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Bangkok — A dissident Russian-Belarusian rock band held in Thailand on immigration charges have left the kingdom to fly to Israel, according to a post Thursday on the group’s official Facebook page.

Bi-2 have criticized Russian President Vladimir Putin and the war in Ukraine, and their arrest sparked fears they would be deported to Russia where they would face persecution.

Thailand’s National Security Council, chaired by Prime Minister Srettha Thavisin, took charge of the case on Wednesday, and early Thursday the band’s Facebook page confirmed they had left the country.

“All musicians of the Bi-2 group have safely left Thailand and are heading to Tel Aviv,” read the post.

Several members of the band have dual nationalities, including Israeli and Australian.

On Wednesday, the band said singer Egor Bortnik, known by his stage name Lyova, had already left Thailand to fly to Israel.

The band were held last week after they played a gig on Phuket, a southern island popular with Russian holidaymakers.

Thai officials said they were arrested for performing without the correct work permits and transferred to an immigration detention center in Bangkok.

The organizers of the band’s Thailand concerts — which also included a show in the raucous beach resort of Pattaya — said all the necessary permits were obtained, but the band had been issued tourist visas in error.

VPI Event accused the Russian consulate of having waged a campaign to cancel the concerts since December and said they had faced “unprecedented pressure” as they sought the band’s release.

Bi-2 are well known in Russia.

Several of their concerts were cancelled in 2022 after they refused to play at a venue with banners supporting the war in Ukraine, after which they left Russia.

One of the band’s founders has openly denounced the Putin government, saying it makes him feel “only disgust” and accusing the long-serving leader of having “destroyed” Russia.

Human Rights Watch (HRW) earlier this week urged Thailand to let the band go free, saying they would face “persecution” if returned to Russia — pointing to comments by a Kremlin foreign ministry spokesperson accusing the band of “sponsoring terrorism.”

HRW said Russia’s foreign ministry last year designated frontman Bortnik a “foreign agent” for opposing the war in Ukraine.

Exiled Belarusian opposition leader Svetlana Tikhanovskaya weighed into the case on Wednesday, urging Thailand to “find a solution” to ensure the band’s freedom.

“I’m worried about the situation involving the Belarus-born rock band Bi-2,” she wrote on social media platform X.

“It’s now absolutely clear that Russia is behind the operation to deport the band.” 
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TEHRAN, Iran — Lighting fires that brightened the night sky, followers of Iran’s minority Zoroastrian religion marked the Sadeh festival in several cities Tuesday, celebrating the end of the coldest winter days.

Every year on January 30, Zoroastrians gather after sunset to celebrate the 50 days and 50 nights remaining until spring. Sadah, which means “the 100,” is an ancient feast from when the religion was the dominant faith in the powerful Persian empire, which collapsed after the Arab invasion in the 7th century.

On the southwestern outskirts of Tehran, several Zoroastrian priests and priestesses, dressed in white from head-to-toe to symbolize purity, led young followers to light a giant bonfire in a joyful ceremony.

Around the fire, people listened to bands and theological lectures as they milled about while eating and celebrating.

In a rare move, the Islamic Republic’s air force band played the national anthem, among other tunes, to the excitement of the attendees.

Iran’s 85 million population is mostly Shiite Muslim. The country has been ruled by hardline clerics who preach a strict version of Islam since the 1979 Islamic revolution. They discourage people from following pre-Islamic feasts and traditions.

Zoroastrianism is a monotheistic religion that predates Christianity and Islam. It was founded 3,800 years ago by the prophet Zoroaster. It stresses good deeds, and fire plays a central role in worship as a symbol of truth and the spirit of God. Zoroastrians stress they are not fire worshippers but see fire as a symbol of righteousness.

Alongside other minorities, including Christians and Jews, they have one representative in parliament, Esfandiar Ekhtiari.

During Tuesday’s ceremny, Ekhtiari said the celebration belongs to everyone and is a symbol of “felicity, respect to humanity and nature as well as human beings.”

In 2023, the United Nations Educational, Scientific and Cultural Organization recognized Sadeh for its Intangible Cultural Heritage of Humanity from Iran and Tajikistan.

