YCLOAK

VATICAN CITY — The Vatican crossed a key milestone Thursday in the runup to its 2025 Jubilee with the promulgation of the official decree establishing the Holy Year. It’s a once-every-quarter-century event that is expected to bring some 32 million pilgrims to Rome and has already brought months of headaches to Romans.

Pope Francis presided over a ceremony in the atrium of St. Peter’s Basilica for the reading of the papal bull, or official edict, that laid out his vision for a year of hope: He asked for gestures of solidarity for the poor, prisoners, migrants and Mother Nature.

“Hope is needed by God’s creation, gravely damaged and disfigured by human selfishness,” Francis said in a vigil service afterward. “Hope is needed by those peoples and nations who look to the future with anxiety and fear.”

The pomp-filled event, attended by cardinals, bishops and ordinary faithful, kicked off the final seven-month dash of preparations and public works projects to be completed by December 24, when Francis opens the basilica’s Holy Door and formally inaugurates the Jubilee.

In a novelty, Francis announced in the papal bull that he would also open a Holy Door in a prison “as a sign inviting prisoners to look to the future with hope and a renewed sense of confidence.”

For the Vatican, the Holy Year is a centuries-old tradition of the faithful making pilgrimages to Rome to visit the tombs of Saints Peter and Paul, and receiving indulgences for the forgiveness of their sins in the process. For the city of Rome, it’s a chance to take advantage of some 4 billion euros ($4.3 billion) in public funds to carry out long-delayed projects to lift the city out of years of decay and neglect.

“In a beautiful city, you live better,” said the Vatican’s Jubilee point-person, Archbishop Renato Fisichella, who himself is not indifferent to the added bonus of Jubilee funding. “Rome will become an even more beautiful city, because it will be ever more at the service of its people, pilgrims and tourists who will come.”

Pope Boniface VIII declared the first Holy Year in 1300, and now they are held every 25 years. While Francis called an interim one devoted to mercy in 2015, the 2025 edition is the first big one since St. John Paul II’s 2000 Jubilee, when he ushered the Catholic Church into the third millennium.

As occurred in the runup to 2000, pre-Jubilee public works projects have overwhelmed Rome, with flood-lit construction sites operating around the clock, entire swaths of central boulevards rerouted and traffic snarling the city’s already clogged streets.

The Tiber riverfront for much of the city center is now off limits as work crews create new parks. Piazzas are being repaved, bike paths charted and 5G cells built. The aim is to bring the Eternal City up to par with other European capitals and take advantage of the 1.3 billion euros ($1.4 billion) in special Jubilee funding and some 3 billion euros ($3.2 billion) more in other public and post-pandemic EU funds that are available.

“It’s really putting our patience to the test,” said Tiziana Cafini, who operates a tobacco shop near the Pantheon and says she has taken to walking to work rather than riding a bus into the city center because it gets stuck in traffic. “And it’s not just in the center. There are an infinite number of construction sites all around Rome.”

Though she knows the discomfort will be worth it in the end, the end is still pretty far off. In addition to the Jubilee construction, there’s a longer-term, separate project to extend Rome’s Metro C subway line into Rome’s historic center which has encountered years of delays thanks to archaeological excavations of ancient Roman ruins that must be completed first.

For the next four years at least, central Piazza Venezia and its Imperial Forum-flanked boulevard to the Colosseum are scheduled to be congested and blighted by giant, 14-meter-high green silos that are needed for the subway drilling operation.

“We’re upset, but we’re Romans, we’ll make do,” Cafini said.

Rome Mayor Roberto Gualtieri said recently he was satisfied with the pace of the Jubilee works so far, noting that they got off to a months-delayed start due to the 2022 collapse of Premier Mario Dragi’s government.

But Gualtieri promised they would be completed on time. And in a nod to Romans and tourists who have suffered from the traffic chaos and acute shortage of taxis already, he promised that an extra 1,000 taxi licenses had been approved and would be in use by December.

Yet as of late last month, only two of the 231 city projects had been completed; 57 were under way and another 44 were expected to be started by the end of May, Gualtieri told reporters. Another 18 are up for bids, seven have been assigned, 90 are planned. Thirteen have been canceled.

“We have recovered a lot from the initial delay,” Gualtieri told the foreign press association, adding that he expected the “essential” projects to be completed on time. Other projects were always planned to take longer than the Jubilee but were lumped into the overall project to take advantage of the accelerated timeframe.

The most significant project, and one that has caused the greatest traffic disruption to date, is a new Vatican-area piazza and pedestrian zone connecting Castel St. Angelo with the Via della Conciliazione boulevard that leads to St. Peter’s Square.

Previously, a major thoroughfare divided the two landmarks, causing an unsightly and pedestrian-unfriendly barrier.

The new works call for a tunnel to divert the oncoming traffic underneath the new pedestrian piazza. But that project required re-routing and replacing a huge underground sewage system first, which has only recently been completed. Now crews are working through the night to try to complete the tunnel in time.
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MALMO, Sweden — Switzerland won the Eurovision Song Contest 2024 on Saturday in the Swedish host city Malmo, beating runner-up Croatia.  

Billed as a feel-good celebration of European diversity, this year’s contest was thrust into the political spotlight with calls for Israel to be excluded because of its military campaign in Gaza, triggered by Hamas’ deadly attack on October 7 in Israel.  

Swiss rapper and singer Nemo, 24, won the contest with “The Code,” a drum-and-bass, opera, rap and rock song about Nemo’s journey of self-discovery as a non-binary person. 

“I hope this contest can live up to its promise and continue to stand for peace and dignity for every person in this world,” Nemo said, after receiving the Eurovision trophy on stage. 

“To know that a song that has changed my life and a song where I just speak about my story has touched so many people and maybe inspired other people to stay true to their story is the most insane thing that has ever happened to me,” Nemo said later during a press conference. 

Swiss sing along

Cheers of joy broke out in bars in central Zurich when the winner was announced, and Swiss revelers sang along as Nemo tore through a victory rendition of “The Code.” 

“I think it’s just great, Nemo is fantastic,” said Maha Nater, a 24-year-old kindergarten worker celebrating the win after watching the marathon contest. 

One karaoke bar began blasting out Queen’s “We Are The Champions” as patrons joined in. 

Nemo’s victory would blaze a trail for others who had had to cope with prejudice against non-binary people, Nater said. 

“It sets an example to follow,” she said. 

Croatia places second

Croatia’s Baby Lasagna, real name Marko Purisic, 28, came second with “Rim Tim Tagi Dim,” a song about a young man who leaves home aspiring to become a “city boy” with better opportunities. 

Israel’s Eden Golan, 20, finished fifth in the contest despite demonstrators’ calls for a boycott of the country. 

The female solo artist on Thursday emerged as one of the leading contenders to win after qualifying for the final. 

Booing was heard during Golan’s performance but also applause, a Reuters photographer in the auditorium said. The noise was partly audible in the broadcast viewed by tens of millions of people in Europe and around the world. 

There was also booing when the points of the Israeli jury were presented. 

Protesters claim Eurovision supports genocide

Several thousand protesters gathered in central Malmo ahead of Saturday’s final, waving Palestinian flags and shouting “Eurovision united by genocide,”  The contest’s official slogan is “United by music.” 

A few hundred people later also protested outside the venue, chanting “Eurovision, you can’t hide, you’re supporting genocide.” 

Protesters have been pointing to double standards as the European Broadcasting Union banned Russia from Eurovision in 2022 because of its invasion of Ukraine. 

Police hauled away some protesters before surrounding them and ushering them away, a Reuters reporter outside the arena said. Some protesters were seen lying on the ground after police used pepper spray to disband the demonstration. 

25 countries compete

Twenty-five countries competed in the final after Dutch artist Joost Klein was expelled earlier on Saturday because of a complaint filed by a production crew member. 

Viewer votes made up half of Saturday’s final result, while juries of five music professionals in each participating country made up the other half. 

The Eurovision winner is awarded the contest’s official glass trophy, which is shaped like a classic, old-fashioned microphone, with sand blasted and painted details. The winner also gets to host the competition the following year. 

Nemo broke the fragile prize shortly after receiving it but was given a new one to replace it. 

“I didn’t just break the code, I also broke the trophy,” Nemo said, laughing, at the press conference after the win. 
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MALMO, Sweden — The Netherlands’ contestant in the Eurovision Song Contest was dramatically expelled from competition hours before Saturday’s final of the pan-continental pop competition, which has been rattled by protests over the participation of Israel.

Competition organizer European Broadcasting Union said Swedish police were investigating “a complaint made by a female member of the production crew” against Dutch performer Joost Klein. The organizer said it wouldn’t be appropriate for Klein to participate at the event in Malmo while the legal process was underway.

