YCLOAK

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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“The Super Mario Bros. Movie” scored the best second weekend ever for an animated movie in North American theaters with $87 million in ticket sales, according to studio estimates Sunday. The family-friendly Universal release dropped a slim 41% from its record-making opening weekend. 

With $94 million from international showings, “Mario’s” global total now stands at a staggering $678 million, surpassing “Ant-Man and the Wasp: Quantumania” to become biggest film of 2023 in just two weekends. 

“There are not enough adjectives to describe the enormity of this box office performance,” said Paul Dergarabedian, the senior media analyst for Comsore. 

For most blockbusters, second weekends are usually down by about 60%, making “Mario’s” 41% drop especially noteworthy. According to Comscore, only a handful of films that opened over $100 million have had less of a fall, including “Shrek 2,” “Frozen 2,” 2002’s “Spider-Man,” “The Force Awakens” and 2016’s “The Jungle Book.” 

“To the casual observer that may not seem like a big deal, but that is an important metric,” Dergarabedian said. “It’s the greatest indicator of audience love for the movie.” 

“Mario” faced little major competition this weekend even with a slew of new national releases including ” Renfield,” “The Pope’s Exorcist,” ” Mafia Mamma” and the animated “Suzume.” It still has two weekends before “Guardians of the Galaxy Vol. 3” flies into theaters to jumpstart the summer moviegoing season. 

Sony and Screen Gem’s R-rated “The Pope’s Exorcist” starring Russell Crowe as the late Father Gabriele Amorth — the chief exorcist of the Diocese of Rome from 1986 to his death at 91 in 2016 — fared the best. It made an estimated $9.2 million from 3,178 locations. 

Third place went to “John Wick: Chapter 4” in its fourth weekend with $7.9 million. The Lionsgate action pic has now made over $160.1 million domestically. 

Universal’s “Renfield,” the supernatural thriller starring Nicolas Cage as Dracula and Nicholas Hoult as the title character, opened in fourth place with $7.8 million. 

Some wondered if opening “Renfield” and “The Pope’s Exorcist” the same weekend — both R-rated and of similar genres — hurt the films. But Dergarabedian said that while audiences may have been similar, “these films play for more than just one weekend.” 

Ben Affleck’s Air Jordan origin story “Air” rounded out the top five, with $7.7 million in its second weekend to bring its total domestic earnings to $33.3 million. 

Makoto Shinkai’s PG-rated anime “Suzume,” released domestically by Sony with both dubbed and subtitled versions available, opened in 2,170 theaters and grossed an estimated $5 million in ticket sales. 

A24 also debuted its new Ari Aster R-rated mind-bender “Beau is Afraid,” starring Joaquin Phoenix, in four theaters in New York and Los Angeles where it made $320,396 over the weekend, boasting many sold out showings. The three-hour odyssey from the director of horror favorites “Hereditary” and “Midsommar” expands nationwide on Friday. 

“Beau’s” nearly $81,000 per-screen average is as remarkable as the slim “Mario” drop, Dergarabedian said, and is playing out in a marketplace with options for every kind of moviegoer. 

“It’s one of the most diverse lineups of films I’ve seen on the marquee in years rivaling a streaming service in terms of the depth and breadth of content,” Dergarabedian said. 

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

"The Super Mario Bros. Movie," $87 million. 
"The Pope's Exorcist," $9.2 million. 
"John Wick: Chapter 4," $7.9 million. 
"Renfield," $7.8 million. 
"Air," $7.7 million. 
"Dungeons & Dragons: Honor Among Thieves," $7.4 million. 
"Suzume," $5 million. 
"Mafia Mamma," $2 million. 
"Scream VI," $1.5 million. 
"Nefarious," $1.3 million. 

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Pickleball is the fastest growing sport in the United States. It’s simple and can be played in small spaces so popular with all age groups. But not everyone loves it. Maxim Moskalkov reports.
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Ireland’s president has led tributes to Mark Sheehan, guitarist with Irish rock band The Script, after his death at 46.

The band said Sheehan died in a hospital Friday after a brief illness. In a statement, The Script called him a “much-loved husband, father, brother, band mate and friend.”

Formed in Dublin in 2001 by Sheehan, singer Danny O’Donoghue and drummer Glen Power, The Script topped U.K. and Irish charts with its self-titled debut album in 2008. It included the hits We Cry, Breakeven and The Man Who Can’t Be Moved, which reached No. 1 in five countries.

The band’s pop-inflected rock sound made it one of Ireland’s biggest bands in the 2010s. The Script went on to have six Top 10 albums in the U.K. and one top three album in the U.S.

Irish President Michael D. Higgins praised the band’s “originality and excellence” and sent condolences to Sheehan’s family.