Although they have common elements, such as lighting fire, the Sadeh festival is different from Nowruz, which marks the Persian new year.
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washington — South Korean kimchi exports hit a record high amid a global surge in the popularity of Korean culture, hitting 44,041 tons in 2023, a 7.1% increase from 42,544 tons exported in 2021. 

Kimchi, a traditional Korean dish made by fermenting cabbage or other vegetables, was exported to 92 countries from South Korea last year, with the United States and Japan being the top customers, according to BusinessKorea, a monthly magazine.  

The United States imported more than 10,000 tons of kimchi in 2023, and Japan imported more than 20,000 tons. Kimchi exports to the United States have grown significantly in the past few years, increasing from $14.8 million in 2019 to $29 million in 2022, according to The Korea Daily. 

Some experts see a connection between this rise in exports and the rising popularity of Korean entertainment content, such as K-pop and K-dramas. According to Forbes, U.S. viewership of Korean dramas rose 200% from 2019 to 2021, with TV shows like “Squid Game” topping the Netflix viewership charts in the United States.  

Others attribute the rising popularity of kimchi to its health benefits, as fermented foods expand the diversity of digestive tract microbes.  

Patrice Cunningham, founder and CEO of Tae-Gu Kimchi in Washington, spoke about the increase in popularity of kimchi in the United States. 

“Kimchi is a huge part of the Korean diet,” she said. “They eat it as a side dish with almost every meal. … In the states now, we’re kind of implementing that same style of eating.”  

Cunningham makes and distributes kimchi with her mother, selling both vegan and non-vegan varieties made from napa cabbage.  

“I always knew that my mom had a really great kimchi recipe, and I remember saying to myself for a while that I wanted to bottle it one day and sell it,” Cunningham said.  

She attends 15 to 16 farmers markets a week in the main season and has won multiple grants for her business, contributing to its growth. 

She said many of their customers focus on their “gut health … and so they buy our kimchi for that.”   

K-culture boosts popularity

Another Washington business that sells kimchi is Rice Market. Partner Sak Pollert said kimchi sales have increased significantly over the past two years.  

He said more customers come in “with recipes on their phone, looking for Korean and other Asian ingredients, too.”   

As to kimchi’s rise in popularity, particularly in the United States, Pollert said that many in Washington are world travelers already familiar with kimchi but don’t like the smell.  

“But now, they learned it’s probiotic foods that taste good and help with digestion,” he said. “It helps make other foods taste better, so they get over the smell quickly.”  

Pollert said he thinks that K-content has played an important role in bolstering kimchi’s global popularity. K-dramas “did a phenomenal job promoting kimchi and Korean food and drinks, especially soju,” a Korean grain-based alcohol.  

He noted that restaurant and dinner scenes in many K-dramas feature ajummas — Korean for married or middle-aged women — gathering around a table to gossip and make kimchi before winter.  

South Korea promotes its cuisine 

This rise in popularity of kimchi, though influenced by multiple factors, is a part of a broader plan by the South Korean government to push Korean cuisine worldwide.  

“South Korea’s government and corporations are thinking of ways to promote Korean food and profit from it,” National Public Radio’s Anthony Kuhn said in an interview with Yang Joo-Pil, an official at the South Korean Ministry of Agriculture, Food and Rural Affairs.  

Yang said that each year, about 10 food items are chosen for product placement in popular dramas, and Korean foods are sold at K-pop concerts. 

In Washington, efforts to promote Korean food and spread Korean culture are evident in the work of the Korean Cultural Center. Last November, the center partnered with Tae-Gu Kimchi for “DC’s First Kimjang: Making and Sharing Kimchi.”  

Kimjang in Korea is an event that occurs once or twice a year “as a way for communities to collectively stock up on and share essential foods,” according to the Korean Cultural Center’s event page.  

At the kimjang event, participants had the opportunity to try kimchi over rice and make their own kimchi in a hands-on workshop. 
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NEW YORK — N. Scott Momaday, a Pulitzer Prize-winning storyteller, poet, educator and folklorist whose debut novel “House Made of Dawn” is widely credited as the starting point for contemporary Native American literature, has died. He was 89.

Momaday died Wednesday at his home in Santa Fe, New Mexico, publisher HarperCollins announced. He had been in failing health.

