On stage, amid the hubbub of a Bolivian street market, women recount their stories of abuse at the hands of men.

But the violence depicted in the play isn’t just make-believe for the 22 indigenous actresses: It’s based on their own real-life experiences.

“Kusisita,” a work that seeks to raise awareness about violence against women and mobilize people to fight it, has been drawing large audiences in Bolivia, which has one of South America’s highest rates of femicides.

In the theater, Maria Luque portrays a woman who asks her drunken husband to stop abusing her. In her own history, she said, she was so brutally beaten by the father of her four children that she was left partly paralyzed. Even after more than a decade, she still has trouble moving some of the muscles in her face. 

“I’ve suffered discrimination since birth,” she told The Associated Press. “My mom was very poor and she escaped violence. For some, (violence) might be normal, but we want to show that it shouldn’t be that way.”

“Kusisita” is one of two plays offered by the Kory Warmis – Women of Gold in the Aymara language – troupe, and both focus on the problems of gender violence and convincing women to reject it.

“I was quiet, submissive, but I left that behind on stage. Theater is now my life,” said Luque, 56, who immigrated to the city of El Alto from a rural community in search of work opportunities. 

The plays, presented in Aymara, are also aimed at indigenous communities where nearly half of all reports of gender-based violence takes place, according to 2017 figures from the National Statistics Institute. Those communities make up roughly a fifth of Bolivia’s population.

​About 40% of the country’s police cases involve family violence and alcohol is involved in 90% of cases, according to a government report last year on gender-based violence.

“It’s a very high and alarming rate,” said government minister Carlos Romero, who helped write the report.

Actress Gumercinda Mamani, an artisan and shepherd , recalled how the body of a friend was found on the outskirts of La Paz with marks from a rope that her partner had used to choke her.

“It’s hard to understand how the man that you give your life to is the one who takes it away,” said Mamani, a former representative for female farmers. “I’m fighting against this.”

Carmen Aranibar, another actress, joined the group in the hopes that her story would encourage other women to leave abusive relationships.

“We can’t wait until they kill us or we want to take our own lives out of the desperation caused by violence,” said Aranibar, a mother of two boys who sells diapers for a living.

She said she endured beatings by her partner for more than 10 years before finding out that he was cheating on her with a younger woman. 

“I nearly killed myself,” she said. “I put up with everything he did because I was afraid that he’d leave me. But then I realized that it wasn’t worth it and I left him. I’m happy here and that’s what I tell in the play.”

The theater group, which was founded in 2014, finds itself gaining an audience as waves of women mobilize to fight gender violence across the world. In neighboring Argentina, a grassroots movement known as “Ni Una Menos,” or Not One Less, emerged in 2015 and drew thousands to hold massive demonstrations in support of women’s rights. But while movements in Bolivia have lacked the impact of Ni Una Menos or the (hash)MeToo movement in the United States, some say the plays have had impact.

“It’s a success, 100% percent,” said Paola Ricalde of the La Paz mayorship’s directorate for equality policies. 

Theater group director Erika Andia said it’s challenging to oversee a group of women who have been forced to be silent and submissive. But she said that their strength of will helped them achieve their goal of “discovering what they’re capable of, helping them loosen up and boost their confidence.”

“We never thought we’d reach so far,” Andia said. “There are no limits to what we do. Every year we continue to grow and there’s happiness after all the pain that our actresses have suffered.”
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Simon Pagenaud arrived at Indianapolis Motor Speedway this month with his job on the line and rumors swirling around Gasoline Alley that Alexander Rossi could soon replace him at Team Penske.

The Frenchman is leaving with a pair of wins, his face soon to be engraved on the Borg-Warner trophy as the Indianapolis 500 champion and an assurance from Roger Penske himself that he isn’t going anywhere.

“Do I even have to answer that?” Penske asked. “Absolutely.”

In a head-to-head duel for the ages, Pagenaud defeated none other than Rossi with a dramatic pass on the penultimate lap, then holding on the rest of the way to hand Penske his 18th win in “The Greatest Spectacle in Racing.” Even sweeter, it came the 50th anniversary of Penske’s arrival at the Brickyard.

Pagenaud and Rossi swapped the lead five times over the final 13 laps, and the margin of victory was a mere 0.2086 seconds — the seventh-closest finish in the 103 years of the race.

“It’s a dream come true. A lifetime trying to achieve this,” said Pagenaud, who dismissed the thought over job security as he celebrated his first Indy 500 win. “The milk motivated me. I was just focused on the job, man.”

