YCLOAK

“The Super Mario Bros. Movie” led ticket sales for the fourth straight weekend in U.S. and Canadian theaters with $40 million as the global haul for the Universal Pictures release surpassed $1 billion, according to studio estimates Sunday.

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

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

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

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

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

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

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

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

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

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

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

2. “Evil Dead Rise,” $12.2 million.

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

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

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

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

7. “Air,” $4 million.

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

9. “The Covenant,” $3.6 million.

10. “Sisu,” $3.3 million.
    …

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

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

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

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

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

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

‘It’s our job now’

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

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

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

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

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

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

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

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

Faith that support will come

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

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

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

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

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

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

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

“They still have access to the same dirt,” Pacheco said as the adobe walls’ sand particles and straw sparkled in the sun. “They will provide.”
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A U.S.-sponsored youth festival opened Saturday in Ethiopia with the theme “Be Inspired, Own Your Future.” The two-day festival is being held just months after a bloody two-year civil war ended in Ethiopia’s Tigray region and as peace talks begin with the rebel Oromo Liberation Army (OLA).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The festival, supported by USAID for five years, is expected to include participants from Tigray in coming years, as organizers finalize a post-conflict assessment in the region.
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Jerry Springer, the onetime mayor and news anchor whose namesake TV show featured a three-ring circus of dysfunctional families willing to bare all on weekday afternoons including brawls, obscenities and blurred images of nudity, died Thursday at 79.

At its peak, “The Jerry Springer Show” was a ratings powerhouse and a U.S. cultural pariah, synonymous with lurid drama. Known for chair-throwing and bleep-filled arguments, the daytime talk show was a favorite American guilty pleasure over its 27-year run, at one point topping Oprah Winfrey’s show.

Springer called it “escapist entertainment,” while others saw the show as contributing to a dumbing-down decline in American social values.

“Jerry’s ability to connect with people was at the heart of his success in everything he tried whether that was politics, broadcasting or just joking with people on the street who wanted a photo or a word,” said Jene Galvin, a family spokesperson and friend of Springer’s since 1970, in a statement. “He’s irreplaceable and his loss hurts immensely, but memories of his intellect, heart and humor will live on.”

Springer died peacefully at home in suburban Chicago after a brief illness, the statement said

On his Twitter profile, Springer jokingly declared himself as “Talk show host, ringmaster of civilization’s end.” He also often had told people, tongue in cheek, that his wish for them was “may you never be on my show.”

After more than 4,000 episodes, the show ended in 2018, never straying from its core salaciousness: Some of its last episodes had such titles as “Stripper Sex Turned Me Straight,” “Stop Pimpin’ My Twin Sister,” and “Hooking Up With My Therapist.”

In a “Too Hot For TV” video released as his daily show neared 7 million viewers in the late 1990s, Springer offered a defense against disgust.

“Look, television does not and must not create values, it’s merely a picture of all that’s out there — the good, the bad, the ugly,” Springer said, adding: “Believe this: The politicians and companies that seek to control what each of us may watch are a far greater danger to America and our treasured freedom than any of our guests ever were or could be.”

He also contended that the people on his show volunteered to be subjected to whatever ridicule or humiliation awaited them.

Gerald Norman Springer was born Feb. 13, 1944, in a London underground railway station being used as a bomb shelter. His parents, Richard and Margot, were German Jews who fled to England during the Holocaust, in which other relatives were killed in Nazi gas chambers. They arrived in the United States when their son was 5 and settled in the Queens borough of New York City, where Springer got his first Yankees baseball gear on his way to becoming a lifelong fan.

He studied political science at Tulane University and got a law degree from Northwestern University. He was active in politics much of his adult life, mulling a run for governor of Ohio as recently as 2017.

He entered the arena as an aide in Robert F. Kennedy’s ill-fated 1968 presidential campaign. Springer, working for a Cincinnati law firm, ran unsuccessfully for Congress in 1970 before being elected to city council in 1971.

In 1974 — in what The Cincinnati Enquirer reported as “an abrupt move that shook Cincinnati’s political community” — Springer resigned. He cited “very personal family considerations,” but what he didn’t mention was a vice probe involving prostitution. In a subsequent admission that could have been the basis for one of his future shows, Springer said he had paid prostitutes with personal checks.

Then 30, he had married Micki Velton the previous year. The couple had a daughter, Katie, and divorced in 1994.

Springer quickly bounced back politically, winning a council seat in 1975 and serving as mayor in 1977. He later became a local television politics reporter with popular evening commentaries. He and co-anchor Norma Rashid eventually helped build NBC affiliate WLWT-TV’s broadcast into the Cincinnati market’s top-rated news show.

Springer began his talk show in 1991 with more of a traditional format, but after he left WLWT in 1993, it got a sleazy makeover.

TV Guide ranked it No. 1 on a list of “Worst Shows in the History of Television,” but it was ratings gold. It made Springer a celebrity who would go on to host a liberal radio talk show and “America’s Got Talent,” star in a movie called “Ringmaster,” and compete on “Dancing With the Stars.”

“With all the joking I do with the show, I’m fully aware and thank God every day that my life has taken this incredible turn because of this silly show,” Springer told Cincinnati Enquirer media reporter John Kiesewetter in 2011.

Well in advance of Donald Trump’s political rise from reality TV stardom, Springer mulled a Senate run in 2003 that he surmised could draw on “nontraditional voters,” people “who believe most politics are bull.”

“I connect with a whole bunch of people who probably connect more to me right now than to a traditional politician,” Springer told the AP at the time. He opposed the war on Iraq and favored expanding public healthcare, but ultimately did not run.

Springer also spoke often of the country he came to age 5 as “a beacon of light for the rest of world.”

“I have no other motivation but to say I love this country,” Springer said to a Democratic gathering in 2003.

Springer hosted a nationally syndicated “Judge Jerry” show in 2019 and continued to speak out on whatever was on his mind in a podcast, but his power to shock had dimmed in the new era of reality television and combative cable TV talk shows.

“He was lapped not only by other programs but by real life,” David Bianculli, a television historian and professor at Monmouth University, said in 2018.

Despite the limits Springer’s show put on his political aspirations, he embraced its legacy. In a 2003 fund-raising infomercial ahead of a possible U.S. Senate run the following year, Springer referenced a quote by then National Review commentator Jonah Goldberg, who warned of new people brought to the polls by Springer, including “slack-jawed yokels, hicks, weirdos, pervs and whatnots.”

In the informercial, Springer referred to the quote and talked about wanting to reach out to “regular folks … who weren’t born with a silver spoon in your mouth.”
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From discussing nuclear war to belting out a beloved hit: South Korean President Yoon Suk Yeol’s White House visit ended on a high note when he sang Don McLean’s “American Pie” to great applause.   

Yoon is on a six-day state visit to Washington, where he discussed with U.S. President Joe Biden on Wednesday “the end” of any North Korean regime that used nuclear weapons against the allies.   

But the two leaders had more cheerful topics on the agenda at the White House state dinner in Yoon’s honor later that day, with the South Korean leader — who is known at home to be something of a karaoke buff — sharing his love of American music.   

“We know this is one of your favorite songs, ‘American Pie,'” Biden said to Yoon, having pulled him up onto the stage at the end of the evening to listen to singers perform the classic.   

“Yes, that’s true,” the 62-year-old Yoon admitted, saying that he had loved the Don McLean song, released in 1971, since he was at school.   

