Month: May 2023

WHO Downgrades COVID Pandemic, Says It’s No Longer Emergency

The World Health Organization said Friday that COVID-19 no longer qualifies as a global emergency, marking a symbolic end to the devastating coronavirus pandemic that triggered once-unthinkable lockdowns, upended economies and killed millions of people worldwide.

The announcement, made more than three years after WHO declared the coronavirus an international crisis, offers a coda to a pandemic that stirred fear and suspicion, hand-wringing and finger-pointing across the globe.

The U.N. health agency’s officials said that even though the emergency phase was over, the pandemic hasn’t ended, noting recent spikes in cases in Southeast Asia and the Middle East.

WHO says thousands of people are still dying from the virus every week, and millions of others are suffering from debilitating, long-term effects.

“It’s with great hope that I declare COVID-19 over as a global health emergency,” WHO Director-General Tedros Adhanom Ghebreyesus said.

“That does not mean COVID-19 is over as a global health threat,” he said, adding he wouldn’t hesitate to reconvene experts to assess the situation should a new variant “put our world in peril.”

Tedros said the pandemic had been on a downward trend for more than a year, acknowledging that most countries have already returned to life before COVID-19.

He bemoaned the damage that COVID-19 had done to the global community, saying the pandemic had shattered businesses, exacerbated political divisions, led to the spread of misinformation and plunged millions into poverty.

The political fallout in some countries was swift and unforgiving. Some pundits say missteps by President Donald Trump in his administration’s response to the pandemic had a role in his losing reelection bid in 2020. The United States saw the deadliest outbreak of any country in the world — where more than 1 million people died.

Dr. Michael Ryan, WHO’s emergencies chief, said it was incumbent on heads of states and other leaders to negotiate a wide-ranging pandemic treaty to decide how future health threats should be faced.

Ryan said that some of the scenes witnessed during COVID-19, when people resorted to “bartering for oxygen canisters,” fought to get into emergency rooms and died in parking lots because they couldn’t get treated, must never be repeated.

When the U.N. health agency first declared the coronavirus to be an international crisis on Jan. 30, 2020, it hadn’t yet been named COVID-19 and there were no major outbreaks beyond China.

More than three years later, the virus has caused an estimated 764 million cases globally and about 5 billion people have received at least one dose of vaccine.

In the U.S., the public health emergency declaration made regarding COVID-19 is set to expire on May 11, when wide-ranging measures to support the pandemic response, including vaccine mandates, will end. Many other countries, including Germany, France and Britain, dropped most of their provisions against the pandemic last year.

When Tedros declared COVID-19 to be an emergency in 2020, he said his greatest fear was the virus’ potential to spread in countries with weak health systems.

In fact, some of the countries that suffered the worst COVID-19 death tolls were previously judged to be the best-prepared for a pandemic, including the U.S. and Britain. According to WHO data, the number of deaths reported in Africa account for just 3% of the global total.

WHO doesn’t “declare” pandemics, but first used the term to describe the outbreak in March 2020, when the virus had spread to every continent except Antarctica, long after many other scientists had said a pandemic was already underway.

WHO is the only agency mandated to coordinate the world’s response to acute health threats, but the organization faltered repeatedly as the coronavirus unfolded.

In January 2020, WHO publicly applauded China for its supposed speedy and transparent response, even though recordings of private meetings obtained by The Associated Press showed top officials were frustrated at the country’s lack of cooperation.

WHO also recommended against mask-wearing for the public for months, a mistake many health officials say cost lives.

Numerous scientists also slammed WHO’s reluctance to acknowledge that COVID-19 was frequently spread in the air and by people without symptoms, criticizing the agency’s lack of strong guidance to prevent such exposure.

Tedros was a vociferous critic of rich countries who hoarded the limited supplies of COVID-19 vaccines, warning that the world was on the brink of a “catastrophic moral failure” by failing to share shots with poor countries.

Most recently, WHO has struggled to investigate the origins of the coronavirus, a challenging scientific endeavour that has also become politically fraught.

After a weeks-long visit to China, WHO released a report in 2021 concluding that COVID-19 most likely jumped into humans from animals, dismissing the possibility that it originated in a lab as “extremely unlikely.”

But the U.N. agency backtracked the following year, saying “key pieces of data” were still missing and that it was premature to rule out that COVID-19 might have ties to a lab.

