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A court run by Yemen’s Iran-backed rebels on Sunday upheld a five-year sentence against a female actor and one of her companions who were convicted of committing an indecent act and having drugs in her possession, her lawyer said.

The arrest of Intisar al-Hammadi and the three other women in February 2021 — as well as the court proceedings against them — have been widely criticized by international rights groups. The case has mirrored widespread Houthi repression and crackdown on women in areas they control in war-torn Yemen.

Al-Hammadi and one of the women were first sentenced in November 2021 to five years. The other two were handed one and three years in prison, respectively.

The Court of Appeals in the Houthi-held capital of Sanaa upheld the sentences against al-Hammadi and Yousra al-Nashri, who was also handed a five-year sentence, according to lawyer Khalid al-Kamal, who represents all four women.

Al-Hammadi, who is also a model, was born to a Yemeni father and an Ethiopian mother. She has worked as a model for four years and acted in two Yemeni soap drama series in 2020. She was the sole breadwinner for her four-member family, including her blind father and a disabled brother.

Human Rights Watch has previously criticized the court proceedings as “marred with irregularities and abuse.” It said the Houthis confiscated al-Hammadi’s phone and “her modeling photos were treated like an act of indecency.”

Yemen has been convulsed by civil war since 2014 when Iran-backed Houthi rebels seized the capital of Sanaa, forcing the internationally recognized government to flee to the south, then to Saudi Arabia. A Saudi-led coalition entered the war in March 2015 to try to restore the government to power.

In the Houthi-held areas, women who dare dissent, or even enter the public sphere, have become targets in an escalating crackdown by the Iran-backed rebels.
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There is no bigger cheerleader of awards season than Richard E. Grant. 

He brings joy to the red carpet, snapping selfies with stars and posting congratulations to nominees on social media. 

Now this enthusiasm has been tapped to host the EE BAFTA Film Awards on February 19 at the Royal Festival Hall. 

“I’m an unabashed fan of movies and of talent and always have been. I’ve never been disingenuous or, you know, blasé about that,” he says. “I probably have to restrain myself from permanently taking selfies with every nominee and winner coming up on the stage.” 

“From that point of view, I am the right fit for the job, hopefully,” he says. 

Grant also knows how it feels to participate in awards season and sit, nervously, waiting for that career changing envelope to be opened. He was nominated as supporting actor at both the BAFTAs and Oscars in 2019 for “Can You Ever Forgive Me?” 

And he’s aware that, as a working actor, hosting has its challenges. 

“Traditionally if you’re a comedian, your role is very clear to roast the audience. Whereas I’m an actor and, you know, even though I’m the vast vintage that I am now, I still want to work and collaborate with directors and actors and writers for the remainder of my breathing days. So roasting them is not really an option and not something that I want to do.” 

When asked if there will be any humor in the ceremony — Grant has jokes. 

“No, it’s going to be very, very serious. There’ll be no jokes and it will be … it’ll be brutally earnest,” he says, laughing. 

Rebel Wilson got mixed reviews for her joke heavy turn as the BAFTA ceremony emcee last March, which at one point involved a cake of Benedict Cumberbatch’s face. 

This year, “All Quiet on the Western Front” leads the nominees with 14. “The Banshees of Inisherin” and “Everything Everywhere All at Once” both have 10 nominations. 

As you’d expect, Grant knows quite a few of the nominees, having worked with EE Rising Star nominees Naomi Ackie and Daryl McCormack, plus Bill Nighy, Cate Blanchett and most of the “Banshees” cast. 

But there will be big changes at the BAFTA Film Awards ceremony this year. 

After six years of walking up the red carpeted steps into the Royal Albert Hall, nominees will be attending an event held beside the River Thames on London’s Southbank at the Royal Festival Hall. 

Also, for the first time, the last 30 minutes of the show will be broadcast live on BBC One, as BAFTA moves towards the idea of a fully live ceremony. 

“In an age where everything can be paused or fast forwarded or, you know, watched on at a later time, the thing of it being live gives it a kind of frisson and excitement and also the possibility that something can go fantastically well or really badly. And that’s always a good thing,” Grant says. 

British rapper Lil Simz will be performing at the ceremony and both the prince and princess of Wales will be in the audience, as he is president of the British Academy of Film and Television Arts. 

Grant, currently working with script writers on what he’ll be saying on stage, claims he’s more excited than nervous, adding he’ll probably be “levitating” on the big day. 