“We want to hear you sing it,” said Biden.   

“It’s been a while but…” Yoon responded, offering only token resistance as he took the microphone.   

Yoon belted out the first few lines of the song a cappella, triggering rapturous applause from the crowd and delighting Biden and the First Lady.   

“The next state dinner we’re going to have, you’re looking at the entertainment,” Biden told the crowd, referring to Yoon.    

Then he turned to the South Korean president and said: “I had no damn idea you could sing.”   

Biden told Yoon that McLean could not be at the White House to join them but had sent a signed guitar, which the U.S. president gave to the South Korean leader.   

“Yoon literally tore up the stage and White House!” one Twitter user wrote in Korean in reply to a video of the president singing.   

“Yoon has revealed his hidden singing talent,” another commenter wrote, also in Korean, resharing the video.   

It is not Yoon’s first time singing in public.   

On the campaign trail in 2021, he appeared on the famous South Korean TV show “All the Butlers”, wowing its celebrity hosts with a sparkling rendition of the K-pop ballad “No One Else” by Lee Seung-chul. 
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Actor Angelina Jolie, home improvement duo Chip and Joanna Gaines and Olympic snowboarder Chloe Kim headlined the list of big names from politics, business, sports and entertainment glamming up a fancy black-tie dinner that U.S. President Joe Biden hosted Wednesday for South Korean President Yoon Suk Yeol.

Broadway’s Lea Salonga, one of the night’s entertainers, confessed as she arrived that she was “freaking out” over the whole experience, allowing, “It feels like being in the middle of a fairy tale.” Kim, for her part, served up a classic understatement as she strolled in, telling reporters, ”I heard the food’s going to be very good.” Jolie wasn’t inclined to chat as she arrived in a vintage Chanel jacket and a flowing cream gown, but her date, 21-year-old son Maddox, at least offered that his favorite thing about Seoul was “the people.”

A smattering of politicians made the guest list, too, and most were determinedly on message, talking a lot of shop. Sen. Tammy Duckworth, D-Ill., held forth on infrastructure, debt reduction and the budget. Rep. Judy Chu, D-Calif., talked abortion rights. Former Commerce Secretary Penny Pritzker, a big Democratic donor from Illinois, talked up plans for the Democratic convention in Chicago in 2024, promising, “of course” it will go well.

Sen. Mazie Hirono, D-Hawaii, proudly showed off her traditional hanbok gown, saying it was important to showcase cultural diversity. She added that the big challenge was “not to trip over it.”

Also among the nearly 200 guests were Arthur Blank, a co-founder of Home Depot; Pachinko author Min Jin Lee; and former Major League Baseball pitcher Chan Ho Park. Republican Sen. Mitt Romney of Utah also attended, as did the governors of Delaware, New Jersey and Vermont.

On a perfect spring evening, guests entered the White House by strolling through the Jacqueline Kennedy garden in the East Wing and being directed to a cocktail reception before dinner in the East Room, where tables were topped with towering centerpieces of cherry tree boughs in full bloom. On the menu: crabcakes, beef ribs and banana splits.

While most guests were strolling in through the garden, Biden and wife Jill welcomed Yoon and wife Kim Keon Hee on a red carpet on the steps of the North Portico, where the president flashed a thumbs-up for the assembled cameras. Kim wore a cream-colored jacket over her gown, which was also creamy. Jill Biden wore a mauve sheath gown by Reem Acra.

In their toasts before dinner, President Biden said he believed Yoon’s visit had “brought two nations even closer together.”

Yoon, for his part, nodded to Biden’s Irish heritage and love of Irish poets.

“There’s an old saying, and Mr. President, this one is also Irish, that goes: A good friend is like a four-leaf clover, hard to find and lucky to have,” Yoon said, offering a toast to our “ironclad alliance.”

A state visit, including an arrival ceremony on the South Lawn and a sparkly state dinner, is the highest diplomatic honor the U.S. bestows on its closest allies. Yoon was visiting as the U.S. and South Korea mark the 70th year of an alliance that began at the end of the Korean War and committed the U.S. to help South Korea defend itself, particularly from North Korea. Approximately 28,500 U.S. troops are currently based in South Korea.

Biden’s first invitation for a state visit went to France last year and President Emmanuel Macron was toasted at a black-tie dinner last December with more than 300 guests inside a heated pavilion erected on the south grounds of the White House.
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A Fugees rapper accused in multimillion-dollar political conspiracies spanning two presidencies was convicted Wednesday after a trial that included testimony from such witnesses as actor Leonardo DiCaprio and former U.S. Attorney General Jeff Sessions. 

Prakazrel “Pras” Michel was accused of funneling money from a now-fugitive Malaysian financer through straw donors to Barack Obama’s 2012 reelection campaign, then trying to squelch a Justice Department investigation and influence an extradition case on behalf of China under the Trump administration. 

A jury in Washington, D.C., federal court found him guilty of all 10 counts, including conspiracy and acting as an unregistered agent of a foreign government. 

The defense argued the Grammy-winning rapper from the Fugees, a 1990s hip-hop group, simply wanted to make money and got bad legal advice as he reinvented himself in the world of politics. 

Michel declined to comment after the verdict, but his attorney said he’s “extremely disappointed” in the outcome of the case and plans to appeal. 

“This is not over,” attorney David Kenner said. “I remain very, very confident we will ultimately prevail.” 

Michel met Malaysian financer Low Taek Jho in 2006, when the businessman usually known as Jho Low was dropping huge sums of money and hobnobbing with the likes of media personality Paris Hilton. Low helped finance Hollywood films, including “The Wolf of Wall Street.” DiCaprio testified Low had appeared to him as a legitimate businessman and had mentioned wanting to donate to Obama’s campaign. 

Michel also testified in his own defense. He said Low wanted a picture with Obama in 2012 and was willing to pay millions of dollars to get it. Michel agreed to help and used some of the money he got to pay for friends to attend fundraising events. No one had ever told him that was illegal, he said. 

Prosecutors said Michel was donating the money on Low’s behalf, and later tried to lean on the straw donors with texts from burner phones to keep them from talking to investigators. 

After the election of Donald Trump, prosecutors say Michel again took millions to halt an investigation into allegations Low masterminded a money laundering and bribery scheme that pilfered billions from the Malaysian state investment fund known as 1MDB. Low is now an international fugitive and has maintained his innocence. 

Michel also got paid to try to persuade the U.S. – without registering as a foreign agent – to extradite back to China a government critic suspected of crimes there, prosecutors said. 

On that charge, the defense pointed to testimony from Sessions, who was Trump’s top law enforcement officer until he resigned in 2018. Sessions said he’d been aware the Chinese government wanted the extradition but didn’t know Michel. The rapper’s ultimately futile efforts to arrange a meeting on the topic didn’t seem improper, the former attorney general said.
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Pope Francis has decided to give women the right to vote at an upcoming meeting of bishops, an historic reform that reflects his hopes to give women greater decision-making responsibilities and laypeople more say in the life of the Catholic Church.

Francis approved changes to the norms governing the Synod of Bishops, a Vatican body that gathers the world’s bishops together for periodic meetings, following years of demands by women to have the right to vote.

The Vatican on Wednesday published the modifications he approved, which emphasize his vision for the lay faithful taking on a greater role in church affairs that have long been left to clerics, bishops and cardinals.

