Chile’s National Museum of Natural History said Monday it will return to Easter Island an enormous stone statue taken from the Rapa Nui people and brought to the mainland 150 years ago. 

The monolith is one of hundreds, called Moai, carved by the Rapa Nui in honor of their ancestors and sometimes referred to as the Easter Island heads. 

The statues are today the island’s greatest tourist attraction, sculpted from basalt more than 1,000 years ago. 

The one being returned, dubbed Moai Tau, is a 715-kilogram (1,500-pound) giant brought by the Chilean navy some 3,700 kilometers (2,300 miles) across the Pacific in 1870. 

Eight years later, it was moved to the natural history museum to be displayed. 

The Rapa Nui, for whom the Moai represent the spirits of their ancestors, have been asking for the statue’s return for years — as well as other cultural treasures taken from their island. 

“For the Rapa Nui, their ancestors, funerary objects and ceremonial materials may be as alive as members of their communities themselves,” said a museum statement. 

The return of the monolith “is profoundly significant as a gesture towards our Indigenous peoples,” said museum curator Cristian Becker. 

With delays due to the coronavirus epidemic, the statue will finally depart from the port of Valparaiso next Monday on a trip of about five days to Easter Island, said the museum, “after a complex technical and diagnostic process” to guarantee its structural integrity. 

A traditional ceremony was held at the museum Monday to send the statue safely on its way. 

“It is essential that the Moai return to my homeland. For them (the community) and for me, this day is very much awaited,” said Veronica Tuqui, a Rapa Nui representative. 

Back on Easter Island, the Moai will be exhibited at the Father Sebastian Englert Anthropological Museum. 

The Rapa Nui community has also asked the British Museum in London to return another Moai, dubbed Hoa Hakananai’a, that was taken in 1868 from Orongo, a ceremonial village on Easter Island. 

The Rapa Nui in 2017 gained self-administration over their ancestral lands on Easter Island, a special territory of Chile. 

 
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Kamau Bell’s four-part documentary “We Need to Talk About Cosby” addresses the rise and fall of African American comedian Bill Cosby from revered ‘America’s Dad’ to an alleged sexual predator. Bell, a comedian himself and a show host, told VOA’s Penelope Poulou that countless people, especially African Americans, were shocked when Cosby, who promoted family values and education, was accused by dozens of women of sexually assaulting them.
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A gemstone, billed as one of the largest gem-quality opals in existence, was sold for $143,750 at auction in Alaska on Sunday. 

The opal, dubbed the “Americus Australis,” weighs more than 11,800 carats, according to the auction house Alaska Premier Auctions & Appraisals. It also has a long history.

Most recently, it was kept in a linen closet in a home in Big Lake, north of Anchorage, by Fred von Brandt, who mines for gold in Alaska and whose family has deep roots in the gem and rock business. 

The opal is larger than a brick and is broken into two pieces, which von Brandt said was a practice used decades ago to prove gem quality.

Von Brandt said the stone has been in his family since the late 1950s, when his grandfather bought it from an Australian opal dealer named John Altmann.  

Von Brandt said the opal for decades was in the care of his father, Guy von Brandt, who decided it had been “locked up long enough, that it’s time to put it back out in the world and see what interest it can generate.”

“He entrusted me to figure out which direction we wanted to go to part with the stone,” von Brandt told The Associated Press.  

The family, with roots in California, exhibited the stone at gem shows for years, until the early 1980s, he said. His father then branched out into furniture and displayed it at his shop. Guy von Brandt eventually moved to Oregon and kept the stone “kind of tucked away” for many years, von Brandt said.

Von Brandt said he brought it with him to Alaska over a year ago as he weighed the best approach to a possible sale. He said he went with Alaska Premier Auctions & Appraisals because he thought it would get more attention from the newer company than a larger auction house.  

Nick Cline, a partner and appraisal specialist with Alaska Premier Auctions & Appraisals, said the family has documentation surrounding the provenance of the opal. As part of his research, he contacted Fiona Altmann, granddaughter of John Altmann and general manager of Altmann + Cherny in Sydney, Australia.

Altmann said her grandfather, in his business dealings, made regular trips to Europe and the U.S.  

Altmann said when Cline emailed her, she was skeptical; the name of the stone, in particular, threw her. But she said she started digging and discovered “something with my grandfather’s handwriting with the picture of the opal with the word ‘Americus Australis.'”

“I with 100% certainty know that their provenance information is 100% accurate” because it lines up with information she has, she said.

The auction house said the stone was discovered in the same field in Australia as the opal known as the “Olympic Australis,” which weighs 17,000 carats and is on permanent display in Altmann’s shop. The Olympic had been among the stones that John Altmann and partner Rudi Cherny acquired in 1956, according to Altmann’s company.  

The auction company sought a minimum bid of $125,000 during Sunday’s auction. Cline said it was a “calculated risk,” with the company going with what it sees as a conservative approach in hopes of garnering the most attention.

“We were honored to conduct the auction of this unique, one-of-a-kind specimen,” Cline said after the auction.  

The sale included a smaller piece of the opal that von Brandt said his father cut off to be worn or displayed.
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Africa’s biggest international contemporary art fair has opened its doors to the public for the first time since the coronavirus pandemic began. The Investec Cape Town Art Fair went online last year, but this year has nearly 100 artists exhibiting works in-person from 20 countries.

“It’s absolutely a joy to be back to almost real life,” said Laura Vincenti, director of the art fair. “I mean, we have had two years that have been very tough, but the art community have been very supportive. And this city and South Africa needed an event to reconnect people, so we are very grateful to everyone.”

This is the ninth year the fair is being held, but was hosted online last year due to COVID-19.

“It’s been a long journey since the beginning, but now the fair is on an international calendar. We got a lot of exhibitors from overseas. Like many, more than a thousand collectors coming just for this week to Cape Town,” Vincenti said.

Franco-Benin ceramicist King Houndekinkou, speaking from Benin, said he was extremely grateful to have his work shown at the fair, which is held in the Cape Town International Convention Centre.

“Wow, well it’s a blessing to be still here, first of all, and to still be having a career and still be showing and to have people wanting to still show the work after this time that we had where everyone was in lockdown — so yeah, it’s great! I’m happy!” he said.

Nigerian art lover Usen Obot flew in especially to see the show.

“I would say it’s like getting back to life because, for me as an artist and a gallery owner, seeing images is OK, but seeing the real thing is the real deal,” Obot said.

Fundraiser Tanya Townsend was there to make connections for a children’s home that runs an art program.

“It’s absolutely amazing. You just realize how starved you’ve been over the last two years. And just to see the buzz here. I didn’t know what to expect and it’s so vast,” Townsend said. “And you know we South Africans just love foreigners and coming to our beautiful city on this gorgeous sunny day. It’s just so thrilling. It’s fantastic.”

Vincetti said the fair is a hybrid event this year, so there is still an online component.