“It is absolutely genuine,” he says of his boundless enthusiasm, “and it’s to the annoyance of some people.” 

“Just surviving in show-business because it is, you know — for what it looks like from the outside — it is a profession that is has an enormous amount of rejection in built into it. So when people are recognized or succeed at what they’re doing and do it so brilliantly — I’m a great champion of that,” Grant said. 
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A halftime show that Rihanna promises will be “jam-packed” will sit at the center of the celebrity supplements to Super Bowl 57. 

But the 13-minute mini-extravaganza, her first live event in seven years, is only one part of the entertainment sideshow surrounding Sunday’s big game between the Philadelphia Eagles and Kansas City Chiefs at State Farm Stadium in Glendale, Arizona. 

Chris Stapleton, who has dominated country music awards in recent years, will take on the challenge, and scrutiny, of singing the national anthem. 

“The national anthem’s not an easy song for singers. It’s one that can go horribly wrong as we’ve seen many times in the past,” Stapleton said at a media event during the leadup to the game. “But if you’re gonna do it, this is the place to do it. I’m gonna go out there and play. And play it like I play it.” 

The length of the anthem has become one of the countless game elements up for betting. Oddsmakers have put the over-under on Stapleton’s “Star Spangled Banner” at 2 minutes, 5 seconds. 

This being the Super Bowl, one anthem is not enough. R&B legend Babyface will perform “America the Beautiful.” 

And “Abbot Elementary” star Sheryl Lee Ralph will sing what’s been dubbed the Black national anthem, “Lift Every Voice and Sing.” 

Famous faces are bound to be seen throughout the stands. Some will care more about the outcome than others. The Eagles count Kevin Hart and “It’s Always Sunny in Philadelphia” star Rob McElhenney among their biggest fans. Paul Rudd and Jason Sudeikis pull hard for the Chiefs. 

Many stars have made the scene at Super Bowl week parties. 

And many others, including John Travolta and Alicia Silverstone, will show up in the big game’s big commercials. 
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Visitors to one of Florence’s most iconic monuments — the Baptistry of San Giovanni, opposite the city’s Duomo — are getting a once-in-a-lifetime chance to see its ceiling mosaics up close thanks to an innovative approach to a planned restoration effort.

Rather than limit the public’s access during the six-year cleaning of the vault, officials built a scaffolding platform for the art restorers that will also allow small numbers of visitors to see the ceiling mosaics at eye level.

“We had to turn this occasion into an opportunity to make it even more accessible and usable by the public through special routes that would bring visitors into direct contact with the mosaics,” Samuele Caciagli, the architect in charge of the restoration site, said.

In an interview with The Associated Press, Caciagli called the new scaffolding tour of the baptistry vault “a unique opportunity that is unlikely to be repeated in the coming decades.”

The scaffolding platform sprouts like a mushroom from the floor of the baptistry and reaches a height of 32 meters (105 feet) from the ground. Visits are set to start Feb. 24 and must be reserved in advance.

The octagonal-shaped baptistry is one of the most visible monuments of Florence. Its exterior features an alternating geometric pattern of white Carrara and green Prato marble and three great bronze doors depicting biblical scenes.

Inside, however, are spectacular mosaic scenes of The Last Judgment and John the Baptist dating from the 13th century and created using some 10 million pieces of stone and glass over 1,000 square meters of dome and wall.

The six-year restoration project is the first in over a century. It initially involves conducting studies on the current state of the mosaics to determine what needs to be done. The expected work includes addressing any water damage to the mortar , removing decades of grime and reaffixing the stones to prevent them from detaching.

“(This first phase) is a bit like the diagnosis of a patient: a whole series of diagnostic investigations are carried out to understand what pathologies of degradation are present on the mosaic material but also on the whole attachment package that holds this mosaic material to the structure behind it,” Beatrice Agostini, who is in charge of the restoration work, said.

The Baptistry of San Giovanni and its mosaics have undergone previous restorations over the centuries, many of them inefficient or even damaging to the structure. During one botched effort in 1819, an entire section of mosaics detached. Persistent water damage from roof leaks did not get resolved until 2014-2015.

Roberto Nardi, director of the Archaeological Conservation Center, the private company managing the restoration, said the planned work wouldn’t introduce any material that is foreign to the original types of stone and mortar used centuries ago.