Catholic women’s groups that have long criticized the Vatican for treating women as second-class citizens immediately praised the move as historic in the history of the church.

“This is a significant crack in the stained glass ceiling, and the result of sustained advocacy, activism and the witness” of a campaign of Catholic women’s groups demanding the right to vote, said Kate McElwee of the Women’s Ordination Conference, which advocates for women’s ordination.

Ever since the Second Vatican Council, the 1960s meetings that modernized the church, popes have summoned the world’s bishops to Rome for a few weeks at a time to debate particular topics. At the end of the meetings, the bishops vote on specific proposals and put them to the pope, who then produces a document taking their views into account.

Until now, the only people who could vote were men.

But under the new changes, five religious sisters will join five priests as voting representatives for religious orders.

In addition, Francis has decided to appoint 70 non-bishop members of the synod and has asked that half of them be women. They too will have a vote.

The aim is also to include young people among these 70 non-bishop members, who will be proposed to the pope by regional blocs, with Francis making a final decision.

“It’s an important change, it’s not a revolution,” said Cardinal Jean-Claude Hollerich, a top organizer of the synod.

The next meeting, scheduled for Oct. 4-29, is focused on the very topic of making the church more reflective of, and responsive to, the laity, a process known as “synodality” that Francis has championed for years.

The October meeting has been preceded by an unprecedented two-year canvassing of the lay Catholic faithful about their vision for the church and how it can better respond to the needs of Catholics today.

So far only one women is known to be a voting member of that October meeting, Sister Nathalie Becquart, a French nun who is undersecretary in the Vatican’s Synod of Bishops office and will participate in the meeting thanks to her position. When she was appointed to the position in 2021, she called Francis “brave” for having pushed the envelope on women’s participation.

By the end of next month, seven regional blocs will propose 20 names apiece of nonbishop members to Francis, who will select 10 names apiece to bring the total to 70.

Cardinal Mario Grech, who is in charge of the synod, stressed that with the changes, some 21% of the gathered representatives at the October meeting will be non-bishops, with half of that group women.

Acknowledging the unease within the hierarchy of Francis’ vision of inclusivity, he stressed that the synod itself would continue to have a majority of bishops calling the shots.

Hollerich declined to say how the female members of the meeting would be known, given that members have long been known as “synodal fathers.” Asked if they would be known as “synodal mothers,” he responded that it would be up to the women to decide.

Francis has upheld the Catholic Church’s ban on ordaining women as priests, but has done more than any pope in recent time to give women greater say in decision-making roles in the church.

He has appointed several women to high-ranking Vatican positions, though no women head any of the major Vatican offices or departments, known as dicasteries.
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Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.

Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Paula M. Witt, of public relations firm Sunshine Sachs Morgan & Lylis.

With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “Banana Boat Song (Day-O),” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”

He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.

Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyonce for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film “BlacKkKlansman,” he was fittingly cast as an elder statesman schooling young activists about the country’s past.

Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”

Belafonte responded, “What makes you think that’s not what I’ve been doing?”

Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s “Almanac” and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”

In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical “Carmen Jones,” a popular breakthrough for an all-Black cast. The 1957 movie “Island in the Sun” was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.

 
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Jury selection began Monday in a trial to determine whether British pop star Ed Sheeran plagiarized American music legend Marvin Gaye’s “Let’s Get It On” in his 2014 hit “Thinking Out Loud.”   

The plaintiffs are the heirs of Ed Townsend, a musician and producer who co-wrote Gaye’s 1973 soul classic.  

They allege that there are “striking similarities and overt common elements” between Gaye’s sultry classic and Sheeran’s “Thinking Out Loud.”   

It’s not the first time Sheeran has been taken to court, as copyright lawsuits in the music industry flourish.    

Sheeran testified in a London court in April last year in a case centered around his song “Shape of You.” He is among the potential witnesses to be called in this trial, as well, in which opening arguments were due to begin Tuesday after a jury is selected, a lawyer working on the case told Agence France-Presse.    

Townsend’s family has pointed out that the group Boyz II Men has performed mashups of the two songs, and that Sheeran has blended the songs together on stage, as well.   

Sheeran’s team contests the allegations, saying “there are dozens, if not hundreds, of songs that predate and postdate” Gaye’s song, “utilizing the same or similar chord progression.”   

“These medleys are irrelevant to any issue in the case and would be misleading [and] confuse the jury,” Sheeran’s team said.   

Sheeran’s “Thinking Out Loud” shot up America’s Billboard Hot 100 charts when it was released and won Sheeran a Grammy Award for “Song of the Year” in 2016.   

The lawsuit, filed in 2016 — and refiled in 2017 after being rejected on procedural grounds — also names Sony.   

In Sheeran’s London trial, the singer called the lawsuit emblematic of copyright litigation that goes too far, potentially stifling creativity.   

The judge agreed, declaring that Sheeran had “neither deliberately nor subconsciously copied” part of the melody in the song “Oh Why” by Sami Chokri and Ross O’Donoghue.   

The judge acknowledged similarities between the two songs, but ultimately ruled there were large differences, and that Chokri’s lawyers failed to prove Sheeran had ever heard the song.   

Gaye’s family is not part of the New York lawsuit against Sheeran, though his estate successfully sued the artists Robin Thicke, Pharrell Williams, and T.I. over similarities between the song “Blurred Lines” and Gaye’s “Got to Give it Up.” 
…

Len Goodman, the urbane, long-serving judge on “Dancing with the Stars” and “Strictly Come Dancing,” has died, his agent said Monday. He was 78. 

Agent Jackie Gill said Goodman “passed away peacefully,” without giving a cause. 

A former dancer and British champion, Goodman was a judge on “Strictly Come Dancing” for 12 years from its launch on the BBC in 2004. The ballroom dancing competition, which pairs celebrities with professional dance partners, has become one of the network’s most popular shows. 

Goodman was head judge on the U.S. version of the show, “Dancing With the Stars,” for 15 years until his retirement in November.  

BBC director-general Tim Davie said Goodman was “a wonderful, warm entertainer who was adored by millions. He appealed to all ages and felt like a member of everyone’s family. Len was at the very heart of ‘Strictly’s success. He will be hugely missed by the public and his many friends and family.” 

Goodman was also a recipient of the Carl Alan Award in recognition of outstanding contributions to dance and owned the Goodman Academy dance school in southern England.  
…

“The Super Mario Bros. Movie” continued to rack up coins at the box office, leading ticket sales for the third straight weekend, as the animation hit neared $1 billion after just 18 days in theaters.

The weekend’s top new release, the horror reboot “Evil Dead Rise” debuted solidly, launching with $23.5 million, according to studio estimates Sunday. But that was no match for Universal Pictures’ “The Super Mario Bros. Movie,” which grossed $58.2 million in its third weekend.

“The Super Mario Bros. Movie” is setting a torrid pace for an animated movie. This week, it became the highest-grossing animated released of the pandemic era, with domestic ticket sales up to $434.3 million through Sunday and its global tally at $871.1 million. When “The Super Mario Bros. Movie” soon passes $1 billion worldwide, it will be just the fourth film of the pandemic era to reach that benchmark, following “Spider-Man: No Way Home,” “Top Gun Maverick” and “Avatar: The Way of Water.”