“Of course, with the difficulties of traveling and also the fear for many people especially from Europe and America to travel to South Africa, they have a chance to go online and see the fair online,” she said. “So what we are showing on our digital platform is exactly what you’d find at the fair. The same galleries, the same works. You can purchase or you can browse and see what’s going on.”

The fair ends Feb. 20, 2022.
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Jumping, spinning and landing back on the ice, the young figure skaters at the Fairfax Ice Arena in a Washington, D.C., suburb have big dreams.

“My future goal is to reach the Olympics,” said Sherry Naree Wester. The 8-year-old’s mother is from Thailand, and her father is a white American.

“And I want a scholarship for college,” said Jada Wong, 9. Her mom immigrated from Hong Kong, and her dad was born in a Chinese immigrant family in the United States.

The girls love the sheer beauty of figure skating, the sense of accomplishment that comes from completing challenging movements, and the fact that so many members of the 2022 U.S. Olympic Figure Skating Team are also Asian American.

“My favorite is Karen Chen. I like her combination spin of the layback and haircutter to Biellmann. And for her jump, I really like her triple lutz,” said Wester, rattling off the technical names of moves that make arena audiences gasp, then applaud.

Inspiration is making representation a reality among Asian Americans in figure skating.

Nathan Chen, the first Asian American to win gold in men’s figure skating, said that Michelle Kwan inspired him as a child. A five-time World Champion (1996, 1998, 2000, 2001, 2003) and a nine-time U.S. champion, (1996, 1998–2005), Kwan earned a silver medal at the 1998 Nagano Games and a bronze at the 2002 Salt Lake Games.

“For me, growing up in Salt Lake City and having a face like Michelle Kwan was really inspirational,” said Chen at a victory press conference in Beijing.

“And I know that having athletes that look like you certainly gives you the hope that you can do the same, and Michelle Kwan certainly was that for me.”

For the past two winter Olympics, the USA figure skating team has been dominated by Asian American athletes.

This year, four out of six figure skaters on the U.S. team are Asian American: Karen Chen, Nathan Chen, Alysa Liu and Vincent Zhou. Madison Chock, another Asian American, represents America in ice dancing. At the 2018 PyeongChang Winter Olympics, seven of the 14 U.S. figure skaters were Asian American.

Their presence has been decades in the making. Thirty-some years ago, Asian Americans were nearly nonexistent on the ice rink.

Tiffany Chin was the first Asian American to win the U.S. Figure Skating Championships in 1985.

Figure skater Kristi Yamaguchi was the first Asian American woman to win a gold medal in Winter Olympic competition when she finished first in women’s singles at the 1992 winter games in Albertville, France. She also won two World Figure Skating Championships (1991 and 1992).

Susan Brownell, an anthropology professor at the University of Missouri-St. Louis who studies Chinese sports, and a former track and field athlete herself, told VOA Mandarin in an email that European American parents often prefer for their children to engage in physically harsher sports, for example football and baseball for boys, and soccer for girls. But Asian American parents don’t value the aggressiveness and competitiveness of these sports.

“They are more concerned about their children facing injury, and they appreciate the aesthetic nature of figure skating. So they are more likely to encourage their children to take up figure skating,” Brownell said.

“Over the last decade, the numbers of Asian Americans – some Japanese, but mostly Chinese – at the grassroots level (have) increased rapidly, and this has been feeding more and more Asian Americans into the development pipeline. All indications are that these numbers will continue to increase rapidly,” she added.

Heidi Grappendorf, an associate professor of sport management at Western Carolina University, suggested that Asian Americans may see figure skating as a way into competitive sports.

“Figure skating provides a more welcoming and accepting atmosphere and culture without potential stereotypes than, for example, American football or even basketball,” she said in an email to VOA Mandarin. Grappendorf added, “Stating that Asians are good at figure skating because of their body type is ridiculous and racist.”

For every skater aiming high, the sport can punish a family budget. Brownell, who figure skates recreationally, told VOA Mandarin that costs for ambitious athletes add up with rink practice, coaching, clothing and equipment, club dues, competition entry fees and travel expenses quickly soaring to thousands of dollars annually.

Only a handful of top figure skaters have sponsorships, she added, and those competing internationally and nationally can apply for stipends from U.S. Figure Skating, the sport’s national governing body. The organization provides a total of $750,000 annually, with stipends ranging from a few thousand dollars to as much as $40,000, according to Brownell’s estimate.

And while Grappendorf suggested that because “Asian Americans’ access to resources and income may be greater,” costs are less likely to thwart aspirations, Brownell said that at her skating club, many working-class parents supported their children in the sport by holding down multiple jobs.

Wendy Zhai-Brown, whose 8-year-old daughter, Bethany Brown, takes pride in landing her jumps and finishing her spins correctly, said “Skating is indeed expensive, but it’s not like Asians can afford it easily. We need to consider and balance different aspects of life.”

She added, “I think, in general, Asians … consider education as investment. Education is not just about what you learn from the textbooks in the classroom. Sports are a long-term investment in children’s physical and mental well-being.”

And any family with a figure skater in mix makes a significant time commitment to encourage their athletes, said Zhai-Brown, who left a job in commercial insurance to become a real estate agent so she could have a flexible schedule to meet her daughter’s training timetable.

“I get up at 5:45 a.m. every day, prepare her breakfast and pack her lunch,” said Zhai-Brown of her daily routine in suburban Virginia. “I wake Bethany up at 6:15, get to the ice rink at 7:20, and then she will do two practice sessions from 7:30 to 8:50. Then we basically run to the car and I’ll drive her to school. Usually we will get there at 9:15, and 9:20 is the latest arrival time.”

“So, it’s a war every morning,”

Some kids, such as Sherry Naree Wester, return to the Fairfax Ice Arena to practice after school. They train every morning and afternoon, six days a week.

That practice, practice, and more practice attitude is the biggest determinant of success in figure skating, said Adriana DeSanctis, a coach at the Fairfax rink.

“The kids that are really succeeding are the kids that are on the ice all the time regardless of their race or ethnicity.”

 

 
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Who says you have to be born in Italy to make excellent pizza? Ibrahim Songne, a West African now living in northern Italy, has successfully challenged that assumption. VOA’s Betty Ayoub has the story.
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Victory, of sorts, for Eritrea’s sole Winter Olympian — one of just six athletes competing for African countries at the Games in China — was achieved even before his feat of surviving two runs in blizzard conditions down a hazardous course aptly named The Ice River.

Before flying to China for his Olympic ski race in the mountains northwest of Beijing, Shannon-Ogbnai Abeda learned of a cross-country skier living in Germany who has been so inspired by Abeda’s trailblazing that he’s aiming to qualify for their East African nation at the next Winter Games in 2026.

“It was because of all the interviews that I did and, you know, me coming and doing this again,” Abeda, who also raced at the 2018 Pyeongchang Olympics, said after his 39th-place finish in the giant slalom that only 46 of 87 starters completed in Sunday’s snowstorm.

“He wants to now carry the torch,” Abeda said.

