RIYADH, Saudi Arabia — Leaning into the microphone in Saudi Arabia’s capital, Nora let loose a primal scream. Guitars wailed and drums throbbed behind her as part of a set with her bandmates during a recent show.

The performance by Seera, an all-women psychedelic rock band that blends traditional Arabic melodies with the resurgent psychedelia of bands like Tame Impala, would have been unthinkable just years earlier in the kingdom.

But as Saudi Arabia liberalizes some aspects of its society, Seera represents the way women now are finding their voice and expressing themselves through the arts in a nation long associated with ultraconservative Islam and the strict separation of the sexes.

“We didn’t know how people would react,” said Meesh, the band’s bassist, who like other members asked to be identified by their stage names. “We believe strongly in self-expression. To our surprise, they really had open arms for us.”

The band’s name, Seera, can mean “life” or “biography” in Arabic. Band members say they try to embrace the multiple meanings one can draw from a word in the language in its sound, whether through the driving drums and cymbals or the synthesizer backing the guitars.

Seera’s music style revolves around the life experiences of the four-member band, who are all Saudi nationals. They sing in the Saudi dialect of Arabic, while drummer Thing wears a traditionally embroidered red face covering.

“I thought this would be great as a reflection of the culture, the heritage and the roots,” she said. “At the same time it would be a cool representation between the traditional and the modern and the expression of it. That’s also within our sonic identity as well.”

Seera is quick to point out they aren’t the first female band in the kingdom. Instead, they say that goes to The Accolade, which formed in 2008 and could only play underground. Things have changed radically in the kingdom in recent years since the accession of King Salman and his assertive son, Crown Prince Mohammed bin Salman.

In 2018, women gained the right to drive. Movie theaters and other entertainment centers opened. Women are no longer required to wear the fully cloaking black abaya.

Clear limits still remain on speech and any political activity in the tightly governed kingdom. But in the arts space, Saudi Arabia is slowly opening up, as could be seen by Seera’s show earlier this month at The Warehouse, a live music space in Riyadh’s Diriyah neighborhood.

There, dozens of youths in leather jackets and black rock T-shirts swayed and danced to the music. One young man with heavy eyeliner wore a shirt declaring: “I HATE LIFE.” The fashion choices resembled any other punk show at a club in the West, though there was an absence of smoking or any alcohol in the dry kingdom.

“Things have become definitely better, more towards inclusivity and in a broader perspective and in a broader way,” Thing said. “There’s definitely room for more growth.”

Seera plans to release their debut album later this year. They’ve also booked their first international concert in Dubai, where they’ll get their first chance to perform outside of Saudi Arabia.

Nora said she wanted the band to be “an inspiration for the younger generation” to express themselves.

“It’s OK to look, act, behave the way you want as long as you’re not harming anyone,” she said.
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NEW YORK — Documentary filmmaker Morgan Spurlock, an Oscar nominee whose most famous works skewered America’s food industry and who notably ate only at McDonald’s for a month to illustrate the dangers of a fast-food diet, has died. He was 53. 

Spurlock died Thursday in New York from complications of cancer, according to a statement issued Friday by his family. 

“It was a sad day, as we said goodbye to my brother Morgan,” Craig Spurlock, who worked with him on several projects, said in the statement. “Morgan gave so much through his art, ideas, and generosity. The world has lost a true creative genius and a special man. I am so proud to have worked together with him.” 

Spurlock made a splash in 2004 with his groundbreaking film “Super Size Me,” which was nominated for an Academy Award. The film chronicled the detrimental physical and psychological effects of Spurlock eating only McDonald’s food for 30 days. He gained about 25 pounds, saw a spike in his cholesterol and lost his sex drive. 

“Everything’s bigger in America,” he said in the film. “We’ve got the biggest cars, the biggest houses, the biggest companies, the biggest food, and finally: the biggest people.” 

In one scene, Spurlock showed kids a photo of George Washington and none recognized the Founding Father. But they all instantly knew the mascots for Wendy’s and McDonald’s. 

The film grossed more than $22 million on a $65,000 budget and preceded the release of Eric Schlosser’s influential “Fast Food Nation,” which accused the industry of being bad for the environment and rife with labor issues. 

Spurlock returned in 2017 with “Super Size Me 2: Holy Chicken!” — a sober look at an industry that processes 9 billion animals a year in America. He focused on two issues: chicken farmers stuck in a peculiar financial system and the attempt by fast-food chains to deceive customers into thinking they’re eating healthier. 

“We’re at an amazing moment in history from a consumer standpoint where consumers are starting to have more and more power,” he told The Associated Press in 2019. “It’s not about return for the shareholders. It’s about return for the consumers.” 

Spurlock was a gonzo-like filmmaker who leaned into the bizarre and ridiculous. His stylistic touches included zippy graphics and amusing music, blending a Michael Moore-ish camera-in-your-face style with his own sense of humor and pathos. 

“I wanted to be able to lean into the serious moments. I wanted to be able to breathe in the moments of levity. We want to give you permission to laugh in the places where it’s really hard to laugh,” he told the AP. 

After he exposed the fast-food and chicken industries, there was an explosion in restaurants stressing freshness, artisanal methods, farm-to-table goodness and ethically sourced ingredients. But nutritionally not much had changed. 

“There has been this massive shift and people say to me, ‘So has the food gotten healthier?’ And I say, ‘Well, the marketing sure has,’” he said. 

Not all his work dealt with food. Spurlock made documentaries about the boy band One Direction and the geeks and fanboys at Comic-Con. One of his films looked at life behind bars at the Henrico County Jail in Virginia. 

With 2008’s “Where in the World is Osama bin Laden?” Spurlock went on a global search to find the al-Qaida leader, who was killed in 2011. In “POM Wonderful Presents: The Greatest Movie Ever Sold,” Spurlock tackled questions of product placement, marketing and advertising. 

“Being aware is half the battle, I think. Literally knowing all the time when you’re being marketed to is a great thing,” Spurlock told AP at the time. “A lot of people don’t realize it. They can’t see the forest for the trees.” 

“Super Size Me 2: Holy Chicken!” was to premiere at the Sundance Film Festival in 2017 but it was shelved at the height of the #MeToo movement when Spurlock came forward to detail his own history of sexual misconduct. 

He confessed that he had been accused of rape while in college and had settled a sexual harassment case with a female assistant. He also admitted to cheating on numerous partners. “I am part of the problem,” he wrote. 

“For me, there was a moment of kind of realization — as somebody who is a truth-teller and somebody who has made it a point of trying to do what’s right — of recognizing that I could do better in my own life. We should be able to admit we were wrong,” he told the AP. 

Spurlock grew up in Beckley, West Virginia. His mother was an English teacher who he remembered would correct his work with a red pen. He graduated with a BFA in film from New York University in 1993. 

He is survived by two sons — Laken and Kallen; his mother Phyllis Spurlock; father Ben; brothers Craig and Barry; and former spouses Alexandra Jamieson and Sara Bernstein, the mothers of his children.
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Women’s soccer in the U.S. has been on the rise, bringing more girls than ever into the fold. Thai American Madison Casteen embraced soccer at a young age and aims to be one of the few Asian Americans to break into the professional leagues. Warangkana Chomchuen has the story, narrated by Neetikarn Kamlangwan.
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NEW DELHI — In the ever-growing Twenty20 cricket landscape, India boasts the richest and most-watched league in the world. Yet all that investment and attention hasn’t translated into international success for India’s national team.

Rohit Sharma’s India squad travels to the T20 World Cup in the United States and Caribbean in search of a second title to end a long drought.

Undoubtedly, the Indian Premier League is flush with cash and talent, attracting the best cricketers from across the world.

Since the advent of IPL, though, India hasn’t lifted the World Cup trophy. 

After winning the inaugural T20 World Cup in South Africa in 2007, India has only reached one more final — losing to Sri Lanka in 2014.

The title drought crosses formats, too. India last won an International Cricket Council title in 2013 – the Champions Trophy in England. It last lifted the Cricket World Cup in the 50-over format in 2011.

Last year was an exceptional one in that sense – India lost the World Test Championship final to Australia in England and, a few months later, also lost the 50-over World Cup final to Australia, this time on home soil.

That caused major anguish in a cricket-mad country of 1.4 billion, considering India was on a 10-0 winning streak and a hot favorite going into the final.

Seven months later, Sharma and star batter Virat Kohli are leading the campaign in what in all probability will be their last T20 tournament in India’s blue.

Sharma has been a part of every Indian squad at the T20 World Cup. Kohli made his debut in the 2012 edition, making this his sixth attempt at the title.

Kohli has scored 1,141 runs at an average of 81.50 and strike-rate 131.30 in his 27 games at the tournament. Sharma has scored 963 runs in 39 games at a strike rate of 127.88.

Both players missed all of India’s T20 internationals between the 2022 semifinal loss in Australia and January of this year, leading to some speculation they’d miss out on the 2024 World Cup starting June 1.

That was dispelled by both BCCI secretary Jay Shah and chief selector Ajit Agarkar. Now, there will be big focus on their contributions – in terms of runs and strike-rate.

Sharma only managed 417 runs for Mumbai Indians in the club’s unsuccessful 2024 IPL campaign. Kohli, meanwhile, topped the run charts for Royal Challengers Bengaluru with with 741 runs runs in 15 matches, avering 61.75. But his strike-rate earlier in the season was criticized by some TV broadcast analysts.

In a news conference to confirm the India squad, Agarkar brushed off any concerns regarding Kohli’s strike-rate.

“There’s a difference between IPL and international cricket,” Agarkar said. “You need experience as the pressure of a World Cup game is different. You (only) try to take positives from what is happening in the IPL.”

Kohli opens the batting for his IPL franchise but goes in at No. 3 for India in T20s. It has led to a significant debate over his batting position for the World Cup because it holds the key to India’s XI.

Should Kohli continue to bat at No. 3, Yashasvi Jaiswal will open the innings with Sharma. India will then have to play with only four specialist batters including Suryakumar Yadav, the world’s top-ranked T20 batter.

Allrounder Hardik Pandya and first-choice wicketkeeper-batter Rishabh Pant would slot in next, with bowling allrounders to follow.

If Kohli opens with Sharma, it allows for an extra batter in the middle order and likely makes room for Shivam Dube, who has impressed selectors with his power hitting in the IPL and strike rate of 162.29.

Dube can also bowl useful medium pace if needed, and could provide backup to Pandya.

Pace spearhead Jasprit Bumrah will lead a bowling attack that will contain four spinners, including left-arm all-rounders Ravindra Jadeja and Axar Patel. Wrist spinners Kuldeep Yadav and Yuzendra Chahal complete the line-up.

“I asked for four spinners,” Sharma explained. “Most of our matches will start at 10-11 a.m. (and) we expect all-rounders to do a job for us. It gives us a variety of combinations to explore depending on the opposition.”

India begins its World Cup campaign against Ireland on June 5, then faces fierce rival Pakistan in New York on June 9 in what could be the highlight of the group stage. India will play the U.S. on June 12 and Canada on June 15.

While it is a seemingly straight-forward road for India in the first round, the tension to end a prolonged title drought will grow once it reaches the West Indies for the Super Eight stage.
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MEMPHIS, Tenn. — A Tennessee judge on Wednesday blocked the auction of Graceland, the former home of Elvis Presley, by a company that claimed his estate failed to repay a loan that used the property as collateral. 

Shelby County Chancellor JoeDae Jenkins issued a temporary injunction against the proposed auction that had been scheduled for Thursday this week. Jenkins’ injunction essentially keeps in place a previous restraining order that he had issued after Presley’s granddaughter Riley Keough filed a lawsuit to fight off what she said was a fraudulent scheme. 

A public notice for a foreclosure sale of the 13-acre estate in Memphis posted earlier in May said Promenade Trust, which controls the Graceland museum, owes $3.8 million after failing to repay a 2018 loan. Keough, an actor, inherited the trust and ownership of the home after the death of her mother, Lisa Marie Presley, last year. 

Naussany Investments and Private Lending said Lisa Marie Presley had used Graceland as collateral for the loan, according to the foreclosure sale notice. Keough, on behalf of the Promenade Trust, alleged in her lawsuit that Naussany presented fraudulent documents regarding the loan in September 2023. 

Neither Keough nor lawyers for Nassauny Investments were in court Wednesday. 

“Lisa Maria Presley never borrowed money from Naussany Investments and never gave a deed of trust to Naussany Investments,” Keough’s lawyer wrote in a lawsuit. 

Kimberly Philbrick, the notary whose name is listed on Nassauny’s documents, indicated that she never met Lisa Marie Presley nor notarized any documents for her, the court filing said. 

Graceland opened as a museum and tourist attraction in 1982 as a tribute to Elvis Presley, the singer and actor who died in August 1977 at age 42. It draws hundreds of thousands of visitors each year. A large Presley-themed entertainment complex across the street from the museum is owned by Elvis Presley Enterprises. 
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Washington — A house-cured smoked salmon, red grapefruit, avocado and cucumber starter. Dry-aged rib eye beef in a sesame sabayon sauce. Salted caramel pistachio cake under a layer of matcha ganache.

While President Joe Biden and his guest of honor at a White House state dinner chew over foreign policy, the female chef duo of Cris Comerford and Susie Morrison take care of the culinary diplomacy. They pulled off the above menu for Japan’s leader in April, and they’ll have a new array of delicacies for Kenya’s president on Thursday night.

Comerford, the White House executive chef, and Morrison, the executive pastry chef, are the first women to hold those posts, forming a duo that has tantalized the taste buds of guests at 1600 Pennsylvania Ave. with their culinary creations for nearly a decade. Comerford is also the first person of color to be executive chef.

“Both are just exceptional examples of success in their field,” said Bill Yosses, who was the executive pastry chef for seven years before his departure in 2014 cleared the way for Morrison to be promoted. “They excel at what they do.”

Comerford and Morrison get to do it again Thursday when Biden and his wife, first lady Jill Biden, host the administration’s sixth state dinner, for Kenyan President William Ruto and his wife, Rachel. It will be the first such honor for an African head of state since 2008 and the first for Kenya since 2003.

A lavish state dinner is a tool of U.S. diplomacy, a high honor reserved for America’s longstanding and closest allies. In the case of Kenya, Biden wants to elevate a relationship that he sees as critical to security in Africa and far beyond.

Jill Biden planned to preview the dinner setup for the news media on Wednesday afternoon.

State dinner planning is done by the first lady’s staff and the White House social office, and starts months in advance. Ideas are kicked around before the chefs propose a few different menus. The meals are prepared, plated as they would be served and tasted by the social secretary and the first lady, who makes the final call on what will be served.

The menus change, but the overarching goal has stayed the same.

“We’re trying to showcase American food, American regions, American farmers,” while incorporating small tributes to the guest of honor, Yosses said. “It would be rare that we would really try to imitate something from the guest’s country.”

Ingredients for April’s state dinner for Japanese Prime Minister Fumio Kishida and his wife, Yuko, came from California, Maryland, Oregon and Ohio. The wines were from Oregon and Washington state.

At the media preview for that glitzy event, Comerford explained that the diets of the Bidens and the visiting dignitaries are factored into the preparations, along with those of other guests.

“When we formulate and we create the state dinner menu, we take into consideration all the principals and most of our guests,” she said. “We also take into consideration the season because this is the perfect time for some beautiful bounties right now, with the spring coming up, with all the morels and the mushrooms, and Susie’s cherries and all the stuff she has on her plate.”

The chefs contact their regular purveyors to find out what’s in season, and go from there.

The salmon appetizer served in April was inspired by the California roll, which Comerford said was invented by a Japanese chef.

Morrison’s dessert highlighted Japan’s gift of cherry trees to the United States, many of which are planted in Washington, and its matcha tea. She decorated the pistachio cake with sugary mini cherry blossoms.

“We wanted to bring a little bit of the cherry blossoms that are here on the Tidal Basin right here to our dessert in order for everyone to enjoy the cherry blossoms that we enjoy every year,” she said.

Serving dinner to hundreds of guests at once comes down to timing. Thursday’s event will be held in an expansive pavilion put up on the South Grounds of the White House.

Sam Kass, who was an assistant chef during President Barack Obama’s administration, said tradition holds that the president is the first one served and that plates are cleared away when he is finished eating.

“You have to have a service that is so efficient and quick to get those plates out so that the last table has a chance to eat,” he said.

Comerford, 61, sharpened her culinary skills while working at hotels in Chicago and restaurants in Washington before the White House brought her on in 1995 as an assistant chef. A naturalized U.S. citizen and Filipino native, she was named executive chef in 2005. Her responsibilities include designing and executing menus for state dinners, social events, holiday functions, receptions and official luncheons.

Morrison, 57, started at the executive mansion as a contract pastry employee in 1995 while she was working at a hotel in northern Virginia. She was named an assistant pastry chef in 2002 and became the executive pastry chef in November 2014 — just in time to sweat over the details of that year’s gingerbread White House for the holiday season.

The pair has worked together at the White House for nearly 30 years.

Yosses recalled at least one instance where the honoree’s wishes dictated the menu selections.

In 2015, China’s Xi Jinping wanted a very American menu, “which I think was a polite way for him to say that he didn’t think we could do Chinese food very well,” Yosses said.

The Chinese leader was served butter-poached Maine lobster and grilled Colorado lamb.
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CANNES, France — While Donald Trump’s hush money trial entered its sixth week in New York, an origin story for the Republican presidential candidate premiered at the Cannes Film Festival on Monday, unveiling a scathing portrait of the former president in the 1980s. 

“The Apprentice,” directed by the Iranian Danish filmmaker Ali Abbasi, stars Sebastian Stan as Trump. The central relationship of the movie is between Trump and Roy Cohn (Jeremy Strong), the defense attorney who was chief counsel to Joseph McCarthy’s 1950s Senate investigations. 

Cohn is depicted as a longtime mentor to Trump, coaching him in the ruthlessness of New York City politics and business. Early on, Cohn aided the Trump Organization when it was being sued by the federal government for racial discrimination in housing. 

“The Apprentice,” which is labeled as inspired by true events, portrays Trump’s dealings with Cohn as a Faustian bargain that guided his rise as a businessman and, later, as a politician. Stan’s Trump is initially a more naive real-estate striver, soon transformed by Cohn’s education. 