Although Eurovision’s motto is “united by music,” this year’s event has proven exceptionally divisive. Israel’s participation has attracted large pro-Palestinian demonstrations, with protesters saying the country should be excluded because of its conduct in the war in the Gaza Strip.

Klein, a 26-year-old Dutch singer and rapper, had been a favorite of bookmakers and fans with his song “Europapa.”

He failed to perform at two dress rehearsals on Friday, and the EBU had said it was investigating an “incident.” Although rumors had been flying that the incident was connected to Israel’s delegation, organizers said that it “did not involve any other performer or delegation member.”

Dutch broadcaster AVROTOS, one of dozens of public broadcasters that collectively fund and broadcast the contest, said that it “finds the disqualification disproportionate and is shocked by the decision.”

“We deeply regret this and will come back to this later,” AVROTOS said in a statement.

It all makes for a messy climax to an event that draws both adoration and derision with its campy, kitschy ethos and passion for pop.

Thousands of people gathered in central Malmo on Saturday to march for the second time this week through Sweden’s third-largest city, which has a large Muslim population, to demand a boycott of Israel and a cease-fire in the seven-month war.

In Finland, a group of about 40 protesters stormed the headquarters of public broadcaster YLE on Saturday morning, demanding it withdraw from the song contest because of Israel’s participation.

Several kilometers from the city center at the Malmo Arena, 25 acts — narrowed from 37 entrants by two semifinal runoffs — are scheduled to perform three-minute songs in front of a live audience of thousands and an estimated 180 million viewers around the world.

Tensions and nerves were palpable in the hours before the final. Several artists were absent from the Olympics-style artists’ entrance at the start of the final dress rehearsal, although all but Ireland’s Bambie Thug went on to perform.

The Irish performer issued a statement saying the absence was due to a situation “which I felt needed urgent attention from the EBU” and telling fans: “I hope to see you on the stage later.”

French singer Slimane cut short his song “Mon Amour” at the dress rehearsal to give a speech urging people to be “united by music, yes — but with love, for peace.”
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PORT-AU-PRINCE, Haiti — The Vodou faithful sing, their voices rising above the gunfire erupting miles away as frantic drumbeats drown out their troubles.

They pause to swig rum out of small brown bottles, twirling in unison as they sing in Haitian Creole: “We don’t care if they hate us, because they can’t bury us.”

Shunned publicly by politicians and intellectuals for centuries, Vodou is transforming into a more powerful and accepted religion across Haiti, where its believers were once persecuted. Increasingly, they seek solace and protection from violent gangs that have killed, raped and kidnapped thousands in recent years.

The violence has left more than 360,000 people homeless, largely shut down Haiti’s biggest seaport and closed the main international airport two months ago. Basic goods including food and life-saving medication are dwindling; nearly 2 million Haitians are on the verge of famine.

From January to March alone, more than 2,500 Haitians were killed or injured, up more than 50% from the same period last year, according to the U.N.

Amid the spiraling chaos, numerous Haitians are praying more or visiting Vodou priests known as “oungans” for urgent requests ranging from locating loved ones who were kidnapped to finding critical medication needed to keep someone alive.

“The spirits help you. They’re always around,” said Sherly Norzéus, who is initiated to become a “mambo,” or Vodou priestess.

In February, she invoked Papa Ogou, god of war and iron, when 20 armed men surrounded her car as she tried to flee the community of Bon Repos.

Her three children and the two children of her sister, who died during childbirth, sat next to her.

“We are going to burn you alive!” she recalled the gunmen yelling.

Gangs had invaded their neighborhood before dawn, setting fire to homes amid relentless gunfire.

“I prayed to Papa Ogou. He helped me get out of the situation,” Norzéus said.

When she opened her eyes, the gunmen signaled that she was free to leave.

Vodou was at the root of the revolution that led Haiti to become the world’s first free Black republic in 1804, a religion born in West Africa and brought across the Atlantic by enslaved people.

The syncretic religion that melds Catholicism with animist beliefs has no official leader or creeds. It has a single God known as “Bondye,” Creole for “Good God,” and more than 1,000 spirits known as the lwa — some that aren’t always benevolent.

During Vodou ceremonies, lwa are offered treats ranging from papayas and coffee to popcorn, lollipops and cheese puffs. A ceremony is considered successful if a Vodouist is possessed by an lwa.

Some experts consider it a religion of the exploited.

“Vodou is the system that Haitians have developed to deal with the suffering of this life, a system whose object is to minimize pain, avoid disaster, soften losses, and strengthen the survivors as much as the survival instinct,” Haitian sociologist Laennec Hurbon wrote in a recent essay.

Vodou began to take shape in the French colony of Saint-Domingue during funeral rituals for enslaved people and dances called “calendas” that they organized on Sunday evenings. It also was practiced by slaves known as Maroons who escaped to remote mountains and were led by François Mackandal, a Vodou priest.

In August 1791, some 200 slaves gathered at night in Bois-Caiman in northern Haiti for a Vodou ceremony organized by Dutty Boukman, a renowned enslaved leader and Vodou priest. They sacrificed a pig, drank its blood and swore to keep secret an imminent revolt against slavery, according to a surgeon present at the ceremony.

After a 13-year revolution, Haiti became independent, but Vodou remained oppressed.

The country’s new leaders condemned Vodou worship, as did the Catholic Church.

Catholic leaders demanded parishioners take an oath renouncing Vodou in 1941.

Thousands of Vodou followers were lynched and hundreds of symbolic spaces destroyed in what became the most violent attack in Haiti’s history against the religion, according to journalist Herbert Nerette.

But Vodou persisted. When François Duvalier became president in 1957, he politicized the religion during his dictatorship, appointing certain oungans as its representatives, Hurbon wrote.

By 2003, Jean-Bertrand Aristide, a Salesian priest who became Haiti’s first democratically elected president, recognized Vodou as one of Haiti’s official religions.

Despite the formal recognition, Vodou remains shunned by some Haitians.

“When you say you are a Vodouist, they stigmatize you,” said Kadel Bazile, a 42-year-old civil engineer.

Until recently, Bazile was a practicing Catholic. But when he lost his job and his wife left him nearly two years ago, a friend suggested he try Vodou.

“What I find here is spirituality and fraternity. Being here is like being with family,” he said while attending a May 1 ceremony to honor Kouzen Zaka, the lwa of harvest.

He identifies the most with Erzulie Dantor, the divinity of love represented by a Black Madonna with scars on her right cheek.

“That is the spirit who lives in me,” he said. “She is going to protect me.”

As the ceremony started, Bazile smiled and moved to the beat of the drums while dancers twirled nearby, their long earrings swaying to the rhythm.

Vodou is attracting more believers given the surge in gang violence and government inaction, said Cecil Elien Isac, a fourth-generation oungan.

“Whenever the community has a big problem, they come here, because there is no justice in Haiti. You find it in the ancestral spirits,” he said.

When Isac opened his temple years ago in Port-au-Prince, about eight families in the area became members. Now he counts more than 4,000, in Haiti and abroad.

“We have a group of intellectuals who have joined,” he said. “Before, it was people who couldn’t read or write. Now it has more visibility.”

Credited with that turnaround are thinkers like Jean Price-Mars, whose 1928 book, Thus Spoke the Uncle, visualized Vodou as a religion, “without making the Haitian elites blush,” wrote sociologist Lewis Ampidu Clorméus.

“Until the 1920s, Haitian Vodou was generally regarded as a string of superstitions, witchcraft and ritual cannibalism,” Clorméus wrote. “Talking about Vodou constituted a shame for Haitian intellectuals.”

Vodou has since become a key ingredient in Haiti’s rich cultural scene, inspiring music, art, writing and dance.

It’s unknown how many people currently practice Vodou in Haiti, but there’s a popular saying: “Haiti is 70% Catholic, 30% Protestant and 100% Vodou.”

Vodou also has countless lwas, although Ogou Je Wouj — the god of red eyes — has grown more significant to Haitians given the lack of security in the country, said Erol Josué, a singer, oungan and director of Haiti’s National Bureau of Ethnology.

Ogou Je Wouj is a manifestation of the god of war and is believed to wield a machete.

“They want power in their body and in their mind,” Josué said of those who seek the god.

While spirits infuse believers with energy and hope, Vodou priests warn they don’t perform miracles.

“We’re praying, but we’re also taking precautions,” Isac said. “There are a lot of lwas to protect you from kidnapping, but if you walk through certain areas, no lwa is going to protect you.”

On a recent afternoon, hundreds of Haitians gathered on a steep hill and squeezed into a small church to celebrate St. George, a Christian martyr believed to be a Roman soldier revered by Catholics and Vodouists alike.

They offered him money and prayers in hopes they would make it through Haiti’s deepening crisis.

“It’s very important to be here,” said Hervé Hyppolite, a chef who practices Christianity and Vodou. “You find force, courage and also protection.”