“Scott was an extraordinary person and an extraordinary poet and writer. He was a singular voice in American literature, and it was an honor and a privilege to work with him,” Momaday’s editor, Jennifer Civiletto, said in a statement. “His Kiowa heritage was deeply meaningful to him and he devoted much of his life to celebrating and preserving Native American culture, especially the oral tradition.”

“House Made of Dawn,” published in 1968, tells of a World War II soldier who returns home and struggles to fit back in, a story as old as war itself: In this case, home is a Native community in rural New Mexico. Much of the book was based on Momaday’s childhood in Jemez Pueblo, New Mexico, and on his conflicts between the ways of his ancestors and the risks and possibilities of the outside world.

“I grew up in both worlds and straddle those worlds even now,” Momaday said in a 2019 PBS documentary. “It has made for confusion and a richness in my life.”

Despite such works as John Joseph Mathews’ 1934 release “Sundown,” novels by American Indians weren’t widely recognized at the time of “House Made of Dawn.” A New York Times reviewer, Marshall Sprague, even contended in an otherwise favorable review that “American Indians do not write novels and poetry as a rule, or teach English in top-ranking universities, either. But we cannot be patronizing. N. Scott Momaday’s book is superb in its own right.”

Like Joseph Heller’s “Catch-22,” Momaday’s novel was a World War II story that resonated with a generation protesting the Vietnam War. In 1969, Momaday became the first Native American to win the fiction Pulitzer, and his novel helped launch a generation of authors, including Leslie Marmon Silko, James Welch and Louise Erdrich.

His other admirers would range from the poet Joy Harjo, the country’s first Native to be named poet laureate, to the film stars Robert Redford and Jeff Bridges.

“He was a kind of literary father for a lot of us,” Harjo told The Associated Press during a telephone interview Monday. “He showed how potent and powerful language and words were in shaping our very existence.”

Over the following decades, he taught at Stanford, Princeton and Columbia universities, among other top-ranking schools, was a commentator for NPR, and lectured worldwide.

He published more than a dozen books, from “Angle of Geese and Other Poems” to the novels “The Way to Rainy Mountain” and “The Ancient Child,” and became a leading advocate for the beauty and vitality of traditional Native life.

Addressing a gathering of American Indian scholars in 1970, Momaday said, “Our very existence consists in our imagination of ourselves.” He championed Natives’ reverence for nature, writing that “the American Indian has a unique investment in the American landscape.” He shared stories told to him by his parents and grandparents. He regarded oral culture as the wellspring of language and storytelling, and dated American culture back not to the early English settlers, but also to ancient times, noting the procession of gods depicted in the rock art at Utah’s Barrier Canyon.

“We do not know what they mean, but we know we are involved in their meaning,” he wrote in the essay “The Native Voice in American Literature.”

“They persist through time in the imagination, and we cannot doubt that they are invested with the very essence of language, the language of story and myth and primal song. They are 2,000 years old, more or less, and they remark as closely as anything can the origin of American literature.”

In 2007, President George W. Bush presented Momaday with a National Medal of Arts “for his writings and his work that celebrate and preserve Native American art and oral tradition.” Besides his Pulitzer, his honors included an Academy of American Poets prize and, in 2019, the Dayton Literary Peace Prize.

Momaday was married three times, most recently to Barbara Glenn, who died in 2008. He had four daughters, one of whom, Cael, died in 2017.

He was born Navarre Scott Mammedaty, in Lawton, Oklahoma, and was a member of the Kiowa Nation. His mother was a writer, and his father an artist who once told his son, “I have never known an Indian child who couldn’t draw,” a talent Momaday demonstrably shared. His artwork, from charcoal sketches to oil paintings, were included in his books and exhibited in museums in Arizona, New Mexico and North Dakota. Audio guides to tours of the Smithsonian Institution’s Museum of the American Indian featured Momaday’s avuncular baritone.

After spending his teens in New Mexico, he studied political science at the University of Mexico and received a master’s and Ph.D. in English from Stanford. Momaday began as a poet, his favorite art form, and the publication of “House Made of Dawn” was an unintentional result of his early reputation. Editor Fran McCullough, of what is now HarperCollins, had met Momaday at Stanford and several years later contacted him and asked whether he would like to submit a book of poems.