“Through their music, Mark and The Script have played an outstanding part in continuing and promoting this proud tradition of Irish musical success across the world,” Higgins said.

Sheehan is survived by his wife, Rina Sheehan, and their three children.
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Hundreds of thousands of Russians opposed to Putin’s war in Ukraine have left to find refuge in Baltic countries, where they have joined Belarusians who have fled Lukashenko’s repression. Ricardo Marquina has more from the Lithuanian capital, Vilnius, in this report narrated by Marcus Harton.
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Al Jaffee, Mad magazine’s award-winning cartoonist and ageless wise guy who delighted millions of kids with the sneaky fun of the Fold-In and the snark of “Snappy Answers to Stupid Questions,” has died. He was 102. 

Jaffee died Monday in Manhattan from multiple organ failure, according to his granddaughter, Fani Thomson. He had retired at the age of 99. 

Mad magazine, with its wry, sometimes pointed send-ups of politics and culture, was essential reading for teens and preteens during the baby-boom era and inspiration for countless future comedians. Few of the magazine’s self-billed “Usual Gang of Idiots” contributed as much — and as dependably — as the impish, bearded cartoonist. For decades, virtually every issue featured new material by Jaffee. His collected “Fold-Ins,” taking on everyone in his unmistakably broad visual style from the Beatles to TMZ, was enough for a four-volume box set published in 2011. 

Readers savored his Fold-Ins like dessert, turning to them on the inside back cover after looking through such other favorites as Antonio Prohías’ “Spy vs. Spy” and Dave Berg’s “The Lighter Side.” The premise, originally a spoof of the old Sports Illustrated and Playboy magazine foldouts, was that you started with a full-page drawing and question on top, folded two designated points toward the middle and produced a new and surprising image, along with the answer. 

The Fold-In was supposed to be a onetime gag, tried out in 1964 when Jaffee satirized the biggest celebrity news of the time: Elizabeth Taylor dumping her husband, Eddie Fisher, in favor of “Cleopatra” co-star Richard Burton. Jaffee first showed Taylor and Burton arm in arm on one side of the picture, and on the opposite side a young, handsome man being held back by a policeman. 

Fold the picture in and Taylor and the young man are kissing. 

The idea was so popular that Mad editor Al Feldstein wanted a follow-up. Jaffee devised a picture of 1964 GOP presidential contenders Nelson Rockefeller and Barry Goldwater that, when collapsed, became an image of Richard Nixon. 

“That one really set the tone for what the cleverness of the Fold-Ins has to be,” Jaffee told the Boston Phoenix in 2010. “It couldn’t just be bringing someone from the left to kiss someone on the right.” 

Jaffee was also known for “Snappy Answers to Stupid Questions,” which delivered exactly what the title promised. A comic from 1980 showed a man on a fishing boat with a noticeably bent reel. “Are you going to reel in the fish?” his wife asks. “No,” he says, “I’m going to jump into the water and marry the gorgeous thing.” 

Jaffee didn’t just satirize the culture; he helped change it. His parodies of advertisements included such future real-life products as automatic redialing for a telephone, a computer spell checker and graffiti-proof surfaces. He also anticipated peelable stamps, multiblade razors and self-extinguishing cigarettes. 

Jaffee’s admirers ranged from Charles M. Schulz of “Peanuts” fame and “Far Side” creator Gary Larson to Jon Stewart and Stephen Colbert, who marked Jaffee’s 85th birthday by featuring a Fold-In cake on “The Colbert Report.” When Stewart and “The Daily Show” writers put together the best-selling “America (The Book),” they asked Jaffee to contribute a Fold-In. 

“When I was done, I called up the producer who’d contacted me, and I said, ‘I’ve finished the Fold-In, where shall I send it?’ And he said — and this was a great compliment — ‘Oh, please Mr. Jaffee, could you deliver it in person? The whole crew wants to meet you,'” he told The Boston Phoenix. 

Jaffee received numerous awards and in 2013 was inducted into the Will Eisner Hall of Fame, the ceremony taking place at San Diego Comic-Con International. In 2010, he contributed illustrations to Mary-Lou Weisman’s “Al Jaffee’s Mad Life: A Biography.” The following year, Chronicle Books published “The MAD Fold-In Collection: 1964-2010.” 

Art was the saving presence of his childhood, which left him with permanent distrust of adults and authority. He was born in Savannah, Georgia, but for years was torn between the U.S., where his father (a department store manager) preferred to live, and Lithuania, where his mother (a religious Jew) longed to return. In Lithuania, Jaffee endured poverty and bullying but also developed his craft. With paper scarce and no school to attend, he learned to read and write through the comic strips mailed by his father. 