“It is a mix of science, technology, experience and tradition,” he said.

The origins of the baptistry are something of a mystery. Some believe it was once a pagan temple, though the current structure dates from the 4th or 5th centuries.
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As legal sports gambling proliferates, the number of Americans betting on the Super Bowl and the total amount they’re wagering is surging — although most of the action is still off the books. 

An estimated 1 in 5 American adults will make some sort of bet, laying out a whopping $16 billion, or twice as much as last year, according to an industry trade group. 

Even as legal gambling has spread to two-thirds of U.S. states, independent analysts say only about $1 billion of the total being wagered on Sunday’s game will happen through casinos, racetracks or companies such as FanDuel and DraftKings, whose ads have become ubiquitous during sporting events. 

The vast majority of people, in other words, are still betting with friends and family, participating in office pools or taking their chances with a bookie. 

More than 50 million American adults are expected to bet on the national championship game between the Philadelphia Eagles and the Kansas City Chiefs, according to the American Gaming Association, whose estimates are based on a nationwide online survey of 2,199 adults. That’s an increase of 61% from last year. 

Experts in addiction say aggressive advertising is contributing to a rise in problem gambling. 

“As sports betting expands, the risk of gambling problems expands,” said Keith Whyte, executive director of the National Council on Problem Gambling. 

Thirty-three states, plus Washington, D.C., now offer legal sports betting, and more than half of all American adults live in one of those markets. 

“Every year, the Super Bowl serves to highlight the benefits of legal sports betting,” said Bill Miller, the gambling association’s president and CEO. “Bettors are transitioning to the protections of the regulated market … and legal operators are driving needed tax revenue to states across the country.” 

But legal sports betting still represents just a small piece of the pie. 

Eilers & Krejcik Gaming Research, an independent analytics firm in California, estimates that just over $1 billion of this year’s Super Bowl bets will be made legally. The leading states are: Nevada ($155 million); New York ($111 million); Pennsylvania ($91 million); Ohio ($85 million) and New Jersey ($84 million). 

The research firm estimates 10% to 15% of that total would be wagered live after the game begins. Another 15% to 20% would come in the form of same-game parlays, or a combination of bets involving the same game, such as betting on the winner, the total points scored and how many passing yards Eagles quarterback Jalen Hurts will accumulate. 

As legal sports betting grows, so too has concern about its effect on people with gambling problems.

The National Council on Problem Gambling has conducted nationwide surveys since 2018, when New Jersey won a U.S. Supreme Court case clearing the way for all 50 states to offer legal sports betting. They ask questions like, “Do you ever borrow money to gamble?”

Between 2018 and 2021, the number of people whose answers indicated they were at risk of a gambling problem increased by 30%, said Whyte, the council’s executive director. 

He added that the Super Bowl presents an opportunity to see how well responsible gambling messaging and campaigns by sports books and professional sports leagues are working. 

On Tuesday, New Jersey gambling regulators unveiled new requirements for sports books to analyze the data they collect about their customers to look for evidence of problem gambling, and to take various steps to intervene with these customers when warranted. 

“It is no coincidence that our announcement comes just a week ahead of one of the biggest days in sports wagering, serving as a reminder of how devastating a gambling addiction can be,” New Jersey Attorney General Matthew Platkin said.
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Australia has nominated a culturally sensitive Aboriginal area that is home to the world’s largest collection of rock art for United Nations heritage protection. 

The Burrup Peninsula, 1,500 kilometers north of Perth, the Western Australian state capital, has 50,000 years of First Nations history, including millions of a type of rock carving called petroglyphs.  

It is the world’s densest known concentration of hunter-gatherer petroglyphs.

The site has been nominated as a United Nations World Heritage site.  If accepted by UNESCO, it would become the second site in Australia listed for World Heritage for its Aboriginal cultural heritage. 

Environment and Water Minister Tanya Plibersek told reporters Friday the site is a “natural wonder of the world.”

“This place has to be protected forever, and it has to be managed for the benefit of people who have connection to it but managed for the benefit of all of humanity,” said Plibersek.

Reece Whitby, Western Australia’s environment minister, told the Australian Broadcasting Corp. on Friday that the region has global significance.

“It is putting it on par with such things as Stonehenge and the Great Wall of China, and I think it deserves that status,” said Whitby. “So, this is very important and it is a very emotional and important day for local traditional owners here.”  