Momaday did not have enough for a book, and instead gave her the first chapter of “House Made of Dawn.”

Much of his writing was set in the American West and Southwest, whether tributes to bears — the animals he most identified with — or a cycle of poems about the life of Billy the Kid, a childhood obsession. He saw writing as a way of bridging the present with the ancient past and summed up his quest in the poem “If I Could Ascend”: 

Something like a leaf lies here within me; / it wavers almost not at all, / and there is no light to see it by / that it withers upon a black field. / If it could ascend the thousand years into my mouth, / I would make a word of it at last, / and I would speak it into the silence of the sun.

In 2019, he was the subject of a PBS “American Masters” documentary in which he discussed his belief he was a reincarnation of a bear connected to the Native American origin story around Devils Tower in Wyoming. He told The Associated Press in a rare interview that the documentary allowed him to reflect on his life, saying he was humbled that writers continued to say his work has influenced them.

“I’m greatly appreciative of that, but it comes a little bit of a surprise every time I hear it,” Momaday said. “I think I have been an influence. It’s not something I take a lot of credit for.” 
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In Mogadishu, the troubled capital of Somalia, elderly citizens gather every afternoon in the Bondere district for an archery contest. The activity is part of a deeper historical tradition. Jamal Ahmed Osman has more about this unique activity, in this story narrated by Kevin Enochs. Camera and video editing by Abdulkadir Zubeyr.
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Tampa, Florida — Revelers clad in pirate finery packed Tampa’s waterfront this weekend as a flotilla of boats arrived for the city’s annual Gasparilla Pirate Fest.

Led by Ye Mystic Krewe of Gasparilla, the invading pirates docked to make a final demand for the key to the city. Once ashore, the festivities celebrating their annual invasion included a Saturday afternoon parade through downtown and live music and bead throwing that lasted well into the night.

A fixture nearly every year since 1904, the Gasparilla Pirate Fest is named for the mythical pirate Jose Gaspar. There’s not much evidence he actually existed, but according to legend he plundered ships and captured hostages in the Gulf of Mexico from the 1780s until around 1821.

The colorful account of his supposed life first surfaced in the early 1900s in an advertising brochure for the Gasparilla Inn, which was located south of Tampa in Boca Grande at the end of a rail line and in need of an exciting promotion to lure in guests.

Called the “Last of the Buccaneers,” Gaspar’s memory lives on in the name of Tampa Bay’s NFL team.
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New Orleans, Louisiana — With their purple, gold and green colors and toy babies hidden inside, king cakes are staples of Mardi Gras celebrations in New Orleans, but apparently they’re also valuable enough to steal — at least this time of year during the Carnival season.

A thief stole seven king cakes — about as many as he could carry — during a break-in last week at a New Orleans bakery. The thief also took cash and a case of vodka from Bittersweet Confections last Wednesday, according to the New Orleans Police Department.

“Our king cakes are just that good,” the bakery wrote on social media. “But please come and purchase one during our regular store hours.”

While it’s a secular celebration, Carnival in New Orleans — and around the world — is strongly linked to Christian and Roman Catholic traditions. The season begins on Jan. 6, the 12th day after Christmas, and continues until Mardi Gras, known as Fat Tuesday, which is the final day of feasting, drinking and revelry before Ash Wednesday and the fasting associated with Lent.

King cakes are among the foods most associated with Carnival in New Orleans. The rings of pastry are adorned with purple, green and gold sugar or icing, and they often have a tiny plastic baby hidden inside as a prize.

One wisecracker responded to the bakery’s social media post with a tongue-in-cheek false admission that he was the thief.

“It was me. …I’m holding all seven babies hostage until I get a lifetime supply of King Cakes from you every year,” the man posted.
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albany, new york — A performer who appeared naked in a show by world-renowned performance artist Marina Abramovic at New York City’s Museum of Modern Art is suing the museum, saying it failed to take action after he was sexually assaulted multiple times by attendees during the performances nearly 14 years ago. 