Surrounding him was a sea of people clad in khaki and red, the saint’s colors. Some held candles as a handful of women danced nearby.

“St. George!” the priest leading the celebration yelled. The crowd shouted in response, “We need you!”

Josué, the singer and oungan, noted that some young people becoming Vodouists are trying to change traditional prayers or certain practices, but he said oungans and mambos are not embracing the push.

“We make them understand that those spirits are a symbol of resistance of the Haitian nation,” he said. “There’s a lot of substance in Vodou that can lead to a renaissance of Haiti.”
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WASHINGTON — Liam and Olivia have for a fifth year together topped the list of baby names for brand new boys and girls born in the U.S. in 2023. And Mateo joins the top 10 baby names list for the first time.

The Social Security Administration annually tracks the names given to girls and boys in each state, with names dating back to 1880. The agency gathers the names from applications for Social Security cards.

Based on cultural and population trends, the list shows how names can rise and fall in popularity. The latest was released Friday.

Liam has reigned supreme seven years in a row while Olivia has topped the girls’ list for five, after unseating Emma, previously No. 1 for five years.

After Liam, the most common names for boys are, in order: Noah, Oliver, James, Elijah, Mateo, Theodore, Henry, Lucas, and William.

And after Olivia, the most common names for girls are Emma, Charlotte, Amelia, Sophia, Mia, Isabella, Ava, Evelyn and Luna.

The Social Security Administration’s latest data show that 3.58 million babies were born in the U.S. in 2023. That’s a slight decrease from last year’s 3.66 million babies, representing an overall decline in the American birthrate.

Social media stars and popular television shows are having some impact on the rising popularity of certain names, Social Security says. The fastest rising name for boys is Izael while the second fastest rising, Chozen, shot up to number 813 in 2023.

The character Chozen was a protagonist in the last season of the Netflix show Cobra Kai.

For girls, one of the fastest rising baby names is Kaeli, which rose 1,692 spots. “Parents must have really smashed the ‘like’ button for YouTube and TikTok star Kaeli McEwen, also known as Kaeli Mae, who routinely promotes a clean, tidy, and neutral-aesthetic lifestyle,” Social Security said in a news release.

The complete, searchable list of baby names is on the Social Security website.
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washington — President Joe Biden welcomed the reigning WNBA champion Las Vegas Aces to the White House on Thursday, celebrating what he called a “banner year” for women’s basketball.

“It matters to girls and women, finally seeing themselves represented,” Biden said during the celebration held in the East Room of the White House. “It matters to all Americans. That’s why as a nation, we need to support women’s sports.”

Both he and Vice President Kamala Harris were given the customary jerseys from the winning team. As he held his up, Biden yelled, “Put me in Coach, I’m ready to play!”

In her own remarks, Harris praised the team for playing with “such joy” and being role models both on and off the basketball court.

“You simply inspire people across our nation and around the world,” Harris said.

The Las Vegas Aces defeated the New York Liberty in the WNBA championship last October to win their second consecutive WNBA title. As he began his remarks, Biden made a not-so-veiled reference to his own reelection prospects, noting, “I kind of like that back-to-back stuff.”
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MARSEILLE, France — Joyful crowds gathered along the streets of France’s southern port of Marseille on Thursday to see torchbearers carrying the Olympic flame through the city’s most emblematic sites, a day after it arrived on a majestic three-mast ship for a welcoming ceremony. 

It was the first leg of an 11-week journey across the country for the torch, which will be carried by about 10,000 bearers as it passes through more than 450 towns until the Games’ opening ceremony in Paris on July 26. 

Former soccer player Basile Boli, who played with the Marseille team in the 1990s, kicked off Thursday’s relay from the Notre Dame de la Garde basilica that overlooks Marseille and the Mediterranean. 

“I’m very proud,” Boli said. “You feel like you’re on top of the world, because with an Olympic flame there’s a special fervor. … It’s the symbol of sport!” 

Basketball player Tony Parker later took his turn in the relay, praising “a great honor.” On a nearby crowded beach, swimmers and sunbathers cheered the torch bearers as the flame passed. 

“The enthusiasm of Marseille for the flame is phenomenal,” said Maurice Genevois, a local resident. “Honestly, I have rarely seen such a celebration.” 

Magali Evrard, who came from the town of Martigues, in Marseille’s region, said “it’s been so long since we started talking about this and now we’re in it! 

“We are on the road to Paris. We can’t wait, it’s great,” she added. 

A fencing champion, a skateboarder, a Michelin-starred chef and a comedian were also chosen to carry the flame on Thursday. 

“Let’s go for a fantastic celebration,” said Tony Estanguet, president of the Paris Olympics organizing committee. “The Games are back in our country. … Let’s share this fantastic moment of celebration with millions of people in the country.” 

Participants were scheduled to run all day past landmarks in the city to bring the torch to the roof of the famed Stade Vélodrome, home to Marseille’s passionate soccer fans. 

Sports Minister Amelie Oudea-Castera said “it’s fantastic to give that sense of pride to the French people and to show to the whole world what we’re capable to achieve.” 

“‘We’re going to give happiness to the whole world,” she added. 

Torchbearers included Ukrainian gymnast Mariia Vysochanska, who won two gold medals at the 2020 European Championships and competed at the Olympic Games in Tokyo. 

Her inclusion was an expression of solidarity with Ukraine as well as a symbolic gesture to mark Europe Day, which falls on May 9 each year. Vysochanska led a group of 27 other athletes who represent all European Union member states. 

“It’s a way to really celebrate Europe, its values and also to demonstrate our attachment to the European sport model,” Oudea-Castera said. Ukraine received the green light last year to start accelerated talks on joining the EU. 

“(Ukrainians) face that terrible war of aggression, and we want to really express that we support them the best we can,” she added. “This is unity. This is hope. This is solidarity. And we want their victory.” 

Marseille on Wednesday celebrated with great fanfare the flame’s arrival, with more than 230,000 people attending the ceremony in the Old Port, according to the city’s mayor, Benoit Payan. 

During the Games, the sailing competition and some soccer matches will be held in Marseille. 
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Jakarta, Indonesia — The sounds from guitars strumming and drums beating sears through the air. Crowds dance in circles while thumping their heads back and forth.

Some 38,000 fans attended Hammersonic this past weekend, according to organizers of Southeast Asia’s largest annual heavy metal music festival. Featuring 55 bands, the event is held in Jakarta, the capital of Indonesia, the world’s largest Muslim majority country.

One of the groups performing, Lamb of God, was barred from performing in neighboring Malaysia in 2013 after Islamic leaders there said some of the band’s songs were blasphemous. Interestingly, the current president of Indonesia, Joko Widodo, talks openly about his passion for heavy metal and says he’s a fan of Lamb of God.

“We’re a moderate Muslim country and that’s why we’re more open to foreign influence including heavy metal music than some more conservative countries” said Pri Ario Damar, dean of the performing arts faculty at the Jakarta Institute of Arts.

Damar, 49, was a bass guitarist in a local heavy metal band back in the 1990s and currently plays with his students from time to time. “Heavy metal has been popular here for decades,” he says. “So there are several generations of listeners here who appreciate it as an outlet to comment on society, politics and the environment.”

At 6 p.m. local time, during a break in the live performances at Hammersonic, many fans went to the designated prayer area. Some of them prayed wearing heavy metal t-shirts simultaneously showing their Muslim faith and favorite music.

While bands from around the world took the stage, Dian Ranidita, a 40-year-old Indonesian mother of three, tapped her feet to the rhythms while her husband Yanuardi gently bobbed his head up and down.

“The stereotype of heavy music is always dark, violent, aggressive and also like a devil, but actually heavy metal is not like that,” Dian said, adding that she’s been a heavy metal fan since high school because of the different themes in the music that she relates to.

“For instance, romantic themes when you have a broken heart or feeling like fall in love with someone. And also if you’re feeling depressed, there are also depression themes, and when you’re feeling like you want to release your adrenaline,” she said. “Those are some of the many themes in heavy metal.”

Sisi Selatan is a heavy metal band from the Indonesian city of Solo. The group performed songs about love and social activism while fans in front of the stage jumped up and down. Band members say Indonesia is a country that embraces foreign cultural influences.

“We [Indonesians] absorb foreign cultures,” said guitarist Adi Wibowo. “Not only metal music, but also Korean, Japanese, Indian music and more. We embrace these types of music.”

Denisa Dhaniswara is a 24-year-old heavy metal vocalist from Jakarta. Like many singers, she writes songs based on her own personal experiences in life.

“A lot of my lyrics are filled with grief and greed. So, I really want people to feel unsettled when you listen to my music,” she said. “It’s a way of saying: I’ve been feeling like this, do you relate? If you relate that’s good. I mean I’m not alone here.”