By his teens, he was settled in New York City and so obviously gifted that he was accepted into the High School of Music & Art. His schoolmates included Will Elder, a future Mad illustrator, and Harvey Kurtzmann, a future Mad editor. (His mother, meanwhile, remained in Lithuania and was apparently killed during the war). 

He had a long career before Mad. He drew for Timely Comics, which became Marvel Comics; and for several years sketched the “Tall Tales” panel for the New York Herald Tribune. Jaffee first contributed to Mad in the mid-1950s. He left when Kurtzmann quit the magazine but came back in 1964. 

Mad lost much of its readership and edge after the 1970s, and Jaffee outlived virtually all of the magazine’s stars. But he rarely lacked for ideas even as his method, drawing by hand, remained mostly unchanged in the digital era. 

“I’m so used to being involved in drawing and knowing so many people that do it, that I don’t see the magic of it,” Jaffee told the publication Graphic NYC in 2009. “If you reflect and think about it, I’m sitting down and suddenly there’s a whole big illustration of people that appears. I’m astounded when I see magicians work; even though I know they’re all tricks. You can imagine what someone thinks when they see someone drawing freehand and it’s not a trick. It’s very impressive.”
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The instruction to feed the hungry is a common philosophy among most major world religions. Muslims are no exception, especially while the observe the fasting month of Ramadan. VOA’s Irfan Ihsan reports. Alam Burhanan and Ronan Zakaria contributed.
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A group of historians from India’s leading universities have slammed recent revisions to school textbooks that include removing or trimming references to Islamic rule in the subcontinent and to the anger among some Hindu extremists at independence leader Mahatma Gandhi’s pursuit of Hindu-Muslim unity.

Education authorities have said the history, political science and sociology texts were revised as part of a “rationalization process” but critics charge that the amendments help promote the Hindu nationalist vision of Prime Minister Narendra Modi’s Bharatiya Janata Party.

School textbooks issued by the National Council of Educational Research and Training (NCERT), an autonomous organization under the Education Ministry, are part of the curriculum in thousands of schools across the country.

NCERT director Dinesh Prasad Saklani has denied allegations that the revisions were made with a political agenda and said they are meant to lighten the academic load on students in the aftermath of the COVID 19 pandemic, which led to loss of learning.

“It’s a professional exercise meant to help students hit by the pandemic and has no ulterior political motive,” he told television news channel, NDTV.

However a group of 250 historians and academics said that while they understand the need for periodic revisions of school texts, this round “reflects the sway of divisive politics over pedagogic concerns.”

“Selectively deleting several important themes from school textbooks is not only doing great disservice to the composite heritage of the Indian subcontinent, but betraying the aspirations of the Indian masses,” historians and academics from India’s top universities such as Delhi University, Jawaharlal Nehru University and Ashoka University said in a statement on Friday.

While textbooks have been amended before, critics say the latest changes are efforts to bypass the period when Muslims ruled India.

Passages on Mughals, who ruled in North India between the 16th and 19th centuries, have been either trimmed or removed in secondary and senior school texts. Right wing Hindu groups consider the Muslim rulers oppressors and wanted more focus in history texts on ancient India, which they say reflects the achievements of India under Hindu rulers.

Several towns and streets bearing Muslim names have been renamed with Hindu ones since the BJP came to power.

Prime Minister Modi said at an event last December, that in the name of history, “concocted narratives” were taught to infuse inferiority and there is a need to break free from the “narrow views” of the past to move forward.

Historians underline how diverse races and religions that came to India over the centuries molded its identity.

“With these revisions, future generations of students might lose out on the basic nuances of how that historical progression had taken place in India,” pointed out Archana Ojha, professor of history at Delhi University, who is a signatory to the statement. “You cannot write history on the basis of religion. It is an account of human progression based on political, economic and other changes. For example the process of urbanization of Delhi began in the 13th century with a Muslim ruler. The Mughals were as much Hindustani [Indian] as others.”

Other deletions in the school texts include references to the links between Hindu extremism and the assassination of Mahatma Gandhi, the dislike of his pursuit of Hindu-Muslim unity among some Hindus, as well as the ban imposed on the right wing Rashtriya Swayamsevak Sangh, in the aftermath of his killing. The RSS is called the ideological parent of the ruling BJP.

Among the deleted references is one that says Gandhi “was convinced that any attempt to make India into a country only for Hindus would destroy India.”

References to the riots that wracked Gujarat state in 2002 killing almost a 1,000 people, mostly Muslims, when Prime Minister Modi headed the state have also been dropped. So have some accounts of some social movements and caste-based discrimination in Hinduism.