“Evil Dead Rise,” From Warner Bros. and New Line, is the fifth installment (and first in a decade) in the thriller franchise that Sam Raimi began with this 1981 ultra-low-budget classic, “Evil Dead.” Though Raimi’s subsequent and much-adored films starring Bruce Campbell grew increasingly slapstick, marrying comedy and horror, the 2013 reboot and “Evil Dead Rise” (with Raimi as an executive producer) rely on chillier frights.

“Evil Dead Rise,” which had a reported budget of $17 million, also had originally been planned as an HBO Max release. When Warner Bros. decided direct-to-streaming films weren’t financially appealing, it pushed some films – including “Magic Mike’s Last Dance” and “House Party” – to theaters, and simply canned a few others including “Batgirl” and “Scoob! Holiday Haunt.”

Amazon Studios’ “Air,” likewise initially was intended to go straight to streaming, has also continued to perform well theatrically. The Ben Affleck-directed film, about Nike’s courting of Michael Jordan, dipped a modest 29% in its third weekend with $5.5 million to bring its cumulative total to $41.3 million.

But while horror remains one of the most dependable genres at the box office, and families — after a long dry spell of all-audience releases — have flocked to “Super Mario,” some adult-oriented releases have continued to have a harder time attracting audiences.

Guy Ritchie’s “The Covenant,” starring Jake Gyllenhaal as an injured army sergeant in Afghanistan, opened with $6.3 million in 2,611 theaters. But with mostly good reviews (81% fresh on Rotten Tomatoes) and an “A” CinemaScore from ticket buyers, the MGM release may hold well in coming weeks.

Ari Aster’s “Beau Is Afraid,” the most expensive movie ever made by specialty studio A24, expanded until near-wide release, going from four theaters to 926. Aster’s three-hour opus, received with more mixed reviews than his previous two films (“Hereditary,” “Midsommar”), took in $2.7 million.

Searchlight’s “Chevalier,” starring Kelvin Harrison as the 18th century French composer and violinist Joseph Bologne, Chevalier de Saint-Georges, also failed to make a dent. It took in $1.5 million in 1,275 theaters.

But with overall business in movie theaters largely thriving thanks to spring hits like “The Super Mario Bros. Movie” and “John Wick: Chapter 4” ($168.9 million domestically in five weeks of release), the theatrical industry will have much to celebrate when it convenes Monday in Las Vegas for the annual CinemaCon. Studios, beginning with Sony Pictures on Monday, will hype their summer blockbusters as Hollywood looks to return to pre-pandemic box-office levels.

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

1. “Super Mario Bros,” $58.2 million.

2. “Evil Dead Rise,” $23.5 million.

3. “The Covenant,” $6.3 million.

4. “John Wick: Chapter 4,” $5.8 million.

5. “Air,” $5.5 million.

6. “Dungeons & Dragons: Honor Among Thieves,” $5.4 million.

7. “The Pope’s Exorcist,” $3.3 million.

8. “Renfield,” $3.1 million.

9. “Beau Is Afraid,” $2.7 million.

10. “Suzume,” $1.6 million.
    …

Tony Award-winning comedian Barry Humphries, internationally renowned for his garish stage persona Dame Edna Everage, a condescending and imperfectly-veiled snob whose evolving character has delighted audiences over seven decades, has died. He was 89.

His death in a Sydney, Australia, hospital, where he spent several days with complications following hip surgery, was confirmed by his family.

“He was completely himself until the very end, never losing his brilliant mind, his unique wit and generosity of spirit,” a family statement said. “With over 70 years on the stage, he was an entertainer to his core, touring up until the last year of his life and planning more shows that will sadly never be.” 

Humphries had lived in London for decades and returned to native Australia in December for Christmas.

He told The Sydney Morning Herald newspaper last month that his physiotherapy had been “agony” following his fall and hip replacement.

“It was the most ridiculous thing, like all domestic incidents are,” Humphries said of his fall. “I was reaching for a book, my foot got caught on a rug or something, and down I went.”

Humphries has remained an active entertainer, touring Britain last year with his one-man show “The Man Behind the Mask.”

Dame Edna’s roots

The character of Dame Edna began as a dowdy Mrs. Norm Everage, who first took to the stage in Humphries’ hometown of Melbourne in the mid-1950s. She reflected a postwar suburban inertia and cultural blandness that Humphries found stifling.

Edna is one of Humphries’ several enduring characters. The next most famous is Sir Les Patterson, an ever-drunk, disheveled and lecherous Australian cultural attache.

Patterson reflected a perception of Australia as a Western cultural wasteland that drove Humphries along with many leading Australian intellectuals to London.

Humphries, a law school dropout, found major success as an actor, writer and entertainer in Britain in the 1970s, but the United States was an ambition that he found stubbornly elusive.

A high point in the United States was a Tony Award in 2000 for his Broadway show “Dame Edna: The Royal Tour.”

Australian Prime Minister Anthony Albanese paid tribute to the celebrated comedian.

“For 89 years, Barry Humphries entertained us through a galaxy of personas, from Dame Edna to Sandy Stone,” Albanese tweeted, referring to the melancholic and rambling Stone, one of Humphries’ most enduring characters. “But the brightest star in that galaxy was always Barry. A great wit, satirist, writer and an absolute one-of-kind, he was both gifted and a gift.”

British comedian Ricky Gervais tweeted: “Farewell, Barry Humphries, you comedy genius.”

Piers Morgan, British television personality, tweeted: “One of the funniest people I’ve ever met.”

“A wondrously intelligent, entertaining, daring, provocative, mischievous comedy Genius,” Morgan added.

Actor, writer, painter

The multi-talented Humphries was also a respected character actor with many stage and screen credits, an author of novels and an autobiography, and an accomplished landscape painter.

John Barry Humphries was born in Melbourne on Feb. 17, 1934. His parents were comfortable, loving and strait-laced, and must have wondered about their eldest son, whom they called Sunny Sam. His mother used to tell him to stop drawing attention to himself.

Before he had finished at the prestigious Melbourne Grammar School, Humphries was more interested in art and secondhand bookshops than football. At 16, his favorite author was Kafka and later said he “felt a little foreign.”

He spent two years at Melbourne University, where he embraced Dadaism — the subversive, anarchic and absurdist European art movement.

His contributions included “Pus In Boots,” waterproof rubber boots filled with custard, and on the performance art side, getting on a tram with an apparently blind accomplice whom Humphries would kick in the shins while yelling “Get out of my way, you disgusting blind person.”

In 1959, he settled in London and was soon working in Peter Cook’s comedy venue The Establishment. He played Sowerberry in the original London production of “Oliver!” in 1960 and repeated the role on Broadway. He appeared with Spike Milligan and William Rushton in “Treasure Island.”

Humphries, with New Zealand artist Nicholas Garland, created the Barry McKenzie comic strip for the satirical magazine Private Eye in 1964.

When the strips came out as a book, the Australian government banned it because it “relied on indecency for its humor.” Humphries professed delight at the publicity and implored authorities not to lift the ban.

By then Humphries’ drinking was out of control. In Melbourne in late 1970, he was charged with being drunk and disorderly. He finally admitted himself to a hospital specializing in alcoholism for the treatment that would turn him into a lifelong abstainer.

In 1972 came the first Barry McKenzie film — financially supported by the Australian government, despite the earlier ban. It was savaged by the critics, largely because they trembled at what the world’s first film to feature beer induced vomiting would do to Australia’s image overseas.

But it was a popular success and a sequel two years later included then Prime Minister Gough Whitlam knighting Edna, who was McKenzie’s aunt.