Pagenaud was dominant all day, leading 116 of the 200 laps, and the win was cathartic. He stopped his car at the start-finish line and hopped out to share the moment with his fans. And once he finally made his way to victory lane, Pagenaud climbed from his car and let out a primal scream, then dumped the entire bottle of milk over his head. 

“I never expected to be in this position,” Pagenaud said, “and I certainly am grateful.”

President Donald Trump phoned Penske in victory lane from Japan, where he was meeting with Prime Minister Shinzo Abe over trade. Penske passed the phone to Pagenaud, and Trump later tweeted an invite to the White House for the winning team.

Penske, who was there earlier with Joey Logano last month to celebrate last year’s NASCAR Cup Series championship, said Trump told him: “I must have been your good-luck charm.”

Penske now has two consecutive Indy 500 victories — Will Power won last year — for the first time since 2002-03. It was his third win in the crown jewel race in the past five years and fifth in the past 14.

​It was a banner day, too, with Josef Newgarden finishing fourth and Power in fifth.

Rossi lost his cool several times in the race, but the Californian had better fuel mileage than Pagenaud and the Penske cars. The 2016 race winner twice charged to the front in the closing laps.

“Horsepower. That’s unfortunately the way it is,” said Rossi, who was in a Honda for Andretti Autosport. “I think we had the superior car. We just didn’t have enough there at the end.”

Pagenaud was in a Chevrolet, and the bowtie brand was the dominant engine all May. It swept the top four spots in qualifying, won the race and took four of the top six spots.

Pagenaud is the first Frenchman to win the Indy 500 since Rene Thomas in 1914. Indianapolis records count five French winners, but Gil de Ferran in 2003 and Gaston Chevrolet in 1920, while born in France, list other nationalities. Pagenaud was the 21st winner form the pole and first since Helio Castroneves a decade ago.

As he began the traditional victory lap in the back of a convertible, Rossi was one of many drivers to walk onto the track to congratulate him. The American leaned in for a genuine embrace.

“Nothing else matters but winning,” Rossi said. “This one will be hard to get over.”

Rossi, who drove from the back to finish fourth a year ago, had been patient through the first half of the race and set himself up to take control after the halfway point. But a troublesome fuel hose on a pit stop caused a lengthy delay, and Rossi was angrily pounding his steering wheel while imploring the Andretti crew to get him back on track.

He really lost his cool when he couldn’t get past the lapped car of Oriol Servia. As Rossi finally raced by, he angrily raised his fist at the Spaniard. A late wreck then caused an 18-minute stoppage with Rossi set to restart the final sprint as the leader, and he conveyed his mood over his team radio.

“A bunch of hungry, angry cars behind me,” Rossi said. “Little do they know I’m angrier.”

Pagenaud got him on the restart, though, and the two went back and forth four more times before Pagenaud locked down the win. Former champion Takuma Sato finished third as he and Rossi gave Honda two spots on the podium. Santino Ferrucci in seventh was the highest finishing rookie.

Attention had been heavy on rookie Colton Herta, but the 19-year-old driver for team owners Mike Harding and George Steinbrenner IV was the first driver out of the race when his gearbox broke.

Indianapolis Motor Speedway officials had prepared for rain, and perhaps even a postponement, in NBC’s debut as broadcaster. But it was a bright, sunny day — a picture-perfect showcase for Pagenaud to triumph on Memorial Day weekend. 
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North America, as the world knows it today, would likely look different without their efforts. Woodsmen logged forests, producing essential lumber and firewood, while also clearing farmland. They grew to be called lumberjacks, and at a recent competition in Sweden, a champion emerged a cut above the rest. Arash Arabasadi reports.
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Most kids love digging in the sand … and many never outgrow that. A new and unusual attraction nicknamed “sand box for grown-ups” is a big hit among teenagers and adults in Las Vegas, Nevada. It’s a heavy equipment playground that gives customers a change to operate gigantic, earth-moving bulldozers and hydraulic excavators, get tested on their skills and just have fun. Roman Mamonov tried his hand at operating some of the biggest construction vehicles there. Anna Rice narrates his story.
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South Korean director Bong Joon-ho’s social satire Parasite, about a poor family of hustlers who find jobs with a wealthy family, won the Cannes Film Festival’s top award, the Palme d’Or, on Saturday.  

