisu,” $3.3 million.
    …

The American Library Association says there were a record number of demands to censor U.S. library books last year, nearly double the challenges from the previous year. For VOA, Deana Mitchell takes us to a Texas town that is considering closing its library to block a court ruling ordering the return of banned books.
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Ever since missionaries started building churches out of mud 400 years ago in what was the isolated frontier of the Spanish empire, tiny mountain communities like Cordova relied on their own resources to keep the faith going.

Thousands of miles from religious and lay seats of power, everything from priests to sculptors to paint pigments was hard to come by. Villagers instituted lay church caretakers called “mayordomos,” and filled chapels with elaborate altarpieces made of local wood.

Today, threatened by depopulation, dwindling congregations and fading traditions, some of their descendants are fighting to save these historic adobe structures from literally crumbling back to the earth they were built with.

“Our ancestors put blood and sweat in this place for us to have Jesus present,” said Angelo Sandoval on a spring day inside the 1830s church of St. Anthony, where he serves as mayordomo. “We’re not just a church, we’re not just a religion — we have roots.”

These churches anchor a uniquely New Mexican way of life for their communities, many of which no longer have schools or stores, and struggle with chronic poverty and addiction. But it’s becoming increasingly difficult to find the necessary resources to preserve the estimated 500 Catholic mission churches, especially since most are used for only a few services each year.

“When the faithful generation is gone, are they going to be a museum or serve their purpose?” said the Rev. Rob Yaksich, pastor of Our Lady of Sorrows in Las Vegas, New Mexico, which oversees 23 rural churches. “This old, deep-rooted Spanish Catholicism is experiencing serious disruption.”

‘It’s our job now’

In the hamlet of Ledoux, Fidel Trujillo is mayordomo of the pink-stucco San Jose church, which he keeps spotless even though few Masses are celebrated here regularly.

“Our ‘antepasados’ (ancestors) did a tremendous job in handing over the faith, and it’s our job now,” Trujillo said in the characteristic mix of Spanish and English that most speak in this region. “I much prefer coming to these ‘capillas’ (chapels). It’s a compass that guides where your heart really belongs.”

Each mission church is devoted to a particular saint. When New Mexico’s largest wildfire last spring charred forests less than 100 yards from San Jose church, and Trujillo was displaced for a month, he took the statue of St. Joseph with him.

“Four hundred years ago, life was very difficult in this part of the world,” explained Felix Lopez, a master “santero” — an artist who sculpts, paints and conserves saint figures in New Mexico’s unique devotional style. “People needed these ‘santos.’ They were a source of comfort and refuge.”

In intervening centuries, most were stolen, sold or damaged, according to Bernadette Lucero, director, curator and archivist for the Archdiocese of Santa Fe.

“Saints are the spiritual go-to, they can be highly powerful,” said Victor Goler, a master santero who just completed conserving the altarpieces, or “reredos,” in Las Trampas’ mid-18th century church.

On a recent Sunday at Truchas’ 1760s Holy Rosary church, Lopez pointed out the rich decorative details that centuries of smoke and grime had hidden until he meticulously removed them with the absorbent inside of sourdough bread.

“I’m a devout Catholic, and I do this as meditation, as a form of prayer,” said Lopez, who’s been a santero for five decades and whose family hails from this village perched on a ridge at 7,000 feet (2,100 meters).

Faith that support will come

For the Rev. Sebastian Lee, who as administrator of the popular Santuario de Chimayo complex a few miles away also oversees these mission churches, fostering local attachment is a daunting challenge as congregations shrink even faster since the COVID-19 pandemic.

“I want missions to be where people can taste culture and religiosity. They’re very healing, you’re soaked with people’s faith,” Lee said. “I wonder how to help them, because sooner or later one mission is not going to have enough people.”

The archdiocese’s Catholic Foundation provides small grants, and several organizations have been founded to help conservation efforts.

Exposed to rain and snow, adobe needs a fresh replastering of dirt, sand and straw every couple of years lest it dissolve.

That makes local buy-in and some kind of ongoing activity, even just funerals, fundamental to long-term preservation, said Jake Barrow, program director at Cornerstones, which has worked on more than 300 churches and other structures.

But with fewer priests and fewer faithful, taking some rural missions off the church’s roster might be inevitable, said the Rev. Andy Pavlak, who serves on the archdiocese’s commission for the preservation of historic churches.

Not everyone agrees. Running his hand over the smooth adobe walls he restored at the 1880s Santo Nino de Atocha chapel in Monte Aplanado, a hamlet nestled in a high mountain valley, Leo Paul Pacheco argued that the answer might hinge on the faith of future generations of lay people like him.

“They still have access to the same dirt,” Pacheco said as the adobe walls’ sand particles and straw sparkled in the sun. “They will provide.”
…

A U.S.-sponsored youth festival opened Saturday in Ethiopia with the theme “Be Inspired, Own Your Future.” The two-day festival is being held just months after a bloody two-year civil war ended in Ethiopia’s Tigray region and as peace talks begin with the rebel Oromo Liberation Army (OLA).

Nearly 20,000 youth from around the country are expected to take part over two days.

U.S. Ambassador to Ethiopia Tracey Ann Jacobson spoke about the importance of the festival during her opening remarks.

“The point of it is to provide job opportunities, to provide access to loans, to provide better opportunities for leadership and health care for young people throughout Ethiopia,” she said, “and I have seen it grow from a tiny seed that we started in March to this amazing program that we have today.”

Ethiopian Minister for Women and Social Affairs Ergoge Tesfaye spoke at the event about addressing the vulnerabilities of young people.

“Government and non-governmental institutions, other members of the community, as well as the youth themselves, need to understand that they are exposed to a variety of problems along with this untapped potential and providing necessary solutions and steps is expected from all of us,” she said.

Last week, the Ethiopian government started talks with representatives of the OLA in Tanzania after years of protracted communal conflict in Ethiopia’s Oromia region.

Entrepreneurs and creative individuals from across 17 cities in Ethiopia are showcasing their work at the Addis Ababa festival, but the event did not have representatives from the Tigray region because of the war’s impact.

Boni Bekele, from the Oromia region, had a booth for a clothing design shop at the market fair within the festival.

He said that he used to be able to work across the country in previous years but not anymore.

The government has made millions of young people lose hope, he said. But their strengths should be used, he said, and not just as soldiers, because that won’t transform a country. It’s philosophy, science and skills that can change a country, he said, adding that this must be a priority.

The youth festival also featured a tech village and an art gallery.

One of the artists presenting her work was 23-year-old Melat Shiferaw, who came from Dire Dawa in the eastern part of Ethiopia.

For her, though the current environment in the country is not encouraging, she hopes things will soon fall into place.

As humans, she said, we live not just thinking about today, but what we hope for tomorrow, hoping tomorrow will be better.

The festival, supported by USAID for five years, is expected to include participants from Tigray in coming years, as organizers finalize a post-conflict assessment in the region.
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