So just imagine: How many other enthused young wannabes could emerge from the African continent of 1.3 billion people, and from the African diaspora spread around the world, if they only had more than a handful of Olympic pioneers leading the way, showing that barriers of racial prejudice, inequality and geography are surmountable?

That question is more pertinent than ever at the Beijing Games, because African representation has shrivelled since a record eight African nations, fielding twice as many athletes as in Beijing, competed in 2018. Eritrea, Ghana, Morocco, Madagascar and Nigeria are back; Kenya, South Africa and Togo are not.

Skiing — Alpine and cross-country — was the only sport Africans qualified for. There was just one African woman: Mialitiana Clerc, born in Madagascar and adopted by a French couple as a baby, is now a two-time Olympian. Having broken through in Pyeongchang, she raced in Beijing to 41st place, out of 80 starters, in giant slalom and 43rd, out of 88, in slalom.

Elsewhere, at the skating rinks, snow parks and sliding track, there was no African representation at all. African sliders were thwarted by less inclusive qualifying rules, despite making history in Pyeongchang. There, Nigeria fielded Africa’s first-ever bobsled team; Simidele Adeagbo, also Nigerian, became the first African and Black woman in skeleton; and Ghana’s Akwasi Frimpong blazed trails on the men’s side.

Adeagbo, frustrated to have been left on the sidelines for Beijing, says the plunge in African representation requires an Olympic response. The movement’s five rings are meant to symbolize the five inhabited continents. But in Beijing, Africa’s presence feels barely bigger than a dot. Adeagbo notes that the Summer Olympics “see a rainbow of nations represented” and wonders why that’s less the case in winter, given that “sport is supposed to be democratic for all.”

“Is this the European Olympics or is this an Olympics that reflects the world?” she asked in a video interview with The Associated Press. “So hopefully this will be a catalyzing moment to help everybody kind of regroup and think about a different way forward.”

“We’re talking about the Olympics; we shouldn’t have complete exclusion,” Adeagbo said. “Given the resources and support, Africans are just as capable.”

Looking ahead to 2026, the International Olympic Committee says it will reexamine qualification rules and quotas, which African Olympians want used to carve more space for them. But there’s no sign of IOC dismay about Africa’s retreat in Beijing.

“There are five continents represented here,” said James Macleod, head of an IOC sponsorship program that helped fund athletes on their Beijing journeys.

The IOC gave individual scholarships to 429 athletes. Europe, with 295 beneficiaries, got the lion’s share. Africa, with 16, got the least. Five African recipients qualified for Beijing. The Americas (50), Asia (47), and Oceania (21) got the remainder. The IOC says its aim is Winter Games that are more competitive, rather than “artificially” more universal.

African recipients say the funding was vital for them. They argue that increased financing for African winter athletes would see more qualify. Abeda — born in Canada, where his parents resettled in the 1990s, fleeing war in Eritrea — said US$1,500 per month in IOC funding helped cover his living, training, coaching and equipment costs. He wants private businesses “to step up,” too.

“At Pyeongchang, it was really great to see more Africans,” he said. “At these Games, there’s very little. So I am disappointed.”

Adeagbo said her bobsled alone, cost $40,000.

“I don’t think any sport should be just for the privileged and these are the things that we need to have real conversations about,” she said. “Sport is not meant to be just for one group.”

The IOC says COVID-19 disruptions that played havoc with athlete preparations could partially explain Africa’s slump. Frimpong’s hopes of qualifying again for Ghana in skeleton were dashed by coronavirus positives that forced him out of races ahead of Beijing. South Africa also likely would have sent athletes had it not been for the pandemic, says Cobus Rademeyer, head of social sciences at South Africa’s Sol Plaatje University, who has written on Africa’s history at the Winter Games.

“The pandemic has definitely broken the momentum,” Rademeyer said by email to The AP. He expects Africa to bounce back for 2026, writing: “Although some people see the participation of African athletes at the Winter Olympics as ‘glory-hunters,’ it has been an inspiration for many others.”

Skier Carlos Maeder, born in Ghana and adopted by Swiss parents, says he’s been amazed by a flood of messages from supportive Ghanaians. Also an IOC scholarship recipient, he raced in the snow-hit giant slalom but skied out in the first run.

At 43, he’d like to find other Ghanaians to follow in his footsteps and “will ski as long as it’s necessary to find some.”

“I hope that these games will be a door opener,” he said. “It’s not just about the African continent: We are spread around the world. So that makes it important that our continent is represented.”
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Crowds gathered in Barcelona’s historic downtown to watch in awe and snap cellphone photos as teams of people in colorful garb formed human towers rising into the air like the spires on the nearby medieval cathedral. 

A giant figure in bright blue dress and a floral crown paraded through the streets in representation of St. Eulàlia, the city’s patron, a 13-year-old girl who was crucified by Romans in the early fourth century for refusing to renounce Christianity. 

After two years of canceled or muted celebrations due to the pandemic, this Mediterranean city went all-out this past weekend to mark the February 12 feast, or “festa” in the Catalan language, of its longest-celebrated patron. 

With the most recent nationwide outdoor mask mandate lifted by the government just days earlier, Barcelonans were especially eager to revel in the three-day “festes de Santa Eulàlia,” with celebrations that make social distancing impossible and require painstaking choreography and training. 

Celebrated with a specific protocol since the 1600s, the festival has been gaining renewed popularity since the early 1980s. It includes solemn Masses, intricate dances and parades of “gegants,” larger-than-life historical and fantasy figures usually made of papier mâché and borne by revelers. 

While rooted in Catholic liturgy, today the festival is primarily a secular expression of pride and shared cultural identity in the Catalonia region in northeastern Spain, passionately celebrated even if most who take part don’t identify as believers. 

“The resurgence started with ordinary people who wanted to do something that would be their own, belonging to Barcelona,” said Nil Rider, a historian who helped organize an exhibit about St. Eulàlia at the cathedral’s Diocesan Museum. “This is living heritage that gives people an identity.”  

Foremost among the festival’s traditions are the “castells,” or “castles,” as the human towers are called, which have been performed for two centuries by neighborhood groups not only in Barcelona but in local festivals across Catalonia. 

Dozens of “castellers,” or group members, stand packed tightly together, compressing every inch of their bodies into each other to form a base. Progressively lighter-weight members then climb up to establish six or more human tiers until they form a support for the top performer, a young child wearing a mandatory helmet — and, this year, a KN95 face mask. 

“What we like is to achieve a challenge that we only are able to do together. It’s very identity-forming,” said Dan Esteban, a casteller and former head of the group representing the neighborhood of Poble Sec, just outside the medieval core. 

Two years of pandemic restrictions and lockdowns in hard-hit Spain have left people out of practice, and Esteban said the group wasn’t able to train at all until September. Even now fewer people than usual show up for twice-weekly sessions, which are crucial for getting everyone to work in concert since budging just an inch can bring the entire structure crashing down. 