The suit was filed in Manhattan on Monday under the New York Adult Survivors Act, a special state law that created a yearslong suspension of the usual time limit for accusers to sue. Although the law expired last year, the suit says the parties agreed to extend the window closing. 

John Bonafede alleges in the suit he was sexually assaulted by five public onlookers who attended a show he was hired by the museum to perform in as part of Abramovic’s retrospective “The Artist Is Present.” 

Email messages sent to the museum this week were not returned. Abramovic is not named as a defendant and did not immediately return a request for comment. 

The work, titled “Imponderabilia,” saw Bonafede and another performer standing face-to-face with each other in a doorway about 18 inches (45.7 centimeters) apart, fully nude, silent, and still. The exhibition, which ran from March 14, 2010, through May 31, 2010, was curated by the museum in a way that encouraged visitors to pass in between the performers as they went from one gallery to the next, the suit alleges. 

Mostly older men involved, says suit

The people who assaulted Bonafede were mostly older men, the suit says. One of the perpetrators was a corporate member of the museum, who was ultimately kicked out and revoked of his membership, according to the suit. 

During the final weeks of the exhibition, another attendee non-consensually groped Bonafede’s private areas three times before they were finally stopped by security, the suit said. 

Bonafede reported four of the individuals to the museum staff and security immediately, according to the suit, while the fifth was witnessed personally by the museum security staff. 

Female performer also assaulted, suit says

At one point, Bonafede also witnessed a public attendee sexually assault his female co-performer by kissing her on the mouth without her consent, the suit said. 

Prior to the exhibition, the performers had voiced their concerns about nude performers being subject to harassment in a letter to the museum during contract negotiations, the suit said. 

Once it began, several news outlets including The New York Times reported on the inappropriate behavior by visitors, and the sexual assaults on “Imponderabilia” were discussed within New York City’s art and performance communities, the suit says. 

Despite the museum having knowledge of the issue, it failed to take action to protect the performers and prevent further sexual assaults, such as telling visitors ahead of time that touching was not allowed, the lawsuit said. 

About a month into the exhibition, the museum created a handbook outlining protocols for the performers to alert museum staff if they felt unsafe or were inappropriately touched. 

Bonafede agreed to continue the performance after he was assaulted because of the “tough it out” culture of the exhibition, the suit says, but suffered for years from emotional distress, and his mental health, body image and career were damaged as a result. 

The Associated Press generally does not name people who say they have been sexually assaulted unless they come forward publicly. Bonafede gave consent through his lawyer, Jordan Fletcher. 

Fletcher declined to comment further on the suit, but said they will be seeking a jury trial and compensatory damages. 
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MEXICO CITY — Mexico’s government has acknowledged that at least two well-known Mayan ruin sites are unreachable by visitors because of a toxic mix of cartel violence and land disputes.

But two tourist guides in the southern state of Chiapas, near the border with Guatemala, say two other sites that the government claims are still open to visitors can only be reached by passing though drug gang checkpoints.

The explosion of drug cartel violence in Chiapas since last year has left the Yaxchilán ruin site completely cut off, the government conceded Friday.

The tour guides, who spoke on condition of anonymity because they must still work in the area, said that gunmen and checkpoints are often seen on the road to another site, Bonampak, famous for its murals.

They say that to get to yet another archaeological site, Lagartero, travelers are forced to hand over identification and cellphones at cartel checkpoints.

Meanwhile, officials concede that visitors also can’t go to the imposing, towering pyramids at Tonina, because a landowner has shut off across his land while seeking payment from the government for granting the right of way.

The cartel-related dangers are the most problematic. The two cartels warring over the area’s lucrative drug and migrant smuggling routes set up the checkpoints to detect any movement by their rivals.

Though no tourist has been harmed so far, and the government claims the sites are safe, many guides no longer take tour groups there.

“It’s as if you told me to go to the Gaza Strip, right?” said one of the guides.

“They demand your identification, to see if you’re a local resident,” he said, describing an almost permanent gang checkpoint on the road to Lagartero, a Mayan pyramid complex that is surrounded by pristine, turquoise jungle lagoons.

“They take your cellphone and demand your sign-in code, and then they look through your conversations to see if you belong to some other gang,” he said. “At any given time, a rival group could show up and start a gunbattle.”