Tedros lamented that the catastrophic toll of COVID-19 could have been avoided.

“We have the tools and the technologies to prepare for pandemics better, to detect them earlier, to respond to them faster,” Tedros said, without citing missteps by WHO specifically.

“Lives were lost that should not have been. We must promise ourselves and our children and grandchildren that we will never make those mistakes again.”

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Could AI Pen ‘Casablanca’? Screenwriters Take Aim at ChatGPT

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Hate Passwords? You’re in Luck — Google Is Sidelining Them

Good news for all the password-haters out there: Google has taken a big step toward making them an afterthought by adding “passkeys” as a more straightforward and secure way to log into its services. 

Here’s what you need to know: 

What are passkeys?  

Passkeys offer a safer alternative to passwords and texted confirmation codes. Users won’t ever see them directly; instead, an online service like Gmail will use them to communicate directly with a trusted device such as your phone or computer to log you in. 

All you’ll have to do is verify your identity on the device using a PIN unlock code, biometrics such as your fingerprint or a face scan or a more sophisticated physical security dongle. 

Google designed its passkeys to work with a variety of devices, so you can use them on iPhones, Macs and Windows computers, as well as Google’s own Android phones. 

Why are passkeys necessary?  

Thanks to clever hackers and human fallibility, passwords are just too easy to steal or defeat. And making them more complex just opens the door to users defeating themselves. 

For starters, many people choose passwords they can remember — and easy-to-recall passwords are also easy to hack. For years, analysis of hacked password caches found that the most common password in use was “password123.” A more recent study by the password manager NordPass found that it’s now just “password.” This isn’t fooling anyone. 

Passwords are also frequently compromised in security breaches. Stronger passwords are more secure, but only if you choose ones that are unique, complex and non-obvious. And once you’ve settled on “erVex411$%” as your password, good luck remembering it. 

In short, passwords put security and ease of use directly at odds. Software-based password managers, which can create and store complex passwords for you, are valuable tools that can improve security. But even password managers have a master password you need to protect, and that plunges you back into the swamp. 

In addition to sidestepping all those problems, passkeys have one additional advantage over passwords. They’re specific to particular websites, so scammer sites can’t steal a passkey from a dating site and use it to raid your bank account. 

How do I start using passkeys?  

The first step is to enable them for your Google account. On any trusted phone or computer, open the browser and sign into your Google account. Then visit the page g.co/passkeys and click the option to “start using passkeys.” Voila! The passkey feature is now activated for that account. 

If you’re on an Apple device, you’ll first be prompted to set up the Keychain app if you’re not already using it; it securely stores passwords and now passkeys, as well. 

The next step is to create the actual passkeys that will connect your trusted device. If you’re using an Android phone that’s already logged into your Google account, you’re most of the way there; Android phones are automatically ready to use passkeys, though you still have to enable the function first. 

On the same Google account page noted above, look for the “Create a passkey” button. Pressing it will open a window and let you create a passkey either on your current device or on another device. There’s no wrong choice; the system will simply notify you if that passkey already exists. 

If you’re on a PC that can’t create a passkey, it will open a QR code that you can scan with the ordinary cameras on iPhones and Android devices. You may have to move the phone closer until the message “Set up passkey” appears on the image. Tap that and you’re on your way. 

And then what?  

From that point on, signing into Google will only require you to enter your email address. If you’ve gotten passkeys set up properly, you’ll simply get a message on your phone or other device asking you to for your fingerprint, your face or a PIN.

Of course, your password is still there. But if passkeys take off, odds are good you won’t be needing it very much. You may even choose to delete it from your account someday. 

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Conservation Groups Sue US Government to Ground SpaceX Operations

Environmental groups sue the U.S. government over SpaceX’s launch license. Plus, a pair of spacewalks outside the International Space Station, and a glimpse at the destruction that scientists say awaits our home planet. VOA’s Arash Arabasadi brings us The Week in Space.

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El Nino Expected to Raise Global Temperatures  

Global temperatures are likely to reach new highs this year with the predicted onset of El Nino, a natural occurring phenomenon typically associated with the warming of the planet.

“The development of an El Nino will most likely lead to a new spike in global heating and increase the chance of breaking temperature records,” said Petteri Taalas, secretary-general of the World Meteorological Organization.