Cristina Velasco also worried about recovering lost ground as she planned for this year’s “correfoc,” another traditional element of the festival in which adults and children parade in horned devil costumes alongside spinning fireworks displays. Sunday night’s would be the first full parade since the pandemic, with fewer children taking part as some turned to other activities and haven’t returned. 

“We have the feeling we have to do it because otherwise we will lose it,” said Velasco, who has been dressing up as a devil for 30 years and is president of the city’s federation of three-dozen neighborhood correfoc groups. 

Teaching youngsters the allegorical and historic origins of the correfoc tradition is vital, she said, even if “99% of people don’t even know where the devil came from.”  

Clutching a statuette of St. Eulàlia, 10-year-old Laia Castro, 10, waited patiently in line under a chilly drizzle to enter the majestic Gothic cathedral Saturday, the day commemorating the saint’s martyrdom. Descending into the crypt where the saint’s remains have been venerated since the 1330s, she signed a registry kept in the sacristy for girls named with the common diminutive for Eulàlia. 

“Really we’re not religious, but we like this celebration,” said her father, Albert Castro. 

He hopes for Laia to know the saint’s history and then make her own decision about faith: “And if she believes, she will know she did something extra today.”  

The Rev. Robert Baró Cabrera, director of the Cathedral’s cultural heritage patrimony, said the festival’s spotlight on identity and devotion to the saint offers “a powerful environment for evangelization” even as secularism continues to grow. 

“Our churches are both cultural and identity references,” he said. “If people want to find the roots of their identity, they can’t help but go into the church.”  

In one of the festival’s most evocative celebrations, a performer bearing a giant eagle figure with flowering branches in its beak paraded Friday night from city hall through the old quarter, accompanied by drums, bagpipes and flutes. 

Arriving at the soaring Gothic basilica of Santa Maria del Mar, built where St. Eulàlia was first buried after her martyrdom, the eagle entered the packed but hushed sanctuary and proceeded to pirouette in front of the altar in a six-century-old ritual. 

On hand were Loli García and her 4-year-old granddaughter, Ona, whom she brought to teach her about their roots and culture. 

“It’s one thing not to be religious, but they have to know the history,” García said as Ona stood on a pew and watched, spellbound. “I take her to all traditional Catalan celebrations, as I used to do with my daughter.”   

 
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P.J. O’Rourke, the prolific author and satirist who refashioned the irreverence and “gonzo” journalism of the 1960s counterculture into a distinctive brand of conservative and libertarian commentary, has died at age 74. 

O’Rourke died Tuesday morning, according to Grove Atlantic Inc. Books publisher and president Morgan Entrekin. He did not cite a specific cause but said O’Rourke had been ill in recent months.  

Patrick Jake O’Rourke was a Toledo, Ohio, native who evolved from long-haired student activist to wavy-haired scourge of his old liberal ideals, with some of his more widely read takedowns appearing in a founding counterculture publication, Rolling Stone. His career otherwise extended from serving as editor in chief of National Lampoon to a brief stint on “60 Minutes,” in which he represented the conservative take on “Point/Counterpoint,” to frequent appearances on NPR’s game show “Wait Wait … Don’t Tell Me!”  

“Most well-known people try to be nicer than they are in public than they are in private life. PJ was the only man I knew to be the opposite. He was a deeply kind and generous man who pretended to be a curmudgeon for public consumption,” tweeted Peter Sagal, the host of “Wait Wait … Don’t Tell Me!” 

“He told the best stories. He had the most remarkable friends. And he devoted himself to them and his family in a way that would have totally ruined his shtick had anyone ever found out,” Sagal said. 

His writing style suggested a cross between the hedonism of Hunter S. Thompson and the patrician mockery of Tom Wolfe: Self-importance was a reliable target. But his greatest disdain was often for the government — not just a specific administration, but government itself. As a young man, he opposed the government as a maker of war and laws against drugs. Later on, he went after what he called “the silken threads of entitlement spending.” 

In a 2018 column for the venerable conservative publication, The Weekly Standard, he looked on with scorn at Washington’s gentrification. 

“People are flocking to the seat of government power. One would say ‘dogs returning to their vomit’ except that’s too hard on dogs. Too hard on people, also. They come to Washington because they have no choice — diligent working breeds compelled to eat their regurgitated tax dollars,” he wrote. 

O’Rourke’s other books included “Give War a Chance,” “Driving Like Crazy,” “None of My Business” and “A Cry from the Middle.” Entrekin told The Associated Press that O’Rourke had been working on a one-volume look at the United States as seen from his hometown: “A History of Toledo, Ohio: From the Beginning of Time Til the End of the Universe.” 

O’Rourke was an undergraduate at Miami University and received a master’s degree in English from Johns Hopkins University in 1970. He started out writing for such underground publications as the New York Ace and joined National Lampoon in 1973, where his colleagues included Douglas Kenney, who later co-wrote “Animal House” and “Caddyshack” and with O’Rourke edited the parody “National Lampoon’s 1964 High School Yearbook.” 

Over the following decades, he became a familiar presence as a writer and on-air pundit. He covered war and unrest everywhere from El Salvador to the Philippines, while mocking “The Dictatorship of Boredom” back home. 

“In July 1988, I covered the specious, entropic, criminally trivial, boring stupid Democratic National Convention, a numb suckhole stuffed with political bulk filler held in that place where bad malls go to die, Atlanta,” reads a dispatch from “Parliament of Whores,” a bestseller published in 1991. “Then … I flew to that other oleo-high colonic, the Republican convention, an event with the intellectual content of a Guns N’ Roses lyric.”  

Like other longtime conservatives, O’Rourke’s loyalties were tested by the rise of Donald Trump. O’Rourke had little use for Democratic candidate Hillary Clinton in 2016, but he found he could live with her “lies and all her empty promises.” 

“It’s the second worst thing that can happen to this country. But she’s way behind in second place. I mean, she’s wrong about absolutely everything, but she’s wrong within normal parameters,” he said on NPR.  

“I mean, this man (Trump) just can’t be president,” he said. “They’ve got this button, you know, in the briefcase. He’s going to find it.” 

 
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The family of a cinematographer shot and killed on the set of the film “Rust” is suing Alec Baldwin and the movie’s producers for wrongful death, their attorneys said Tuesday.

Lawyers for the family of Halyna Hutchins announced the lawsuit filed in New Mexico in the name of Hutchins’ husband, Matthew Hutchins, and their son, Andros, at a Los Angeles news conference.

At least three other lawsuits have been filed over the shooting, but this is the first directly tied to one of the two people shot.

The “reckless conduct and cost-cutting measures” of Baldwin and the film’s producers “led to the death of Halyna Hutchins,” attorney Brian Panish said.

A video created by the attorneys showed an animated recreation of the shooting.

Baldwin was pointing a gun at Hutchins during the setup for the filming of a scene for the western in New Mexico on Oct. 21 when it went off, killing Hutchins and wounding the director, Joel Souza.

Baldwin has said he was pointing the gun at Hutchins at her instruction and it went off without him pulling the trigger.

The attorneys said in the video that Baldwin had turned down training for the kind of gun draw he was doing when he shot Hutchins.