Dhaniswara says Indonesia’s heavy metal fanbase is growing as performers get better and better.

“Indonesia has a lot of newer heavy metal bands and that makes me very happy because we’re always emerging,” she said. “Always finding out new stuff. Everybody’s so creative.”
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New York — It’s Met Gala time and the fashion parade of A-listers Monday included a swirl of flora and fauna looks on a green-tinged carpet surrounded by foliage. Jennifer Lopez went for silver leaves in a second-skin goddess gown and Zendaya was all vamp and fantasy.

Both are co-chairs of the annual fundraiser at The Metropolitan Museum of Art. And both received cheers from the crowd of fashion enthusiasts packed behind barriers outside.

Flowers were everywhere, in line with this year’s theme: “The Garden of Time.” Lopez (in Schiaparelli) was all va-va-voom in a near-naked gown that hugged like a second skin. She’s got the Meta Gala down: It’s her 14th.

This year’s theme is inspired by J.G. Ballard’s 1962 short story of the same name.

Zendaya put on her fashion face in hues of blue and green, with a head piece to match and leaf accents.

It’s been five years since Zendaya last attended the Met Gala. Her look, in peacock colors, was by Maison Margiela. Lopez went with Tiffany & Co. diamonds, including a stunning bird motif necklace with a diamond of over 20 carats at its center.

Mindy Kaling is sure to make the best-dressed lists in sand-colored swirls that towered over her head at the back. No worries about dinner. The back was removable. Her look was by Indian couturier Gaurav Gupta.

Fashion kings and queens … and a good witch

Gigi Hadid brought the drama in a look by the drama king himself, Thom Browne. her white look was adorned with 2.8 million microbeads with yellow flowers and green thorns. She was high glam in a wavy bob and crimson lips.

If there’s a queen of the Met Gala besides the evening’s mastermind, Anna Wintour, it’s Sarah Jessica Parker. The long-time attendee takes each year’s theme seriously, researching every detail. This year she was in an Alice in Wonderland dress with a lavender overlay and a Philip Treacy topper on her head. The dress was by Richard Quinn. Her long hair tumbled behind her back in beachy waves, a look that built into a beauty trend of the evening.

Serena Williams took metallic gold to another level in a shining one-shoulder statement look. Ariana Grande was all Glinda the Good Witch, making the most of her pale-colored strapless look with 3D eyelashes at the side of each eye. She arrived with her “Wicked” co-star Cynthia Erivo, dressed in black with pink petals in a darker, edgy look.

Cardi B., who has THE most fun at the Met Gala, struck a pose or three in statement black with a huge tulle train. She paired the look with green jewels and a high black turban. She needed multiple helpers to move her dress up the stairs

Channeling Sleeping Beauty and the garden

Penelope Cruz, meanwhile, went goth in black by Chanel. It had a bustier top and a Sleeping Beauty-like off-shoulder silhouette. There was another Sleeping Beauty-ish guest: Kendall Jenner in a Givenchy look done by Alexander McQueen in 1999.

Kendall’s sister, Kylie Jenner, was more Old Hollywood than storybook in a chic low-cut strapless look, a white bloom in her clicked-back updo and a train behind. Oddly, older sister Kim Kardashian tightly covered up her gorgeous silver corset look with a leaf motif by Maison Margiela with a lumpy gray sweater.

Dua Lipa was a whole different kind of princess. She went full rock ‘n’ roll in black by Marc Jacobs, who accompanied her.

The princess vibes were in apparent reference to the Met’s spring exhibition that the gala kicks off. It’s called “Sleeping Beauties: Reawakening Fashion.” While it doesn’t actually have to do with Disney, or even princesses, some of the 400 guests went there.

Demi Moore stuck to the garden in a Harris Reed look with huge wings encircled by arrows and handpainted with pink and white blooms.

Diesel broke through on the gala red carpet on Dove Cameron. It was about as unlike Diesel as it gets, also going for the garden. The look had sleeves attached to her train.

Finding deeper meaning in the theme

Lily Gladstone went for black by Gabriela Hearst.

“We wanted me to feel draped in the power of my ancestors,” she said. “For Kiowa and Blackfeet, our ancestors are the stars, that’s where we come from. … I feel like it’s so long overdue that we have so much Indigenous representation and this sort of upper echelon world of high luxury fashion, because that is our aesthetic, you know, Natives have always loved luxury.”

Floral looks and a special plus-1

Colman Domingo donned a white jacket with a cape and extra-wide trousers, holding a bouquet of white calla lilies, while Tyla chose a gown made to look like sand using actual sand on the fabric. She needed help with the hourglass she held as she made her way up the museum stairs. Domingo’s designer was Willy Chavarria.

Sam Smith wore silver and gold metal roses tucked into the waist of a jacket, and Jack Harlow also channeled florals, but subtly with a silver and pearl floral boutonniere.

Wintour wore a black coat adorned with multicolored flowers. Her fellow co-chair Bad Bunny donned all black. A pregnant Lea Michele wore Rodarte, inspired by the brand’s 2012 spring/summer collection.

“I’m honored to be here and bring my baby with me,” Michele said. “”I don’t think I was allowed a plus one, but I’m bringing” one, she said with a laugh. “I’m so grateful. I feel really beautiful, you know, in this pregnancy.”

Looking to follow along? Here’s a quick primer on what you need to know about the palooza of A-list celebrities from film, fashion, music, sports, politics and social media.

Among those who had way BIG fun with the nature and garden theme was Lana Del Rey. She walked up the museum steps as an actual tree, her face shrouded by fabric held up by her branches.

How to watch the Met Gala

That’s tricky. Vogue has the exclusive livestream, which starts at 6 p.m. Eastern at Vogue.com. The feed will also be available on Vogue’s digital platforms, including TikTok and YouTube.

Tons of other media will be on site, too. Catch the action on E!, also starting at 6 p.m., with livestreams on X, TikTok, Instagram and Peacock.

The Associated Press will be live outside the Mark Hotel, where many celebs get ready before heading to The Metropolitan Museum of Art for their walk up the grand staircase. That livestream will begin at 4:45 p.m. Eastern and will be available on YouTube and APNews.com.

Only the event’s stacked red carpet is watchable — the gala’s cocktail hour and dinner are notoriously private events.

What’s the point of the Met Gala?

It’s a party, for sure, with cocktails and dinner for about invited 400 guests, but it’s also a huge fundraiser for the Met’s Costume Institute, the only department at the museum required to pay for itself. Last year, the gala raised about $22 million. Wintour, a Met trustee for whom part of the institute has been renamed, organizes the whole shebang. No phones are allowed, adding to the allure.

It also promotes the museum’s exhibit, which this year is called “Sleeping Beauties: Reawakening Fashion.” It includes 250 items from The Costume Institute’s permanent collection, including some garments very rarely seen in public and so fragile they need to be under glass. Curators wanted to engage all the senses, including smell.

The exhibit opens to the public Friday and runs through Sept. 2.
…

New York — “The Fall Guy,” the Ryan Gosling-led, action-comedy ode to stunt performers, opened below expectations with $28.5 million, according to studio estimates Sunday, providing a lukewarm start to a summer movie season that’s very much to be determined for Hollywood.

The Universal Pictures release opened on a weekend that Marvel has regularly dominated with $100 million-plus launches. (In 2023, that was “Guardians of the Galaxy Vol. 3” with a $118 million debut.) But last year’s strikes jumbled this year’s movie calendar; “Deadpool & Wolverine,” originally slated to open this weekend, is now debuting in July.

So in place of a superhero kickoff, the summer launch went to a movie about the stunt performers who anonymously sacrifice their bodies for the kind of action sequences blockbusters are built on. Going into the weekend, forecasts had the film opening $30 million to $40 million.

“The Fall Guy,” directed by former stuntman and “Deadpool 2” helmer David Leitch, rode into the weekend with the momentum of glowing reviews and the buzz of a SXSW premiere. But it will need sustained interest to merit its $130 million production budget. It added $25.4 million in overseas markets.

Working in its favor for a long run: strong audience scores (an “A-” CinemaScore) and good reviews (83% fresh on Rotten Tomatoes). Jim Orr, distribution chief for Universal, believes things line up well for “The Fall Guy” in the coming weeks.

“We had a very solid opening,” said Orr. “We’re looking forward to a very long, very robust, very successful run throughout the domestic box office for literally weeks if not months to come.”

But the modest start for “The Fall Guy” hints at larger concerns for the film industry. Superhero films haven’t been quite the box-office behemoth they once were, leading studios to search for fresher alternatives. “The Fall Guy” seemed to check all the boxes, with extravagant action sequences, one of the hottest stars in the business, a director with a track-record for crowd pleasers and very good reviews.