That is bad news for global efforts to reduce climate change. Taalas noted that the onset of El Nino follows the eight warmest years on record “even though we had a cooling La Nina for the past three years and this acted as a temporary brake on global temperature increase.”

El Nino is a naturally occurring climate pattern associated with the warming of ocean surface temperatures in the central and eastern tropical Pacific Ocean. On the other hand, La Nina refers to the periodic cooling of ocean surface temperatures.

The recent unusually long running La Nina event, which began in 2020 now has ended.

Wilfran Moufouma Okia, head of the WMO regional climate prediction services division, said scientific models show that La Nina currently is in a neutral state and moving toward a different phase.

“The next few months from May to July, we have a 60% chance to enter into an El Nino phase. This likelihood will increase to 70% in the period of July to August, and even to 80% if we go past August,” he said. “But, of course, beyond that we cannot say much.”

He said the evolution of El Nino this year will change the weather and climate pattern worldwide compared to what existed during the past three consecutive years of La Nina.

“If we think of La Nina as a sort of break in the warming engine, La Nina corresponds to a cooling of the ocean, which normally should kind of slow down the rise of temperature, El Nino will fuel the temperature globally.

“So, we are expecting in the coming two years to have a serious increase in the global temperature,” he said.

Scientists say the concentrations of two important greenhouse gases, methane and carbon dioxide, which lead to global warming and climate change, go up significantly during an El Nino year.

The WMO says the effect on global temperatures usually plays out in the year after El Nino’s development and likely will become apparent in 2024.

“The world should prepare for the development of El Nino, which is often associated with increased heat, drought or rainfall in different parts of the world,” said Taalas.

“It might bring respite from the drought in the Horn of Africa and other La Nina-related impacts but could also trigger more extreme weather and climate events.”

For example, the WMO said El Nino is likely to trigger heavy rainfall in parts of southern South America, the southern United States, the Horn of Africa, and central Asia.

In contrast, El Nino can cause severe droughts over Australia, Indonesia, and parts of southern Asia.

WMO chief Talaas warns the extreme weather events that will be unleashed by El Nino “highlights the need for the U.N. ‘Early Warnings for All’ initiative to keep people safe.”

Since no two El Nino events are the same and the effects depend partly on the time of year, meteorologists say the WMO and National Meteorological Hydrological Services will be closely monitoring developments.

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COVID-Related Learning Loss in US Mirrors Global Trend

Providing further proof that U.S. children suffered significant learning loss when schools were closed during the COVID-19 pandemic, the National Assessment Governing Board released a report Wednesday that showed test scores measuring achievement in U.S. history and civics fell significantly between 2018 and 2022.

The tests, part of the National Assessment of Educational Progress (NAEP), commonly known as the “nation’s report card,” were given to hundreds of eighth-grade students across the country. Scores on the U.S. history assessment were the lowest recorded since 1994, while the scores on the civics test fell for the first time ever.

Only 13% of students tested in U.S. history were considered proficient, meaning that they had substantially mastered the material expected of them. That was 1 percentage point lower than in 2018. Another 46% tested at the NAEP “basic” level, meaning they had partial mastery of the material, down 4 percentage points. The remaining 40% of students tested did not meet the bar for basic knowledge, an increase of 6 percentage points.

In civics, 20% of students tested qualified as proficient, and 48% had basic knowledge of the material — both down 1 percentage point from 2018. Another 31% failed to demonstrate even basic knowledge, an increase by 4 percentage points over 2018.

In both cases, declines in proficiency were concentrated among lower-performing students, while achievement among the top 25% of students was little changed.

Further breakdowns of the data indicated that declines were notably larger among racial minorities and lower-income students, indicating that the impact of the pandemic on educational achievement was not evenly distributed across the population.

Echoes of past warnings

The results issued Wednesday, like those of other NAEP assessments released last year, demonstrated that a decline in educational achievement was exacerbated by lengthy school closures during the pandemic.

In a statement, National Assessment Governing Board Chair Beverly Perdue, a former governor of North Carolina, said the results should be a call to action.

“The wake-up calls keep coming,” she said. “Education leaders and policy makers must create opportunities for students to gain the knowledge and skills they need to catch up and thrive. The students who took these tests are in high school today and will soon enter college and the workforce without the knowledge and skills they need to fully participate in civic life and our democracy.”