Married four times, Humphries is survived by his wife Lizzie Spender, four children and 10 grandchildren.
…

The guardians of Champagne will let no one take the name of the bubbly beverage in vain, not even a U.S. beer behemoth.

For years, Miller High Life has used the “Champagne of Beers” slogan. This week, that appropriation became impossible to swallow.

At the request of the trade body defending the interests of houses and growers of the northeastern French sparkling wine, Belgian customs crushed more than 2,000 cans of Miller High Life advertised as such.

The Comité Champagne asked for the destruction of a shipment of 2,352 cans on the grounds that the century-old motto used by the American brewery infringes the protected designation of origin “Champagne.”

The consignment was intercepted in the Belgian port of Antwerp in early February, a spokesperson at the Belgian Customs Administration said on Friday, and was destined for Germany. Belgian customs declined to say who had ordered the beers.

The buyer in Germany “was informed and did not contest the decision,” the trade organization said in a statement.

Frederick Miller, a German immigrant to the US, founded the Miller Brewing Company in the 1850s. Miller High Life, its oldest brand, was launched as its flagship in 1903.

According to the Milwaukee-based brand’s website, the company started to use the “Champagne of Bottle Beers” nickname three years later. It was shortened to “The Champagne of Beers” in 1969. The beer has also been available in champagne-style 750-milliliter bottles during festive seasons.

No matter how popular the slogan is in the United States, it is incompatible with European Union rules which make clear that goods infringing a protected designation of origin can be treated as counterfeit.

The 27-nation bloc has a system of protected geographical designations created to guarantee the true origin and quality of artisanal food, wine and spirits, and protect them from imitation. That market is worth nearly 75 billion euros ($87 billion) annually — half of it in wines, according to a 2020 study by the EU’s executive arm.

Charles Goemaere, the managing director of the Comité Champagne, said the destruction of the beers “confirms the importance that the European Union attaches to designations of origin and rewards the determination of the Champagne producers to protect their designation.”

Molson Coors Beverage Co., which which owns the Miller High Life brand, said in a statement to The Associated Press that it “respects local restrictions” around the word Champagne.

“But we remain proud of Miller High Life, its nickname and its Milwaukee, Wisconsin provenance,” the company said. “We invite our friends in Europe to the U.S. any time to toast the High Life together.”

Molson Coors Beverage Co. added that it does not currently export Miller High Life to the EU and “we frankly don’t quite know how or why it got there, or why it was headed for Germany.”

Belgian customs said the destruction of the cans was paid for by the Comité Champagne. According to their joint statement, it was carried out “with the utmost respect for environmental concerns by ensuring that the entire batch, both contents and container, was recycled in an environmentally responsible manner.”
…

A man paces a 50-meter stage doing breathing exercises. Crew members chatter while putting together final touches to the set, as a pianist rehearses.

Acclaimed South African artist William Kentridge’s play “The Head & The Load” is almost ready for its much-awaited African debut.

“Being able to show it at home feels very important,” Kentridge told AFP of the show, which centers on African porters who, at the call of their colonial masters, hauled arms, cannons and supplies for European forces during World War I.

The production made its international debut in London in 2018 but has never been shown on African soil.

That is set to change on Friday as, after delays caused by coronavirus pandemic, the piece is set to premier at the Joburg Theatre in Johannesburg.

“This piece is about a hidden history, a history that was deliberately hidden,” Kentridge, 67, said as the cast took their places for a final dress rehearsal on Thursday night.

About one million African soldiers, porters and laborers are believed to have taken part in the 1914-18 conflict, according to the United Nations cultural agency, UNESCO.

More than 150,000 of them died.

“I think a starting place of the project was an ignorance, and an annoyance at my own self at my own ignorance,” the artist said. “I thought I knew the First World War.”

‘Troubles of the neck’

“The Head & The Load” takes its name from a Ghanaian proverb — “The head and the load are the troubles of the neck”.  At the rehearsal, the words are projected in enormous white text onto the stage.

But it takes a brief explanation, and a moment of reflection, to better understand their meaning.

“There’s… a physical load that the people are carrying, there’s a historical load of how we got here, and there’s a psychic load of how does one keep this history in one’s head,” Kentridge said.

Renowned for his animated films of shape-shifting charcoal drawings, the thickly eye-browed artist described the show as “a very wide drawing… moving in three dimensions”, combined with silhouettes, “added text and a great deal of music.”

Choreographer Gregory Maqoma said he looked forward to performing for a home audience.

The production aimed at “fulfilling” a void for “those who never made it back home,” he said.

Among them was a distant relative of the show’s co-composer, 35-year-old, Thuthuka Sibisi, who said one of his ancestors died on board the SS Mendi, a British steamship that sank in the Channel in February 1917.

The vessel was taking more than 600 mostly black South African soldiers to the front in France.

“The role and responsibility here is to… reconsider what we think is history” Sibisi said.

“The Head & The Load” runs at the Joburg Theatre from April 21 to May 6.
…

Muslims in Minneapolis can now hear their call to prayer broadcast five times a day from mosques around the city, thanks to a new law. From Minneapolis, Mohamud Mascadde has the story, narrated by Salem Solomon.
…

Moon Bin, a singer from South Korean boy band Astro, was found dead at his home in Seoul, his management agency said Thursday.

The 25-year-old was reportedly found by his manager who went to the singer’s home Wednesday evening because he wasn’t responding to contacts. Police are investigating his death but have so far found no signs of foul play, according to South Korea’s Yonhap news agency. Officials at Seoul’s Gangnam district police station did not respond to calls for comment.

Moon Bin’s management agency, Fantagio, confirmed his death in a statement, saying that he “suddenly left us and became a star in the sky” and that fellow artists and company staff were mourning him with “very deep sadness and shock.”

Fantagio said Moon Bin’s funeral will be held “as quietly as possible,” with the attendance mostly limited to family, close friends and colleagues, based on the wishes of his relatives.

‘Always bright’

Moon Bin began his music career in 2016 as a member of the six-member boy band Astro, which debuted shortly after the singers appeared in a TV reality show. The group quickly found success in South Korea and Japan and was listed on Billboard’s top 10 list of new K-pop groups that year, with the magazine praising them for their “bright, synthpop sound that won over K-pop lovers from around the world.”

According to Billboard, Astro had seven albums on the magazine’s World Albums Chart with Moon Bin as a member, peaking at Number 5 in 2017 with “Dream Part.02.”

Fans flooded Moon Bin’s social media accounts with comments expressing grief and shock over his death, which came months after he renewed his contract with Fantagio along with four other Astro members.

“It’s hard to believe,” radio host Jang Seong-kyu wrote on Instagram. “We only met several times over broadcasts, but whenever we met, Moon Bin was always bright and expressed immense love for his family. I can’t imagine the pain he was going through.”

Moon Bin had also performed as a member of the duo Moonbin & Sanha with Astro bandmate Yoon San-ha. Indonesian event promoter Lumina Entertainment on Wednesday announced the cancellation of the duo’s performance in Jakarta due to “unforeseen circumstances beyond our control.”

Helix Publicity, a U.S.-based public relations agency that has represented Moonbin & Sanha, issued a statement on Twitter that it was “absolutely heartbroken.”

“Sending our thoughts, prayers, and deepest condolences to Moon Bin’s family, friends, loved ones, and to AROHA who always cheered for him and supported him,” it said, referring to the name that Astro’s fans call themselves.