But instead, the opening for “The Fall Guy,” loosely based on the 1980s TV series, only emphasized that the movie business is likely to struggle to rekindle the fervor of last year’s “Barbenheimer” summer. “The Fall Guy” stars one from each: Gosling, in his first post-Ken role, and Emily Blunt, of “Oppenheimer.” Both were Oscar nominated.

“It’s going to be a very interesting, nontraditional summer this year,” said Paul Dergarabedian, senior media analyst for Comscore.

In part because of last year’s work stoppages, there are fewer big movies hitting theaters. Expectations are that the total summer box office will be closer to $3 billion than the $4 billion that’s historically been generated.

“The summer season is just getting started, so let’s give ‘The Fall Guy’ a chance to build that momentum over time. It’s a different type of summer kickoff film,” said Dergarabedian. “There’s always huge expectations placed on any film that kicks off the summer movie season, but this isn’t your typical summer movie season.”

In a surprise, No. 2 at the box office went to the Walt Disney Co. rerelease of “Star Wars: The Phantom Menace.” The first episode to George Lucas’ little-loved prequels collected $8.1 million over the weekend, 25 years after “Phantom Menace” grossed $1 billion.

Last week’s top film, the Zendaya tennis drama “Challengers,” slid to third place with $7.6 million in its second week. That was a sold hold for the Amazon MGM release, directed by Luca Guadagnino, dipping 49% from its first weekend.

The Sony Screen Gems supernatural horror film “Tarot” also opened nationwide. It debuted with $6.5 million, a decent enough start for a low-budget release but another example of horror not quite performing this year as it has the last few years.

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 Fall Guy,” $28.5 million.

2. “Star Wars: The Phantom Menace,” $8.1 million.

3. “Challengers,” $7.6 million.

4. “Tarot,” $6.5 million.

5. “Godzilla x Kong: The New Empire,” $4.5 million.

6. “Civil War,” $3.6 million.

7. “Unsung Hero,” $3 million.

8. “Kung Fu Panda 4,” $2.4 million.

9. “Abigail,” $2.3 million.

10. “Ghostbuster: Frozen Empire,” $1.8 million.
    …

…

RIO DE JANEIRO — Madonna put on a free concert on Copacabana beach Saturday night, turning Rio de Janeiro’s vast stretch of sand into an enormous dance floor teeming with a multitude of her fans.

It was the last show of The Celebration Tour, her first retrospective, which kicked off in October in London.

The “Queen of Pop” began the show with her 1998 hit Nothing Really Matters. Huge cheers rose from the buzzing, tightly packed crowd, pressed up against the barriers. Others held house parties in brightly lit apartments and hotels overlooking the beachfront. Helicopters and drones flew overhead, and motorboats and sailboats anchored off the beach filled the bay.

“Here we are in the most beautiful place in the world,” Madonna, 65, told the crowd. Pointing out the ocean view, the mountains and the Christ the Redeemer statue overlooking the city, she added: “This place is magic.”

Madonna performed her classic hits, including Like a Virgin and Hung Up. For the introduction to Like a Prayer, her head was completely covered in a black cape, a rosary gripped in her hands.

The star paid an emotional tribute to “all the bright lights” lost to AIDS as she sang Live to Tell, with black and white photos of people who died from the illness flashing behind her.

Later, she was joined on stage by Brazilian artists Anitta and Pabllo Vittar.

Rio spent the last few days readying itself for the performance.

An estimated 1.6 million people attended the show, G1 reported, citing Rio City Hall’s tourism agency. That is more than 10 times Madonna’s record attendance of 130,000 at Paris’ Parc des Sceaux in 1987. Madonna’s official website hyped the show as the biggest ever in her four-decade career.

In recent days, the buzz was palpable. Fans milled outside the stately, beachfront Copacabana Palace hotel, where Madonna is staying, hoping to catch a glimpse of the pop star. During the sound check on the stage set up in front of the hotel, they danced on the sand.

By midday Saturday, fans crowded in front of the hotel. A white-bearded man carried a sign saying, “Welcome Madonna you are the best I love you.”

Flags with “Madonna” printed against a background of Copacabana’s iconic black and white waved sidewalk pattern hung from balconies. The area was packed with street vendors and concert attendees kitted out in themed T-shirts, sweating under a baking sun.

“Since Madonna arrived here, I’ve been coming every day with this outfit to welcome my idol, my diva, my pop queen,” said Rosemary de Oliveira Bohrer, 69, who sported a gold-colored cone bra and a black cap.

“It’s going to be an unforgettable show here in Copacabana,” said Oliveira Bohrer, a retired civil servant who lives in the area.

Eighteen sound towers were spread along the beach to ensure that all attendees could hear the hits. Her two-hour show started at 10:37 p.m. local time, nearly 50 minutes behind schedule.

City Hall produced a report in April estimating that the concert would inject 293 million reals ($57 million) into the local economy. Hotel capacity was expected to reach 98% in Copacabana, according to Rio’s hotel association. Fans hailing from across Brazil and even Argentina and France sought out Airbnbs for the weekend, the platform said in a statement. Rio’s international airport had forecast an extra 170 flights during May 1-6, from 27 destinations, City Hall said in a statement.

“It’s a unique opportunity to see Madonna, who knows if she’ll ever come back,” said Alessandro Augusto, 53, who flew in from Brazil’s Ceara state — approximately 2,500 kilometers from Rio.

“Welcome Queen!” read Heineken ads plastered around the city, the lettering above an image of an upturned bottle cap resembling a crown.

Heineken wasn’t the only company seeking to profit from the excitement. Bars and restaurants prepared Like a Virgin cocktails. A shop in the downtown neighborhood famed for selling Carnival attire completely reinvented itself, stocking its shelves with Madonna-themed costumes, fans, fanny packs and even underwear.

Organization of the mega-event was similar to New Year’s Eve, when millions of people gather on Copacabana for its fireworks display, local authorities said. That annual event often produces widespread thefts and muggings, and there was some concern such problems might occur at Madonna’s show.

Rio state’s security plan included the presence of 3,200 military personnel and 1,500 civilian police officers on standby. In the lead-up to the concert, Brazil’s navy inspected vessels that wished to position themselves offshore to follow the show.

A number of huge concerts have taken place on Copacabana beach before, including a 1994 New Year’s Eve show by Rod Stewart that drew more than 4 million fans and was the biggest free rock concert in history, according to Guinness World Records. Many of those spectators also came to see Rio’s fireworks show, though, so a more fitting comparison might be to the Rolling Stones in 2006, which saw 1.2 million people crowd onto the sand, according to Rio’s military police, the newspaper Folha de Sao Paulo reported at the time.

Ana Beatriz Soares, a fan who was at Copacabana on Saturday, said Madonna has made her mark across the decades.

“Madonna had to run so that today’s pop artists could walk. That’s why she’s important, because she serves as an inspiration for today’s pop divas,” Soares said.

“And that’s 40 years ago. Not 40 days, 40 months. It’s 40 years,” she said.
…

CHENGDU, China — In 2018, the censors who oversee Chinese media issued a directive to the nation’s entertainment industry: Don’t feature artists with tattoos and those who represent hip-hop or any other subculture. Right after that, a well-known rapper, GAI, missed a gig on a popular singing competition despite a successful first appearance. Speculation went wild: Fans worried that this was the end for hip-hop in China. Some media labeled it a ban.

The genre had just experienced a banner year, with a hit competition-format TV show minting new stars and introducing them to a country of 1.4 billion people. Rappers accustomed to operating on little money and performing in small bars became household names.

The announcement from censors came at the peak of that frenzy. A silence descended, and for months no rappers appeared on the dozens of variety shows and singing competitions on Chinese TV.

But by the end of that year, everything was back in full swing. What had looked like the end for Chinese hip-hop was just the beginning. “Hip-hop was too popular,” says Nathanel Amar, a researcher of Chinese pop culture at the French Center for Research on Contemporary China. “They couldn’t censor the whole genre.”

Since then, hip-hop’s explosive growth in China has only continued. It has done so by carving out a space for itself while staying clear of the government’s red lines, balancing genuine creative expression with something palatable in a country with powerful censors.

The effort has succeeded: Today, musicians say they’re looking forward to an arriving golden age.

Much of the energy can be found in Chengdu, a city in China’s southwestern Sichuan region. Some of the biggest acts in China today hail from Sichuan; Wang Yitai, Higher Brothers and Vava are just a few of the names that have made Chinese rap mainstream, performing in a mix of Mandarin and the Sichuan dialects.

Although Chinese rap has been operating underground for decades in cities like Beijing, it is the Sichuan region — known internationally for its spicy cuisine, its panda reserve and its status as the birthplace of the late leader Deng Xiaoping — that has come to dominate.