U.S. lags in education

Even before the pandemic took hold, experts were sounding alarms about the state of education in the U.S. In 2019, the year before pandemic-related shutdowns began, results of the Program for International Student Assessment, commonly known as PISA, showed U.S. students lagging behind their peers in East Asia and Europe.

The results ranked U.S. students 13th in reading, 18th in science, and 37th in mathematics when compared to a global sample of their peers.

Consistently at the top of each category were China, where only four mainland provinces participated, and Singapore. The U.S. consistently trailed its northerly neighbor, Canada, in all three categories. It also lagged the English-speaking United Kingdom and Australia in all categories except reading.

‘New human crisis’

The U.S. was not the only country where learning suffered because of the coronavirus pandemic. In January, the World Bank issued a report describing pandemic-related learning loss as a “mass casualty event” that, at one time or another, forced 1.4 billion students around the world to miss significant time in the classroom.

Stephen Heyneman, professor emeritus of international education policy at Vanderbilt University and the editor in chief of the International Journal of Educational Development, told VOA that the pandemic-related education crisis is “the worst we’ve had in my lifetime.”

In an editorial published in the May edition of the journal, an editorial board made up of nine researchers from universities worldwide assessed evidence of the pandemic’s impact on education and concluded that the world “is on the verge of a new human crisis.”

The researchers confirmed that in the relatively wealthy industrialized countries, known as the Global North, the poor felt pandemic-related educational impacts most deeply, while financially well-off families often could mitigate much of the impact on students.

The news was worse for the relatively poorer countries, often referred to as the Global South.

“In the Global South, the learning challenges have proved multi-dimensional and much harder to tackle, given the triple burden of schooling deprivation, learning inequality and learning poverty,” they found.

The disparities, first noted early in the pandemic, have continued, the researchers found. “The consensus view is that, despite many promising innovations, learning shortfalls have persisted or even increased, three years into the pandemic.”

Frustration

Asked how the U.S. had performed during the pandemic compared with other developed nations, Heyneman said that “comparison evidence, so far, is too little for me to make any generalizations.”

However, he said, he and his colleagues have noticed — and been frustrated by — a common practice that has been adopted by most public school systems around the world as they have reopened.

Rather than assessing where students had pandemic-related deficits and working to correct them before continuing on with standard curriculums, schools have consistently attempted to simply restart, placing students in the classes and grade levels that correspond to their ages rather than to their actual educational attainment.

“They have not tested the learning loss in any systematic way, and when they have tested, they often haven’t released the scores,” he said. “And whether or not they have tested, they have not treated the results as an emergency. That makes me furious.”

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WHO Experts Weigh Whether World Ready to End COVID Emergency

A panel of global health experts will meet Thursday to decide if COVID-19 is still an emergency under the World Health Organization’s rules, a status that helps maintain international focus on the pandemic.

The WHO first gave COVID its highest level of alert on Jan. 30, 2020, and the panel has continued to apply the label ever since, at meetings held every three months.

However, several countries have recently begun lifting their domestic states of emergency, such as the United States.

WHO Director-General Dr. Tedros Adhanom Ghebreyesus has said he hopes to end the international emergency this year.

There is no consensus yet on which way the panel may rule, advisers to the WHO and external experts told Reuters.

“It is possible that the emergency may end, but it is critical to communicate that COVID remains a complex public health challenge,” said professor Marion Koopmans, a Dutch virologist who is on the WHO panel. She declined to speculate further ahead of the discussions, which are confidential.

One source close to negotiations said lifting the “public health emergency of international concern,” or PHEIC, label could impact global funding or collaboration efforts. Another said that the unpredictability of the virus made it hard to call at this stage.

“We are not out of the pandemic, but we have reached a different stage,” said professor Salim Abdool Karim, a leading COVID expert who previously advised the South African government on its response.

Karim, who is not on the WHO panel, said if the emergency status is lifted, governments should still maintain testing, vaccination and treatment programs.

Others said it was time to move to living with COVID as an ongoing health threat, like HIV or tuberculosis.

“All emergencies must come to an end,” said Lawrence Gostin, a law professor at Georgetown University in the United States who follows the WHO.

“I expect WHO to end the public health emergency of international concern. If WHO does not end it… [this time], then certainly the next time the emergency committee meets.”