  

Parasite was the first Korean film to win the Palme. In the festival’s closing ceremony, jury president Alejandro Inarritu said the choice was “unanimous” for the nine-person jury.  

  

The genre-mixing film had arguably been celebrated more than others at Cannes this year, hailed by critics as the best yet from the 49-year-old director of Snowpiercer and Okja.  

  

It was the second straight Palme victory for an Asian director. Last year, the award went to Japanese filmmaker Hirokazu Kore-eda’s Shoplifters, a film also about an impoverished family. 

 

“We shared the mystery of the unexpected way this film took us through different genres, speaking in a funny, humorous and tender way of no judgment of something so relevant and urgent and so global,” Inarritu told reporters after the ceremony.  

  

Many of the awards at Cannes on Saturday were given to social and political tales that depicted geopolitical dramas in localized stories, from African shores to Paris suburbs.    

The festival’s second-place award, the Grand Prix, went to French-Senegalese director Mati Diop’s feature-film debut, Atlantics. The film by Diop, the first black female director ever in competition in Cannes, views the migrant crisis from the perspective of Senegalese women left behind after many young men flee by sea to Spain. 

Sciamma’s period romance

  

Although few quibbled with the choice of Bong, some had expected Cannes to make history by giving the Palme to a female filmmaker for just the second time. Celine Sciamma’s period romance Portrait of a Lady on Fire was the Palme pick for many critics this year. Instead, Sciamma ended up with best screenplay.  

  

In the festival’s 72-year history, only Jane Champion has won the prize. In 1993, her The Piano tied with Chen Kaige’s Farewell My Concubine.  

  

Best actor went to Antonio Banderas for Pedro Almodovar’s reflective drama Pain and Glory. In the film, one of the most broadly acclaimed of the festival, Banderas plays a fictionalized version of Almodovar looking back on his life and career.  

  

“The best is still to come,” said Banderas, accepting the award.  

  

The Belgian brothers Jean-Pierre and Luc Dardenne, who have already twice won the Palme d’Or, took the best director prize for Young Ahmed, their portrait of a Muslim teenager who becomes radicalized by a fundamentalist imam. 

 

The jury prize, or third place, was split between two socially conscious thrillers: French director Ladj Ly’s feature-film debut Les Miserables and Brazilian director Kleber Mendonca Filho’s Bacurau.  

  

Ly called his film an alarm bell about youths living in the housing projects of Paris’ suburbs. Filho viewed his feverish, violent Western about a rural Brazilian community defending itself from a hard-to-comprehend invasion as a reflection of President Jair Bolsonaro’s Brazil.    

British actress Emily Beecham won best actress for her performance in Jessica Hausner’s science-fiction drama Little Joe. The jury also gave a special mention to Palestinian director Elia Suleiman’s It Must Be Heaven. 

  

The Camera d’Or, an award given for best first feature from across all of Cannes’ sections, went to Cesar Diaz’s Our Mothers, a drama about the Guatemalan civil war in the 1980s.  

  

The ceremony Saturday brought to a close a Cannes Film Festival that was riven with concerns for its own relevancy. It had to contend, most formidably, with the cultural television force of Game of Thrones. The continuing rise of streaming was also a constant subject around the festival.  

Netflix controversy

  

Two years ago, Bong was in Cannes’ competition with Okja, a movie distributed in North America by Netflix. After it and Noah Baumbach’s The Meyerowitz Stories — another Netflix release — premiered at Cannes, the festival ruled that all future films in competition needed French theatrical distribution. Netflix has since withdrawn from the festival on the French Riviera. 

 

This year, bowing to pressure from 5050×2020, the French version of Time’s Up, the festival released gender breakdowns of its submissions and selections. Cannes said about 27% of its official selections were directed by women. The 21-film main slate included four films directed by women, which tied the festival’s previous high.  

  

The 72nd Cannes had its share of red-carpet dazzle, too. Elton John brought his biopic Rocketman to the festival, joining star Taron Egerton for a beachside duet after the premiere. And Quentin Tarantino unveiled his 1960s Los Angeles tale Once Upon a Time … in Hollywood, with Brad Pitt and Leonardo DiCaprio, 25 years after the director’s Pulp Fiction won the Palme d’Or.  

  

Tarantino, who attended the closing ceremony, didn’t go home empty-handed. On Friday, a prominent pooch in his film won the annual Palme Dog, an award given by critics to Cannes’ best canine.
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In the United States, the last Monday in May is Memorial Day, a holiday that honors people who died in military service during wartime.