The historians, several of whom had worked on the syllabus in the past, said in their statement that the attempts in the earlier texts were to make them as inclusive as possible, and to provide a “sense of the rich diversity of the human past both within the subcontinent and the wider world.”

Calling for the changes to be recalled, the statement said that “removing entire periods of history from textbooks would not only perpetuate misconceptions and misunderstandings, but would serve to further the divisive communal and casteist agenda of the ruling elites.”

“When we revise history we do so on the basis of new evidences, new sources or what is found in archival records which may have been overlooked. It is not done on the basis of what politicians or a certain class of people want it to be,” said Ojha. She pointed out that “in the latest revisions, there are just deletions, no new additions.”

In an editorial last week, the Indian Express newspaper, said that while curriculum reforms should be par for the course, the recent ones “excise content related to chapters in history that have acquired political overtones under the current regime.”

The newspaper said the deletions from the textbooks invite the charge “that not only does the government wish to escape unpalatable facts, but it also wants to ensure that students do not engage with social and political realities with a critical attitude.”
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A British performance of “The Bodyguard” musical ended in unrequited love for some audience members who couldn’t refrain from singing along to the anthemic finale. 

The show at the Palace Theatre in Manchester screeched to a halt Friday when two unruly patrons were ejected for joining the lead in singing “I Will Always Love You,” the soaring, emotional ballad made famous by Whitney Houston. 

It was not supposed to be a singalong. Ushers carried signs saying, “Please refrain from singing” and announcements were made in advance that patrons would have a chance to join along at the end but not to sing during the show, said Tash Kenyon, an audience member. 

During the closing number, somebody shouted, “Does this mean we can start singing now?” Kenyon said. A tone-deaf voice projected from the balcony and competed with the vocals of Melody Thornton, a former member of The Pussycat Dolls. 

Laughter then turned to anger and confusion, Karl Bradley told the Manchester Evening News. 

“The stage then just went black again and that’s when it really started to kick off on the higher tier, you could really hear screams and audible gasps,” Bradley said. “Everyone starting standing up and looking over. There was chants of ‘out, out, out’ to get them gone.” 

When the lights came up, the unwanted backup singers were being hauled out of their seats by theater security and audience members began cheering. 

But the music and show were over. 

A spokesperson for the theater said the show was canceled because disruptive fans who refused to stay seated had spoiled the performance. 

Thornton posted a video on Instagram thanking respectful fans and apologizing for those who weren’t. 

Greater Manchester Police said it spoke with the two people who were removed by security and would review evidence before taking any action. 
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Jon Rahm turned the longest day into his sweetest victory, starting Sunday with a four-shot deficit in the morning chill and finishing in fading sunlight as the fourth Spaniard to become a Masters champion. 

Rahm closed with a 3-under 69 to pull away from mistake-prone Brooks Koepka. He won by four shots over Koepka and 52-year-old Phil Mickelson, who turned in a tournament-best 65. He is the oldest runner-up in Masters history. 

It was Mickelson who declared Rahm would be among golf’s biggest stars even before the Spaniard turned pro in 2016. Rahm now has a green jacket to go along with his U.S. Open title he won in 2021 at Torrey Pines. 

Rahm made up two shots on Koepka over the final 12 holes of the rain-delayed third round and started the final round two shots behind. He seized on Koepka’s collapse and then surged so far ahead that Mickelson’s amazing closing round — the best final round ever at Augusta National for the three-time Masters champion — was never going to be enough. 

Nothing was more satisfying than an uphill climb to the 18th green to claim the green jacket on a day when Spanish stars aligned. Sunday is the birthdate of his idol, the late Seve Ballesteros, and this is the 40-year anniversary of Ballesteros winning his second Masters title. 

Rahm embraced his wife and two children, and as he walked toward the scoring room, there was two-time Masters champion José María Olazábal in his green jacket for the strongest hug of all. 

Rahm won for the fourth time this year — just as Scottie Scheffler did a year ago when he won the Masters — and reclaimed the No. 1 world ranking from Scheffler. 

This Masters had a little bit of everything — hot and humid at the start, a cold front with wind that toppled three trees on Friday, putting surfaces saturated from rain on Saturday and a marathon finish Sunday as Rahm and Koepka went 30 holes. 

Koepka helped to pave the way with one miscue after another, losing the lead for the first time since Thursday afternoon when he chipped 20 feet past the hole from behind the par-3 sixth and made his second bogey. There would be more to come. 

Worse yet, Koepka went 22 consecutive holes Sunday without a birdie — from the par-5 eighth hole in the morning of the third round until the par-5 13th in final round. By then, he was three shots behind and Rahm all but sealed it with his next shot. 

He hit a low cut around a tree from right of the 14th fairway and it caught a slope just right on the 14th green and fed down to 3 feet for a birdie. When Koepka three-putted for bogey, it was a matter of finishing. 