The government seems unconcerned, and there is even anger that anyone would suggest there is a problem, in line with President Andrés Manuel López Obrador’s policy of playing down gang violence — even as the cartels take over more territory in Mexico.

“Bonampak and Lagartero are open to the public,” the National Institute of Anthropology and History said in a statement Friday.

“It is false, biased and irresponsible to say that these archaeological sites are in danger from drug traffickers,” added the agency, known as the INAH, which claimed it “retains control of the sites.”

Both guides stressed that the best-known Mayan ruin site in Chiapas, the imposing temple complex at Palenque, is open and perfectly safe for visitors. But starting around December, tourists have canceled about 5% of trips booked to the area, and there are fears that could grow.

Things that some tourists once enjoyed — like the more adventurous trip to ruins buried deep in the jungle, like Yaxchilán, on the banks of the Usumacinta river and reachable only by boat — are either no longer possible, or so risky that several guides have publicly announced they won’t take tourists there.

Residents of the town of Frontera Comalapa, where the boats once picked up tourists to take them to Yaxchilan, closed the road in October because of constant incursions by gunmen. 

Even the INAH admits there is no access to Yaxchilan, noting that “the institute itself has recommended at certain points that tourists not go to the archaeological site, because they could have an unsuccessful visit.” But it said that the problems there are “of a social nature” and are beyond its control.

Cartel battles started to get really bad in Chiapas in 2023, which coincides with the uptick in the number of migrants — now about a half-million annually — moving through the Darien Gap jungle from South America, through Central America and Mexico to the U.S. border.

Because many of the new wave of migrants are from Cuba, Asia and Africa, they can pay more than Central Americans, making the smuggling routes through Chiapas more valuable. The problem now seems to be beyond anyone’s control.

The National Guard — the quasi-military force that López Obrador has made the centerpiece of law enforcement in Mexico — has been pelted with stones and sticks by local residents in several towns in that region of Chiapas in recent weeks.

The other tour guide said that was because the two warring drug cartels, Sinaloa and Jalisco, often recruit or force local people to act as foot soldiers and prevent National Guard troopers from entering their towns.

In Chiapas, residents are often members of Indigenous groups like the Choles or Lacandones, both descendants of the ancient Maya. The potential damage of using them as foot soldiers in cartel fights is grim, given that some groups have either very few remaining members or are already locked in land disputes.

The guide said the ruin sites have the added disadvantage of being in jungle areas where the cartels have carved out at least four clandestine landing strips to fly drugs in from South America.

But the damages are mounting for the Indigenous residents who have come to depend on tourism.

“There are communities that sell handicrafts, that provide places to stay, boat trips, craftspeople. It affects the economy a lot,” said the first guide. “You have to remember that this is an agricultural state that has no industry, no factories, so tourism has become an economic lever, one of the few sources of work.”
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MELBOURNE, AUSTRALIA — Aryna Sabalenka continued to be an irrepressible force at the Australian Open as she powered to a 6-3, 6-2 victory over Chinese 12th seed Zheng Qinwen on Saturday to successfully defend her title and add a second Grand Slam trophy to her cabinet. 

The Belarusian second seed has barely put a foot wrong as she became the first woman to retain the Melbourne Park crown since compatriot Victoria Azarenka in 2013. 

“It’s been an amazing couple of weeks, and I couldn’t imagine myself lifting this trophy one more time,” Sabalenka said. 

“I want to congratulate you, Qinwen, on an incredible couple of weeks here in Australia. I know it’s really tough to lose in the final, but you’re such an incredible player,” she said. “You’re such a young girl, and you’re going to make many more finals and you’re going to get it.” 

Sabalenka came into the match without dropping a set at the year’s first major. She remained perfect to join Ash Barty, Serena Williams, Maria Sharapova and Lindsay Davenport in the elite club of players to have managed the feat since 2000. 

She unleashed monster groundstrokes to grab the final by the scruff of the neck with an early break, and thousands of Chinese supporters and millions back home watched Zheng fall behind 3-0. 

Sabalenka did not have her nation’s flags in the stands because of a ban over her country’s role in Russia’s invasion of Ukraine, but the charismatic 25-year-old has a big Melbourne fan base. She rode the Rod Laver Arena support to take the first set. 