The end of May also marks the beginning of a less serious kind of war. It is one many living Americans fight each summer. It is a battle for – and about – the perfect lawn. That’s right, the lawn: the grass around most American houses.

Virginia Scott Jenkins is an expert on Americans’ extreme interest in lawns. In fact, in her book on the issue, she calls it an “obsession.”

She says that, in the minds of many Americans, the perfect lawn looks like a soft, green carpet. “One height, one color, one type of grass, one consistency.”

Many Americans believe such a lawn does more than make a house or neighborhood look good.

“An orderly front lawn is supposed to be representative of an orderly household,” Jenkins says. “Good neighbors have good front lawns, good citizens have good front lawn(s).”

Lawns are so linked to American identity that they are part of some U.S. government buildings overseas. Architectural historian Jane Loeffler notes that the design for the American embassy in Berlin, Germany, for example, includes an outdoor area made to look like “the beloved American lawn.”

Man against nature

Lawns are not only a big deal for Americans – they are also big business.

The Bloomberg news service found that Americans spend about $40 billion every year on lawn care. They pay for lawn mowers to cut the grass and chemical fertilizers to make it grow. Many also pay other people to help keep their lawns thick and green.

These things are all weapons in a war against natural forces that, in time, may make lawns look wild or brown. So why do so many Americans fight such a war each summer?

“People have grown up believing that that ’s what [a lawn] is supposed to look like,” Jenkins says. “Because of tremendous advertising campaigns and pressure from the lawn care industry, which is a multi-million dollar business.”

Jenkins says that lawns also show a person’s social position. “Do you know how much money it takes, and time and effort, to grow a perfect front lawn?”

A major reason why lawns are so much work is because they are completely man-made, she adds. “There is not anything natural about them.”

Even the grass seed historically comes from Europe and Africa.

Man against neighbor

Of course, not everyone accepts traditional American lawn culture.

In recent years, another front on the lawn war has formed. It is between people who want to control their lawns, and those who want to let native plants grow naturally.

In 2014, in an area of Virginia about 80 kilometers outside Washington, D.C, a couple entered into a legal fight with their neighborhood about their lawn. The couple’s house is on about 2.2 hectares of land. They cut and care for the grass on part of that land, but they permit the rest to grow naturally into a meadow, with tall grass and wildflowers.

The couple, Michael and Sian Pugh, told the Washington Post newspaper that they enjoy watching the butterflies, birds and deer that visit the meadow.

But the Pughs are part of a homeowners association – a group that cares for and governs a neighborhood. The homeowners association, or HOA, makes and enforces rules about that area. One rule that is common among HOAs across the country is that members must keep their grass short and green. The Pugh’s HOA says their meadow violates this rule and is not fair to their neighbors.

One concern is that the meadow might reduce the value of other people’s homes in the area. People who sell property say a well-kept lawn is an important part of making a house attractive to buyers.

Another concern is that the neighborhood will no longer feel pleasant – or even safe – to the people who already live there.

But the Pughs and their supporters say meadows such as theirs add value because they are better for the environment. The native grasses have deep roots and can protect against flooding. And the wildflowers invite bees and butterflies, which help crops and other plants grow.

Alternatives to the traditional American lawn

Activists in other places have made similar environmental arguments.

They say the chemicals that “feed and weed” traditional lawns can hurt people and animals. They criticize the water waste involved in keeping lawns green, especially in places that face drought.

They also note that some kinds of lawn mowers use gas and pollute the air. And they say that, in general, keeping lawns under control takes too much time, and is a job that few homeowners really want to do.

In answer to these arguments, some people have found other ways to use the area around their houses. They use plants that grow easily. Or they put in vegetable gardens and fruit trees. Or, like the Pughs, they permit nature to take over and hope their neighbors w ill come to accept a new definition of “lawn.”

By the way, the Pugh’s case was never fully resolved. The HOA decided not to go to court. But HOA officials are also re-writing the rules so that no one else tries to grow a tall, wild meadow in a place where neighbors prefer a short, orderly lawn.
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Vinyl records are becoming more popular in the U.S., after almost disappearing from American markets when they were replaced over the years by audio tapes, CDs and digital music downloaded onto phones and other devices. With vinyl records coming back, record-pressing plants are being established, including one just recently opened in Alexandria, Va., a Washington, D.C., suburb. Alina Golinata recently visited the plant and filed this report.
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Leonardo da Vinci is renowned as a “Renaissance man” for his mastery in art, science, architecture, music, mathematics, engineering and cartography, but he was no master at completing his efforts. 