The dialect lends itself to rap because it’s softer than Mandarin Chinese and there are a lot more rhymes, says 25-year-old rapper Kidway, from a town just outside Chengdu. “Take the word ‘gang’ in English. In Sichuanese, there’s a lot of rhymes for that word ‘fang, sang, zhuang,’ the rhymes are already there,” he says.

Part of the city’s hip-hop lore centers around a collective called Chengdu Rap House or CDC, founded by a rapper called Boss X, whose fans affectionately call him “Xie laober” in the Sichuan dialect. The city has embraced rap, as its originators like Boss X went from making music in a run-down apartment in an old residential community to performing in a stadium for thousands.

“When I came to mainland China, they showed me more love in like three or four months than I ever received in Hong Kong,” says Haysen Cheng, a 24-year-old rapper who moved to the city from Hong Kong in 2021.

The price of going mainstream means the underground scene has evaporated. Chengdu was once known for its underground rap battles. Those no longer happen, as freestyling usually involves a lot of curse words and other content the authorities deem unacceptable. These days it’s all digital, with people uploading short clips of their music to Douyin, TikTok’s Chinese version, to get noticed.

Rarely can a single cultural product be said to have originated a whole genre of music. But the talent competition/reality TV show The Rap of China has played an outsized role in building China’s rap industry.

The first season, broadcast on IQiyi, a web streaming platform, brought rap to households across the country. The first season’s 12 episodes drew 2.5 billion views online, according to Chinese media reports.

In the first season, the show relied on its judges’ star power to draw in an audience. Two winners emerged from the first season: GAI and PG One. Shortly after their win, the internet was awash with rumors about the less than perfect doings of PG One’s personal life. The Communist Youth League also criticized one of his old songs for content that appeared to be about using cocaine, very much violating one of the censor’s red lines.

Then came the 2018 meeting where censors reminded TV channels of who could not appear on their programs, namely anyone who represented hip-hop. PG One was finding that any attempts to release new music were quickly taken down by platforms. The platform, IQiyi, even took down the entire first season for a while.

But by late summer 2018, fans were excited to hear that they could expect a second season of The Rap of China, though there was a rebrand. The name in English stayed the same, but in Chinese the show’s name changed from China Has Hip-Hop to China Has ‘Shuochang,’ a term that also refers to traditional forms of storytelling. Regulators had given the go-ahead for hip-hop to continue its growth in China, but artists had to obey the government censors. Hip-hop had to stay away from mentions of drugs and sex. Otherwise, though, it could proceed.

“It was a success for the Chinese regulators,” Amar says. “They really succeeded in coopting the hip-hop artists.”

With tight censorship on the entertainment industry and a ban on mentions of drugs and sex in lyrics, artists have reacted in two ways. Either they wholeheartedly embrace the displays of patriotism and nationalism or they avoid the topics.

Some, like GAI, have fully taken on the government’s mantle in the mainstreaming of hip-hop. He had won The Rap of China with a song called Not Friendly in which, in classic hip-hop fashion, he dissed other rappers. Just a few years later, Gai is singing about China’s glorious 5,000 years of history on the CCTV’s Spring Festival New Year’s Gala broadcast.

The red lines have also pushed artists to be more creative. But developing a genuine Chinese brand of rap remains a work in progress. Hip-hop got its start from New York’s boroughs of Brooklyn and the Bronx, where rappers made music from their tough circumstances. In China, the challenge is about finding what fits its context.

Wang Yitai, who was a member of Chengdu’s rap collective CDC, is now one of the most popular rappers in China. His style has infused mainstream pop sounds.

“We’re all trying hard to create songs that not only sound good, but also topics that fit for China,” Wang says. “I think hip-hop’s spirit will always be about original creation and will always be about your own story.”
…

LOUISVILLE, KENTUCKY — Twenty horses stampeding toward the first turn in a battle for position. A screaming crowd of 150,000 and maybe some showers that dampen the Churchill Downs dirt strip.

It’s the 150th Kentucky Derby. Beyond a couple early wagering favorites, it’s a wide-open race.

Post time is 6:57 p.m. Saturday. The forecast calls for 27 Celsius (81 Fahrenheit) with a 60% chance of scattered showers and thunderstorms.

That kind of weather could benefit six horses that have won in the mud or slop before, including early favorites Fierceness and Sierra Leone. The others with experience on messy surfaces are Dornoch, Just a Touch, Mystik Dan and Society Man.

The Derby will answer the perennial question of which 3-year-old can best handle running 1¼ miles in front of the biggest crowd they will ever see and hear.

Fierceness and jockey John Velazquez will break from the No. 17 post, which has never produced a derby winner.

The costliest colt in the 20-horse field is Sierra Leone at $2.3 million.

“A lot of times you buy an expensive horse like that, and they can’t run,” said Peter Brandt, one of the six owners. “We’ve very, very lucky he’s made it this far. We’re looking forward to this race but also looking forward to the future of taking care of this horse.”

Conversely, Larry Demeritte shelled out just $11,000 to buy Saratoga West. The 74-year-old Bahamas native has won 180 races and nearly $5 million in purse money since he started training in 1984. Demeritte is just the second Black trainer since 1951 to saddle a horse for the derby.

“This is truly amazing how we got to this position with this horse,” he said.

The Derby winner earns $3.1 million from the record purse of $5 million.

For the second straight year, Japan has two entries: Forever Young and T O Password. The country has never won the race.

This year’s race is one for the ages, too. D. Wayne Lukas, the 88-year-old trainer with four derby wins, saddles Just Steel. Frankie Dettori, the famed Italian jockey, is back to ride Society Man at age 53 after a 24-year absence.

Trainer Todd Pletcher, who saddles Fierceness, is in the derby for the 24th year and it never gets old. He’s won it twice.

“If anything, it just becomes more nerve-wracking,” he said.
…

KASHAN, Iran — The historic Kashan bazaar in central Iran once sat on a major caravan route, its silk carpets known the world over. But for the weavers trying to sell their rugs under its ancient arches, their world has only unraveled since the collapse of Iran’s nuclear deal with world powers and wider tensions with the West.

Rug exports, which exceeded $2 billion two decades ago, have plummeted to less than $50 million in the last year in the Persian calendar that ended in March, according to government customs figures. With fewer tourists coming and difficulties rising in making international transactions, Iranian rugs are going unsold as some weavers work for as little as $4 a day.

“Americans were some of our best customers,” said Ali Faez, the owner of one dusty carpet shop at the bazaar. “Rugs are a luxury product and they were eager to buy it and they used to make very good purchases. Unfortunately, this has been cut — and the connection between the two countries for visitors to come and go has gone away.”

Kashan’s rug-weaving industry has been inscribed in UNESCO’s list of the world’s “intangible cultural heritage.” Many of the weavers are women, with the skills needed for the Farsi weaving style passed down from generation to generation, using materials like vine leaves and the skins of pomegranate fruit and walnuts to make the dyes for their threads. A single rug can take months to make.

For decades, Western tourists and others would pass through Iran, picking up rugs as gifts and to take back home. After the 1979 Islamic Revolution, the U.S. increased sanctions on Iran’s theocratic government over the U.S. Embassy siege, Tehran’s links to militant attacks and other issues.

But in 2000, the outgoing administration of former President Bill Clinton lifted a ban on the import of Iranian caviar, rugs and pistachios.

“Iran lives in a dangerous neighborhood,” then-Secretary of State Madeleine Albright said at the time. “We welcome efforts to make it less dangerous.”

By 2010, with concerns rising over Iran’s nuclear program, the U.S. again banned Iranian-made Persian rugs. But in 2015, Iran struck a nuclear deal with world powers which greatly reduced and drastically lowered the purity of Tehran’s stockpile of enriched uranium. The rug trade was allowed once again.

Three years later, in 2018, then-President Donald Trump unilaterally withdrew the U.S. from the nuclear deal. Since then, Iran began enriching uranium at near-weapons-grade levels and has been blamed for a series of attacks at sea and on land, including an unprecedented drone-and-missile attack targeting Israel last month.

For the carpet weavers, that’s meant their wares were once again banned under U.S. law.

“It started when Trump signed that paper,” Faez told The Associated Press, referring to the renewed sanctions. “He ruined everything.”

Abdullah Bahrami, the head of a national syndicate for handwoven rug producers, also blamed the collapse of the industry on the Trump sanctions. He put the value of exports to the U.S. as high as $80 million annually prior to the sanctions.

“The whole world used to know Iran by its rugs,” Bahrami told the state-run IRNA news agency in March.

Making things worse is what carpet sellers see as a drop in tourists to Kashan as well. High-value American and European tourism in Iran has largely stopped, the daily Shargh newspaper warned last year. Ezzatollah Zarghami, Iran’s minister of tourism, insisted in April that 6 million tourists visited the country over the last 12 months, though that likely includes religious pilgrims as well as Afghans and Iraqis with less spending money.