The film notably contains a scene depicting Trump raping his wife, Ivana Trump (played by Maria Bakalova). In Ivana Trump’s 1990 divorce deposition, she stated that Trump raped her. Trump denied the allegation and Ivana Trump later said she didn’t mean it literally, but rather that she had felt violated. 

That scene and others make “The Apprentice” a potentially explosive big-screen drama in the midst of the U.S. presidential election. The film is for sale in Cannes, so it doesn’t yet have a release date. 

Variety on Monday reported alleged behind-the-scenes drama surrounding “The Apprentice.” Citing anonymous sources, the trade publication reported that billionaire Dan Snyder, the former owner of the Washington Commanders and an investor in “The Apprentice,” has pressured the filmmakers to edit the film over its portrayal of Trump. Snyder previously donated to Trump’s presidential campaign. 

Neither representatives for the film nor Snyder could immediately be reached for comment. 

In the press notes for the film, Abbasi, whose previous film “Holy Spider” depicts a female journalist investigating a serial killer in Iran, said he didn’t set out to make “a History Channel episode.” 

“This is not a biopic of Donald Trump,” said Abbasi. “We’re not interested in every detail of his life going from A to Z. We’re interested in telling a very specific story through his relationship with Roy and Roy’s relationship with him.” 

Regardless of its political impact, “The Apprentice” is likely to be much discussed as a potential awards contender. The film, shot in a gritty 1980’s aesthetic, returns Strong to a New York landscape of money and power a year following the conclusion of HBO’s “Succession.” Strong, who’s currently performing on Broadway in “An Enemy of the People,” didn’t attend the Cannes premiere Monday. 

“The Apprentice” is playing in competition in Cannes, making it eligible for the festival’s top award, the Palme d’Or. At Cannes, filmmakers and casts hold press conferences the day after a movie’s premiere. “The Apprentice” press conference will be Tuesday.
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Cannes, France — Filmmakers Nada Riyadh and Ayman El Amir spent so much time following an all-girl theatre troupe in a remote Egyptian village that at one point someone tried to sell them a house.

“He thought we were always there so we might as well live there,” Riyadh told AFP after the premiere of their documentary at the Cannes Film Festival.

“The Brink of Dreams” follows a group of teenage girls in rural southern Egypt over four years, between rehearsals, as they navigate the tough decisions that will determine their adulthood.

Majda dreams of studying theatre in Cairo, Monika wants to become a famous singer and Haidi is being pursued by the hottest guy in the village.

In their feminist street performances, they boldly rail against the patriarchy, challenging members of the crowd on issues such as self-fulfillment and early marriage.

But soon life takes over and the teenagers from Egypt’s Coptic Christian minority find themselves confronted with these concepts for real.

The camera discreetly captures conversations in the family shop, between a father and daughter, or two lovers, as neighbors and animals go about their daily lives.

“In the beginning there was a lot of people always looking at the camera. Everybody was self-conscious,” said Riyadh.

But “once the trust had been built between them and us, we had that chance to blend in.”

Riyadh said the documentary, which is screening in a sidebar section of the festival, was driven by her and co-director Amin discovering the troupe in 2017.

The film “is intentionally feminist in every way but I think it was also dictated by what this inspiring group of women was already doing,” she said.

It’s “mind-blowing because they’re demanding answers about very important things and opening a dialogue with everybody in their community.”

Co-director Amin said the main challenge was editing down 100 hours of footage to tell this coming-of-age tale and convey a seldom seen side of Egypt.

“Most mainstream films in Egypt tell stories about living in gated compounds and shopping in malls,” Amin said.

“It’s very rare to see stories that take place in the south outside of Cairo or Alexandria and see girls like those girls on screen.”

The documentary has a French distributor, but the filmmakers also hope to show the film widely in Egypt, including in the rural south.

Until then, six of the actors in the film got to attend the Cannes premiere, after a last-minute rush to get them their first passports and visas on time.

Monika, the aspiring singer, has two children now. But on the red carpet, the DJ played the catchy song that she made with a popular Egyptian producer called Molotof for the film’s final credits.
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Anaheim, California — Disneyland performers who help bring Mickey Mouse, Cinderella and other beloved characters to life at the Southern California resort chose to unionize following a three-day vote culminating Saturday.

The Actors’ Equity Association labor union said in a statement Saturday that cast members for the parades and characters departments at Disney’s theme parks near Los Angeles voted by a wide margin for the union to become the bargaining agent for the group of roughly 1,700 workers.

An association website tracking the balloting among cast members indicated passage by 78.7% (953 votes) in favor and 21.3% (258 votes) opposed.

“They say that Disneyland is ‘the place where dreams come true,’ and for the Disney Cast Members who have worked to organize a union, their dream came true today,” Actors’ Equity Association President Kate Shindle said in a statement Saturday night.

Shindle called the workers the “front lines” of the Disneyland guest experience. The association and cast members will discuss improvements to health and safety, wages, benefits, working conditions and job security before meeting with Walt Disney Company representatives about negotiating the staff priorities into a contract, she said.

The union already represents theatrical performers at Disney’s Florida parks.

Barring any election challenges, the regional director of the National Labor Relations Board will certify the results within a week, the association said.

The NLRB did not immediately respond to an email from The Associated Press seeking confirmation or additional information about the vote.

The election took place on Wednesday, Thursday and Saturday in Anaheim, California, after workers earlier this year filed cards to form the unit called “Magic United.”

Parade and character workers who promoted unionizing said they love helping to create a magical experience at Disneyland but grew concerned when they were asked to resume hugging visitors after returning to work during the coronavirus pandemic. They said they also suffer injuries from complex costumes and erratic schedules.

Most of the more than 35,000 workers at the Disneyland Resort, including cleaning crews, pyrotechnic specialists and security staff, are already in labor unions. The resort includes Disneyland, the Walt Disney Co.’s oldest theme park, Disney California Adventure and the shopping and entertainment district Downtown Disney in Anaheim.

In recent years, Disney has faced allegations of not paying its Southern California workers, who face exorbitant housing costs and often commute long distances or cram into small homes, a livable wage. Parade performers and character actors earn a base pay of $24.15 an hour, up from $20 before January, with premiums for different roles.