 

Five hundred years after his death, a professor of psychiatry in Britain has suggested that the reason da Vinci left behind so many unfinished works, including the iconic Mona Lisa, is that he may have had attention deficit hyperactivity disorder (ADHD). 

 

“I am confident ADHD is the most convincing and scientifically plausible hypothesis to explain Leonardo’s difficulty in finishing his works,” Marco Catani of King’s College in London argues in a paper published Friday in the neurological journal Brain.  

 

Catani said historical records show da Vinci’s struggles with finishing tasks were pervasive from childhood.

On the go

Accounts from biographers and contemporaries show he was constantly on the go, Catani said, often jumping from task to task. And like many people with ADHD, da Vinci got very little sleep and often worked continuously, night and day. 

 

“Historical records show Leonardo spent excessive time planning projects but lacked perseverance. ADHD could explain aspects of Leonardo’s temperament and his strange mercurial genius,” the professor said. 

 

ADHD is a behavioral disorder most commonly identified with inability to complete tasks and mental and physical restlessness. It is most commonly recognized in children but is increasingly being diagnosed among adults, including those with successful careers.  

 

“There is a prevailing misconception that ADHD is typical of misbehaving children with low intelligence, destined for a troubled life,” Catani said.  He said he hoped that “that the case of Leonardo shows that ADHD is not linked to low IQ or lack of creativity but rather the difficulty of capitalizing on natural talents. I hope that Leonardo’s legacy can help us to change some of the stigma around ADHD.” 
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John Pinto, a Navajo Code Talker in World War II who became one of the nation’s longest serving Native American elected officials as a New Mexico state senator, has died. He was 94.

Senate colleague Michael Padilla confirmed Pinto’s death in Gallup on Friday after years of suffering from various illnesses that rarely kept him from his duties.

After serving as a Marine, Pinto was elected to the Senate in 1976 and represented a district that includes the Navajo Nation for more than four decades. The region is one of the poorest in the country.

“Words cannot express the sadness we feel for the loss of a great Dine warrior,” said Navajo Nation President Jonathan Nez, using the indigenous word for Navajo. “He dedicated his life to helping others.”

Born in Lupton, Arizona, on the Navajo Nation to a family of sheep herders. Pinto didn’t start formal schooling until he was nearly a teenager. 

“At the age of 12, I was in kindergarten,” Pinto told the Albuquerque Journal in a 2007 interview. “I guess I did all right.”

Pinto also recalled that his grandparents told of being forced at gunpoint from their land in the 1860s by the U.S. Army in the forced relocation of the Navajo people on foot to southern New Mexico.

After serving as a Code Talker — a group of radio men who translated American coordinates and messages into an indecipherable code based on the Navajo language — Pinto had to take an English test four times before he was finally admitted into the University of New Mexico’s College of Education.

He graduated with a bachelor’s in elementary education at 39, and eventually earned his master’s, becoming a teacher and a truancy officer in Gallup.

Pinto delved into politics to address the needs of impoverished indigenous populations. The Democrat won a seat in state Senate in 1976 as one of the state’s first Native American senators.

An unassuming appearance and manner belied Pinto’s political determination that carried him through 42 years in the Legislature. Laurie Canepa, the senior librarian for the Legislative Council Service, said that made him the longest serving senator in state history.

Manny Aragon, the state’s one-time Senate president, tells the story of driving to the Statehouse in a January 1977 snowstorm and picking up a middle-aged Navajo man who was hitchhiking in Albuquerque. The hitchhiker was newly elected Sen. Pinto.

“I just thought he was a transient,” Aragon said.

In the Legislature, Pinto advocated for education reform and anti-poverty programs. Receiving a lifetime achievement award in 2016, Pinto recalled going hungry at times as a child while his parents juggled odd jobs and said the experience influenced his work on issues of homelessness as a lawmaker.

Every year, Pinto would sing on the Senate floor the “Potato Song” — a Navajo song about a potato, planted in the spring and visited in the summer until it is harvested. Fellow senators, staff and aides clapped along to Pinto’s rendition.

Lenore Naranjo, the Senate’s chief clerk, says Pinto taught her bits of Navajo language over the decades.

“A beautiful man is all I can say,” Naranjo said.
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