Zheng, who had saved four set points, showed she was slowly growing in confidence in her second meeting with Sabalenka by firing up her own big forehand amid the rallying cry of “Jia You” from her compatriots in the crowd. 

The 21-year-old first-time finalist, bidding to match her idol Li Na — the Melbourne Park champion 10 years ago and first Chinese player to win a major — saw her hopes fade after two more errors on serve left her 4-1 down. 

Sabalenka shrugged off a shaky service game to close out the most one-sided final since Azarenka beat Maria Sharapova 6-3, 6-0 in 2012. 

“It’s my first final and I’m feeling a little bit pity, but that’s how it is,” Zheng said. “I feel very complicated because I could have done better than I did in this match.” 
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NEW YORK — Pornographic deepfake images of Taylor Swift are circulating online, making the singer the most famous victim of a scourge that tech platforms and anti-abuse groups have struggled to fix.

Sexually explicit and abusive fake images of Swift began circulating widely this week on the social media platform X.

Her ardent fanbase of “Swifties” quickly mobilized, launching a counteroffensive on the platform formerly known as Twitter and a #ProtectTaylorSwift hashtag to flood it with more positive images of the pop star. Some said they were reporting accounts that were sharing the deepfakes.

The deepfake-detecting group Reality Defender said it tracked a deluge of nonconsensual pornographic material depicting Swift, particularly on X. Some images also made their way to Meta-owned Facebook and other social media platforms.

“Unfortunately, they spread to millions and millions of users by the time that some of them were taken down,” said Mason Allen, Reality Defender’s head of growth.

The researchers found at least a couple dozen unique AI-generated images. The most widely shared were football-related, showing a painted or bloodied Swift that objectified her and in some cases inflicted violent harm on her deepfake persona.

Researchers have said the number of explicit deepfakes has grown in the past few years, as the technology used to produce such images has become more accessible and easier to use. In 2019, a report released by the AI firm DeepTrace Labs showed these images were overwhelmingly weaponized against women. Most of the victims, it said, were Hollywood actors and South Korean K-pop singers.

Brittany Spanos, a senior writer at Rolling Stone who teaches a course on Swift at New York University, says Swift’s fans are quick to mobilize in support of their artist, especially those who take their fandom very seriously and in situations of wrongdoing.

“This could be a huge deal if she really does pursue it to court,” she said.

Spanos says the deep fake pornography issue aligns with others Swift has had in the past, pointing to her 2017 lawsuit against a radio station DJ who allegedly groped her; jurors awarded Swift $1 in damages, a sum her attorney, Douglas Baldridge, called “a single symbolic dollar, the value of which is immeasurable to all women in this situation” in the midst of the MeToo movement. (The $1 lawsuit became a trend thereafter, like in Gwyneth Paltrow’s 2023 countersuit against a skier.)

When reached for comment on the fake images of Swift, X directed the The Associated Press to a post from its safety account that said the company strictly prohibits the sharing of non-consensual nude images on its platform. The company has also sharply cut back its content-moderation teams since Elon Musk took over the platform in 2022.

“Our teams are actively removing all identified images and taking appropriate actions against the accounts responsible for posting them,” the company wrote in the X post early Friday morning. “We’re closely monitoring the situation to ensure that any further violations are immediately addressed, and the content is removed.”

Meanwhile, Meta said in a statement that it strongly condemns “the content that has appeared across different internet services” and has worked to remove it.

“We continue to monitor our platforms for this violating content and will take appropriate action as needed,” the company said.

A representative for Swift didn’t immediately respond to a request for comment Friday.

Allen said the researchers are 90% confident that the images were created by diffusion models, which are a type of generative artificial intelligence model that can produce new and photorealistic images from written prompts. The most widely known are Stable Diffusion, Midjourney and OpenAI’s DALL-E. Allen’s group didn’t try to determine the provenance.

OpenAI said it has safeguards in place to limit the generation of harmful content and “decline requests that ask for a public figure by name, including Taylor Swift.”

Microsoft, which offers an image-generator based partly on DALL-E, said Friday it was in the process of investigating whether its tool was misused. