Los Angeles — Samantha Sumiko Pinedo and her grandparents file into a dimly lit enclosure at the Japanese American National Museum and approach a massive book splayed open to reveal columns of names. Pinedo is hoping the list includes her great-grandparents, who were detained in Japanese American incarceration camps during World War II. 

“For a lot of people, it feels like so long ago because it was World War II. But I grew up with my Bompa (great-grandpa), who was in the internment camps,” Pinedo says.

A docent at the museum in Los Angeles gently flips to the middle of the book — called the Ireichō — and locates Kaneo Sakatani near the center of a page. This was Pinedo’s great-grandfather, and his family can now honor him.

On Feb. 19, 1942, following the attack by Imperial Japan on Pearl Harbor and the United States’ entry to WWII, President Franklin D. Roosevelt signed Executive Order 9066 authorizing the incarceration of people of Japanese ancestry who were considered potentially dangerous. 

From the extreme heat of the Gila River center in Arizona, to the biting winters of Heart Mountain in Wyoming, Japanese Americans were forced into hastily built barracks, with no insulation or privacy, and surrounded by barbed wire. They shared bathrooms and mess halls, and families of up to eight were squeezed into 20-by-25 foot (6-by-7.5 meter) rooms. Armed U.S. soldiers in guard towers ensured nobody tried to flee.

 

When the 75 holding facilities on U.S. soil closed in 1946, the government published Final Accountability Rosters listing the name, sex, date of birth and marital status of the Japanese Americans held at the 10 largest facilities. There was no clear consensus of who or how many had been detained nationwide.

Duncan Ryūken Williams, the director of the Shinso Ito Center for Japanese Religions and Culture at the University of Southern California, knew those rosters were incomplete and riddled with errors, so he and a team of researchers took on the mammoth task of identifying all the detainees and honoring them with a three-part monument called “Irei: National Monument for the WWII Japanese American Incarceration.”

“We wanted to repair that moment in American history by thinking of the fact that this is a group of people, Japanese Americans, that was targeted by the government. As long as you had one drop of Japanese blood in you, the government told you you didn’t belong,” Williams said.

The Irei project was inspired by stone Buddhist monuments called Ireitōs that were built by detainees at camps in Manzanar, California, and Amache, Colorado, to memorialize and console the spirits of internees who died.

The first part of the Irei monument is the Ireichō, the sacred book listing 125,284 verified names of Japanese American detainees.

“We felt like we needed to bring dignity and personhood and individuality back to all these people,” Williams said. “The best way we thought we could do that was to give them their names back.”

The second element, the Ireizō, is a website set to launch on Monday, the Day of Remembrance, which visitors can use to search for additional information about detainees. Ireihi is the final part: A collection of light installations at incarceration sites and the Japanese American National Museum.

Williams and his team spent more than three years reaching out to camp survivors and their relatives, correcting misspelled names and data errors and filling in the gaps. They analyzed records in the National Archives of detainee transfers, as well as Enemy Alien identification cards and directories created by detainees.

“We feel fairly confident that we’re at least 99% accurate with that list,” Williams said.

The team recorded every name in order of age, from the oldest person who entered the camps to the last baby born there.

Williams, who is a Buddhist priest, invited leaders from different faiths, Native American tribes and social justice groups to attend a ceremony introducing the Ireichō to the museum.

Crowds of people gathered in the Little Tokyo neighborhood to watch camp survivors and descendants of detainees file into the museum, one by one, holding wooden pillars, called sobata, bearing the names of each of the camps. At the end of the procession, the massive, weighty book of names was carried inside by multiple faith leaders. Williams read Buddhist scripture and led chants to honor the detainees.

Those sobata now line the walls of the serene enclosure where the Ireichō will remain until Dec. 1. Each bears the name — in English and Japanese — of the camp it represents. Suspended from each post is a jar containing soil from the named site.

Visitors are encouraged to look for their loved ones in the Ireichō and leave a mark under their names using a Japanese stamp called a hanko.

The first people to stamp it were some of the last surviving camp detainees.

So far, 40,000 visitors have made their mark. For Williams, that interaction is essential.

“To honor each person by placing a stamp in the book means that you are changing the monument every day,” Williams said.

Sharon Matsuura, who visited the Ireichō to commemorate her parents and husband who were incarcerated in Camp Amache, says the monument has an important role to play in raising awareness, especially for young people who may not know about this harsh chapter in America’s story.

“It was a very shameful part of history that the young men and women were good enough to fight and die for the country, but they had to live in terrible conditions and camps,” Matsuura says. “We want people to realize these things happened.”

Many survivors remain silent about what they endured, not wanting to relive it, Matsuura says.

Pinedo watches as her grandmother, Bernice Yoshi Pinedo, carefully stamps a blue dot beneath her father’s name. The family stands back in silence, taking in the moment, yellow light casting shadows from the jars of soil on the walls.

Kaneo Sakatani was only 14 when he was detained in Tule Lake, in far northern California.

“It’s sad,” Bernice says. “But I feel very proud that my parents’ names were in there.” 
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KATHMANDU, Nepal — Nepal’s gods and goddess are returning home.

An unknown number of sacred statues of Hindu deities were stolen and smuggled abroad in the past. Now dozens are being repatriated to the Himalayan nation, part of a growing global effort to return such items to countries in Asia, Africa and elsewhere.

Last month, four idols and masks of Hindu gods were returned to Nepal from the United States by museums and a private collector.

Among them was a 16th century statue of Uma-Maheswora, an avatar of the gods Shiva and Parvati, that was stolen four decades ago. It was not clear who took it or how it ended up at the Brooklyn Museum in New York, which handed it over to the Manhattan District Attorney’s Office.

Devotees celebrated its return in Patan, south of the capital, Kathmandu. The stone-paved alleys were crowded with devotees offering money and flowers. Men in traditional attire played drums and cymbals and chanted prayers.

“I cannot say how extremely happy I am right now,” said Ram Maya Benjankar, a 52-year-old who said she had cried as a child after learning the statue had been stolen and waited years for its return.

The statue had simply disappeared from their neighborhood, she said.

The majority of Nepal’s 29 million people are Hindu, and every neighborhood has a temple that houses such items. They are rarely guarded, making it easy for thieves.

For Nepalese, the idols have religious significance but no monetary value. For smugglers, however, they can bring huge value abroad. For years, there was little attention given to the thefts or any effort made at recovery.

That has changed in recent years as the government, art lovers and campaigners pursue stolen heritage items. They have been successful in many cases.

A group representing the ethnic Newar community from Nepal in the U.S. heard about the reappearance of the Uma-Maheswora statue at the Brooklyn Museum and took the initiative to bring it home.

“We were very sad to see that our gods were locked in the basement. We were then determined that we need to take back the heritage,” said Bijaya Man Singh, a member of the group that carried the four idols and masks back to Nepal.

Now the temple in Patan is being prepared to reinstate the Uma-Maheswora statue. Following the welcome ceremony, it was placed on a chariot carried by devotees and taken to a museum, where it will be kept under security until its final move.

More than 20 other stolen artifacts are in the pipeline to be repatriated to Nepal in the near future, according to Jayaram Shrestha, director at the National Museum in Kathmandu. Most will return from the United States and Europe.

Shrestha has built a special room to exhibit repatriated items so the public can come and worship if they want. There are currently 62 statues on display.

“As we expect many to come soon, we are expanding the section of the museum,” Shrestha said. “I don’t want to store them in storage. They should be made available.”

It has become easier to locate stolen items as awareness grows among Nepalis at home and abroad. They can now track artifacts online when they are exhibited or put up for auction.

And more collectors and museums now believe they should be taken back to where they belong, Shrestha said.

“The Nepal government has been taking initiative to get them back with recovery campaigns and using diplomatic channels, embassies in foreign countries,” he said.

“We have made it clear that they need to be reinstated to their original place and security ensured to keep these thousands-of-years-old artifacts safe.”” said Nepal’s foreign minister, Narayan Prakash Saud.
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LONDON — The cultural richness brought by migrations across the world, familial nostalgia and the frenetic pace of London life marked the second day of the city’s Fashion Week on Saturday as up-and-coming designers showed off their styles for the season ahead.

Some 60 designers, ranging from rising talents to renowned brands like Burberry, are exhibiting their new designs over five days, hoping to draw the interest of buyers and fashion influencers.

The 40th anniversary edition of the event is also introducing greater diversity and inclusivity in terms of body shapes, ages, and skin colors of the models, as well as in the designers’ collections.

Multiculturalism in spotlight

Sierra Leone-born designer Foday Dumbuya’s Labrum London brand closed the day with its “Journey Through Color” collection, celebrating the diversity of cultures brought by immigrants.

The winner of the 2023 Elizabeth II Award for British Design focused on texture plays, newspaper patterns or monogram patterns on more classic cuts.

There were as many tones of color — from royal blue to black, orange, brown, yellow and green — as there were “inspiring stories” from immigrants.

Some models wore suitcases as headgear, a reference to people fleeing conflict taking their belongings with them.

“People move for different reasons, and when they move, they move their culture with them. And we wanted to celebrate that tonight,” Dumbuya told AFP.

One of the models carried on his back a large frame with dozens of flags of “countries that have been involved in key migration throughout history,” including the Palestinian flag.

It was a political message and a call for tolerance, argued the creator.

“It’s just to showcase you got to support each other. Where we are does not matter. People’s life is what is important,” Dumbuya said. “Wherever you are … Palestinian, Jewish, whatever it is, that world belong to us. It’s just saying don’t just demonize these people.”

Old photographs

In her show, Dublin-born menswear designer Robyn Lynch drew inspiration from her sister’s career as a Gaelic dancer, using old photographs of high kicks, spangled costumes and passionate spectators for inspiration.

“I vividly remember spending all these weekends in sports halls at competitions seeing all the glitz and drama that happened on and off stage,” said the designer, who used Celtic knots and monograms in her designs.

Lynch’s designs featured diamante encrusted jorts (jean shorts), a long line of hoodies with elastic toggle belts and laser-etched jeans with a color palette of hickory brown, screen blue, matte black and oat milk white.

Life in the metropolis

Earlier, models paraded in London’s famous red double-decker buses in outfits inspired by traditional dance.

British designer Ricky Wesley Harriott kicked off his brand SRVC’s show with a collection named “Human Resource,” inspired by modern “professional women’s outfits.”

The designer had his models, all perched on vertiginous heels, parade on the iconic red double-decker buses of London to “celebrate life in the metropolis.”

The show featured rigid and structured jackets with pronounced shoulders, in dark colors with flashy accessories, from XXL silver hoop earrings to rings covering every finger.

Fairy tales

Designer Priya Ahluwalia, who draws inspiration from her Indian-Nigerian heritage, was cheered after her show, which featured male and female models in earthy reds, oranges and blues parading to thumping house music.

The designer used the Indian and West African fairy tales that she grew up with — like The Prince Who Wanted the Moon, The Magic Fiddle and How the Leopard Got His Spots — in her designs for the season, she told British Vogue.

“I was thinking about how stories have affected my life — why do we like the stories we like, and how do they get passed on,” she said.

Ahluwalia said the corset-like detailing in the knitwear of her designs was inspired by Netflix’s Queen Charlotte: A Bridgerton Story, which she watched while conducting research for her collection.

The designer, who launched her brand Ahluwalia in 2018, works with limited quantities of fabrics, often upcycling and using patchwork techniques to limit waste.

LFW comes at a tumultuous time for Britain’s fashion industry, amid post-Brexit trade barriers and the country’s cost-of-living crisis.

The difficult economic situation has even prompted some nascent designers to question the viability of investing in British fashion events.

Rising star Dilara Findikoglu made headlines last September after she cancelled her show days before the event for financial reasons.

The industry, which employs close to 900,000 people in the UK and contributes $26 billion to the British economy, is facing “incredibly challenging times,” LFW’s director Caroline Rush told AFP.
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LONDON — Prepare for Poppenheimer.

Poor Things and Oppenheimer are the leading contenders for the British Academy Film Awards, which will be handed out Sunday in front of an audience of filmmakers, movie stars and the heir to the British throne.

Yorgos Lanthimos’ gothic fantasia is up for 11 trophies, while Christopher Nolan’s atom-bomb epic has 13 nominations for the British prizes, known as BAFTAs. That’s the same number Oppenheimer has for the Oscars, where it is also the frontrunner.

The ceremony at London’s Royal Festival Hall will be a glitzy, British-accented appetizer for Hollywood’s Academy Awards, closely watched for hints about who might win at the Oscars on March 10.

Nominees including Bradley Cooper, Carey Mulligan, Emily Blunt, Robert Downey Jr., Rosamund Pike, Ryan Gosling and Ayo Edebiri are expected on the red carpet beside the River Thames, along with presenters such as Andrew Scott, Cate Blanchett, Chiwetel Ejiofor and Idris Elba.

Guest of honor will be Prince William, in his role as president of the British Academy of Film and Television Arts. He’ll be without his wife, Kate, who is recovering after abdominal surgery last month.

The show will be hosted, with a dash of self-deprecating humor, by Doctor Who star David Tennant.

“People keep telling me I should be terribly nervous,” Tennant said about the notoriously pitfall-plagued role of awards show host. “But it’s not like I’m up for the award. I just get to hand them out.”

Historical epic Killers of the Flower Moon and Holocaust drama The Zone of Interest have nine nominations each for the prizes, officially called the EE BAFTA Film Awards.

French courtroom drama Anatomy of a Fall, boarding school comedy The Holdovers and Leonard Bernstein biopic Maestro each have seven, while grief-flecked love story All of Us Strangers is nominated in six categories and class-war dramedy Saltburn in five.

Barbie, one half of 2023’s Barbenheimer box office juggernaut, also has five nominations, but missed out on nods for best picture and best director. Many see the omission of Barbie director Greta Gerwig — for both BAFTAs and Oscars — as a major snub.

Britain’s film academy introduced changes to increase the awards’ diversity in 2020, when no women were nominated as best director for the seventh year running and all 20 nominees in the lead and supporting performer categories were white. But there is only one woman among the six best-director nominees: Justine Triet for Anatomy of a Fall. Emerald Fennell for Saltburn and Celine Song for Past Lives also failed to make the list.

The best film race pits Oppenheimer against Poor Things, Killers of the Flower Moon, Anatomy of a Fall and The Holdovers.

Poor Things is also on the 10-strong list for the separate category of best British film, an eclectic slate that includes class-war dramedy Saltburn, imperial epic Napoleon, south London romcom Rye Lane and chocolatier origin story Wonka, among others.

A woman of color could take the best actress BAFTA for the first time, with Fantasia Barrino for The Color Purple and Vivian Oparah for Rye Lane nominated alongside Sandra Hüller for Anatomy of a Fall, Mulligan for Maestro, Margot Robbie for Barbie and Emma Stone for Poor Things.

No British performers are nominated in the best-actor category, but Ireland is represented by Cillian Murphy for Oppenheimer and Barry Keoghan for Saltburn. They’re up against Cooper for Maestro, Colman Domingo for Rustin, Paul Giamatti for The Holdovers and Teo Yoo for Past Lives.

Harrowing Ukraine war documentary 20 Days in Mariupol, produced by The Associated Press and PBS Frontline, is nominated for best documentary and best film not in the English language.

The ceremony is set to include musical performances by Ted Lasso star Hannah Waddingham and Sophie Ellis-Bextor, the latter singing her 2001 hit Murder on the Dancefloor, which shot back up the charts after featuring in Saltburn.

Samantha Morton will receive the academy’s highest honor, the BAFTA Fellowship, and film curator June Givanni, founder of the June Givanni PanAfrican Cinema Archive, will be honored for outstanding British contribution to cinema.

Sunday’s ceremony will be broadcast on BBC One in the U.K. from 1900GMT, and on streaming service BritBox in the U.S., Canada, Australia and South Africa.
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paris — A new artificial intelligence tool that promises to create short videos from simple text commands has raised concerns along with questions from artists and media professionals. 

OpenAI, the creator of ChatGPT and image generator DALL-E, said Thursday it was testing a text-to-video model called “Sora” that can allow users to create realistic videos with simple prompts. 

The San Francisco-based startup says Sora can “generate complex scenes with multiple characters, specific types of motion, and accurate details of the subject and background,” but admits it still has limitations, such as possibly “mixing up left and right.” 

Here are early reactions from industries that could be affected by the new generative artificial intelligence (AI) tool:   

Examples of Sora-created clips on OpenAI’s website range widely in style and subject, from seemingly real drone footage above a crowded market to an animated bunny-like creature bouncing through a forest. 

Thomas Bellenger, founder and art director of Cutback Productions, has been carefully watching the evolution of generative AI image generation.   

“There were those who felt that it was an unstoppable groundswell that was progressing at an astonishing rate, and those who just didn’t want to see it,” said Bellenger, whose France-based company has created large scale visual effects for such touring musicians as Stromae and Justice. 

He said the development of generative AI has “created a lot of debate internally” at the company and “a lot of sometimes visceral reactions.” 

Bellenger noted that Sora has yet to be released, so its capabilities have yet to be tested by the public. 

“What is certain is that no one expected such a technological leap forward in just a few weeks,” Bellenger said. “It’s unheard of.” 

He said whatever the future holds, they’ll “find ways to create differently.” 

Mixed reaction among creators

Video game creators are equally likely to be impacted by the new invention, with reaction among the sector divided between those open to embracing a new tool and those fearing it might replace them. 

French video game giant Ubisoft hailed the OpenAI announcement as a “quantum leap forward” with the potential to let players and development teams express their imaginations. 

“We’ve been exploring this potential for a long time,” a Ubisoft spokesperson told AFP. 

Alain Puget, chief of Nantes-based studio Alkemi, said he won’t replace any artists with AI tools, which “only reproduce things done by humans.” 

Nevertheless, Puget noted, this “visually impressive” tool could be used by small studios to produce more professionally rendered images. 

While video “cut scenes” that play out occasionally to advance game storylines are different from player-controlled action, Puget expects tools like Sora to eventually be able to replace “the way we do things.”   

‘A terrifying leap’

Basile Simon, a former journalist and current Stanford University researcher, thinks there has been “a terrifying leap forward in the last year” when it comes to generative AI allowing realistic-looking fabrications to be rapidly produced. 

He dreads the idea of how such tools will be abused during elections and fears the public will “no longer know what to believe”. 

Julien Pain of French TV channel France Info’s fact-checking program “Vrai ou Faux” (True or False) says he’s also worried about abuse of AI tools. 

“Until now, it was easy enough to spot fake images, for example by noticing the repetitive faces in the background,” Pain said. “What this new software does seems to be on another level.” 

While OpenAI and U.S. tech titans may promote safety tools, such as industry-wide watermarks that reveal AI-created imagery, “what about tomorrow’s competitors in China and Russia?” he posited. 

The Fred & Farid agency, which has collaborated with the Longchamp and Budweiser brands and where a studio dedicated to AI was opened in early January, anticipates that “80 percent of brand content will be generated by artificial intelligence.” 

“Creative genius” will no longer be limited by production skills thanks to generative AI tools, one enthusiast contended.   

Stephanie Laporte, chief executive and founder of the OTTA advertising and influencer agency, believes the technology will “force the industry to evolve.” 

She also anticipates ad companies with lean budgets will resort to AI tools to save money on workers. 

A possible exception, she believes, is the luxury segment, where brands are “very sensitive to authenticity” and “will probably use AI sparingly.” 
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London — An original draft “Star Wars” script left in a London apartment by actor Harrison Ford, who played Hans Solo in the movie, sold at a UK auction for $13,600 on Saturday. 

The script was used when Ford was filming the first installment of the epic saga, originally entitled “The Adventures of Luke Starkiller,” at Elstree Studios north of London. 

The fourth draft of the screenplay, dating from March 15, 1976, was snapped up by an Austrian collector when it went under the hammer at Excalibur Auctions in Hertfordshire, north of London.   

Ford left the script at the London flat he rented at the time along with shooting schedules — which sold for more than $6,000 — and a letter from an agent or friend — which sold for nearly $225.  

The landlords renting the property found the items and kept them for more than 50 years. 

The incomplete and unbound script contains revisions and introduces Hans Solo on page 56. 

The 1977 film catapulted Ford to international fame and he starred in sequels “The Empire Strikes Back” (1980) and “Return of the Jedi” (1983), before taking on the role again in “The Force Awakens” (2015). 

“Although other copies of this script have come to market previously, this sale saw a new record set for a Star Walker script, which shows how a personal link to the items is so enticing to Star Wars fans,” said Excalibur Auctions’ auctioneer Jonathan Torode. “The personal provenance makes them totally unique. We hope they will be as treasured by their new owners as much as they were by the previous ones.” 
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ROME — Pope Francis urged Catholics to forgo worldly trappings and focus on essentials as he opened the season of Lent with a traditional Ash Wednesday Mass on one of Rome’s historic seven hills.

He criticized people’s tendency to lay bare their lives on social media, deploring “a world in which everything, including our emotions and deepest feelings, has to become ‘social.'”

Instead, the faithful should enter their “inner chamber” to find time for quiet reflection and prayer, the 87-year-old pontiff said in a homily.

Lent is a 40-day period of penance that leads to Easter, the most important Christian festival, which celebrates the day on which Christians believe Jesus rose from the dead.

It represents the 40 days Jesus is said in the Bible to have spent fasting in the desert. During the season, Catholics are asked to fast, remember the needy and reflect on mortality.

“Life is not a play: Lent invites us to come down from the stage and return to the heart, to the reality of who we are,” Francis said.

“Let us not be afraid to strip ourselves of worldly trappings and return to the heart, to what is essential.”

He spoke at a service held in the Basilica of Santa Sabina on Rome’s Aventine Hill, preceded by prayers in a nearby church and a procession of cardinals and bishops.

Mass goers, including the pope, had ashes sprinkled on their heads in the Ash Wednesday ritual that, for the world’s more than 1.35 billion Catholics, serves as a reminder of mortality.
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Hybrid work relaxed office fashion, but formal attire might be making a comeback
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LOS ANGELES — The casts of “Barbie” and “Oppenheimer” gathered Monday for the annual Academy Award nominees’ luncheon along with other Oscar hopefuls coming together for photos, hugs and congratulations. 

The luncheon is a warm, feel-good, egalitarian affair where little-known first-time nominees in categories like best animated short get to rub shoulders and share tables with acting nominees like Ryan Gosling and Emma Stone. 

Greta Gerwig and Margot Robbie, whose snubs for best director and best actress, respectively, for “Barbie” caused a major stir, were both present for the nominations they did get and were all smiles before lunch. 

Gerwig, nominated for adapted screenplay, was surrounded by selfie-seekers as soon as she entered the ballroom. 

Robbie, up for best picture as a “Barbie” producer, beamed nearby as she hugged and chatted with a woman who got one of the best actress spots, Sandra Hüller of “Anatomy of a Fall.” 

The centerpiece of the event in Beverly Hills, California, is a class photo of the entire group of nominees. Nearly all of them usually attend, both as part of the Oscars experience and as part of their unspoken campaigns for votes. 

Before the luncheon began, nominees including Cillian Murphy, a favorite for best actor for “Oppenheimer,” and Da’Vine Joy Randolph, a favorite for best supporting actress for “The Holdovers,” made the rounds of media outlets whose reporters are set up in cabanas around the Beverly Hilton pool. 

Steven Spielberg, nominated for best picture as a producer of “Maestro,” chatted with a small group on the patio. 

Less famous nominees packed into the ballroom and posed for group pictures.

They’ll later be seated for a vegetarian menu of king oyster mushrooms and wild mushroom risotto.

The event is also a chance for the leadership of the Academy, including President Janet Yang to give speeches and address their prominent members in person.

She used last year’s luncheon to address what she called the Academy’s “inadequate” response to Will Smith slapping Chris Rock at the previous year’s ceremony. 

Yang’s remarks this year had a much lighter tone, and dealt with more banal matters, like the timing of the Oscars ceremony.

“In case any of you have been in a nominations haze, we are starting an hour earlier this year,” she said.

When she saw surprise around the room she said, “Ooh, some people didn’t know! I’m glad I reminded you!”

She drew groans when she added that the Oscars come on the first day of daylight-saving time. 
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MEXICO CITY — As the Super Bowl approaches, there could be problems for guacamole, a favorite game-time food in America: A lack of rain and warmer temperatures has resulted in fewer avocados being shipped from Mexico.

The western state of Michoacan, which supplies almost 90% of the creamy textured fruit for the big game, has suffered a hotter, drier climate that has led to a lack of water in growing areas.

Lakes in the state are literally drying up: Desperate avocado growers send tanker trucks down to suck up the last water, or divert streams, to feed their thirsty orchards, sparking conflicts. The state received about half the rain it normally gets last year, and reservoirs are at about 40% of capacity, with no rain in sight for months.

Meanwhile, some growers are illegally cutting down pine forests that feed the water system to plant more avocados. To top it all off, another American obsession — tequila — is starting to cause problems too.

The whole situation is not good for avocados. Last year, avocado exports from Michoacan for the Super Bowl grew by 20% to 140,000 tons. This year, that number actually declined by 2,000 tons, despite increased planting; meaning fewer of the creamy textured fruit in U.S. produce departments. Alejandro Méndez, the state secretary of the environment, estimates 30% of avocado orchards in Michoacan are now water-stressed.

Something’s got to give, and with consumers demanding more environmentally conscious produce, state officials are finally putting together a sustainable certification program.

The certification program would presumably result in growers improving their water use, enabling them to offer consumers both greener avocados and more of them.

Coming soon to a grocery store near you: fruit with a sticker saying something like “this avocado wasn’t grown on deforested land,” or “this avocado used water responsibly.”

Officials are still working on a catchy slogan for the greener avocados. But given that it’s coming from the same people who brought you years of Super Bowl ads about avocados from Mexico, a catchy slogan is highly likely.

“The idea is that there is going to be a certification sticker with a QR code that you can scan with your telephone, and that link will take you to a page with a satellite photo of the orchard … and the forest associated with the orchard,” said Méndez.

Because they use more water than pine forests, growers will have to contribute to a fund that ensures several acres of forest are preserved for each acre of orchard.

“So with that orchard, you can be assured the dollar you paid for this avocado is going to preserve this piece of forest,” said Méndez, who estimates about 70% of the orchards in place before 2011 were planted on old farmland, not forests. But the remaining 30% give the rest a bad name, he complains.

The decision to act comes not a moment too soon. The Center for Biological Diversity said Thursday that more than 28,000 people have signed an online petition calling on grocery chains to adopt more sustainable avocado-sourcing policies.

“Many people in Mexico have lost their forests and water because of the 304 million pounds [138 kilograms] of avocados we’ll be eating on Super Bowl Sunday,” said Stephanie Feldstein, the center’s director for population and sustainability. “Our obsession with avocados has a horrific hidden cost. It’s time for grocery chains to take responsibility and make sure they’re not buying avocados grown in deforested areas.”

Up to now, there hasn’t been much consumers could do. There are few certified sustainable avocados available year-round on the market, and if you want guacamole, there’s not much else you can use. That’s despite all the news coverage about how avocado growers and packers have to pay protection money to drug cartels.

Julio Santoyo, a front-line anti-logging activist in Villa Madero, Michoacan, says he’s taking a wait-and-see attitude toward the new certification program. Until then, Super Bowl this year — like every year — was “a kick in the pants,” he said.

“The growth in illegal orchards continues unabated,” Santoyo said. “We assume that more than half of the avocados consumed around the Super Bowl are from illegal planting.

“Up to now, the Mexican government has not taken practical steps to certify environmentally sustainable avocado production,” he said.

The crisis is clear in the once heavily forested, lake-dotted state. Lake Cuitzeo, Mexico’s second largest, was once a vast sheet of water reflecting blue skies near the state capital; it is now about 60% dry, exposing kilometers of dry ground and grass.

And poor Michoacan faces new threats from U.S. consumers: Part of the state next to neighboring Jalisco is certified to grow the blue Weber agave, the only plant from which true tequila can be distilled.

While agave likes drier, hotter, poorer soils than avocados, growers are still cutting down native scrub and low, thorny woods to plant the spikey-leafed seedlings, whose barrel-like centers will later be cooked down and fermented.

It’s a relatively new problem, fed by rising demand for tequila.

“In the last two years, the price for a kilo of agave went up a lot, it went up to almost 35 or 40 pesos [about $2] per kilo,” Méndez said.

“We have 50 million agave plants,” he said. “It’s grown a lot, and we have started to see deforestation as well in that area.”
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VATICAN CITY — Pope Francis on Sunday will elevate to sainthood the first female saint from his native Argentina, an event that will be attended at the Vatican by his former strong critic, Argentine President Javier Milei.

Milei, a maverick right-wing libertarian, in the past called Francis an “imbecile,” a “son of a bitch preaching communism” and the devil’s man on Earth — but has softened his tone since taking office in December.

The pope, for his part, has said he did not pay too much attention to the insults, telling Mexican broadcaster N+ that what matters is what politicians do in office, rather than on the campaign trail.

Francis is set to lead a canonization Mass for Maria Antonia de Paz y Figueroa, better known as “Mama Antula,” an 18th century woman who renounced her family’s riches to focus on charity and Jesuit spiritual exercises.

The ceremony comes as Argentina is facing its worst economic crisis in decades, with inflation at more than 200%. Francis has said he hopes to be able make his first trip back to his homeland since being pope in 2013 in the second half of this year.

The Argentine leader, who has said he may convert to Judaism, will attend the service in St. Peter’s Basilica with his entourage, and is set to have a private audience with Francis on Monday.

Mama Antula was the daughter of a wealthy landholder and slave owner.

She promoted spiritual exercises — a mix of prayers and meditations — walking thousands of kilometers barefoot, involving the rich and poor, despite the Jesuits having at the time been banished from Latin America.

Francis, himself a Jesuit, described her on Friday in a meeting with pilgrims from Argentina as a “gift to the Argentine people and also to the entire Church,” praising her dedication to the poor.

Quoting from his past writings, the pope condemned the “radical individualism” that permeates today’s society as a “virus,” in words that may jar with Milei’s radical free market instincts.

On Monday, wrapping up a week-long overseas tour that took him to Israel before Italy and the Vatican, Milei is also scheduled to meet Italy’s President Sergio Mattarella and Prime Minister Giorgia Meloni.
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TOKYO — Will she make it in time?

Taylor Swift’s last song was still ringing in the ears of thousands of fans at the Tokyo Dome on Saturday night when the singer rushed to a private jet at Haneda airport, presumably embarking on an intensely scrutinized journey to see her boyfriend, NFL star Travis Kelce, play in the Super Bowl in Las Vegas.

“We’re all going to go on a great adventure,” Swift earlier told the crowd. She was speaking of the music, but it might also describe her prospective race against time, which was to cross nine time zones and the international date line.

With a final bow at the end of her sold-out show, clad in in a blue sequined outfit, the crowd screaming, strobe lights pulsing, confetti falling, Swift disappeared beneath the stage — and her journey to the other side of the world began.

Her expected trip to see Kelce’s Kansas City Chiefs play the San Francisco 49ers in Las Vegas on Sunday, U.S. time, has fired imaginations and speculation for weeks.

“I hope she can return in time. It’s so romantic,” said office worker Hitomi Takahashi, 29, who bought matching Taylor Swift sweatshirts with her friend and was taking photos just outside of the Tokyo Dome.

At Saturday night’s concert, there was plenty of evidence of the unique cultural phenomenon that is the Swift-Kelce relationship, a nexus of professional football and the huge star power of Swift. In addition to people wearing sequined dresses celebrating Swift in the packed Tokyo Dome, there were Travis Kelce jerseys and hats and other gear celebrating the Chiefs. Some in Tokyo spent thousands of dollars to attend the pop superstar’s concerts this week.

“Romeo, take me somewhere we can be alone,” Swift sang Saturday.

She won’t find that Sunday in Las Vegas when a sold-out crowd, not to mention millions around the world, will be watching her.

If she makes it, that is.

To call the worldwide scrutiny of Swift’s travels intense is an understatement.

Fans have tracked her jet. The planet-warming carbon emissions of her globe-trotting travels have been criticized. Officials have weighed in on her ability to park her jet in Las Vegas airports.

Even Japanese diplomats have gotten into the act. The Japanese Embassy in Washington posted on social media that she could make the Super Bowl in time, including in their statement three Swift song titles — “Speak Now,” “Fearless” and “Red.”

“If she departs Tokyo in the evening after her concert, she should comfortably arrive in Las Vegas before the Super Bowl begins,” it said.

Takahashi, the fan at the Tokyo Dome, was aware of the criticism Swift has faced about her private jets but said the singer was being singled out unfairly.

“Many other people are flying on business, and she is here for her work. She faces a bashing because she is famous and stands out,” Takahashi said.

Swift has been crisscrossing the globe this week already.

Before coming to Asia, she attended the Grammys in Los Angeles, winning her 14th Grammy and a record-breaking fourth Album of the Year award for “Midnights.” The show was watched by nearly 17 million people. She also made a surprise announcement that her next album is ready to drop in April.

Then came the four concerts in Tokyo, and now apparently a rushed trip to try to make it to Las Vegas to watch Kelce, the tight end for the Chiefs, play in the Super Bowl. She has followed Kelce for much of the Chiefs’ season.

If it all goes as planned, she’s then expected to fly to Australia later this week to continue her tour.

“This week is truly the best kind of chaos,” Swift posted Wednesday on Instagram.
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london — In British history, the secrecy of the monarch’s health has always reigned supreme. Buckingham Palace’s disclosure that King Charles III has been diagnosed with cancer shattered that longstanding tradition. 

On the heels of the shock and well-wishing that followed the official statement Monday came the surprise that the palace had announced anything at all. Indeed, the unprecedented missive was sparse on details: Charles, 75, had begun treatment for a cancer it did not name after being diagnosed during a recent corrective procedure for an enlarged prostate. The king is stepping back from public duties but carrying on state business during his treatment, which he’ll receive as an outpatient, the palace said. 

“The King has cancer,” The Times of London declared in a terse banner headline Tuesday. It was unlike any other in British history. 

Never complain, never explain, as Charles’ late mother, Queen Elizabeth II, was known to say. Charles has withheld details of his illness and treatment, and in that way is carrying on her approach. But in beaming a sliver of light from inside the palace walls and his own life, the king has broken with his mother and royal tradition.

Royals’ health a mystery

The world still does not know the cause of Elizabeth’s death in 2022 at the age of 96. In the final years of her life, the public was told only that the queen was suffering from “mobility issues.” Her death certificate listed the cause simply as “old age.” 

The British public wasn’t told that Charles’ grandfather, King George VI, had lung cancer before his death in February 1952 at the age of 56, and some historians have claimed that the king himself wasn’t told he was terminally ill. 

Given that Charles rules in a media-saturated age, “I do think it’s incumbent on him to reveal more than he’s revealed,” said Sally Bedell Smith, author of “Charles: The Passions and Paradoxes of an Improbable Life.” 

“He was admirably candid in what he said about being treated for an enlarged prostate, and his impulse was to be open and also to encourage men to have the necessary examinations,” she added. “But then he reverted to the traditional royal form, which is mystery, secrecy, opacity.” 

 

On Tuesday, former royal press secretary Simon Lewis told BBC Radio 4 that Charles’ openness about his cancer diagnosis has been his style as a monarch. 

“I think 20 years ago we would have got a very abrupt, short statement, and that’s about it,” he said. The palace statement goes as far as possible, “given that the King has had a diagnosis of cancer and, as a lot of people know, processing that is a pretty tough process.” 

One reason for disclosing his illness, the palace statement said, was “in the hope it may assist public understanding for all those around the world who are affected by cancer.” Cancer patient advocates reported glimmers of success on that front, with Cancer Research UK reporting a 42% rise in visits to its cancer information page, according to Dr. Julie Sharp, the group’s head of health and patient information. 

The jump “reflects that high-profile cancer cases often act as a prompt to encourage people to find out more or think about their own health,” she said. 

But there was another pragmatic reason: To keep control of the information in the age of lightning-fast social media and misinformation. The palace statement said Charles “has chosen to share his diagnosis to prevent speculation.” 

Privacy part of past

In the annals of power, leaders and their advisers strive to maintain — or at least, not undermine — the perception of being in strong and in control. Because to allow any perception of vulnerability or weakness could spark a fight for the gavel or the crown — or encourage a coup. 

The former Soviet Union was famous for neglecting to mention when its leaders are sick or dead — think Leonid Brezhnev, Yuri Andropov and Konstantin Chernenko, secretly sick and soon deceased one after the other in the 1980s. Each event sparked scrambles for succession. 

In the United States, there’s little to no debate about the public’s right to know the health status of their leaders. It’s a key feature of the 2024 presidential rumble between President Joe Biden, 81, and former president Donald Trump, 77, with other contenders, such as GOP hopeful Nikki Haley, arguing that they’re both too old to preside. 

And on February 1, U.S.. Secretary of Defense Lloyd Austin — sixth in the presidential line of succession — apologized for keeping secret his cancer diagnosis and surgery. In a rare press conference, he acknowledged missing a key chance to use the experience as a teaching moment for those he leads across the Defense Department and, even more importantly, for Black Americans. 

How much does the British public have a right to know? 

Whether the monarch owes the world more information about his health than other Britons do is a tense subject. 

Royals are private citizens but also, in a sense, part of the public trust given that they are subsidized by British taxpayers and play an important — though largely powerless — constitutional role. Unelected, they inherit their wealth under a 1,000-year-old monarchy that Republican activists have long tried to dislodge. 

And though some polls show the public is friendly toward Charles, opposition and apathy to the monarchy are both growing. In a recent study by the National Center for Social Research, just 29% of respondents thought the monarchy was “very important” — the lowest level in the center’s 40 years of research on the subject. Opposition was highest among the young. 

Remaining relevant is part of what makes Charles’ legacy and succession so urgent. Maintaining at least the appearance of vitality can be key to leaders’ pursuit of and hold on power. The king, the palace was careful to note, would step away from public-facing duties during his treatment but continue to manage other duties of state. 

In Charles’ case, succession has long been set: Next in line is his son, William, the prince of Wales. But the king’s illness makes William’s preparation more critical at a time when he’s also caring for his wife, Kate, princess of Wales, who is recovering from abdominal surgery. 

Charles’ news was received with great sympathy in a country in which 3 million people live with cancer, according to Macmillan Cancer Support, a London-based charity. On average, it says, one person is diagnosed with cancer in the UK every 90 seconds. That’s about 1,000 new cancer cases detected every day, according to the National Health Service. 

That the king has joined those ranks — and, critically for a British monarch, shared that vulnerability with the world — heralded for some a new era of transparency in an era of social media and misinformation. 
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BUENOS AIRES, Argentina — A Catholic laywoman who lived in 18th-century Argentina and joined the Jesuits in their evangelical mission throughout the South American country will become the first female saint from the home country of Pope Francis on Sunday.

María Antonia de Paz y Figueroa, more commonly known by her Quechua name of “Mama Antula,” was born in 1730 into a wealthy family in Santiago del Estero, a province north of Buenos Aires. At the age of 15, she left the comfortable life of her home and the privileges of her family to join the Jesuits — at a time when women’s options were limited to marriage or joining a convent. 

“She was a rebel, just like Jesus,” Cintia Suárez, co-author of the biography Mama Antula, the first female saint of Argentina, told The Associated Press. “She confronted her father saying, ‘I’m not going to get married or become a nun.’ She just didn’t want to follow orders.”

Mama Antula collaborated in the performance of spiritual exercises based on the writings of St. Ignatius of Loyola, the founder of the Company of Jesus in 1534, according to her biographer.

When the Spanish crown expelled the Jesuits from America in 1767, considering them a threat to its interests, Mama Antula decided to take up the mantle and continue her work, even at the risk of being imprisoned.

She was a very astute woman who, against the prejudices of the time, had the ability to persuade parish priests and bishops to continue the spiritual exercises of the Jesuits despite the prohibition.

“Patience is good, but perseverance is better,” is a phrase that is attributed to her in historical texts collected in Suárez’s biography.

At a time when slavery still prevailed, masters and slaves, rich and poor were welcome in her spiritual exercises.  It was within that space of reflection that she helped to erase social differences.

“Mama Antula’s charity, above all in the service to the neediest, is today very much in evidence in the midst of a society that runs the risk of forgetting that radical individualism is the most difficult virus to overcome,” Francis told a group of Argentine pilgrims Friday who are in town for this weekend’s canonization.

Despite her outstanding work, Mama Antula was not widely recognized due to her status as a lay woman until 2013, when Francis, also a native of Argentina, was elected pope and brought her back to the public eye.

Francis first authorized her beatification in 2016, after the Dicastery for the Causes of Saints recognized a miracle linked to Mama Antula. It was the inexplicable healing in 1905 of a seriously ill nun belonging to the religious order in charge of the House of spiritual exercises founded by Mama Antula in Buenos Aires.

The second miracle that opened the door to her canonization came in 2017, when a former Jesuit seminarian was left on the verge of death from a stroke. A friend brought a picture of Mama Antula to the hospital and stuck it on the vital signs monitor. The man improved and left intensive care.

The canonization of Mama Antula in a ceremony to be presided over by Francis at St. Peter’s Basilica marks not only the first time a female from Argentina will become a saint, but will bring together two antagonistic figures: Francis and the newly elected president of Argentina, Javier Milei, who once called the pope an “imbecile” for defending social justice and “the representative of malignance on Earth.” 

Francis, who had a long conversation with Milei after he was elected, has indicated he has forgiven him for the campaign rhetoric and even suggested he is considering visiting his native country this year.

María Antonia de Paz y Figueroa, or “Mama Antula,” died March 7, 1799, aged 69.
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TOKYO — Seiji Ozawa, the Japanese conductor who amazed audiences with the lithe physicality of his performances during three decades at the helm of the Boston Symphony Orchestra, has died, his management office said Friday. He was 88.

The internationally acclaimed maestro, with his trademark mop of salt-and-pepper hair, led the BSO from 1973 to 2002, longer than any other conductor in the orchestra’s history. From 2002 to 2010, he was the music director of the Vienna State Opera.

He died of heart failure Tuesday at his home in Tokyo, according to his office, Veroza Japan.

He remained active in his later years, particularly in his native land. He was the artistic director and founder of the Seiji Ozawa Matsumoto Festival, a music and opera festival in Japan. He and the Saito Kinen Orchestra, which he co-founded in 1984, won the Grammy for best opera recording in 2016 for Ravel’s “L’Enfant et Les Sortileges” (“The Child and the Spells”).

In 2022, he conducted his Seiji Ozawa Matsumoto Festival for the first time in three years to mark its 30th anniversary. That turned out to be his last public performance.

Ozawa exerted enormous influence over the BSO during his tenure. He appointed 74 of its 104 musicians and his celebrity attracted famous performers including Yo-Yo Ma and Itzhak Perlman. He also helped the symphony become the biggest-budget orchestra in the world, with an endowment that grew from less than $10 million in the early 1970s to more than $200 million in 2002.

When Ozawa conducted the Boston orchestra in 2006 — four years after he had left — he received a hero’s welcome with a nearly six-minute ovation.

Ozawa was born Sept. 1, 1935, to Japanese parents in Manchuria, China, while it was under Japanese occupation.

After his family returned to Japan in 1944, he studied music under Hideo Saito, a cellist and conductor credited with popularizing Western music in Japan. Ozawa revered him and formed the Saito Kinen (Saito Memorial) Orchestra in 1984 and eight years later founded the Saito Kinen Festival — renamed the Seiji Ozawa Matsumoto Festival in 2015.

Ozawa first arrived in the United States in 1960 and was quickly hailed by critics as a brilliant young talent. He attended the Tanglewood Music Center and was noticed by Leonard Bernstein, who appointed him assistant conductor of the New York Philharmonic for the 1961-62 season. After his New York debut with the Philharmonic at age 25, The New York Times said “the music came brilliantly alive under his direction.”

He directed various ensembles including the San Francisco Orchestra and the Toronto Symphony Orchestra before beginning his tenure in Boston in 1970.

At the time there were few nonwhite musicians on the international scene. Ozawa embraced the challenge and it became his lifelong passion to help Japanese performers demonstrate they could be first-class musicians. In his 1967 book “The Great Conductors,” critic Harold C. Schonberg noted the changing ranks of younger conductors, writing that Ozawa and Indian-born Zubin Mehta were the first Asian conductors “to impress one as altogether major talents.”

Ozawa had considerable star quality and crossover appeal in Boston, where he was a well-known fan of the Red Sox and Patriots sports teams. In 2002, Catherine Peterson, executive director of Arts Boston, a nonprofit group that markets Boston’s arts, told The Associated Press that “for most people in this community, Seiji personifies the Boston Symphony.”

Ozawa is largely credited with elevating the Tanglewood Music Center, a music academy in Lenox, Massachusetts, to international prominence. In 1994, a 1,200-seat, $12 million music hall at the center was named for him.

His work at Tanglewood was not without controversy. In 1996, as music director of the orchestra and its ultimate authority, he decided to move the respected academy in new directions. Ozawa ousted Leon Fleisher, the longtime director of Tanglewood, and several prominent teachers quit in protest.

Despite glowing reviews for his performances in Europe and Japan, American critics were increasingly disappointed in the later years of his tenure with the BSO. In 2002, Anthony Tommasini of The New York Times wrote that Ozawa had become, after a bold start, “an embodiment of the entrenched music director who has lost touch.”

Many of the orchestra’s musicians agreed and even circulated an anti-Ozawa newsletter claiming he had worn out his welcome in Boston.

Ozawa won two Emmy awards for TV work with the Boston Symphony Orchestra — the first in 1976 for the BSO’s PBS series “Evening at Symphony” and the second in 1994, for Individual Achievement in Cultural Programming, for “Dvorak in Prague: A Celebration.”

Ozawa held honorary doctorates of music from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Mass. He was one of five honorees at the annual Kennedy Center Honors in 2015 for contributing to American culture through the arts.

In later years, Ozawa’s health deteriorated. He was treated for cancer of the esophagus in 2010, and in 2015 and 2016 he canceled performances for various health problems.

Ozawa’s management office said his funeral was attended only by close relatives as his family wished to have a quiet farewell.

He cancelled some appearances in 2015-16 for health reasons, including what would have been his first return to the Tanglewood music festival — the summer home of the Boston symphony — in a decade.
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Participants of the Extreme Chainsaw Carving Show have just a few hours to turn a cedar block of wood into a beautiful work of art. VOA’s Natasha Mozgovaya reports from Arlington, Washington, in the Pacific Northwest.
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LOS ANGELES — Las Vegas will be flooded with so many pre- Super Bowl events that Shaquille O’Neal lowered the prices to his popular carnival-themed “Shaq’s Fun House.”

Instead of raising the rate, O’Neal decided to offer potential attendees more bang for their buck to the NBA legend’s sixth annual event planned for Friday in Sin City. He made the decision to lower the rates after purchasing an expensive suite at the Formula One that cost nearly five times more than normal to watch the racing event in Las Vegas last year.

“We’re not going to do that to the people,” said O’Neal, who said the going rate for Fun House starts at $99 but will increase as the event nears. He’ll bring back Lil Wayne, Diplo and himself under his name DJ Diesel to perform during his over-the-top festival — which features several attractions including a Ferris wheel, circus performers and premium bar.

“We could’ve done $200, $250 or $300,” said O’Neal whose event will take place XS Nightclub at the Wynn — a hotel that will host Rob Gronkowski ‘s Gronk Beach in Encore on Saturday afternoon and Sports Illustrated’s The Party in XS Nightclub later that night. “But I don’t like taking advantage of people. We want to have the best party with the best rides, performers and just hanging out.”

Along with O’Neal’s event, the days leading up to the Super Bowl between the Kansas City Chiefs and San Francisco 49ers will include concerts from some of the biggest stars including Travis Scott, Green Day, Killer Mike, Kelly Clarkson, Ice Spice, Future and David Guetta. The week will include some comedy too.

Here’s a look at some of the invite-only and public events during a busy Super Bowl week:

Fanatics Party

Michael Rubin is known for his exclusive summer bashes in the Hamptons — which bring out stars like Beyoncé, Jay-Z, Leonardo DiCaprio, Jennifer Lopez, Ben Affleck and Kendall Jenner.

Now, Rubin, the founder and CEO of Fanatics, will host his invite-only daytime event at Marquee Dayclub at the Cosmopolitan the day before the Super Bowl. His event will feature performances by Travis Scott, The Chainsmokers, Ice Spice, A$AP Ferg, Meek Mill, Lil Baby, Fabolous, Ludacris, Ne-Yo and Kid Laroi.

Madden Bowl

After Killer Mike collected three Grammys during his arrest-shortened night, the Atlanta-based rapper is expected to be one of the performers at the EA Sports’ The Madden Bowl.

Rock group Green Day will headline the Friday night event at House of Blues. It will also feature Big Boi of OutKast and Breland.

“Las Vegas isn’t ready for the show we’re about to bring,” Big Boi said.

In addition to the music performances, the event will include the Madden NFL 24 Championship Series in front of a live audience — where two of the world’s best players will travel to Las Vegas for their share of the $1 million prize pool and title of Ultimate Madden Bowl champion.

Kevin Hart and O’Neal’s production companies will hold a star-studded, stand-up comedy showcase.

Actor Deon Cole will host the two-night show called the All Star Comedy Jam with performances by D.L. Hughley, Earthquake, Desi Banks and Aida Rodriguez. The event will be held inside the Resorts World Theatre’ 5,000-capacity venue on Friday and Saturday night.

Gospel Celebration

Cedric the Entertainer and Tichina Arnold will help bring the gospel to Sin City.

The stars of the CBS show The Neighborhood will host the Super Bowl Soulful Celebration at the Palms Casino Resort on Wednesday night. The lineup includes some of gospel’s best from Earth, Wind & Fire, Mary Mary, Kirk Franklin, Robin Thicke and the NFL Players Choir including Tully Banta-Cain and Bryan Scott, who played in the league.

“I want people to feel empowered walking away from this show,” Arnold said. “You should never walk way feeling drained. You should walk way feeling loved.”

CBS Mornings co-host Nate Burleson, a former NFL player, will receive the Lifetime of Inspiration award. He will be the sixth person to receive the honor the show’s 25-year history.

Previous recipients include Tony Dungy, Ray Lewis, Tim Brown, Troy Vincent and Deion Sanders.

Gronk Beach

Despite being retired, Rob Gronkowski keeps making his presence felt during the NFL’s championship week. 

The four-time Super Bowl winner — who views himself the “MVP of Fun” — will host a music festival called “Gronk Beach” the day before the big game. The beach-themed party will feature a performance by DJ Afrojack.

“It’s all about going there and having a good time. Just losing your mind in a great and positive way,” Gronkowski said. “You can dance free, be yourself freely and just enjoy yourself with great company around you.”

Gronkowski placed his tickets starting at $74.

Billy Idol

Instead of riding his motorcycle on Super Bowl Sunday, Billy Idol will be strolling on stage a few hours before kick off to perform during a pre-game concert.

The legendary British rocker will perform Sunday just outside Allegiant Stadium, where the NFL’s two best teams face off. He’s expected to perform a 35-minute set on two different stages at On Location’s Club 67 and Touchdown Club in front of nearly 9,000 guests.

Idol said he’s stoked about the setup being arranged by One Location — a premium hospitality provider of the NFL. The hospitality company offers various packages including Idol’s performance, attendance at NFL Honors and postgame field access.

Maluma & SiriusXM

Colombian superstar Maluma will take his vibrant Latin music vibes into Las Vegas with the help of SiriusXM.

Maluma will headline a special concert at The Theater at Virgin Hotels on Thursday night for SiriusXM subscribers and Pandora listeners. He’s expected to perform songs from his latest album Don Juan including Según Quién and COCO LOCO along with other fan favorites such as Hawái.

Future and David Guetta are expected to perform at the invite-only h.wood Homecoming Weekend pop up bash on Friday followed by another show with Jack Harlow and Kaytranada performer the next night at a custom venue on the Las Vegas Strip across from the Wynn.

On Saturday night, Zach Bryan will headline the Bud Light Backyard Tour.

Tiësto will headline a show at LIV at Fontainebleau on Saturday while 21 Savage and 50 Cent are expected to perform the same night.

Lil Wayne will hit the stage once again but this time with T-Pain as a co-headliner at the Alex Morgan and Dan Marino-hosted Michelob ULTRA Country Club at Topgolf on Saturday night. Bryan and Leon Bridges will perform at The Chelsea in The Cosmopolitan on Friday.

On Sunday, Guy Fieri will host his Guy’s Flavortown Tailgate, a free and family-friendly event that he expects will draw more than 10,000. Diplo will perform.

GQ will hold Super Bowl party Friday at the The Nomad Library and sports agent Leigh Steinberg will host an event Saturday morning at Ahern Luxury Boutique Hotel. 
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CAMBRIDGE, Mass. — Annette Bening, a two-time Golden Globe winner who recently received her fifth Oscar nomination, was feted Tuesday with a raucous parade full of colorful costumes and drag performers as part of festivities honoring her as Harvard University’s Hasty Pudding Theatricals 2024 Woman of the Year.

A few hours later, Benning endured a celebrity roast before attending a performance of the Hasty Pudding Theatricals’ 175th production, “Heist Heist Baby.”

She joined a group of synchronized swimmers on stage doing swim strokes to the song “Pump Up the Jams,” a reference to her role in the swimming movie “Nyad.” Then, she cut the hair of a volunteer in an effort to give him her signature look. And then she donned a seagull costume and acted out the role of the sea bird, a reference her role in the movie version of Anton Chekhov’s “The Seagull,” squawking and waiving her arms.

“I did it all myself with no one’s help,” Benning joked, after accepting the traditional pudding pot and trying to start a speech by thanking her kindergarten teacher. Her husband, Warren Beatty, won the man of the year award in 1975.

The Pudding is the oldest theatrical organization in the nation and one of the oldest in the world. Since 1951, it has bestowed this award annually on women “who have made lasting and impressive contributions to the world of entertainment.” Other winners have included Meryl Streep, Julia Roberts, Scarlett Johansson and Jennifer Coolidge.

Festivities began with the parade at Harvard. Bening, wearing a brown coat, hat and sunglasses, blew kisses to the crowd, and at one point, was pecked on both cheeks by drag performers. As the parade ended, she launched into a can-can dance with several other people.

“We’re absolutely thrilled to honor Annette Bening in this milestone 175th anniversary year for the Hasty Pudding,” said Josh Hillers, the organization’s president. “Hot off her Oscars nomination for Best Actress, we’re excited to present her with the most prestigious award in the entertainment industry.”

Bening, who also has won a Screen Actors Guild Award and starred in “The Grifters” and “American Beauty,” earned her fifth Oscar nomination, this one for best actress, for playing the prickly long-distance swimmer Diana Nyad in the movie “Nyad.”

Barry Keoghan, best known for his roles in “Saltburn,” “Dunkirk,” “The Killing of a Sacred Deer,” “Eternals” and “The Banshees of Inisherin,” is the recipient of its 2024 Man of the Year Award. He will be honored Friday night.
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