But even those tourists that do show up face the challenge of Iran’s financial system, where no major international credit card works.

“I had a Chinese customer the other week. He was struggling to somehow make the payment because he loved the rug and didn’t want to let go of it,” Faez said. “We have to pay a lot of commission to those who can transfer money and have bank accounts abroad. Sometimes they cancel their orders because they don’t have enough cash with them.”

The collapse of the rial currency has left many Iranians also unable to purchase the handwoven rugs. Wages in the industry are low, leading to a growing number of Afghan migrants working in workshops around Kashan as well.

Designer Javad Amorzesh, one of just a few of Kashan’s old-school artists, said his orders have fallen from 10 a year to just two. He has laid off staff and now works alone in a cramped space.

“Inflation rose every hour. People were hit repeatedly by inflation,” he said. “I used to have four to five assistants in a big workshop.”

Offering a bitter laugh alone in his workshop, he added, “We’ve been left isolated.”
…

PARIS — Freshly cooked bread, select cheeses and a broad veggie offer will be among the meals to be offered to athletes and visitors during the 2024 Paris Olympics — including, of course, gourmet dishes created by renowned French chefs.

About 40,000 meals are expected to be served each day during the Games to the more than 15,000 athletes from 200 different countries housed at the Olympic village.

Visitors, too, will be able to enjoy some specially created snacks at the different venues.

French food services company Sodexo Live!, which was selected to oversee the catering at the athletes’ village and 14 venues of the Paris Games, said it has created a total of 500 recipes, which will notably be offered at a sit-down eatery for up to 3,500 athletes at the village, meant to be the “world’s largest restaurant.”

“Of course, there will be some classics for athletes, like pasta,” said Nathalie Bellon-Szabo, global CEO of Sodexo Live! But the food will have a “very French touch.”

Athletes will also have access to “grab and go” food stands, including one dedicated exclusively to French cuisine cooked up by chefs.

Renowned French chef Amandine Chaignot, who runs a restaurant and a café-bistro in Paris, on Tuesday unveiled one of her recipes based on the iconic croissant.

“I wanted the recipe I suggested to be representative of the French terroir, but I wanted athletes to enjoy it at the same time,” she told The Associated Press. “It was quite obvious for me to make a croissant that I could twist. So, you have a bit of artichoke puree, a poached egg, a bit of truffle and a bit of cheese. It’s both vegetarian and still mouthwatering.”

Every day, during the July 26-August 11 Games, a top chef — including some awarded with Michelin stars — will cook in front of the athletes at the Olympic Village, “so they’ll be able to chat and better understand what French cuisine is about — and to understand a bit of our culture as well,” Chaignot said.

Daily specials will be accompanied by a wide range of salads, pastas, grilled meat and soups. Cheeses will include top quality camembert, brie and sheep’s milk-based Ossau-Iraty from southwestern France.

The Olympic Village will also feature a boulangerie producing fresh baguettes and a variety of other breads.

“The idea is to offer athletes the chance to grab a piping-hot baguette for breakfast,” said baker Tony Doré, who will be working at the Olympic Village’s main restaurant.

Athletes will even be able to participate in daily bakery trainings, and learn to make their own French baguette, said Doré.

In an effort to provide as many options as possible, meals offered will revolve around four cuisines: French, Asian, African and the Caribbean and international food.

Paris 2024 organizers have promised to make the Games more sustainable and environment-friendly — and that includes efforts to reduce the use of plastic. To this effect, the main restaurant at the village will use only reusable dishes.

Additionally, organizers say all meals will be based on seasonal products and 80% will come from France.

Plant-based food will represent 60% of the offer for visitors at the venues, including a “vegetarian hot-dog,” said Philipp Würz, head of Food and Beverage for the Paris 2024 Committee.

There’s “a huge amount of plant-based recipes that will be available for the general public to try, to experience and, hopefully, they will love it,” said Würz.

The urban park at the Place de la Concorde, in central Paris, will offer visitors 100% vegetarian food — a first in the Games’ history. The place will be the stage for Paris 2024’s most contemporary sporting disciplines: BMX freestyle, 3×3 basketball, skateboarding and breakdancing.
…

LYPIVKA, Ukraine — This Orthodox Easter season, an extraordinary new church is bringing spiritual comfort to war-weary residents of the Ukrainian village of Lypivka. Two years ago, it also provided physical refuge from the horrors outside.

Almost 100 residents sheltered in a basement chapel at the Church of the Intercession of the Blessed Virgin Mary while Russian troops occupied the village in March 2022 as they closed in on Ukraine’s capital, Kyiv, 60 kilometers to the east.

“The fighting was right here,” the Rev. Hennadii Kharkivskyi said. He pointed to the churchyard, where a memorial stone commemorates six Ukrainian soldiers killed in the battle for Lypivka.

“They were injured and then the Russians came and shot each one, finished them off,” he said.

The two-week Russian occupation left the village shattered and the church itself — a modern replacement for an older structure — damaged while still under construction. It’s one of 129 war-damaged Ukrainian religious sites recorded by UNESCO, the United Nations’ cultural organization.

“It’s solid concrete,” the priest said. “But it was pierced easily” by Russian shells, which blasted holes in the church and left a wall inside pockmarked with shrapnel scars. At the bottom of the basement staircase, a black scorch mark shows where a grenade was lobbed down.

But within weeks, workers were starting to repair the damage and work to finish the solid building topped by red domes that towers over the village, with its scarred and damaged buildings, blooming fruit trees and fields that the Russians left littered with land mines.

For many of those involved — including a tenacious priest, a wealthy philanthropist, a famous artist and a team of craftspeople — rebuilding this church plays a part in Ukraine’s struggle for culture, identity and its very existence. The building, a striking fusion of the ancient and the modern, reflects a country determined to express its soul even in wartime.

The building’s austere exterior masks a blaze of color inside. The vibrant red, blue, orange and gold panels decorating walls and ceiling are the work of Anatoliy Kryvolap, an artist whose bold, modernist images of saints and angels make this church unique in Ukraine.

The 77-year-old Kryvolap, whose abstract paintings sell for tens of thousands of dollars at auction, said that he wanted to eschew the severe-looking icons he’d seen in many Orthodox churches.

“It seems to me that going to church to meet God should be a celebration,” he said.

There has been a church on this site for more than 300 years. An earlier building was destroyed by shelling during World War II. The small wooden church that replaced it was put to more workaday uses in Soviet times, when religion was suppressed.

Kharkivskyi reopened the parish in 1992 following the collapse of the Soviet Union, and set about rebuilding the church, spiritually and physically, with funding from Bohdan Batrukh, a Ukrainian film producer and distributor.

Work stopped when Russian troops launched a full-scale invasion of Ukraine on Feb. 24, 2022. Moscow’s forces reached the fringes of Kyiv before being driven back. Lypivka was liberated by the start of April.

Since then, fighting has been concentrated in the east and south of Ukraine, though aerial attacks with rockets, missiles and drones are a constant threat across the country.

By May 2022, workers had resumed work on the church. It has been slow going. Millions of Ukrainians fled the country when war erupted, including builders and craftspeople. Hundreds of thousands of others have joined the military.

Inside the church, a tower of wooden scaffolding climbs up to the dome, where a red and gold image of Christ raises a hand in blessing.

For now, services take place in the smaller basement, where the priest, in white and gold robes, recently conducted a service for a couple of dozen parishioners as the smell of incense wafted through the candlelit room.

He is expecting a large crowd for Easter, which falls on Sunday. Eastern Orthodox Christians usually celebrate Easter later than Catholic and Protestant churches, because they use a different method of calculating the date for the holy day that marks Christ’s resurrection.

A majority of Ukrainians identify as Orthodox Christians, though the church is divided. Many belong to the independent Orthodox Church of Ukraine, with which the Lypivka church is affiliated. The rival Ukrainian Orthodox Church was loyal to the patriarch in Moscow until splitting from Russia after the 2022 invasion and is viewed with suspicion by many Ukrainians.

Kharkivskyi says the size of his congregation has remained stable even though the population of the village has shrunk dramatically since the war began. In tough times, he says, people turn to religion.

“Like people say: ‘Air raid alert — go see God,’” the priest said wryly.

Liudmyla Havryliuk, who has a summer home in Lypivka, found herself drawn back to the village and its church even before the fighting stopped. When Russia invaded, she drove to Poland with her daughters, then 16 and 18 years old. But within weeks she came back to the village she loves, still besieged by the Russians.

The family hunkered down in their home, cooking with firewood, drawing water from a well, sometimes under Russian fire. Havryliuk said that when they saw Russian helicopters, they held hands and prayed.

“Not prayer in strict order, like in the book,” she said. “It was from my heart, from my soul, about what should we do? How can I save myself and especially my daughters?”