Union membership has been on a decadeslong decline in the United States, but organizations have seen growing public support in recent years during high-profile contract negotiations involving Hollywood studios and Las Vegas hotels. The NLRB, which protects workers’ right to organize, reported more than 2,500 filings for union representation during the 2023 fiscal year, which was the highest number in eight years.

The effort to organize character and parade performers in California came more than 40 years after those who play Mickey, Goofy and Donald Duck in Florida were organized by the International Brotherhood of Teamsters, a union traditionally known to represent transportation workers.

At that time, the Florida performers complained about filthy costumes and abuse from guests, including children who would kick the shins of Disney villains such as Captain Hook.
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RIO DE JANEIRO — A 20-minute drive separates the historic Maracana Stadium from the Complexo do Alemao, the biggest complex of favelas in Rio de Janeiro and one of the most impoverished and violent.

One of its residents, 15-year-old football player Kaylane Alves dos Santos, hopes her powerful shots and impressive dribbles will allow her to cover that short distance to the stadium in three years to play for Brazil’s national team in the final of the 2027 Women’s World Cup.

That chance, once remote, became more realistic Friday when FIFA members voted to make Brazil the first Latin American country to host the Women’s World Cup.

Local organizers have suggested that both the opening match and the final are likely to be played at the 78,000-seat Maracana Stadium that staged the final matches of the 1950 and the 2014 men’s football World Cups.

Teenager dos Santos knows the hurdles for her to ever play for Brazil remain enormous — in 2027 or later. She doesn’t have a professional club to play for, she only trains twice a week, and her nutrition is not the best due to limited food choices in the favela.

Most importantly, she often can’t leave home to play when police and drug dealers shoot at each other in Complexo do Alemao.

Still, she is excited and hopeful about Brazil hosting the Women’s World Cup, resulting in a big boost to her confidence.

“We have a dream (of playing for Brazil in the Women’s World Cup), and if we have that chance it will be the best thing in the world,” dos Santos told The Associated Press this week after a training session in the Complexo do Alemao.

She and about 70 other young women in the Bola de Ouro project train on an artificial grass pitch in a safe region of the 3-square kilometers long community.

If not on the pitch, Dos Santos and her teammates will be happy enough just to attend games of a tournament they could only dream of watching up close until FIFA members voted for Brazil over the Germany-Netherlands-Belgium joint bid. The Women’s World Cup was played for the first time in 1991 and will have its 10th edition in 2027.

A five-time champion in men’s football, more than any other country, Brazil has yet to win its first Women’s World Cup trophy. By then, it is unlikely superstar Marta, aged 38, will be in the roster. Dos Santos and thousands of young female footballers who have overcome sexism to take up the sport are keen to get inspiration from the six-time FIFA player of the year award winner and write their own history on home soil.

As many female footballers experience in Brazil, dos Santos and her teenage teammates rarely play without boys on their teams. Until recently, they also had to share the pitch with 5-year-old girls, which didn’t allow the older players to train as hard as they would like.

“(The Women’s World Cup in Brazil) makes us focus even more in trying to get better. We need to be able to play in this,” said 16-year-old Kamilly Alves dos Santos, Kaylane’s sister and also a player on the team. “We need to keep training, sharing our things.”

Their team, which has already faced academy sides of big local clubs like Botafogo, is trained by two city activists who once tried to become players themselves.

Diogo Chaves, 38, and Webert Machado, 37, work hard to get some of their players to the Women’s World Cup in Brazil, but if that’s not possible they will be happy by keeping them in school.

Their nonprofit group is funded solely by donations.

“At first, basically, the children wanted to eat. But now we have all of this,” said Chaves, adding that the project began three years ago. “We believe they can get to the national team. But our biggest challenge is opportunity. There’s little for children from here, not only for the girls.”

Machado said the two coaches “are not here to fool anyone” and do not believe all the young women they train will become professionals.

“What we want from them is for they to be honest people, we all need to have our character,” Machado said. “We want to play and make them become nurses, doctors, firefighters, some profession in the future.”

The two dos Santos sisters, as do many of their teammates, believe that reaching the Women’s World Cup as Complexo do Alemao residents is possible. Brazil has more than 100 professional women’s football teams, with other players living in favelas, too.

But it won’t be easy.

“Sometimes I have to cancel appointments because of shootings, because there’s barricades on fire,” she said. “Sometimes police tell us to go back home, they say we can’t come down and point their guns to me, to my mother,” said Kamilly.

Her sister hopes the pair will overcome the violence, against the odds.

“I want to earn my living in football, fulfill all dreams,” Kaylane says. “And I want to leave the Complexo do Alemao. I want to make it happen.” 
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DJENNE, Mali — Kola Bah used to earn a living as a tour guide in Mali’s historic city of Djenné, once a center of Islamic learning known for the sprawling mud-brick mosque that has been on the UNESCO World Heritage in Danger list since 2016.

The Grand Mosque of Djenné — the world’s largest mud-brick building — used to draw tens of thousands of tourists to central Mali every year. Now it’s threatened by conflict between jihadi rebels, government forces and other groups.

Bah says his income was enough to support his family, which now numbers nine children, and to pay for a small herd of cattle. But these days, few visitors come to the city, and he has been largely out of work. When he needs cash, he sells some of his cattle.

Speaking to The Associated Press outside his home in Djenné’s old town, Bah said locals believed the crisis would come to an end eventually, and that business would pick up as before.

“But the more time passed, the more this dream proved illusory,” he said. “Things are really difficult now.”

Djenné is one of the oldest towns in sub-Saharan Africa and served as a market center and an important link in the trans-Saharan gold trade. Almost 2,000 of its traditional houses still survive in the old town.

The Grand Mosque, built in 1907 on the site of an older mosque dating back to the 13th century, is re-plastered every year by local residents in a ritual that brings together the entire city. The towering, earth-colored structure requires a new layer of mud before the rainy season starts, or it would fall into disrepair.

Women are responsible for carrying water from the nearby river to mix with clay and rice hulls to make the mud used to plaster the mosque. Adding the new layer of mud is a job reserved for men. The joyful ritual is a source of pride for a city that has fallen on hard times, uniting people of all ages.

Bamouyi Trao Traoré, one of Djenné’s lead masons, says they work as a team from the very start. This year’s replastering took place earlier this month.

“Each one of us goes to a certain spot to supervise,” he said. “This is how we do it until the whole thing is done. We organize ourselves, we supervise the younger ones.”

Mali’s conflict erupted following a coup in 2012 that created a power vacuum, allowing jihadi groups to seize control of key northern cities. A French-led military operation pushed them out of the urban centers the following year, but the success was short-lived.

The jihadis regrouped and launched relentless attacks on the Malian military, as well as the United Nations, French and regional forces in the country. The militants proclaimed allegiance to al-Qaida and the Islamic State group.

Sidi Keita, the director of Mali’s national tourism agency in the capital of Bamako, says the drop in tourism was sharp following the violence.

“It was really a popular destination,” he said, describing tens of thousands of visitors a year and adding that today, tourists are “virtually absent from Mali.”

Despite being one of Africa’s top gold producers, Mali ranks among the least developed nations in the world, with almost half of its 22 million people living below the national poverty line. With the tourism industry all but gone, there are ever fewer means for Malians to make a living.

Anger and frustration over what many Malians call “the crisis” is rising. The country also saw two more coups since 2020, during a wave of political instability in West and Central Africa.

Col. Assimi Goita, who took charge in Mali after a second coup in 2021, expelled French forces the following year, and turned to Russia’s mercenary units for security assistance. He also ordered the U.N. to ended its 10-year peacekeeping mission in Mali the following year.

Goita has promised to beat back the armed groups, but the U.N. and other analysts say the government is rapidly losing ground to militants. With Mali’s dire economic situation getting worse, Goita’s ruling junta ordered all political activities to stop last month, and the following day barred the media from reporting on political activities.

Moussa Moriba Diakité, head of Djenne’s cultural mission which strives to preserve the city’s heritage, said there are other challenges beyond security — including illegal excavations and trash disposal in the city.

The mission is trying to promote the message that security isn’t as bad is it seems, he said, and also get more young people involved in the replastering ritual, to help the new generation recognize its importance.

“It’s not easy to get people to understand the benefits of preserving cultural heritage right away,” he said. 
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London — Film director Mohammad Rasoulof made an “exhausting and extremely dangerous” walk across a mountainous borderland to avoid being jailed in Iran on national security charges, he told The Guardian newspaper. 

Rasoulof said Monday he had fled Iran after a court sentenced him to eight years in jail, of which five were due to be served, over his new film “The Seed of the Sacred Fig.” 

The leading Iranian filmmaker, often a target of the country’s authorities, told The Guardian in an interview published Friday that he had found shelter in Germany and was hopeful he could attend the film’s Cannes premiere next week. 

The film tells the story of a judge’s struggles amid political unrest in Tehran. 

Rasoulof told the U.K. newspaper that he had “no choice” but to leave, although he expects to return home “quite soon.” 

“My mission is to be able to convey the narratives of what is going on in Iran and the situation in which we are stuck as Iranians,” said Rasoulof. 

“This is something that I cannot do in prison. 

“I have in mind the idea that I’ll be back quite soon, but I think that’s the case of all the Iranians who have left the country,” he said. 

Rasoulof has already served two terms in Iranian jails over previous films and had his passport withdrawn in 2017. 

Having decided to leave, Rasoulof told the newspaper he cut all communications via mobile phones and computers and made his way by foot on a secret route to a border crossing.  

“It was a several-hour long, exhausting and extremely dangerous walk that I had to do with a guide,” he said. 

After staying in a safe house, he contacted German authorities who provided him with papers that enabled him to travel to Europe. 
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MEXICO CITY — Newly minted Michelin-starred chef Arturo Rivera Martínez stood over an insanely hot grill Wednesday at the first Mexican taco stand ever to get a coveted star from the French dining guide and did exactly the same thing he’s been doing for 20 years: searing meat.

Though Michelin representatives came by Wednesday to present him with one of the company’s heavy, full-sleeved, pristine white chef’s jackets, he didn’t put it on: In this tiny business, which measures 3 meters by 3 meters, the heat is intense.

At Mexico City’s Tacos El Califa de León, in the scruffy-bohemian San Rafael neighborhood, there are only four things on the menu, all tacos, and all of which came from some area around a cow’s rib, loin or fore shank.

“The secret is the simplicity of our taco. It has only a tortilla, red or green sauce, and that’s it. That, and the quality of the meat,” said Rivera Martínez. He’s also probably the only Michelin-starred chef who, when asked what beverage should accompany his food, answers “I like a Coke.”

It’s actually more complicated than that. El Califa de León is the only taco stand among the 16 Mexican restaurants given one star, as well as two eateries that got two stars. Almost all the rest are pretty darn posh eateries.

In fact, other than perhaps one street food stand in Bangkok, El Califa de León is probably the smallest restaurant ever to get a Michelin star: Half of the 9.29 square-meter space is taken up by a solid steel plate grill that’s hotter than the salsa.

The other half is packed with standing customers clutching plastic plates and ladling salsa, and the female assistant who rolls out the rounds of tortilla dough constantly.

In a way, El Califa de León is a tribute to resistance to change. It has been doing the same four things since 1968.

Thousands of times a day, Rivera Martínez grabs a fresh, thinly sliced fillet of beef from a stack and slaps it on the super-hot steel grill; it sizzles.

He tosses a pinch of salt over it, squeezes half a lime on top, and places a soft round of freshly rolled tortilla dough onto the solid metal slab to puff up.

After less than a minute — he won’t say exactly how long because “that’s a secret” — he flips the beef over with a spatula, flips the tortilla, and very quickly scoops the cooked, fresh tortilla onto a plastic plate, places the beef on top and calls out the customer’s name who ordered it.

Any sauces — fiery red or equally atomic green — are added by the customer. There is no place to sit and at some times of day, no place to stand because the sidewalk in front of the business was taken over by street vendors hawking socks and batteries and cell phone accessories years ago.

Not that you really would want to eat inside the tiny taco restaurant. The heat on a spring day is overwhelming.

The heat is one of the few secrets Rivera Martínez would share. The steel grill must be heated to 360 Celsius. Asked how it felt to get a Michelin star, he said in classic Mexico City slang, “está chido … está padre,” or “it’s neat, it’s cool.” 

The prices are quite high by Mexican standards. A single, generous but not huge taco costs nearly $5. But many customers are convinced it’s the best, if not the cheapest, in the city.

“It’s the quality of the meat,” said Alberto Muñoz, who has been coming here for about eight years. “I have never been disappointed. And now I’ll recommend it with even more reason, now that it has a star.”

Muñoz’s son, Alan, who was waiting for a beef taco alongside his father, noted “this is a historic day for Mexican cuisine, and we’re witnesses to it.”

It really is about not changing anything — the freshness of the tortillas, the menu, the layout of the restaurant. Owner Mario Hernández Alonso won’t even reveal where he buys his meat.

Times have changed, though. The most loyal customer base for El Califa de León originally came from politicians of the old ruling PRI party, whose headquarters is about five blocks away. But the party lost the presidency in 2018 and has gone into a steady decline, and now it’s rare to see anyone in a suit here.

And Hernández Alonso noted that his father Juan, who founded the business, never bothered to trademark the Califa name and so a well-funded, sleek taco chain has opened about 15 airy restaurants in upscale neighborhoods under a similar name. Hernández Alonso has been toying with the idea of getting the business on social media, but that’s up to his grandkids.
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VATICAN CITY — The Vatican on Friday overhauled its process for evaluating alleged visions of the Virgin Mary, weeping statues and other seemingly supernatural phenomena that have marked church history, putting the brakes on making definitive declarations unless the event is obviously fabricated.

The Vatican’s doctrine office revised norms first issued in 1978, arguing that they were no longer useful or viable in the internet age. Nowadays, word about apparitions or weeping Madonnas travels quickly and can harm the faithful if hoaxers are trying to make money off people’s beliefs or manipulate them, the Vatican said.

The new norms make clear that such an abuse of people’s faith can be punishable canonically, saying, “The use of purported supernatural experiences or recognized mystical elements as a means of or a pretext for exerting control over people or carrying out abuses is to be considered of particular moral gravity.”

The Catholic Church has had a long and controversial history of the faithful claiming to have had visions of the Virgin Mary, of statues purportedly weeping tears of blood and stigmata erupting on hands and feet evoking the wounds of Christ.

When confirmed as authentic by church authorities, these otherwise inexplicable signs have led to a flourishing of the faith, with new religious vocations and conversions. That has been the case for the purported apparitions of Mary that turned Fatima, Portugal, and Lourdes, France, into enormously popular pilgrimage destinations.

Church figures who claimed to have experienced the stigmata wounds, including Padre Pio and Pope Francis’ namesake, St. Francis of Assisi, have inspired millions of Catholics even if decisions about their authenticity have been elusive.

Francis himself has weighed in on the phenomenon, making clear that he is devoted to the main church-approved Marian apparitions, such as Our Lady of Guadalupe, who believers say appeared to an Indigenous man in Mexico in 1531.

But Francis has expressed skepticism about more recent events, including claims of repeated messages from Mary to “seers” at the shrine of Medjugorje in Bosnia-Herzegovina, even while allowing pilgrimages to take place there.

“I prefer the Madonna as mother, our mother, and not a woman who’s the head of a telegraphic office, who sends a message every day at a certain time,” Francis told reporters in 2017.

The new norms reframe the Catholic Church’s evaluation process by essentially taking off the table whether church authorities will declare a particular vision, stigmata or other seemingly divinely inspired event supernatural.

Instead, the new criteria envisages six main outcomes, with the most favorable being that the church issues a noncommittal doctrinal green light, a so-called “nihil obstat.” Such a declaration means there is nothing about the event that is contrary to the faith, and therefore Catholics can express devotion to it.

The bishop can take more cautious approaches if there are doctrinal red flags about the reported event. The most serious envisages a declaration that the event isn’t supernatural or that there are enough red flags to warrant a public statement “that adherence to this phenomenon is not allowed.”

The aim is to avoid scandal, manipulation and confusion, and the Vatican fully acknowledged the hierarchy’s own guilt in confusing the faithful with the way it evaluated and authenticated alleged visions over the centuries.

The most egregious case was the flip-flopping determinations of authenticity by a succession of bishops over 70 years in Amsterdam about the purported visions of the Madonna at the Our Lady of All Nations shrine.

Another similar case prompted the Vatican in 2007 to excommunicate the members of a Quebec-based group, the Army of Mary, after its founder claimed to have had Marian visions and declared herself the reincarnation of the mother of Christ.

The revised norms acknowledge the real potential for such abuses and warn that hoaxers will be held accountable, including with canonical penalties.

The norms also allow that an event might at some point be declared “supernatural,” and that the pope can intervene in the process. But “as a rule,” the church is no longer in the business of authenticating inexplicable events or making definitive decisions about their supernatural origin.

And at no point are the faithful ever obliged to believe in the particular events, said Argentine Cardinal Víctor Manuel Fernández, the head of the Vatican doctrine office.

“The church gives the faithful the freedom to pay attention” or not, he said at a news conference.

Despite the new criteria, he said the church’s past decision-making on alleged supernatural events — such as at Fatima, Guadalupe or Lourdes — remains valid.

“What was decided in the past has its value,” he said. “What was done remains.”

To date, fewer than 20 apparitions have been approved by the Vatican over its 2,000-year history, according to Michael O’Neill, who runs the online apparition resource The Miracle Hunter.

Neomi De Anda, executive director of the International Marian Research Institute at the University of Dayton, said the new guidelines represent a significant and welcome change to the current practice, while restating important principles.

“The faithful are able to engage with these phenomena as members of the faithful in popular practices of religion, while not feeling the need to believe everything offered to them as supernatural as well as the caution against being deceived and beguiled,” she said in an email.

Whereas in the past the bishop often had the last word unless Vatican help was requested, now the Vatican must sign off on every recommendation proposed by a bishop.

Robert Fastiggi, who teaches Marian theology at the Sacred Heart Major Seminary in Detroit, Michigan and is an expert on apparitions, said at first glance that requirement might seem to take authority away from the local bishop.

“But I think it’s intended to avoid cases in which the Holy See might feel prompted to overrule a decision of the local bishop,” he said.

“What is positive in the new document is the recognition that the Holy Spirit and the Blessed Mother are present and active in human history,” he said. “We must appreciate these supernatural interventions but realize that they must be discerned properly.”

He cited the biblical phrase that best applies: “Test everything, retain what is good.”
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new york — Dabney Coleman, the mustachioed character actor who specialized in smarmy villains such asd the chauvinist boss in “9 to 5” and the nasty TV director in “Tootsie,” has died. He was 92. 

Coleman died Thursday at his home in Santa Monica, his daughter, Quincy Coleman, said in a statement to The Associated Press. She said he “took his last earthly breath peacefully and exquisitely.” 

“The great Dabney Coleman literally created, or defined, really — in a uniquely singular way — an archetype as a character actor. He was so good at what he did it’s hard to imagine movies and television of the last 40 years without him,” Ben Stiller wrote on X. 

Coleman’s delivery drew fans

For two decades Coleman labored in movies and television shows as a talented but largely unnoticed performer. That changed in 1976 when he was cast as the incorrigibly corrupt mayor of the hamlet of Fernwood in “Mary Hartman, Mary Hartman,” a satirical soap opera that was so over the top no network would touch it. 

Producer Norman Lear finally managed to syndicate the show, which starred Louise Lasser in the title role. It quickly became a cult favorite. Coleman’s character, Mayor Merle Jeeter, was especially popular and his masterful, comic deadpan delivery did not go overlooked by film and network executives. 

A six-footer with an ample black mustache, Coleman went on to make his mark in numerous popular films, including as a stressed out computer scientist in “War Games,” Tom Hanks’ father in “You’ve Got Mail,” and a firefighting official in “The Towering Inferno.” 

He won a Golden Globe for “The Slap Maxwell Story” and an Emmy Award for best supporting actor in Peter Levin’s 1987 small screen legal drama “Sworn to Silence.” Some of his recent credits include “Ray Donovan” and a recurring role on “Boardwalk Empire,” for which he won two Screen Actors Guild Awards. 

In the groundbreaking 1980 hit “9 to 5,” he was the “sexist, egotistical, lying, hypocritical bigot” boss who tormented his unappreciated female underlings — Jane Fonda, Lily Tomlin and Dolly Parton — until they turned the tables on him. 

Opposite Dustin Hoffman in “Tootsie,” he was the obnoxious director of a daytime soap opera that Hoffman’s character joins by pretending to be a woman.  

Coleman’s obnoxious characters didn’t translate quite as well on television, where he starred in a handful of network comedies. Although some became cult favorites, only one lasted longer than two seasons, and some critics questioned whether a series starring a lead character with absolutely no redeeming qualities could attract a mass audience. 

Underneath all that bravura was a reserved man. Coleman insisted he was really quite shy.

“I’ve been shy all my life. Maybe it stems from being the last of four children, all of them very handsome, including a brother who was Tyrone Power-handsome. Maybe it’s because my father died when I was 4,” he told The Associated Press in 1984. “I was extremely small, just a little guy who was there, the kid who created no trouble. I was attracted to fantasy, and I created games for myself.” 

As Coleman aged, he began to put his mark on pompous authority figures, notably in 1998’s “My Date with the President’s Daughter,” in which he was not only an egotistical, self-absorbed president of the United States, but also a clueless father to a teenager girl. 

Abandons law school to act

Dabney Coleman — his real name — was born in 1932 in Austin, Texas. After two years at the Virginia Military Academy, two at the University of Texas and two in the Army, he was a 26-year-old law student when he met another Austin native, Zachry Scott, who starred in “Mildred Pierce” and other films. 

“He was the most dynamic person I’ve ever met. He convinced me I should become an actor, and I literally left the next day to study in New York. He didn’t think that was too wise, but I made my decision,” Coleman told the AP in 1984. 

Twice divorced, Coleman is survived by four children and five grandchildren. 

“My father crafted his time here on earth with a curious mind, a generous heart, and a soul on fire with passion, desire and humor that tickled the funny bone of humanity,” Quincy Coleman wrote in his honor. 
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LONDON — Paul McCartney is a billionaire Beatle.

According to figures released Friday, the former member of the Fab Four is the first British musician to be worth 1 billion pounds ($1.27 billion).

The annual Sunday Times Rich List calculated that the wealth of the 81-year-old musician and his wife, Nancy Shevell, had grown by 50 million pounds since last year thanks to McCartney’s 2023 Got Back tour, the rising value of his back catalogue and Beyonce’s cover of the Beatles’ “Blackbird” on her “Cowboy Carter” album.

A “final” Beatles song, “Now and Then,” was also released in November and topped music charts in the United States, the United Kingdom and other countries. Surviving Beatles McCartney and Ringo Starr completed a demo track recorded in 1977 by the late John Lennon, adding in a guitar recording by George Harrison, who died in 2001.

The newspaper estimated 50 million pounds of the couple’s wealth is due to Shevell, daughter of the late U.S. trucking tycoon Mike Shevell.

McCartney ranked 165th overall on the newspaper’s respected and widely perused list of the U.K.’s 350 richest people. The top spot went to Gopi Hinduja and his family, who own the banking, media and entertainment conglomerate Hinduja Group and are worth an estimated 37 billion pounds ($47 billion).

Other entertainment figures on the list include “Harry Potter” author J.K. Rowling, whose fortune is estimated at 945 million pounds ($1.2 billion), and singer Elton John, estimated to be worth 470 million pounds ($597 million).

King Charles III ranked 258th with an estimated wealth of 610 million pounds ($775 million). The king’s fortune includes the large inherited private estates of Sandringham in England and Balmoral in Scotland. The total does not include items held in trust by the monarch for the nation, such as the Crown Jewels.
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Gigantic metal sculptures made by Kosovo-born artist Petrit Halilaj adorn the rooftop of New York’s Metropolitan Museum of Art in an ode to a childhood affected by war. Garentina Kraja has the story. Camera: Vladimir Badikov 
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