Rahm hooked his tee shot into the trees on the final hole and didn’t reach the fairway. No matter. He played up the fairway, hit wedge to 3 feet and tapped in for the victory. 

The leaderboard was littered with major champions and a tinge of Saudi-funded LIV Golf. Mickelson and Koepka both are part of the rival circuit. Former Masters champion Patrick Reed, another player who defected to LIV, closed with a 68 and tied for fourth with Jordan Spieth (66) and Russell Henley. 
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China feels it has the “right to redefine the global world order,” Chinese dissident artist Ai Weiwei told AFP on Wednesday ahead of the opening in London of his first design-focused exhibition. 

The show at the Design Museum features hundreds of thousands of objects collected by the Chinese artist since the 1990s, from Stone Age tools to Lego bricks, and draws on his love of artifacts and traditional craftsmanship. 

The son of a poet revered by former communist leaders, Ai, 65, is perhaps China’s best-known modern artist and helped design the famous “Bird’s Nest” stadium for Beijing’s 2008 Olympics. 

But he fell out of favor after criticizing the Chinese government, was imprisoned for 81 days in 2011 and eventually left for Germany four years later. 

Among the artifacts in the new exhibition are thousands of fragments from Ai’s porcelain sculptures, which were destroyed when the bulldozers moved in to dismantle his studio in Beijing in 2018. 

In launching the show, Ai said he believed China was “not moving into a more civilized society, but [had] rather become quite brutal on anybody who has different ideas.” 

“Tension between China and the West is very natural,” added the artist, who has lived in Europe since 2015. 

“China feel they have their own power and right to redefine the global world order,” he said. “They think China can become an important factor in changing the game rules, basically designed by the West world.” 

And he said that even though Europe had been relatively peaceful for 70 years, there were many problems, including much less concern for “humanity” and threats to “freedom of speech.” 

The objects to go on display include 1,600 Stone Age tools, 10,000 Song Dynasty cannon balls retrieved from a moat, and donated Lego bricks that the artist began working with in 2014 to produce portraits of political prisoners. 

The exhibition will also feature large-scale works installed outside the exhibition gallery. 

They include a piece titled “Colored House” featuring the painted timber frame of a house that was once the home of a prosperous family during the early Qing Dynasty (1644–1912). 

Exhibition curator Justin McGuirk said the things Ai had been collecting over the years represented “a body of evidence about different histories, different cultural moments in China’s history [that]  maybe have been forgotten or not thought about enough.”  

“Ai Weiwei always makes something out of destruction and plays on the idea of construction,” he added.
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Cambodian communities in California organized a parade and cultural festival ahead of this month’s solar new year. For VOA, Genia Dulot has our story from Long Beach.
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For many people in the U.S. holidays mean enormous lawn decorations. But generally, these decorations coincide with Western holidays. Now, some Muslim families are finding unique ways to celebrate Ramadan. VOA’s Dhania Iman reports. Videographer: Andri Tambunan 
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As bloody, stalemated battles in Ukraine grind on, young dancers in the eastern city of Izium are training again, hoping to resume competition despite the destruction of their theater. VOA’s Heather Murdock reports from Izium, Ukraine. Camera: Yan Boechat.
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Seymour Stein, the brash, prescient and highly successful founder of Sire Records who helped launched the careers of Madonna, Talking Heads and many others, died Sunday at age 80.  

Stein, who helped found the Rock and Roll Hall of Fame Foundation and was himself inducted into the Rock Hall in 2005, died of cancer in Los Angeles, according to a statement by his family. 

Born in 1942, Stein was a New York City native who as a teenager worked summers at Cincinnati-based King Records, James Brown’s label, and by his mid-20s had co-founded Sire Productions, soon to become Sire Records.  

Obsessed with the Billboard music charts since childhood, he was known for his deep knowledge and appreciation of music and would prove an astute judge of talent during the 1970s era of New Wave, a term he helped popularize, signing record deals with Talking Heads, the Ramones and the Pretenders.  

“Seymour’s taste in music is always a couple of years ahead of everyone else’s,” Talking Heads manager Gary Kurfirst told the Rock Hall around the time of Stein’s induction.  

His most lucrative discovery happened in the early 1980s, when he heard the demo tape of a little-known singer-dancer from the downtown New York club scene, Madonna.  

“I liked Madonna’s voice, I liked the feel, and I liked the name Madonna. I liked it all and played it again,” he wrote in his memoir “Siren Song,” published in 2018, the same year he retired. Stein was hospitalized with a heart infection when he first learned of Madonna but was so eager to meet that he had her brought to his room. 