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As Sales Decline, Adidas Faces Pressure to Find Yeezy Fix

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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After Decades of Attempts, US Approves 1st Vaccine for RSV

The United States approved the first vaccine for RSV on Wednesday, shots to protect older adults against a respiratory virus that’s most notorious for attacking babies but endangers their grandparents, too.

The Food and Drug Administration decision makes GSK’s shot, called Arexvy, the first of several potential vaccines in the pipeline for RSV to be licensed anywhere.

The move sets the stage for adults 60 and older to get vaccinated this fall — but first, the Centers for Disease Control and Prevention must decide if every senior really needs RSV protection or only those considered at high risk from the respiratory syncytial virus. CDC’s advisers will debate that question in June.

After decades of failure in the quest for an RSV vaccine, doctors are eager to finally have something to offer — especially after a virus surge that strained hospitals last fall.

“This is a great first step … to protect older persons from serious RSV disease,” said Dr. William Schaffner, medical director of the National Foundation for Infectious Diseases, who wasn’t involved with its development. Next, “we’re going to be working our way down the age ladder” for what’s expected to be a string of new protections.

The FDA is considering competitor Pfizer’s similar vaccine for older adults. Pfizer also is seeking approval to vaccinate pregnant women so their babies are born with some of their mothers’ protection.

There isn’t a vaccine for kids yet, but high-risk infants often get monthly doses of a protective drug during RSV season — and European regulators recently approved the first one-dose option. The FDA also is considering whether to approve Sanofi and AstraZeneca’s one-shot medicine.

“This is a very exciting time with multiple potential RSV solutions coming out after years of really nothing,” said Dr. Phil Dormitzer, chief of vaccine research and development for GSK, formerly known as GlaxoSmithKline.

Potentially life-threatening

RSV is a cold-like nuisance for most people, but can be life-threatening for the very young, the elderly, and people with certain high-risk health problems. It can impede babies’ breathing by inflaming their tiny airways, or creep deep into seniors’ lungs to cause pneumonia.

In the U.S., about 58,000 children younger than 5 are hospitalized for RSV each year and several hundred die. Among older adults, as many as 177,000 are hospitalized with RSV and up to 14,000 die annually.

Why has it taken so long to come up with a vaccine? The field suffered a major setback in the 1960s when an experimental shot worsened infections in children. Scientists finally figured out a better way to develop these vaccines — although modern candidates still were first tested with adults.

Study shows high effectiveness rates

GSK’s new vaccine for older adults trains the immune system to recognize a protein on RSV’s surface, and contains an ingredient called an adjuvant to further rev up that immune reaction.

In an international study of about 25,000 people 60 and older, one dose of the vaccine was nearly 83% effective at preventing RSV lung infections and reduced the risk of severe infections by 94%.

To see how long protection lasts, GSK is tracking study participants for three years, comparing some who get just one vaccination during that time and others given a yearly booster.

Shot reactions were typical of vaccinations, such as muscle pain and fatigue.

There was a hint of a rare but serious risk — one case of Guillain-Barre syndrome, which can cause usually temporary paralysis, and two cases of a type of brain and spinal cord inflammation. The FDA said it was requiring the company to continue studying if there really is a link to the vaccine.

If the CDC ultimately recommends the vaccination for some or even all seniors, it will add another shot for the fall along with their yearly flu vaccine — and maybe another COVID-19 booster.

“We’ll have to educate the population that this virus that not everyone has heard about is actually an important threat to their health in the wintertime,” said Schaffner, an infectious-disease expert at Vanderbilt University.

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Taliban Singsongs Thrive in Music-Less Afghanistan

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

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

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

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

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

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

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

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

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

‘Genocide of music’

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

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

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

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

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

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

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

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

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

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Brazil Forest Bill Aims to Unlock Carbon Credit Market

Companies with Brazilian forest concessions would be allowed to generate carbon credits under a bill passed by its Congress this week that marks a first step in regulating the country’s voluntary carbon market.

Private firms have shown little interest in a government program that leases publicly owned forests for sustainable logging, but the legislation could boost the concessions’ appeal with investors by generating an additional revenue stream.

“This is an economic activity that will boost others that can be done in forestry concessions,” said Jacqueline Ferreira, a portfolio manager at Instituto Escolhas, an environmental nonprofit involved in consultations on the bill.

President Luiz Inacio Lula da Silva, who now must sign or veto parts or all of the bill within 15 days, has made reining in deforestation a priority as he seeks to reverse the policies of his right-wing predecessor, Jair Bolsonaro.