She goes to Lypivka’s church regularly, saying it’s a “place you can shelter mentally, within yourself.”

As Ukraine marks its third Easter at war, the church is nearing completion. Only a few of Kryvolap’s interior panels remain to be installed. He said that the shell holes will be left unrepaired as a reminder to future generations.

“(It’s) so that they will know what kind of ‘brothers’ we have, that these are just fascists,” he said, referring to the Russians.

“We are Orthodox, just like them, but destroying churches is something inhumane.”
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Egypt’s eighth annual Aswan International Women Film Festival took place from April 20 to 25. This year’s focus was on the resilience of women, with Egypt’s economic turmoil and the war in neighboring Gaza as a backdrop. Cairo-based photojournalist Hamada Elrasam captured scenes around the festival in Aswan, Egypt’s southernmost city known as the country’s ancient gateway. Captions by Elle Kurancid.
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Barcelona, Spain — French Iranian artist Marjane Satrapi, whose graphic novel “Persepolis” tells the story of a girl growing up in post-revolutionary Iran, was awarded Spain’s prestigious Princess of Asturias Prize for Communication and Humanity on Tuesday. 

The prize jury praised the 54-year-old as “one of the most prominent names in international comics, author of what is, for many, one of the best graphic novels ever published.” 

“Satrapi is a symbol of civic engagement led by women,” the jury said, calling her “an essential voice in the defense of human rights and freedom.” 

Born in Iran, Satrapi recounts in “Persepolis” her years as an outspoken teenager chafing at the Islamic revolution and its restrictions imposed on women, especially for one from a progressive family like hers. It also tells of the hardships of the Iran-Iraq war. 

At 14, her parents sent her to school in Vienna to avoid arrest over her defiance of the regime. She later returned to Tehran but left for France in 1994, embarking on her career as an author, film director and painter. 

Her animated film adaptation of “Persepolis” won her a nomination at the Academy Awards in 2008. 

Satrapi said it was “a great honor” to win the Spanish prize, which she dedicated to rapper Toomaj Saleh, who was sentenced to death last week in Iran. 

The verdict was seen by activists as retaliation for his music backing nationwide protests that erupted in 2022 following the death in police custody of the young Kurdish woman Mahsa Amini. 

“I take this opportunity to celebrate the fierce fight of my people for human rights and freedom. Today it is all the young people who lost their lives and the ones who continue the combat for liberty in Iran that are celebrated,” she said in a statement. 

Amini had been detained over an alleged breach of the Islamic republic’s strict dress rules for women. The months of unrest following her death on September 16, 2022, saw hundreds of people killed, including dozens of security personnel, and thousands more arrested. 

Satrapi last year coordinated the graphic novel “Woman, Life, Freedom” with a group of artists that illustrated the revolts. 

The 50,000-euro ($54,000) award is one of eight Asturias prizes covering the arts, science and other areas handed out yearly by a foundation named for Spanish Crown Princess Leonor. 

The awards will be handed out at a ceremony hosted by Spain’s King Felipe VI in October. 
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houston — Time marches on and all good things must come to an end. But don’t tell that to The Rolling Stones.

What many believe to be the greatest rock ‘n’ roll band in the world showed no signs of slowing down anytime soon as they kicked off their latest tour Sunday night at NRG Stadium in Houston, Texas.

The Stones have been touring for more than 60 years. Frontman Mick Jagger and lead guitarist Keith Richards are both 80, with guitarist Ronnie Wood not far behind at 76. Their tour is being sponsored in part by AARP.

But during a vibrant two-hour show, the Stones played with the energy of a band that was on tour for the first time.

“It’s great to be back in the Lone Star State,” Jagger told the packed stadium, filled with longtime fans, many wearing faded concert shirts from previous tours.

Jagger often strutted up and down the stage with seemingly boundless energy while Richards and Wood played many familiar guitar riffs beloved by fans. Jagger often led the audience in sing-alongs.

“The energy level is up and it’s always up with them. The age doesn’t show,” Dale Skjerseth, the Stones’ production director, said Friday before the concert.

The Stones have hit the road to support the release of their latest album, “Hackney Diamonds,” the band’s first record of original music since 2005.

Houston was the first stop on the band’s 16-city tour across the U.S. and Canada. Other cities on the tour include New Orleans, Philadelphia and Vancouver, British Columbia. The tour ends on July 17 in Santa Clara, California.

During Sunday’s 18-song concert set list, the Stones played several tracks off the new record, including the lead single, “Angry.” They also played classics including “Sympathy for the Devil,” “Gimme Shelter,” “Honky Tonk Women” and “Start Me Up.”

After playing “Beast of Burden,” Jagger said that concertgoers in Houston had voted to include it on the set list.

“You can’t go wrong with that,” one man in the audience could be heard screaming.

The Stones also played some unexpected choices, including “Rocks Off,” from their 1972 double album “Exile on Main St.” and “Out of Time,” a 1966 song that Jagger said during the concert had not ever been played by the band in the U.S.

With the 2021 death of drummer Charlie Watts, the Stones are now comprised of the core trio of Jagger, Richards and Wood. On Sunday, they were backed by various musicians including two keyboardists, a new drummer, backup singers and a brass section.

While the stage was surrounded by a large collection of video screens projecting images throughout the show, the main focus of the concert was the band and their songs.

Before Sunday’s concert, Jagger spent time on Friday touring NASA’s Johnson Space Center in suburban Houston, posting photos on his Instagram account of him with astronauts inside Mission Control.

“I had an amazing trip to the space center,” Jagger said.

When asked if the band might be thinking about retiring, Skjerseth said he doubts that will happen.

“This is not the end. They’re very enthused,” he said.
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new york — The U.S. Soccer Federation and its Mexican counterpart dropped their joint bid to host the 2027 Women’s World Cup on Monday and said they instead will focus on trying to host the 2031 tournament.

The decision left a proposal from Brazil and a joint Germany-Netherlands-Belgium plan competing to be picked for 2027 by the FIFA Congress that meets May 17 in Bangkok.

The USSF said the 2031 bid will call for FIFA to invest equally in the men’s and women’s World Cups.

FIFA said last year it planned to spend $896 million in prize money for the 2026 World Cup in the United States, Mexico and Canada. The governing body devoted $110 million in prize money for last year’s Women’s World Cup in Australia and New Zealand.

“Hosting a World Cup tournament is a huge undertaking — and having additional time to prepare allows us to maximize its impact across the globe,” USSF President Cindy Parlow Cone said in a statement. “I’m proud of our commitment to provide equitable experiences for the players, fans and all our stakeholders. Shifting our bid will enable us to host a record-breaking Women’s World Cup in 2031 that will help to grow and raise the level of the women’s game both here at home as well as across the globe.”

In detailing the bid in December, the USSF proposed U.S. sites from among the same 11 to be used in the 2026 men’s World Cup. Mexico listed Guadalajara, Mexico City and Monterrey — its three sites for the men’s World Cup — and in addition for 2027 listed as possibilities Leon and Querétaro.

“We feel that moving our bid back to 2031 will allow us to promote and build up to the most successful Women’s World Cup ever,” MFF President Ivar Sisniega said in a statement. “The strength and universality of our professional women’s leagues, coupled with our experience from organizing the 2026 World Cup, means that we will be able to provide the best infrastructure as well as an enthusiastic fan base that will make all the participating teams feel at home and to put together a World Cup that will contribute to the continued growth of women’s football.”
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Tehran, Iran — Iranian authorities have banned an Egyptian TV series depicting a medieval Persian figure over historical “distortions” and “a biased approach,” state media reported Sunday.

“The Assassins,” or “El-Hashashin” in Arabic, recounts the story of Hassan-i Sabbah, the controversial founder of an offshoot Shiite Muslim sect known for bloody political assassinations during the 11th century.

The 30-episode series about Sabbah and his band of assassins, who operated out of mountain bases in northern and western Iran, was first broadcast during the holy Muslim month of Ramadan which ended earlier this month.

The show has since gained popularity across the Middle East, but the head of Tehran’s audiovisual media regulatory body, Mehdi Seifi, said that “the broadcast of ‘El-Hashashin’ series… is no longer approved in Iran.”

“Its narrative of Islamic history includes many distortions, and it seems to have been produced with a biased political approach,” Seifi was quoted as saying by the official IRNA news agency, without elaborating.

IRNA said the series shows “a false image of Iranians” and quoted experts who argued it sought to link Iranians to the “inception of terrorism.”  

Another news agency, ISNA, said the series was a “perfect example” of the “modification and falsification of truth.”

The notorious legends of Sabbah and his medieval order have inspired multiple works of fiction over the years.

The remains of the Alamut castle, where the group resided, is today a tourist destination in northern Iran. 
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