Moon Bin entered the entertainment industry as a child actor and landed a role in the 2009 TV series “Boys Over Flowers,” which was hugely popular in Asia. His sister, Moon Sua, is also a K-pop artist, a member of the girl band Billlie.

Stars’ deaths prompt questions

Several South Korean singers and actors have died by suicide in recent years, which has touched off soul-searching about harsh competition in the fast-growing entertainment industry, an abusive online culture and failure by management to address the mental health problems of their stars.

Last week, 26-year-old actress Jung Chae-yull was found dead at her home. Her agency did not say what caused her sudden death.
…

People worldwide have long been paying more for a premium cup of coffee. But what about a cost of over $100 for a cup? From Panama City, Panama, Oscar Sulbarán has the story, narrated by Cristina Caicedo Smit.
…

Like most Facebook users, I am targeted by advertisements relating to my interests, particularly Native American.

So, when an ad popped up recently advertising a “Navajo Tufa Cast Corn Stalk Design Bracelet” cast from 55 grams of sterling silver, it got my attention, especially because its price was an implausible $6.48.

“Because of Black Friday, we produced … a lot of items, but we can’t sell them all … now we need to pay suppliers a lot of money,” is how the Cuterise website explained the low price.

The Scam Detector website rated Cuterise “Risky. Dubious. Perilous.” But curiosity got the best of me, so I accepted the risk and ordered the bracelet. While waiting for it to ship — if anything shipped at all — I decided to learn everything I could about it.

Tufa casting involves pouring molten silver into a mold carved out of soft volcanic stone found in New Mexico and Arizona. The Navajo have been using it to make jewelry since the mid-1800s.

Tufa is fragile and can crumble after a single casting. For this reason, artists often make a “master” using molten lead instead of silver that can be used to mold and cast multiple copies.

Genealogy of a bracelet

An image search on Google Lens turned up several matching bracelets, ranging in price from $300 to $900, but none were hallmarked by the maker.

I found the identical bracelet on the eBay auction site, which named the maker: Navajo Nation artist Eugene Mitchell. I tracked down his son Reggie Mitchell and sent him the photo of the bracelet I’d ordered. He confirmed that his father made that design in the 1970s.

“Our family has been making jewelry for a long time,” he said. “I’m the fifth generation, and my oldest son Bronson is the sixth.”

And for six generations, he added, his family has helped make Gallup, New Mexico, arts and crafts dealers rich.

“Back in the ‘70s, the FBI investigated Gallup because more 100-dollar bills were circulating there than in all of Las Vegas,” he said. “Gallup produced over 200 millionaires in that seven- to 10-year time period, and the source was Native American jewelry.”

I couldn’t find any data to confirm this, so I reached out to the Gallup McKinley County Chamber of Commerce.

“While the story has circulated in and around our community for years, it is more urban legend than truth,” Chamber of Commerce CEO Bill Lee responded via email. “What I will tell you is that even in today’s world of credit/debit cards, Gallup merchants still deal with very high volumes of cash.”

Reggie Mitchell remembers going with his father to Gallup, where he says a dealer “would always try to lowball the value” of his work.

“If it was two pieces of jewelry, they would give him money to make two more pieces and buy two meals,” he said. “And if they paid him, say, $100 for one piece, they’d turn around and sell it for six, seven, $800.”

It was on one of those trips to Gallup that Eugene Mitchell was robbed.

“My dad used to keep his lead masters in old coffee cans,” Mitchell said. “One day, he came out of a shop and discovered someone had broken his car window and taken the cans.”

Mitchell isn’t sure whether the master for the cornstalk bracelet was among the items stolen that day. He says his father found out later that New Mexico galleries were making rubber molds of the designs and selling copies “on the cheap.”

“And my dad would see them and say, ‘That’s my work, that’s my piece!’”

After that, the elder Mitchell cut out the middleman, and today, the family sells directly to their customers.

Bait and switch

I was surprised when Cuterise emailed me delivery tracking information. My order originated in Dongguan, China, a city dubbed “the world’s factory” and was now in transit to the U.S.

Clearly, I was going to receive something for my $6.48. But what? A plastic bracelet?

Ten days later, my order arrived. The package was flat and squishy. I tore it open and almost laughed. They’d sent me a pair of cheap stretch leggings printed to look like blue jeans – buttons, rivets and all.

My amusement faded as I thought about everything Reggie Mitchell told me. The family may not be using middlemen anymore, but Eugene Mitchell is still being exploited — this time by fraudsters halfway around the globe using photographs of a bracelet he made — and lost — 50 years ago.
…

The share of Americans who volunteer their time to help charities build houses, serve food, do environmental cleanup, and much else has been on the decline nationwide but nowhere as sharply as in Florida, where only 16% of residents donate their free hours to local organizations, according to the latest available statistics.

That’s a drop from the nearly 23% of residents who volunteered in 2017.

Florida’s volunteer rate slumped in large part because of the pandemic, which made it especially risky for older Americans — who are among the most loyal and regular part of the volunteer population in Florida and elsewhere — to interact in public settings.

The loss of those volunteers is painful for many nonprofits, which are stretched to provide needed services and programs because they face a tight job market for paid workers and increased demands for help.

“What’s happening now is actually the staff is wearing multiple hats, as many nonprofit staff members do, to make up for the gap of volunteers,” says Sabeen Perwaiz Syed, CEO of the Florida Nonprofit Alliance, which represents charitable organizations across the state.

Meanwhile, Wyoming was the only state in the country to chalk up an increase in volunteering. Nearly 40% of residents volunteer, according to the latest figures available, compared with slightly less than 33% in 2017. The growth is in part because its open spaces made it easier for volunteers to keep working safely during the pandemic, and now nonprofits are seeking to capitalize on people’s growing interest in giving their time.

Those figures are part of an AmeriCorps analysis of U.S. Census Bureau data for 2017, 2019, and 2021, the latest year available.

The challenge of finding ways to attract and keep volunteers is not a new issue facing nonprofits, although it has been worsened by the pandemic.

Nathan Dietz, a researcher at the University of Maryland’s Do Good Institute, says charities that didn’t focus on retaining volunteers during the pandemic may find it difficult to get them back.

“There were some organizations who, during the pandemic, they just said, ‘We don’t know how we’re going to do volunteer management or volunteer engagement, and we don’t really have time to figure it out because we have bigger problems,'” Dietz said. “When people disengage from that kind of regular activity, it’s hard to re-engage them even if you’re trying to actively do that.”

Wyoming, known for wide-open spaces, including Yellowstone and Grand Teton national parks, had fewer restrictions and closings than many states throughout Covid-19. That kept more volunteer opportunities open and minimized disruptions to volunteers’ routines.

The Jackson Hole Wildlife Foundation, a conservation nonprofit near Grand Teton National Park, relies on volunteers to collect local wildlife data and remove fencing that’s harmful to animals. The organization says more people wanted to volunteer during the pandemic than in past years.

Steve Morriss, a longtime volunteer with the foundation and other local nonprofits, says volunteer work in the outdoors was especially appealing for retirees like him during the pandemic because it allowed them to socially distance but still interact with others and do good.

The Heart of Wyoming Habitat for Humanity chapter, which relies on volunteers to build homes in Natrona County, saw an uptick in volunteering interest after re-opening its construction sites during the pandemic. Companies that previously provided financial support, in particular, began to give their employees time off to volunteer at Habitat.

The Wyoming Community Development Authority, a housing lender, is one financial supporter whose employees spent two days last year working on a Habitat construction site.

“Now it was no longer enough to make a gift, which we very much appreciate,” says Tess Mittelstadt, the nonprofit’s executive director. “But they wanted to see what that gift meant, and they wanted to see what that meant for people in our community.”

Jody Shields of the Wyoming Nonprofit Network says since the pandemic, she’s noticed increased interest from companies looking for volunteer opportunities because they allow employees both to bond with one another and to support local causes.

Mittelstadt says the organization is seeking to keep volunteerism high by providing volunteers with information about the specific families they’re helping by building houses. Habitat also invites volunteers to events celebrating completed homes.

Data suggests all the effort is paying off. Volunteers spent 57% more hours building new homes during the nonprofit’s last fiscal year compared with the previous year, according to Mittelstadt.

“Everybody knows somebody in our community, and everybody’s willing to lend that helping hand,” she says.

Even as the pandemic has receded, volunteerism is not rebounding in Florida, says Perwaiz Syed of the Florida Nonprofit Alliance.

“Nonprofits have had a lot of volunteers stop,” she says. “They have not returned. Many of them are seniors. They’re putting their health first and have not re-engaged in person.”

A study of 2,300 nonprofits by the alliance found that 40% of nonprofits reported they needed more volunteers and 25% of nonprofit employees said they were feeling overworked as they took on tasks previously done by volunteers.

The Manatee Literacy Council, which provides adult literacy tutoring, employs three part-time staff members and has 60 volunteer tutors, mostly retirees, available year-round. It lost 75% of its volunteers during the height of the pandemic. The program was able to move some of its work online, but it still can’t meet demand. The center currently has a waiting list of 100 people in need of tutoring.

To recruit more volunteers, the group sends representatives to community events to talk about its work, says Michelle Deveaux McLean, the council’s CEO.

She also says she is working hard to keep volunteers returning by organizing monthly meet-ups and creating a supportive environment. It continues to be a struggle.

“I’m lucky if I have five volunteers every month. We’re just perpetually upside down,” McLean says.

Other Florida nonprofits are turning more to online volunteering and enlisting companies to urge employees to volunteer.

For instance, Office Depot, based in South Florida, includes volunteerism as part of its professional development for employees. Since 2017, the company has sent workers to help charities do landscaping, paint murals, prepare meals for youths in Florida, and more.

Even as nonprofits work on a variety of ways to try to expand the number of volunteers, doing so may take time.

“I do think that Florida’s numbers will increase over time as we stabilize a bit from the pandemic,” Perwaiz Syed says. “I don’t think you’re going to see us in the top 10 because that’s just not possible to go that far that quickly. But I do think it will increase a little bit.”
…

Senegalese singer-songwriter Baaba Maal on Monday was named a goodwill ambassador for the U.N. Convention to Combat Desertification. 

Maal has long been an activist on climate change and refugees. Since 2003, he has been committed to various development challenges in Africa, working with different U.N. family organizations. 

His NANN-K Trust recently opened a solar-powered irrigation project in Senegal to fight desertification, which is one of the main drivers of people leaving the country on dangerous migration routes. The project will train people to start similar projects in their own communities. 

In a recent interview with The Associated Press, Maal said he is a believer in putting power in the hands of young people and women. 

“We are tackling climate change impact, but also fighting desertification on the African continent, especially in my region where we are just not far away from the desert and we see it coming to us,” he said. 

“And it had an impact because people who don’t get more opportunities to do agriculture, fishing and many more will have to run away from their places, go to the big cities where nothing is planned for them there, and then later on, some of the young ones will just take the boats to go to Spain or some of these places or just try to cross the desert and it’s really dangerous. We did lose a lot of lives.” 

Brought up in the small town of Podor in north Senegal, which has a fishing community at its heart, Maal was born into a fisherman caste and was expected to follow that career path, but he befriended storyteller and musician Mansour Seck, and has spent his life performing, traveling and raising awareness about the issues his homeland faces. 

“Our role is first to give news about what’s going on, because sometimes the local people, they don’t know what’s happening to them is the impact of climate change. They don’t know how to stand up against that. But at the same time, when they know about it, they will say what to do,” he said. 

The veteran musician released his first album in seven years, “Being,” on March 31 and will headline the Barbican in London for the first time in 20 years on May 30. 
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The final curtain came down Sunday on New York’s production of “The Phantom of the Opera,” ending Broadway’s longest-running show with thunderous standing ovations, champagne toasts and gold and silver confetti bursting from its famous chandelier. 

It was show No. 13,981 at the Majestic Theatre and it ended with a reprise of “The Music of the Night” performed by the current cast, previous actors in the show — including original star Sarah Brightman — and crew members in street clothes. 

Andrew Lloyd Webber took to the stage last in a black suit and black tie and dedicated the final show to his son, Nick, who died last month after a protracted battle with gastric cancer and pneumonia. He was 43. 

“When he was a little boy, he heard some of this music,” Lloyd Webber said. Brightman, holding his hand, agreed: “When Andrew was writing it, he was right there. So his son is with us. Nick, we love you very much.”  

Producer Cameron Mackintosh gave some in the crowd hope they would see the Phantom again, and perhaps sooner than they think. 

“The one question I keep getting asked again and again — will the Phantom return? Having been a producer for over 55 years, I’ve seen all the great musicals return, and ‘Phantom’ is one of the greatest,” he said. “So it’s only a matter of time.” 

The musical — a fixture on Broadway since opening on January 26, 1988 — has weathered recessions, war, terrorism and cultural shifts. But the prolonged pandemic may have been the last straw: It’s a costly musical to sustain, with elaborate sets and costumes as well as a large cast and orchestra. The curtain call Sunday showed how out of step “Phantom” is with the rest of Broadway but also how glorious a big, splashy musical can be.  

“If there ever was a bang, we’re going out with a bang. It’s going to be a great night,” said John Riddle just before dashing inside to play Raoul for the final time.  

Based on a novel by Gaston Leroux, “Phantom” tells the story of a deformed composer who haunts the Paris Opera House and falls madly in love with an innocent young soprano, Christine. Webber’s lavish songs include “Masquerade,” ″Angel of Music” and ″All I Ask of You.” 

In addition to Riddle, the New York production said goodbye with Emilie Kouatchou as Christine and Laird Mackintosh stepping in for Ben Crawford as the Phantom. Crawford was unable to sing because of a bacterial infection but was cheered at the curtain call, stepping to the side of the stage. The Phantom waved him over to stand beside him, Riddle and Kouatchou. 

There was a video presentation of many of the actors who had played key roles in the show over the years, and the orchestra seats were crowded with Christines, Raouls and Phantoms. The late director Hal Prince, choreographer Gillian Lynne and set and costume designer Maria Björnson were also honored. 

Lin-Manuel Miranda attended, as did Glenn Close, who performed in two separate Broadway productions of Lloyd Webber’s “Sunset Boulevard.” Free champagne was offered at intermission and flutes of it were handed out onstage at the curtain call. 

Riddle first saw “The Phantom of the Opera” in Toronto as a 4-year-old child. “It was the first musical I ever saw. I didn’t know what a musical was,” he said. “Now, 30-some odd years later, I’m closing the show on Broadway. So it’s incredible.”  

Kouatchou, who became the first Black woman in the role in New York, didn’t think the show would ever stop. “I was like, ‘OK, I’m going to do my run, ‘Phantom’ is going to continue on and they’ll be more Christines of color,’” she said. “But this is it.”  

The first production opened in London in 1986 and since then the show has been seen by more than 145 million people in 183 cities and performed in 17 languages over 70,000 performances. On Broadway alone, it has grossed more than $1.3 billion. 

When “Phantom” opened in New York, “Die Hard” was in movie theaters, Adele was born, and floppy discs were at the cutting edge of technology. A postage stamp cost 25 cents, and the year’s most popular songs were “Roll With It” by Steve Winwood, “Faith” by George Michael and Rick Astley’s “Never Gonna Give You Up.” 

Critics were positive, with the New York Post calling it “a piece of impeccably crafted musical theater,” the Daily News describing it as “spectacular entertainment,” and The New York Times saying it “wants nothing more than to shower the audience with fantasy and fun.” 

Lloyd Webber’s other musicals include “Cats,” “Jesus Christ Superstar,” “Evita,” “Sunset Boulevard” and “School of Rock.” The closing of “Phantom” means the composer is left with one show on Broadway, the critically mauled “Bad Cinderella.” 

The closing of “Phantom,” originally scheduled for February, was pushed to mid-April after a flood of revived interest and ticket sales that pushed weekly grosses past $3 million. The closing means the longest-running show crown now goes to “Chicago,” which started in 1996. “The Lion King” is next, having begun performances in 1997.  

Broadway took a pounding during the pandemic, with all theaters closed for more than 18 months. Some of the most popular shows — “Hamilton,” “The Lion King” and “Wicked” — rebounded well, but other shows have struggled. 

Breaking even usually requires a steady stream of tourists, especially for “Phantom,” and visitors to the city haven’t returned to pre-pandemic levels. The pandemic also pushed up expenses for all shows, including routine COVID-19 testing and safety officers on staff. The Phantom became a poster boy for Broadway’s return — after all, he is partially masked. 

Fans can always catch the Phantom elsewhere. The flagship London production celebrated its 36th anniversary in October, and there are productions in Japan, Greece, Australia, Sweden, Italy, South Korea and the Czech Republic. One is about to open in Bucharest, and another will open in Vienna in 2024. 

Kouatchou, who walked the red carpet before the final show in a hot pink clinging gown with a sweetheart neckline and a cut out, said the bitterness was undercut by the big send-off. Most Broadway shows that close slink into the darkness uncelebrated. 

“It kind of sweetens it, right?” she said. “We get to celebrate at the end of this. We get to all come together and drink and laugh and talk about the show and all the highs and lows. It’s ending on a big note.” 
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World record-holder Eliud Kipchoge has the speed to outclass the rest of the field when he makes his Boston Marathon debut on Monday. 

To win, he may have to slow things down. 

The two-time Olympic gold medalist and 12-time major marathon champion knows that the 26.2-mile route from Hopkinton to Boston’s Back Bay isn’t like those flat and friendly courses where he established himself as perhaps the greatest distance runner of all time. 

No matter, he said: Breaking the tape is what’s important. 

Regardless of how long it takes. 

“I don’t mind about time,” said Kipchoge, who set the world record of 2 hours, 1 minute, 9 seconds in Berlin in 2019 and also broke 2 hours in an exhibition in a Vienna park that year. “I trust it will be a fruitful race, a very fruitful race. But I will try to win.” 

The hilly Boston course, which begins with a descent, hits Heartbreak Hill around 20 miles in and then drops down to sea level again on the way to the finish, has always rewarded smart tactics more than pure speed. Kipchoge, who had never seen the course before this week, won his majors in Berlin, London, Chicago and Tokyo — all flatter and faster. 

Still, his personal best is almost 2 minutes better than the next-fastest runners in the field, defending champion Evans Chebet, also of Kenya, and Gabriel Geay of Tanzania (2:03:00). 

“I trust the most prepared and planned person will take the day on Monday,” Kipchoge said. “I respect everybody. I respect the athletes, their condition. I respect their tactics. And if they are most prepared, I will shake their hands.”

In all, there are nearly a dozen runners in the field with times faster than the 2:05:52 that was the Boston record until a blistering 2011 race won by Geoffrey Mutai in 2:03:02 — at the time, the fastest marathon ever run. That year, cool temperatures and a strong tailwind helped create the perfect conditions for fast times. 

“What’s capable on this course has been totally flipped upside down,” 2018 winner Des Linden said. “You can just feel the energy. You feel like something magical is going to happen. I get the vibe that something epic is going to happen.” 

Monday’s weather is expected to be less cooperative, with rain and a headwind that is sure to crush anyone who gets distracted by the clock on the way to Copley Square. 

Kipchoge may not have experience on the course, but Linden said he has enough experience to know it isn’t a time trial. 

“He’s been out and he’s checked it out,” Linden said. “But I think there’s something about feeling your quads just being wrecked when you’re coming off of Heartbreak. That’s different. That’s a different thing that you have to experience. 

“I’ve heard it described as: We know that the Boston sports is going to chew you up. It’s whether or not it spits you out,” she said. “We don’t know if it’s going to spit him out or not. We’re going to find out.” 

Already a winner 

No matter what, Edna Kiplagat is going home from Boston a winner. 

The 2017 champion claimed her 2021 title in a brief ceremony in Copley Square on Thursday, inheriting the victory that was stripped from fellow Kenyan Diana Kipyokei after she tested positive for a banned substance. Kiplagat was given the winner’s medal and gilded olive wreath; she already had collected the first-prize money. 

“It was not the same as when I won the other, but I appreciate the effort,” she said. “It was a good presentation. I was so happy about it.” 

Kiplagat leads a women’s field that is also among Boston’s fastest. Amane Beriso of Ethiopia is one of three women ever to break 2:15:00, winning in Valencia, Spain, in December in 2:14:58. 

Nonbinary runners 

Monday’s race will see the debut of a new division for nonbinary athletes. 

The Boston Athletic Association added the category when registration opened last fall. In order to enter, nonbinary athletes needed to complete a marathon as a nonbinary participant during the qualifying window. Twenty-seven runners have signed up, the BAA said. 

Five of the six major marathons include a nonbinary category, with Tokyo the exception. 

Bombing anniversary 

The race will include 264 members of the One Fund community — survivors of the 2013 attack, along with friends and family of the victims and those raising money for related causes. 

The 2013 race was interrupted when two backpack bombs exploded on Boylston Street, steps from the finish line. Three people were killed and nearly 300 injured, with 17 people losing limbs to the pressure-cooker bombs that were packed with nails and ball bearings. 

The city marked 10 years since the bombing on Saturday, the calendar anniversary. 

Big day in Boston 

The Boston Red Sox hold their annual Patriots’ Day matinee on Monday, facing two-way Los Angeles Angels star Shohei Ohtani. First pitch is expected at around 11:10 a.m., about the time that the wheelchair racers will be zooming through Kenmore Square, the 1 Mile To Go marker. 

On Monday night, the NHL-best Boston Bruins open their first-round playoff series against the Florida Panthers. (The Boston Celtics are off, with Game 2 of their series against the Atlanta Hawks on Tuesday night.) 

“It’s on, man,” Panthers coach Paul Maurice said. “I mean, if we could have done this on March 17th, that’d be the only way to make it bigger. That’s the only way this place would be more lit up.” 
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