Forest leased to private firms in Brazil can only be used for logging under a sustainable system that allows the land to regenerate.

Potential to generate millions

Set up in 2006, the leasing program has had limited success, data shows, with only about 1 million hectares of Brazil’s 43 million hectares of eligible public forest leased.

Studying a typical concession in the Amazon state of Rondonia, Escolhas estimated that carbon credit sales could boost its revenue by 43%.

A wider study by the nonprofit of 37 areas that could be leased in the Amazon region estimated that they could generate about $24 million per year from carbon credits in total.

“This was very conservative math, based on carbon credit prices below the (current) market price,” Ferreira said. She noted that further regulation would be needed to detail the mechanism for generating carbon credits.

She said it would likely take at least a year for the first concessions to be leased that include the ability to issue carbon credits.

The current number of carbon credit projects in Brazil are “small in comparison to the unique potential of the country’s forested area,” said Daniel Vargas, coordinator of the Bioeconomy Observatory within Brazil’s FGV university.

Carbon credits face scrutiny

The bill, however, comes as carbon credits generated by forestry projects in the Amazon region and elsewhere face scrutiny because of land rights issues and a lack of benefits for local communities.

“A growing body of research indicates that no real additional protection is being offered by many of the (carbon credit) projects,” said Eugenio Pantoja, a director at IPAM, a nonprofit that works on sustainability in the Amazon.

The voluntary carbon credit market in Brazil is still unregulated, and while the new bill is a step in that direction, broader legislation will be needed, Pantoja said.

The bill should make concessions more profitable, but a major hurdle for legal logging is stiff competition from illegal, deforested timber, said Suely Araujo, senior expert in public policy at Brazil’s Climate Observatory.

“What is truly hindering (forest concessions) is their difficulty in competing with crime,” Araujo said.

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Star Gobbles Up Planet in One Big Bite

For the first time, scientists have caught a star in the act of swallowing a planet — not just a nibble or bite, but one big gulp.

Astronomers on Wednesday reported their observations of what appeared to be a gas giant around the size of Jupiter or bigger being eaten by its star. The sun-like star had been puffing up with old age for eons and finally got so big that it engulfed the close-orbiting planet.

It’s a gloomy preview of what will happen to Earth when our sun morphs into a red giant and gobbles the four inner planets.

“If it’s any consolation, this will happen in about 5 billion years,” said co-author Morgan MacLeod of the Harvard-Smithsonian Center for Astrophysics.

This galactic feast happened between 10,000 and 15,000 years ago near the Aquila constellation when the star was around 10 billion years old. As the planet went down the stellar hatch, there was a swift hot outburst of light, followed by a long-lasting stream of dust shining brightly in cold infrared energy, the researchers said.

While there had been previous signs of other stars nibbling at planets and their digestive aftermath, this was the first time the swallow itself was observed, according to the study appearing in the journal Nature.

Massachusetts Institute of Technology researcher Kishalay De spotted the luminous outburst in 2020 while reviewing sky scans taken by the California Institute of Technology’s Palomar Observatory. It took additional observations and data-crunching to unravel the mystery: Instead of a star gobbling up its companion star, this one had devoured its planet.

Given a star’s lifetime of billions of years, the swallow itself was quite brief — occurring in essentially one fell swoop, said Caltech’s Mansi Kasliwal, who was part of the study.

The findings are “very plausible,” said Carole Haswell, an astrophysicist at Britain’s Open University, who had no role in the research. Haswell led a team in 2010 that used the Hubble Space Telescope to identify the star WASP-12 in the process of eating its planet.

“This is a different sort of eating. This star gobbled a whole planet in one gulp,” Haswell said in an email. “In contrast, WASP-12 b and the other hot Jupiters we have previously studied are being delicately licked and nibbled.”

Astronomers don’t know if more planets are circling this star at a safer distance. If so, De said they may have thousands of years before becoming the star’s second or third course.

Now that they know what to look for, the researchers will be on the lookout for more cosmic gulps. They suspect thousands of planets around other stars will suffer the same fate as this one did and, eventually, so will our solar system.

“All that we see around us, all the stuff that we’ve built around us, this will all be gone in a flash,” De said.

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Fountain Pens Continue to Draw Writers

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

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258 Million Needed Urgent Food Aid in 2022: UN

Some 258 million people needed emergency food aid last year because of conflict, economic shocks and climate disasters, a U.N. report said Wednesday, a sharp rise from 193 million the previous year.   

“More than a quarter of a billion people are now facing acute levels of hunger, and some are on the brink of starvation. That’s unconscionable,” U.N. Secretary-General Antonio Guterres said.   

It was “a stinging indictment of humanity’s failure to make progress… to end hunger, and achieve food security and improved nutrition for all,” he said.   

More than 40% of those in serious need of food lived in the Democratic Republic of the Congo, Ethiopia, Afghanistan, Nigeria and Yemen, the U.N. report said.   

“Conflicts and mass displacement continue to drive global hunger,” Guterres said.   

“Rising poverty, deepening inequalities, rampant underdevelopment, the climate crisis and natural disasters also contribute to food insecurity.”   

In 2022, 258 million people faced high levels of acute food insecurity in 58 countries or territories, up from 193 million in 53 countries the previous year, the report said.   

This overall figure has now increased for the fourth year in a row. 

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Writers Strike Looks to be a Long Fight, as Hollywood Braces

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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‘Godfather of AI’ Quits Google to Warn of the Technology’s Dangers

A computer scientist often dubbed “the godfather of artificial intelligence” has quit his job at Google to speak out about the dangers of the technology, U.S. media reported Monday.

Geoffrey Hinton, who created a foundation technology for AI systems, told The New York Times that advancements made in the field posed “profound risks to society and humanity”.

“Look at how it was five years ago and how it is now,” he was quoted as saying in the piece, which was published on Monday. “Take the difference and propagate it forwards. That’s scary.”

Hinton said that competition between tech giants was pushing companies to release new AI technologies at dangerous speeds, risking jobs and spreading misinformation.

“It is hard to see how you can prevent the bad actors from using it for bad things,” he told The Times.

Jobs could be at risk

In 2022, Google and OpenAI — the startup behind the popular AI chatbot ChatGPT — started building systems using much larger amounts of data than before.

Hinton told The Times he believed these systems were eclipsing human intelligence in some ways because of the amount of data they were analyzing.

“Maybe what is going on in these systems is actually a lot better than what is going on in the brain,” he told the paper.

While AI has been used to support human workers, the rapid expansion of chatbots like ChatGPT could put jobs at risk.

AI “takes away the drudge work” but “might take away more than that,” he told The Times.

Concern about misinformation

The scientist also warned about the potential spread of misinformation created by AI, telling The Times that the average person will “not be able to know what is true anymore.”

Hinton notified Google of his resignation last month, The Times reported.

Jeff Dean, lead scientist for Google AI, thanked Hinton in a statement to U.S. media.

“As one of the first companies to publish AI Principles, we remain committed to a responsible approach to AI,” the statement added.

“We’re continually learning to understand emerging risks while also innovating boldly.”

In March, tech billionaire Elon Musk and a range of experts called for a pause in the development of AI systems to allow time to make sure they are safe.

An open letter, signed by more than 1,000 people. including Musk and Apple co-founder Steve Wozniak, was prompted by the release of GPT-4, a much more powerful version of the technology used by ChatGPT.

Hinton did not sign that letter at the time, but told The New York Times that scientists should not “scale this up more until they have understood whether they can control it.”

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US Announces Massive Crackdown on Darknet Fentanyl Trafficking

In a massive global crackdown on fentanyl trafficking on the darknet, U.S. and international law enforcement agencies have arrested nearly 300 suspects and seized a large cache of drugs, cash, virtual currency and weapons, officials announced on Tuesday.

The law enforcement action dubbed Operation SpecTor spanned three continents and involved the collaboration of eight countries. It was part of a Justice Department initiative led by the FBI known as JCODE, which aims to dismantle online drug markets.

The operation netted 281 arrests, 850 kilograms of drugs, including 64 kilograms of fentanyl or fentanyl-laced narcotics, $53.4 million in cash and virtual currencies and 117 firearms.

The total number of arrests was the most ever for any JCODE operation and more than double that of the previous operation, officials said.

The Justice Department described the takedown as “the largest international law enforcement operation targeting fentanyl and opioid traffickers on the darknet.”

“Our message to criminals on the dark web is this: You can try to hide in the furthest reaches of the internet, but the Justice Department will find you and hold you accountable for your crimes,” Attorney General Merrick Garland said at a press conference in Washington.