“She was all dolled up in cheap punky gear, the kind of club kid who looked absurdly out of place in a cardiac ward,” he wrote. “She wasn’t even interested in hearing me explain how much I liked her demo. ‘The thing to do now,’ she said, ‘is sign me to a record deal.'” 

Sire artists also included Ice T, the Smiths, Depeche Mode, the Replacements and Echo and the Bunnymen, along with the more-established Lou Reed and Brian Wilson, who recorded with Sire later in their careers.  

Stein was married briefly to record promoter and real estate executive Linda Adler, with whom he had two children: filmmaker Mandy Stein and Samantha Lee Jacobs, who died of brain cancer in 2013. Sidney Stein and his wife divorced in the 1970s and years later he came out as gay.  

“I am beyond grateful for every minute our family spent with him, and that the music he brought to the world impacted so many people’s lives in a positive way,” Mandy Stein said in a statement Sunday. 
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Riding terrific reviews and a strong word-of-mouth, the role-playing game adaptation “Dungeons & Dragons: Honor Among Thieves” opened with $38.5 million in U.S. and Canadian movie theaters over the weekend, according to studio estimates Sunday, stealing the top box-office perch from “John Wick: Chapter 4.”

The Paramount Pictures and eOne release appealed to more moviegoers than many expected a film based on a notoriously niche tabletop game to interest. “Game Night” directors Jonathan Goldstein and John Francis Daley turned in a rollicking comic action-adventure, with a cast including Chris Pine, Michelle Rodriguez, Regé-Jean Page and Hugh Grant, that’s bringing in ticket buyers less familiar with “D&D.” Audiences gave “Honor Among Thieves,” which launched with a raucous opening-night premiere at SXSW, an A- CinemaScore. It scored 91% fresh on Rotten Tomatoes. 

“We know how good our movie is,” said Chris Aronson, distribution chief for Paramount. “I know it’s been said before, but I think opening to $38-39 million is just the start. These kind of exits polls translate to playability.” 

“Dungeons & Dragons” was also a big roll of the dice. The film, co-produced and co-financed by Paramount with eOne, which is owned by Hasbro, cost $150 million to make. With a production cost like that, “Dungeons & Dragons” will be looking for sustained sales through April and similar success overseas to potentially kickstart a new franchise. It launched internationally with $33 million. 

“The challenge with this film is convincing everyone that this film is for you,” said Aronson. “Jonathan and John, these guys are really talented and great collaborators. We’re going to work more with them. Hopefully, this will be the start of a franchise.” 

“John Wick: Chapter 4,” which launched last weekend with a franchise-best $73.5 million, slid to second place in its second weekend with $28.2 million. While a sizeable dip, the assassin action film, starring Keanu Reeves, has already accrued $122.8 million domestically and, after adding another $35 million internationally over the weekend, $245 million worldwide. Lionsgate has no shortage of plans for further expansion in the franchise. 

“While it may not be the highest grossing March ever, this is one of the best months of March for the industry in its history, coming off of three years of a pandemic-challenged marketplace,” said Paul Dergarabedian, senior media analyst for data firm Comscore. “March is not the summer, but it’s sure felt like the summer, with hit after hit.” 

Those films have helped push the 2023 box office well ahead of last year’s pace, up 28.7%, according to David A. Gross, who runs Franchise Entertainment Research. Still, overall ticket sales aren’t yet up to pre-pandemic levels, trailing the 2017-2019 average by 28.8%. 

Games and toys are also proving to be dependable big-screen resources. “Dungeons & Dragons” will be followed this year by Greta Gerwig’s “Barbie” and a new “Transformers” movie. “The Super Mario Bros. Movie” is expected to extend a rising trend for the once-derided video game adaptation. 

“Dungeons & Dragons” had little competition from new releases. The Christian drama “His Only Son” debuted with $5.3 million. A.V. Rockwell’s Sundance Film Festival grand jury prize winner “A Thousand and One,” about a mother (Teyana Taylor) who kidnaps her son from foster care, opened with $1.8 million at 926 theaters for Focus Features. 

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

1. “Dungeons & Dragons: Honor Among Thieves,” $38.5 million. 

2. “John Wick, Chapter 4,” $28.2 million. 

3. “Scream VI,” $5.3 million. (Tie) 

4. “His Only Son,” $5.3 million. (Tie) 

5. “Creed III,” $5 million. 

6. “Shazam! Fury of the Gods,” $4.7 million. 

7. “A Thousand and One,” $1.8 million. 

8. “65,” $1.6 million. 

9. “Ant-Man and the Wasp: Quantumania,” $1.2 million. 

10. “Jesus Revolution,” $1 million. 
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A warrior-themed circus begins a tour of England on Friday with Ukrainian performers determined that the show should go on even though their hearts are very much still in their war-torn homeland.

Although the warrior idea behind the show was conceived in the wake of the COVID-19 pandemic, the theme has inspired its Ukrainian artists to carry on, said Russian circus boss Irina Archer.

“Every day they are worried for their relatives. On stage, they perform, they entertain, but deep inside … they are so worried,” she said.

“But they love entertaining people. It gives them strength,” she added.

Fifteen of the circus’s 23 performers are Ukrainian, said Archer, who set up the Circus Cortex with her husband, Paul, in 2021.

“Before the war, there was no divide. I’ve worked with a lot of Ukrainian artists over the years,” she said.

The Archers, who used to run the Moscow State Circus, took the Circus Cortex on tour in the U.K. in 2021 and had hoped to restart performances in 2022.

After the war broke out in February 2022, however, they found performers stranded in Ukraine or signing up to fight.

Irina Archer described the show, titled “Warriors,” as an “epic magical production” with lots of dancing and traditional circus acts such as juggling and unicycles.

Some of the performers, such as Tetiana Lotiuk from Kharkiv, only recently left Ukraine.

Trapped in the city at the start of the war, she left two weeks later, traveling to Hungary and then the U.K.

Others include circus family Viktor Gorodetskiy, wife Yulia and son Valdis. The three were forced to leave their home three weeks after the start of the war.

They took refuge with Viktor’s parents, also circus performers, before spending several months in Lviv and finally traveling to the U.K.

The tour, which runs until October, begins Friday in the northern city of Sheffield.
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French daredevil Philippe Petit showed off his gravity-defying skills at the National Building Museum in Washington. At 73, Petit still walks the wire without a safety net or harness. Maxim Moskalkov talked with the famous wire walker. Video: Artyom Kokhan, Aleksadr Bergan
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Indonesia was stripped Wednesday of its hosting duties for the 2023 FIFA Under-20 World Cup, sending shock waves through the soccer world just weeks before the tournament was scheduled to begin.

FIFA, the international soccer federation, did not spell out the reasons for its decision, saying only on its website that it decided, “due to the current circumstances, to remove Indonesia as the host of the FIFA U-20 World Cup 2023.”

The decision followed a meeting between FIFA President Gianni Infantino and President of the Football Association of Indonesia (PSSI) Erick Thohir, where the topics under discussion included demands from some Indonesian officials that the Israeli team not be allowed to participate in the tournament.

However, the FIFA statement also alluded to “the tragedy that occurred in October 2022,” an apparent reference to a riot at an Indonesian soccer match that killed 125 people in Kanjuruhan, East Java.

FIFA said a new host will be announced as soon as possible, and the dates of the tournament — May 20-June 11 — are currently unchanged. Potential sanctions against the PSSI also may be decided at a later stage.

Earlier this week, officials postponed the draw, which had been scheduled to be held Friday in Bali to determine the matchups in the first round of the tournament. That came after the governor of Bali refused to host Israel’s team.

Governor I Wayan Koster sent a letter early this month to the Youth and Sports Ministry asking it to “adopt a policy forbidding the Israeli team from competing in Bali.” Ganjar Pranowo, the governor of Central Java and the front-runner for the 2024 presidential election, subsequently joined calls to block the Israeli team from playing in the tournament.

The Israel-Palestinian conflict is a key issue for Indonesia as the world’s most populous Muslim-majority nation, which broadly supports the Palestinian cause for religious reasons and in keeping with an anti-colonial sentiment dating to its independence.

In his written statement, Thohir said, “I have tried my best. After delivering a letter from [Indonesian] President Joko Widodo, and having a long discussion with FIFA President Gianni Infantino, we must accept FIFA’s decision to remove Indonesia as the host of FIFA U-20 World Cup 2023.”

Widodo on Tuesday asked those who protested the Israeli team not to mix sports and politics, underscoring that Israel’s participation in the U-20 meant no change to Indonesia’s foreign policy position toward Palestine.

The loss of hosting rights is a major setback in Indonesia, where football has a huge following, despite the lack of international success since qualifying for the 1938 World Cup as the Dutch East Indies.

Protesters marched in the capital, Jakarta, this month waving Indonesian and Palestinian flags and demanding that Israel not be allowed to participate.

As hosts, Indonesia automatically qualified for the U-20 World Cup, but the country has not played in the tournament since 1979.

Some information from Reuters was used in this report.
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Protesters gathered underneath Rio de Janeiro’s famed Sugarloaf Mountain earlier this week to protest construction of four cable lines that will carry tourists over the surrounding forest.

The cables, commonly known as zip lines, will carry individuals connected to them by safety harnesses at least 755 meters over the forest to the nearby peak of Urca Hill at speeds of 100 kilometers an hour.

But demonstrators who gathered near Sugarloaf Mountain Sunday say the zip lines will cause environmental damage to the mountain and the surrounding area. Opponents are also concerned the zip lines will lead to an expansion of the visitors center at Sugarloaf’s summit. An online petition against the zip lines has collected more than 11,000 signatures.

Sugarloaf, known in Portuguese as Pao de Acucar, attracts hundreds of thousands of visitors each who take cable cars to the peak to take in breathtaking views of Rio’s famed beaches and the iconic Christ the Redeemer statue. UNESCO ((the U.N.’s Educational, Scientific and Cultural Organization)) named Sugarloaf a World Heritage Site in 2012.

Parque Bondinho, the company that operates the 110-year-old cable car system, is installing the four zip lines. It says the lines will have limited impact on the environment, even as it brings in even more tourists to Rio. The company says it has obtained all necessary permits for the project.

The zip lines are scheduled to be completed by the middle of this year.

Some information for this report came from The Associated Press, Agence France-Presse.
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Artist Danielle SeeWalker says she is attempting to paint an accurate and insightful representation of contemporary Native American life. Her work is on exhibit in the Western U.S. state of Colorado. VOA’s Scott Stearns gives us a look.

Camera: Scott Stearns
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When Morocco stunned Spain – and the world – with a dramatic penalty shootout victory in last year’s World Cup, authorities feared riots would break out.  

None did and Morocco made history by becoming the first African nation to reach the semi-finals in what is arguably the world’s biggest sporting event. 

Now, with the dust barely settled, Morocco has launched a joint bid with Spain and Portugal to stage the same competition in 2030.   

Close neighbors who at times fall out over issues like immigration and autonomy, Madrid and Rabat want to join forces to host the World Cup, in a move analysts say signals closer relations between the two countries.  

“The Kingdom of Morocco announced, together with Spain and Portugal, a joint bid to host the 2030 World Cup,” Rabat announced in a statement on March 15. “This joint bid, which is unprecedented in football history, will bring together Africa and Europe, the northern and the southern Mediterranean, and the African, Arab and Euro-Mediterranean worlds. It will also bring out the best in all of us – in effect a combination of genius, creativity, experience and means.”  

Relations improving 

The move to share the bid between Spain and Morocco comes after Madrid last year changed its policy on the disputed territory of Western Sahara and backed Morocco’s claim to create an autonomous region under its control.   

Co-hosted bids from either Latin America or Europe are likely to be picked in 2024.  

Haizam Amirah-Fernandez, a senior analyst for the Mediterranean and Arab world at the Real Institute Elcano, a think tank in Madrid, said the idea for the three-country bid was not new.  

“This has been an idea since 2018. (Spanish prime minister) Pedro Sánchez suggested the idea. But at that time FIFA (football’s world governing body) did not admit joint bids by different countries, so they discounted it,” he told VOA.   

He said if the joint bid proves successful, it could bring dividends.  

“For neighboring countries, with very tense relations on so many levels, it is always positive to have joint projects, especially projects which have an emotional level like football,” Amirah-Fernandez said.  

He said it was “interesting” that the announcement was made separately by both Morocco and Spain, but it was not clear why this happened.  

If part of the 2030 World Cup is held in Morocco, it remains to be seen whether any matches are played in the disputed territories of Western Sahara.  

Any games in a territory which has been subject to military action and political controversy may risk prompting security risks and attracting the wrong kind of headlines for FIFA.  

Political, economic advantages 

Paul Brannagan, a professor of sports management at Manchester Metropolitan University, jointly wrote a book examining Qatar’s bid for the 2022 World Cup, with Danyel Reiche, visiting professor at Georgetown University in Qatar.  The book is called Qatar and the 2022 FIFA World Cup: Politics, Controversy, Change.  

“You cannot ever take out politics from sport. For countries to survive these days, they must operate like businesses. Of course, to stage the World Cup, they are going to look at the political advantages,” Brannagan told VOA.  

“What we are seeing now is a drive to co-host these World Cups. In part this is to try to limit political controversy. If Qatar had shared the World Cup with the United Arab Emirates, it would have taken the heat off Qatar.” he noted.  

World Cups spread over three countries, like the 2026 competition in the U.S., Canada and Mexico, may not be very easy for fans to enjoy given the logistical problems of attending games.  

“Fans are not at the forefront of FIFA’s mind. (FIFA) will go where there is new markets and new money. (For FIFA) this idea of sharing is great because you get a lot more for your money,” Brannagan said.  

He said the bid by Morocco, Spain and Portugal may appeal to FIFA because they would see it as an opportunity to improve political and trade relations between Rabat and Madrid.  
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