It said industry standards call for using a rubber or similar prop gun during the setup that was happening, and there was no call for a real gun.

Last month, nearly three months after the shooting, Baldwin turned over his cellphone to authorities in his home state of New York. They gathered information from the phone and provided it to Santa Fe County investigators, who had obtained a warrant for it.

Investigators have described “some complacency” in how weapons were handled on the “Rust” set. They have said it is too soon to determine whether charges will be filed.

Baldwin said he does not believe he will be criminally charged in the shooting.

The film’s script supervisor and its lead camera operator, both of whom were standing a few feet away when Hutchins was shot, each filed a lawsuit over the trauma they went through.

And the film’s armorer Hannah Gutierrez Reed, who was named as a defendant in those lawsuits and blamed by some for the shooting, filed her own suit saying an ammunition supplier created dangerous conditions by including live ammunition in a box that was supposed to include only dummy rounds.

In an interview with ABC News in December, Baldwin said he felt incredible sadness over the the shooting, but not guilt.

“Someone is responsible for what happened, and I can’t say who that is, but it’s not me,” Baldwin said.

He said Hutchins had asked him to point the gun just off camera and toward her armpit before it went off.

“I didn’t pull the trigger,” Baldwin said. “I would never point a gun at anyone and pull the trigger at them. Never.”

He called Hutchins “somebody who was loved by everybody and admired by everybody who worked with her.”

Hutchins, 42, grew up on a remote Soviet military base and worked on documentary films in Eastern Europe before studying film in Los Angeles and embarking on a promising movie-making career.

On her Instagram page, Hutchins identified herself as a “restless dreamer” and “adrenaline junkie.”

In a 2019 interview with American Cinematographer, which named her one of the year’s rising stars, she described herself as an “army brat” drawn to movies because “there wasn’t that much to do outside.” She would document herself parachuting and exploring caves, among other adventures, and through her work with British filmmakers, became “fascinated with storytelling based on real characters.”
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Comic actors Amy Schumer, Regina Hall and Wanda Sykes will host this year’s Academy Awards ceremony as producers try to attract new viewers after record-low ratings in 2021, Hollywood publication Variety and other media outlets reported on Monday. 

The actors are finalizing details and an announcement will be made on Tuesday on ABC’s “Good Morning America,” Variety said. ABC, owned by Walt Disney Co, will broadcast the Oscars ceremony on March 27. 

The film industry’s highest honors, which are handed out by the Academy of Motion Picture Arts and Sciences, have not had a host since 2018. 

Schumer won an Emmy in 2015 for her variety sketch show “Inside Amy Schumer.” Hall is known for movies including “Girls Trip” and “Little.” Sykes stars in and created “The Upshaws” and played a recurring role on “Black-ish.” 

Representatives for the actors, the academy and ABC did not immediately respond to requests for comment. 

The Oscars were handed out by celebrity presenters but had no host in 2019, 2020 and 2021. Ratings for the telecast have fallen in recent years, dropping to a low of 10.4 million people in the United States in 2021. Viewership of other entertainment awards shows also has declined. 

The 2021 Oscars ceremony was scaled down because of the COVID-19 pandemic. The awards were handed out at a historic train station in downtown Los Angeles in front of a small audience of nominees and guests. 

This year, organizers have said the show will return to its longtime home of the Dolby Theatre in Hollywood. 

Netflix Inc’s gothic Western, “The Power of the Dog,” leads the field of this year’s Oscar nominations with 12 nods, followed by science-fiction epic “Dune” with 10. 

 
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U.S. first lady Jill Biden on Monday observed Valentine’s Day at the White House with displays of giant hearts on the North Lawn and valentines from local elementary school children inside the mansion. 

The displays include a giant red heart inscribed with a Bible passage, 1 Corinthians 13:13, which says, “Three things will last forever — faith, hope and love — and the greatest of these is love.“ 

Additionally, hand-painted, wooden artwork in the shapes of the first family’s puppy, Commander, and cat, Willow, adorned either side of the giant heart bearing the Bible verse. 

The displays are positioned so they will be seen in the background when White House television correspondents report on the day’s news. 

Additionally, valentines created by second-grade classes from a local Washington elementary school are on display in the East Wing of the White House. 

The children who created them are students of Alejandro Diasgranados, a teacher at Aiton Elementary School and Washington’s 2021 Teacher of the Year. On Monday, the students, accompanied by their teacher, toured the White House. 

Last year, just two weeks after President Joe Biden’s inauguration and in the grips of the COVID-19 pandemic, the first lady had large red hearts placed on the North Lawn bearing messages such as “compassion,” “courage,” “healing” and “kindness.” 

Valentine’s Day — annually observed February 14 — has always been special to Jill Biden. Her tradition of decorating goes back to Joe Biden’s days as vice president under President Barack Obama when she decorated every window in her husband’s office. 

Some information in this report came from The Associated Press and Reuters. 

 
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For literature lovers in sanction-hit Iran, a new novel has long provided a brief respite from a grinding economic crisis triggered by international pressure imposed over Tehran’s contested nuclear programme.

But now losing yourself in a good book is becoming harder, as cash-strapped publishers struggle because the price of paper is soaring.

“If a 200-page novel sold for 400,000 rials ($1.60) last year, its price today is 1,000,000 rials ($4.10), most of which is the cost of production”, said Reza Hasheminejad, who runs the Ofoq publishing house.

Iran does not produce its own paper pulp for publishing so relies on imports, and while those are not under sanctions, they must be paid for in foreign currency. That means the price of a book depends directly on the fluctuation of Iran’s rial.

So publishers are not only slashing the number of titles published, but also cutting the number of pages of those they do print by shrinking the font size.

“Publishing has suffered a major crisis — which could become existential,” said Emily Amrai, collection director at the Houpa publishing house.

While publishers worldwide face growing challenges to the way people read and consume literature, Iran is facing an extra problem.

The United States, under former president Donald Trump, unilaterally withdrew in 2018 from a landmark accord to prevent Iran from acquiring an atomic bomb — a goal Tehran has always denied pursuing — with Washington then reimposing tough economic sanctions.

“As soon as the US sanctions were reinstated in 2018, the price of paper rose,” Amrai said.

‘A miracle’

Long-running negotiations to revive a deal with Iran continue in Austria, but until an international agreement turns the page, the impact of sanctions grows worse.

“The devaluation of our currency against the greenback, the global rise in the price of paper paid in dollars and the increase in the cost of transport — also paid in foreign currency — has plunged publishing into the doldrums,” said Hossein Motevali, owner of Houpa, which specialises in children’s books.

Because book prices are fixed in Iran, profits are pegged to the rapidly fluctuating price of paper.

“Between receiving the manuscript, laying it out, and setting the price of the book, I can lose everything if the price of paper has gone up suddenly,” Hasheminejad said.

“That happens because I’m at the mercy of the fluctuation of the currencies.”

As for the authors, they are paid by the number of the pages in the book, whether they are famous or not.

“Selling books is a miracle today, because the majority of customers belong to the middle class — and given the economic conditions, their priority is to obtain essential goods such as food,” said Hasheminejad. “I really wonder how people still buy books at these prices.”

Bookstores in Iran look similar to shops anywhere in the world. As well as shelves of Iranian writers, popular sellers include translations of foreign works — from 20th century European classics to self-help and psychology books.

Farsi translations of Mary Trump’s tell-all on her uncle Donald Trump, as well as the memoir of former US first lady Michelle Obama, have been recent hits.

‘Shock’

But as the crisis deepens, several small publishing houses have been driven out of business.

“Today, many independent publishers, who have published excellent works, have been eliminated from the market”, said Amrai.

Larger publishing houses have had to adapt to survive.

“We have reduced our profits by as much as possible in order to keep our customers, we have reduced printing and pagination, and publish digital books to avoid paper and reduce costs,” said Hasheminejad.

“But that will only last a year or two, for even the most solid companies.”

So far, books printed before recent spikes in paper costs provided a buffer, but those stocks are running low.

“In a few months, when the books stored in the depots are exhausted, it will be a shock for the customer when they see the new prices,” Hasheminejad warned.

On Enghelab Street, Tehran’s main book market, retired teacher Behjat Mazloumi, 60, already struggles to afford second-hand books.

“I haven’t been able to buy a book for years,” said Mazloumi. “Even street vendors sell books at a very high price.”

The cost rise will have wider impacts too, experts say.

Children in poorer areas where access to literature is already limited will soon find themselves priced out completely, Hasheminejad said.

“Today, we see people in some disadvantaged areas who cannot even communicate properly in Farsi,” he said. “They will certainly experience difficulties.”
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Ivan Reitman, the influential filmmaker and producer behind many of the most beloved comedies of the late 20th century, from “Animal House” to “Ghostbusters,” has died. He was 75. 

Reitman died peacefully in his sleep Saturday night at his home in Montecito, Calif., his family told The Associated Press. 

“Our family is grieving the unexpected loss of a husband, father, and grandfather who taught us to always seek the magic in life,” children Jason Reitman, Catherine Reitman and Caroline Reitman said in a joint statement. “We take comfort that his work as a filmmaker brought laughter and happiness to countless others around the world. While we mourn privately, we hope those who knew him through his films will remember him always.”

Known for bawdy comedies that caught the spirit of their time, Reitman’s big break came with the raucous, college fraternity sendup “National Lampoon’s Animal House,” which he produced. He directed Bill Murray in his first starring role in the summer camp flick “Meatballs,” and then again in 1981′s “Stripes,” but his most significant success came with 1984’s “Ghostbusters.”

Not only did the irreverent supernatural comedy starring Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson, Sigourney Weaver and Rick Moranis gross nearly $300 million worldwide, it earned two Oscar nominations, spawned a veritable franchise, including spinoffs, television shows and a new movie, “Ghostbusters: Afterlife,” that opened this last year. His son, filmmaker Jason Reitman directed.

Paul Feig, who directed the 2016 reboot of “Ghostbusters” tweeted that he was in shock. 

“I had the honor of working so closely with Ivan and it was always such a learning experience,” Feig wrote. “He directed some of my favorite comedies of all time. All of us in comedy owe him so very much.”

“A legend,” comedian and actor Kumail Nanjiani said on Twitter. “The number of great movies he made is absurd.”

Among other notable films he directed are “Twins,” “Kindergarten Cop,” “Dave,” “Junior” and 1998′s “Six Days, Seven Nights.” He also produced “Beethoven,” “Old School” and “EuroTrip,” and many others, including his son’s Oscar-nominated film “Up in the Air.” 

He was born in Komárno, Czechoslovakia, in 1946 where his father owned the country’s biggest vinegar factory. His mother had survived Auschwitz and his father was in the resistance. When the communists began imprisoning capitalists after the war, the Reitmans decided to escape, when Ivan Reitman was only 4. They traveled in the nailed-down hold of a barge headed for Vienna.

“I remember flashes of scenes,” Reitman told the AP in 1979. “Later they told me about how they gave me a couple of sleeping pills so I wouldn’t make any noise. I was so knocked out that I slept with my eyes open. My parents were afraid I was dead.” 

The Reitmans joined a relative in Toronto, where Ivan displayed his show biz inclinations: starting a puppet theater, entertaining at summer camps, playing coffee houses with a folk music group. He studied music and drama at McMaster University in Hamilton, Ontario, and began making movie shorts. 

With friends and $12,000, Reitman made a nine-day movie, “Cannibal Girls,” which American International agreed to release. He produced on a $500 budget a weekly TV revue, “Greed,” with Dan Aykroyd, and became associated with the Lampoon group in its off-Broadway revue that featured John Belushi, Gilda Radner and Murray. That soon led to “Animal House.”

Reitman seized the moment after “Animal House’s” massive success and raised money to direct “Meatballs,” which would be tamer than the hard-R “Animal House.” 

He hand picked Murray to star, which would prove to be a significant break for the comedian, but Ramis later said that Reitman didn’t know if Murray would actually show up until the first day of the shoot. But it was the beginning of a fruitful and longrunning partnership that would produce the war comedy “Stripes,” which Reitman said he thought up on the way to the “Meatballs” premiere, and “Ghostbusters.” 

Reitman also put Schwarzenegger in his first major comedy, opposite Danny DeVito in “Twins.” There was such uncertainty around the project that all forfeited their fees for a share of the profits, which would prove to be a lucrative deal when the film earned $216 million against an $18 million production budget. In Sept. 2021, it was announced that a sequel, “Triplets” was in the works with Reitman directing his original cast, plus Tracy Morgan as their long lost brother. 

By the time 1990′s “Kindergarten Cop” came around, Reitman had established himself as the most successful comedy director in history. Though not even being the father of three children could have prepared him for the arduous task of directing 30 children between the ages of 4 and 7 in the Schwarzenegger comedy.

The political comedy “Dave,” starring Kevin Kline as an ordinary man who has to double for the US President, provided a bit of a departure for Reitman. Roger Ebert wrote at the time that “The movie is more proof that it isn’t what you do, it’s how you do it: Ivan Reitman’s direction and Gary Ross’ screenplay use intelligence and warmhearted sentiment to make Dave into wonderful lighthearted entertainment.”

Reitman slowed down as a director after “Six Days, Seven Nights,” the 1998 adventure comedy with Harrison Ford and Anne Heche — only four films would follow “Evolution,” “My Super Ex-Girlfriend,” “No Strings Attached” and “Draft Day,” from 2014.

But he continued producing. His company, the Montecito Picture Co., produced Todd Phillips’ first movie, “Road Trip.” And with “Ghostbusters: Afterlife,” even found himself on the press circuit with his son, providing emotional moments for both with the passing of the baton. Jason Reitman, who was only 7 when the original came out, included some nods to his father’s films like “Beethoven” and “Cannibal Girls” in “Afterlife.”

“Directing ‘Ghostbusters Afterlife’ was completely intimidating,” Jason Reitman said last year. “I was lucky enough to do it sitting next to my dad.” 

When asked why the 1984 film continued to fascinate, Reitman told the AP that it was hard to define.

“I always had a sort of sincere approach to the comedy,” he said. “I took it seriously even though, it was a horror movie and a comedy, I felt you had to sort of deal with it in a kind of realistic and honest way.”

He always took comedy and the power of laughter seriously.

“The great cliche is about how damn tough comedy is. But of course, nobody really gives that any respect,” he told the Los Angeles Times in 2000. “It’s such a visceral thing, laughing. So, getting to the point where you can get an audience of 600 people laughing is really precise and intricate work. … My sense is we’re laughing at the same things we’ve always laughed at, but the language of the filmmaker and the performer shifts.” 
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A star-studded Los Angeles Rams team will seek to deny the giant-killing Cincinnati Bengals a Hollywood ending in the Super Bowl on Sunday as an NFL season full of plot twists reaches its climax.

The first NFL championship game of the post-Tom Brady era sees the Rams play host at their gleaming $5.5 billion SoFi Stadium against a Bengals side chasing a first Super Bowl crown.

Around 100 million Americans are expected to tune in for the biggest annual event on the U.S. sporting calendar, which kicks off at 3:30 p.m. local time (2330 GMT).

“It’s game day!” the National Football League proclaimed on Twitter. “It all comes down to this moment.”

The perfectly scripted season finale will see a duel between two talented quarterbacks playing in the Super Bowl for the first time, with Rams veteran Matthew Stafford pitted against the rising Bengals star Joe Burrow.

A Bengals victory would complete one of the most striking turnarounds in NFL history.

Last season, the team finished with four wins and 11 defeats, only slightly better than their 2019 campaign, which ended in a dismal 2-14 record.

But under head coach Zac Taylor, and buoyed by the arrival of No.1 draft pick Burrow in 2020, the Bengals are a team transformed.

A dogged, never-say-die approach characterized their post-season campaign, which saw them shock AFC top seeds Tennessee before another upset on the road over mighty Kansas City sealed their Super Bowl berth.

Whether Burrow is afforded the time and space to craft one more Bengals upset is another question altogether, however.

A porous offensive line allowed him to be sacked a whopping nine times during the playoff win over Tennessee.

That is a stat that the formidable Rams defense, led by the human wrecking ball Aaron Donald, the best defensive player in the NFL, and veteran pass rusher Von Miller, will have taken note of.

On the offensive side, meanwhile, the Rams have more than enough weapons to puncture the Bengals defense.

The 34-year-old Stafford, playing in his first Super Bowl, has an array of targets to aim for, including Cooper Kupp, the best wide receiver in the NFL this season, and Odell Beckham, Jr., the charismatic former New York Giants and Cleveland Browns receiver who has flourished since joining the Rams in mid-season.

As well as enjoying home advantage in what is the first Los Angeles-area Super Bowl since 1993, the Rams also have the benefit of having recent experience of the NFL Championship game.

Many members of Sunday’s line-up were on the losing side when the Rams were beaten 13-3 by the New England Patriots in the Super Bowl in 2019.

Rams head coach Sean McVay — who at 36 years and 20 days old would become the youngest head coach to win a Super Bowl with victory on Sunday — was upbeat after overseeing a final team walkthrough Saturday.

“We’re very confident,” McVay said. “We’re ready to go. There’s a good look in their eyes.

“I think there’s a good urgency, but also I just have a good feel about this team. I feel excited to watch them go and do their thing.”

The Rams will be playing in front of a packed crowd of 70,000, while the traditional half-time music concert will feature the likes of Eminem, Mary J. Blige and hip-hop icons Dr. Dre, Snoop Dogg and Kendrick Lamar.

The capacity crowd also contrasts with last season’s Super Bowl in Tampa, where attendance was limited to around 25,000 fans due to COVID-19.

While the omicron variant surge is in retreat in Los Angeles, authorities are requiring all attendees Sunday to provide proof of vaccination or a negative COVID-19 test, with masking mandatory.
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Veteran NFL coach Anthony Lynn appreciates the league policy that requires teams to interview minority candidates for their top jobs, and he has even benefited from it.

Like many of his peers, though, the assistant head coach for the San Francisco 49ers believes the policy has fallen short of its good intentions: There were three non-white head coaches when the rule went into effect in 2003; today, there are five.

The figure has risen and fallen slightly over the past 20 years, but skepticism about NFL hiring practices has remained steady among minority job candidates even after the league introduced the so-called Rooney Rule, named after former Steelers owner Dan Rooney, who oversaw the league’s diversity committee.

Lynn, who is Black, long ago added his own personal amendment to the Rooney Rule: As his star rose as one of the league’s top assistants in the mid-2010s, Lynn would only meet with teams to discuss a head coaching vacancy if they had already brought in at least one other minority candidate, something the Rooney Rule didn’t require until 2021.

“I just didn’t want to be a token interview,” Lynn told The Associated Press. “I really believe in the spirit of the Rooney Rule, but I just saw how people were abusing it and I didn’t want to be a part of that.”

The racial discrimination lawsuit filed this month against the NFL and several teams by former Miami Dolphins head coach Brian Flores has magnified attention on the league’s hiring practices and stirred up long-simmering frustrations with the Rooney Rule. It has also prompted comparisons from Lynn and others to corporate America, which has also struggled to diversify its leadership ranks.

Lynn’s perseverance paid off in 2017 when the Los Angeles Chargers made him the first Black head coach in team history.

The candidates Lynn beat out for the job included Teryl Austin, who is now a defensive coordinator for the Pittsburgh Steelers. Austin’s interview with the Chargers was one of 11 occasions where he earned a face-to-face meeting, but failed to land the head coaching job.

There were times when Austin felt like he was really in contention, and others when he felt he “was one of those guys where they were checking a box” to comply with the mandate.

Austin’s personal journey is included in Flores’ lawsuit as evidence of a discriminatory system that is failing qualified job candidates.

NFL Commissioner Roger Goodell partially pushed back on Wednesday, saying the league has made a “tremendous amount of progress in a lot of areas.” He acknowledged, though, that the league is lagging when it comes to head coaches.

“We have more work to do and we’ve got to figure that out,” Goodell said in Los Angeles ahead of Sunday’s Super Bowl at SoFi Stadium. Goodell said the NFL has already engaged “outside experts” to help it review hiring policies and he didn’t rule out the possibility of eliminating the Rooney Rule.

The two teams playing in this year’s Super Bowl — the Cincinnati Bengals and the Los Angeles Rams — are led by offensive-minded, white head coaches in their 30s. There is considerable diversity, however, among the dozens of coaches that oversee their offenses, defenses and special teams. Half of the coaches working for Rams head coach Sean McVay are Black.

Art Rooney II — Dan’s son and the current Steelers president — defended the impact of his father’s eponymous hiring policy.