Officials said they collaborated with law enforcement agencies in eight countries, including Austria, France, Germany, Netherlands, Poland, Brazil and the United Kingdom.

The operation is part of a broader effort by U.S. law enforcement agencies to curb fentanyl trafficking.

Last month, the Justice Department announced changes against the Sinaloa Cartel, a notorious drug trafficking organization based in Sinaloa, Mexico, and its facilitators around the world.

Garland described the cartel’s fentanyl trafficking operation as “the largest, most violent, and most prolific” in the world.

The Sinaloa is one of two major Mexican cartels that dominate the U.S. fentanyl market. The other one is known as the Jalisco cartel.

Law enforcement officials say the Sinaloa cartel has been flooding drugs into the United States for more than 15 years.

Officials say the cartels cook fentanyl using precursor chemicals imported from China.

The announcement comes at a time when the U.S. is grappling with an opioid overdose crisis that claimed more than 100,000 American lives in the 12-month period ending in August 2022.

Synthetic opioids such as fentanyl were behind more than two-thirds of the deaths, according to the Centers for Disease Control and Prevention.

The alarming spike in fentanyl deaths has prompted Republican demands that the Biden administration label the cartels as foreign terrorist organizations and unleash the full force of the law against them.

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Loneliness Poses Risks as Deadly as Smoking, US Surgeon General Says

Widespread loneliness in the U.S. poses health risks as deadly as smoking a dozen cigarettes daily, costing the health industry billions of dollars annually, the U.S. surgeon general said Tuesday in declaring the latest public health epidemic.

About half of U.S. adults say they’ve experienced loneliness, Dr. Vivek Murthy said in a report from his office.

“We now know that loneliness is a common feeling that many people experience. It’s like hunger or thirst. It’s a feeling the body sends us when something we need for survival is missing,” Murthy told The Associated Press in an interview. “Millions of people in America are struggling in the shadows, and that’s not right. That’s why I issued this advisory to pull back the curtain on a struggle that too many people are experiencing.”

The declaration is intended to raise awareness around loneliness but won’t unlock federal funding or programming devoted to combatting the issue.

Research shows that Americans, who have become less engaged with worship houses, community organizations and even their own family members in recent decades, have steadily reported an increase in feelings of loneliness. The number of single households has also doubled over the last 60 years.

But the crisis deeply worsened when COVID-19 spread, prompting schools and workplaces to shut their doors and sending millions of Americans to isolate at home away from relatives or friends.

People culled their friend groups during the coronavirus pandemic and reduced time spent with those friends, the surgeon general’s report finds. Americans spent about 20 minutes a day in person with friends in 2020, down from 60 minutes daily nearly two decades earlier.

The loneliness epidemic is hitting young people, ages 15 to 24, especially hard. The age group reported a 70% drop in time spent with friends during the same period.

Loneliness increases the risk of premature death by nearly 30%, with the report revealing that those with poor social relationships also had a greater risk of stroke and heart disease. Isolation also elevates a person’s likelihood for experiencing depression, anxiety and dementia.

The surgeon general is calling on workplaces, schools, technology companies, community organizations, parents and other people to make changes that will boost the country’s connectedness. He advises people to join community groups and put down their phones when they’re catching up with friends; employers to think carefully about their remote work policies; and health systems to provide training for doctors to recognize the health risks of loneliness.

Technology has rapidly exacerbated the loneliness problem, with one study cited in the report finding that people who used social media for two hours or more daily were more than twice as likely to report feeling socially isolated than those who were on such apps for less than 30 minutes a day.

Murthy said social media is driving the increase in loneliness in particular. His report suggests that technology companies roll out protections for children especially around their social media behavior.

“There’s really no substitute for in-person interaction,” Murthy said. “As we shifted to use technology more and more for our communication, we lost out on a lot of that in-person interaction. How do we design technology that strengthens our relationships as opposed to weaken them?”

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US Film and Television Writers Begin Strike

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

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

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

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

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

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

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

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

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

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

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Canadian Folk Singer Gordon Lightfoot Dies at 84

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Hollywood Writers, Studios Talk as Midnight Strike Deadline Looms

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

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

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

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

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

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

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

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

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

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

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

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

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

Late night will take a hit  

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

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

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

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

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

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

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

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

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