The peninsula is also home to a huge fertilizer plant. Indigenous campaigners have blamed industrial emissions for damaging the region’s ancient art.   

A federal investigator is assessing the claims that First Nations heritage is under threat. 

However, resources company Woodside, which operates in the region, has disputed any risk to its ancient heritage.  It said in a statement that it had “demonstrated its ability to work alongside Aboriginal people and the heritage values of the peninsula.”

The site’s inclusion on the U.N. World Heritage List is expected to be considered by the World Heritage Committee next year.  
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When Enrique Vera opens the door to his workshop, an array of gleaming gold and silver matadors’ jackets shine in the sun.

“It is little bit like a cave full of treasure,” he says.

Vera painstakingly fashions the brilliant trajes de luces (suits of lights) which are worn by bullfighters when they face half-ton bulls in the ring.

One of only seven sastres (bullfighting tailors) in the world, he used to be a matador. But he swapped the sword used to kill the bull for a needle and followed a family tradition to become a tailor.

The iconic status of the matador’s suit has meant it has passed from the bullring to mainstream popular culture.

Vera and his mother, Nati, also a seamstress, were called on to make matadors suits for films and the catwalk, working with Pink Panther star Peter Sellers, designer John Paul Gaultier and the late ballet dancer Rudolf Nureyev.

From the moment a matador steps through the door into Vera’s office in Seville, southern Spain, it sets in motion an intricate process of measuring, sewing, ironing, and finally fitting the suits which can cost as much as $6,000 each.

Meticulous process

Vera’s team of 15 specialist seamstresses spend a-month-and-a-half making each suit, which is made to measure. Up to 300 drawings are made before a suit is finished.

The golden, blue or red jackets, trousers and capotes de paseo — the huge cape which the bullfighter carries when he emerges into the ring — are filled with rhinestones, beads and gold or silver thread.

One essential quality is all Vera’s suits must withstand bloodstains — from the bull or the matador.

“It is like drawing a work of art. You must capture the vision of the bullfighter for his suit, then make it a reality. It must be like a second skin,” Vera says in an office filled with photographs of famous bullfighters wearing his creations.

Ancient art dying?

But as attitudes toward bullfighting change in Spain, confecting these suits, whose design has remained the same for the past 150 years, is an art in decline.

Some Spaniards consider bullfighting to be an essential part of the culture, while others say it is a cruel spectacle.

In recent years, the number of bullfights has declined partly because of the pandemic, but also because Spaniards have a raft of different ways to amuse themselves and the animal rights movement is on the rise.

“The problem is that we have changed the concept of animals to humanize them. There is no one more environmentally conscious than breeders of fighting bulls,” Vera told VOA.

“The bulls spend three or four years living free. They are not being slaughtered for meat. But there are plenty of bullfights in Spain, Latin America, and France.”

He was not so sure, however, about his own job.

“There are less sastres because it takes a lot of time. The older ones are retiring and not being replaced,” he admitted. He hopes his 14-year-old son will follow him into the trade.

Polls show less support for bullfighting in recent years.

Some 46.7% of Spaniards were in favor of prohibiting bullfighting, while 18.6% backed the tradition and 34.7% had no opinion, according to a 2020 survey for Electomania, a polling company.

The number of bullfights fell from 1,553 in 2017 compared to 824 in 2021, according to government figures. Only 8% of the population attended bullfights in 2018-2019, compared to 45% who said they went to the theater or 70.3% who said they spent spare time reading.

The first bullfight in Spain was held in 711 A.D. in honor of King Alfonso VIII. Originally, the pastime was reserved for the nobility and took place on horseback. The present version of bullfighting started in Ronda at the start of the 19th century.

A bill to end bullfighting in France failed last year after a member of parliament withdrew the proposed legislation. Portugal allows fights where the bull does not die.

In Latin America, the tradition has been banned in some Mexican states, but is still legal in Peru, Colombia, Venezuela, Ecuador and Bolivia.

Tradition breaking

Paco Ramos, who runs trajesdeluces.com, which sells second-hand suits of lights, fears a younger generation of tailors may not emerge to replace the likes of Vera.

“For younger people it takes too long to make each suit and is too much work. But for now, there are not many tailors and there is enough demand,” he told VOA.

However, he was confident there was no chance bullfighting would be banned any time soon.

In 2013, the then conservative government introduced a law which declared bullfighting part of the national heritage which should be protected throughout Spain, effectively preventing any attempts to ban the practice.

Animal rights groups are planning to challenge the legal protection of bullfighting by introducing a bill through a people’s petition.

Marta Esteban, president of Torture Is Not Culture, an animal rights collective, told VOA she believed that public opinion was behind banning bullfighting.

“There is no doubt that it is coming to an end, but governments are not willing to give it a coup de grace,” she said.

Aldara Arias de Saavedra, a tour guide who grew up within the shadow of La Maestranza bullring in Seville, has never been to a bullfight.

“I can understand why some people like it. My father did. But it is not for me. You have to kind of grow up with it to be into it. It is like football, I suppose,” she told VOA.

Walk around the narrow streets near the bullring and there is a mini-economy which depends on this pastime, from bars to restaurants to those selling souvenirs like fake suits of lights.

“I think down here in the south, not everyone will go to bulls, but it is so associated with the big ferias and smaller ones in villages that it is not going to be banned soon,” said Marcos Alvarez, a cinematographer.

 
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Scientists have a mystery on their hands after the discovery of 330 stone tools about 2.9 million years old at a site in Kenya, along Lake Victoria’s shores, that were used to butcher animals, including hippos, and pound plant material for food.

Which of our prehistoric relatives that were walking the African landscape at the time made them? The chief suspect, researchers said on Thursday in describing the findings, may be a surprise.

The Nyayanga site artifacts represent the oldest-known examples of a type of stone technology, called the Oldowan toolkit, that was revolutionary, enabling our forerunners to process diverse foods and expand their menu. Three tool types were found: hammerstones and stone cores to pound plants, bone and meat, and sharp-edged flakes to cut meat.

To put the age of these tools into perspective, our species Homo sapiens did not appear until roughly 300,000 years ago.

Scientists had long believed Oldowan tools were the purview of species belonging to the genus Homo, a grouping that includes our species and our closest relatives. But no Homo fossils were found at Nyayanga. Instead, two teeth – stout molars – of a genus called Paranthropus were discovered there, an indication this prehistoric cousin of ours may have been the maker.

“The association of these Nyayanga tools with Paranthropus may reopen the case as to who made the oldest Oldowan tools. Perhaps not only Homo, but other kinds of hominins were processing food with Oldowan technology,” said anthropologist Thomas Plummer of Queens College in New York City, lead author of the research published in the journal Science.

The term hominin refers to various species considered human or closely related.

“When our team determined the age of the Nyayanga evidence, the perpetrator of the tools became a ‘whodunit’ in my mind,” said paleoanthropologist and study co-author Rick Potts, director of the Smithsonian National Museum of Natural History’s Human Origins Program. “There are several possibilities. And except for finding fossilized hand bones wrapped around a stone tool, the originator of the early Oldowan tools may be an unknown for a long time.”

The molars represent the oldest-known fossils of Paranthropus, an upright-walker that combined ape-like and human-like traits, possessing adaptations for heavy chewing, including a skull topped with a bony ridge to which strong jaw muscles were attached, like in gorillas.

Other hominins existing at the time included the genus Australopithecus, known for the famous even-older fossil “Lucy.”

“While some species of nonhuman primates produce technologies that assist in foraging, humans are uniquely dependent on technology for survival,” Plummer said.

All later developments in prehistoric technologies were based on Oldowan tools, making their advent a milestone in human evolution, Potts said. Rudimentary stone tools 3.3 million years old from another Kenyan site may have been an Oldowan forerunner or a technological dead-end.

The Nyayanga site today is a gully on Homa Mountain’s western flank along Lake Victoria in southwestern Kenya. When the tools were made, it was woodland and grassland along a stream, teeming with animals.

Until now, the oldest-known Oldowan examples dated to around 2.6 million years ago, in Ethiopia. The species Homo erectus later toted Oldowan technology as far as Georgia and China.

Cut marks on hippopotamus rib and shin bones at Nyayanga were the oldest-known examples of butchering a very large animal – called megafauna. The researchers think the hippos were scavenged, not hunted. The tools also were used for cracking open antelope bones to obtain marrow and pounding hard and soft plant material.

Fire was not harnessed until much later, meaning food was eaten raw. The researchers suspect the tools were used to pound meat to make it like “hippo tartare.”

“Megafauna provide a super abundance of food,” Plummer said. “A hippopotamus is a big leather sack full of good things to eat.”
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