“While I acknowledge that we have not seen progress in the ranks of head coaches, we have seen marked improvement in the hiring of women and minorities in other key leadership roles,” he said.

In many cases, there was nowhere to go but up.

The NFL is running in place in terms of diversifying its most visible leadership positions. While over a third of assistant coaches are Black, only two teams employed Black offensive coordinators this season, considered the final rung of the ladder before becoming a head coach. Nearly 85% of the league’s general managers and player personnel directors are white, according to a report by the Institute for Diversity and Ethics in Sport.

“This is a willingness and heart issue,” said Troy Vincent, a former player who is now the league’s executive vice president of football operations. “You can’t force people, so we have to continue to educate and share with those in the hiring cycle.”

Players also have a role in promoting change, says Richard Lapchick, the director of the Institute for Diversity and Ethics in Sport.

Lapchick points to the NBA, where players have taken an increasingly public role in social activism. Nearly half of the NBA’s 30 teams are led by Black coaches and over a quarter employ Black general managers.

“I don’t think that the (NFL) office can do it on their own,” Lapchick said. “The impact will only take place … when the athletes themselves raise their voice and say it’s important.” Roughly 70% of NFL players are Black.

Corporate America has run into many of the same diversity challenges as the NFL, and the same legal problems.

“The NFL is no different than the rest of society,” said Lynn of the 49ers. “Look at the top Fortune 500 companies. How many minority CEOs do you have in that industry versus ours? Our percentage may be higher.”

Over 90% of Fortune 500 presidents and CEOs are white and only 3% are Black, according to the Institute for Diversity and Ethics in Sport.

Former Morgan Stanley chief diversity officer Marilyn Booker sued the bank in 2020 for racial discrimination and retaliation. She alleged that the company’s overwhelmingly white executives stymied her plans to diversify its management structure. The two sides eventually settled out of court.

Last year, five of the largest banks — J.P. Morgan Chase, Bank of America, Citigroup, U.S. Bancorp and Wells Fargo — agreed to make public commitments to policies that echo the Rooney Rule, according to a spokesman at the AFL-CIO, which helped secure the agreements.

But experts say many of the biggest companies still have further to go.

“Many companies are engaging in these types of DEI (diversity, equity and inclusion) efforts as performance-art theatrics,” said Nicholas Pearce, clinical professor of management and organizations at Northwestern’s Kellogg School of Management.

Whether in sports or business, Pearce says one easy way for hiring managers to reduce the effects of implicit bias would be to require more diverse panels to conduct job interviews.

With the exception of Jacksonville’s Shad Khan and Buffalo co-owner Kim Pegula, all NFL teams are privately owned by white men, with the exception of the Green Bay Packers, which is publicly owned.

Jerod Mayo, a 35-year-old linebackers coach for the New England Patriots, has ambitions of one day becoming a head coach. And Mayo, who is Black, is optimistic that by the time he’s ready, many of the challenges that veterans such as Lynn, Austin and Flores have faced, will be a thing of the past.

“You know, that’s a beautiful day where we don’t need the Rooney Rule.”

 
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Americans are getting ready for the Super Bowl on Sunday. It’s the final matchup of the National Football League season and a national celebration. Mike O’Sullivan reports from Los Angeles, where the Los Angeles Rams will face the Cincinnati Bengals.
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Artechouse’s new exhibit in Washington, “Transient: Impermanent Painting,” offers visitors an experience in hyperrealism. The Italian multimedia artist Quayola projects hyperrealistic pictorials of paint strokes against the sound of a coded, computerized Yamaha piano. Maxim Moskalkov reports.
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Los Angeles is getting ready to host one of the biggest annual sporting events in the U.S. – the Superbowl. Angelina Bagdasaryan examines the preparations for Superbowl 2022 and also spoke with residents about this Sunday’s (2/13) playoff between the Los Angeles Rams and the Cincinnati Bengals. Anna Rice narrates her story. Camera: Vazgen Varzhabetian
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Sting has sold his songwriting catalog — including solo works as well as hits with The Police like “Roxanne” — to Universal Music Group, the company said Thursday, the industry’s latest such blockbuster transaction.

The company did not disclose financial terms of the deal, but U.S. media estimated it was worth some $250 million. It covers Sting’s entire body of songwriting work, including songs written for The Police.

Sting’s sale reunites his publishing catalog with his recorded music rights, which are already controlled by Universal, according to the company’s statement.

Universal now stands to receive all future income related to Sting’s song copyrights and songwriter royalties, for hits including “Every Breath You Take” and “Fields of Gold.”

In a statement, the 70-year-old British-born artist said he is “delighted” for Universal’s publishing division to manage his catalog, saying “it is absolutely essential to me that my career’s body of work have a home where it is valued and respected — not only to connect with longtime fans in new ways but also to introduce my songs to new audiences, musicians and generations.”

It’s the latest high-profile deal of the recent music rights purchasing rush, which has seen artists including Bob Dylan and Bruce Springsteen sell off their catalogs for astronomical sums.

The trend is driven in large part by the anticipated stability of streaming growth combined with low interest rates and dependable earning projections for time-tested hits.

It’s also useful for artists focused on estate planning, and those whose touring income has been stymied by the pandemic.

Companies have acquired a number of major catalogs including from David Bowie’s estate, Stevie Nicks, Paul Simon, Motley Crue, The Red Hot Chili Peppers and Shakira.
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Kenya will be sitting out the Winter Olympics in Beijing after the country’s hopefuls either failed to qualify or pulled out of The Games due to lack of financial support. The ice hockey team did not have a place to train. Brenda Mulinya reports from Nairobi. Videographer: Amos Wangwa 
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Ambassadors from six Latin American countries on Tuesday denounced an upcoming auction of pre-Hispanic artifacts in France, reviving a longstanding grievance of the region. 

The joint statement came a day after Mexico’s President Andres Manuel Lopez Obrador denounced the practice as immoral after a recent major auction. 

The Paris ambassadors of Ecuador, Guatemala, Mexico, Panama, Peru and the Dominican Republic condemned “in the strongest terms” the sale of pre-Hispanic artifacts organized by auction houses in the coming days. 

In their joint statement, they called for the auctions to be halted. 

They denounced what they said was the “continuation of practices linked to the illicit trade in cultural property, which damage the heritage, history and identity of our native peoples.” 

The ambassadors of Colombia, Guatemala, Honduras, Mexico and Peru made a similar appeal last November. 

On Monday, Mexico’s Lopez Obrador called on France to legislate on the issue, after the January 28 sale by the Millon auction house of 30 pre-Hispanic Mexican artifacts, despite protests from Mexico City. 

In recent years, Mexico has been trying to recover artifacts in the hands of private collectors around the world, with only partial success. 

As well as calling for artworks to be returned, Mexico has accused major European fashion houses of cultural appropriation for lifting native designs for their clothes. 

It is part of an ongoing debate over the ethics of cultural artifacts held by museums and private owners in former colonial powers, and questions about how they were acquired in the first place. 

 
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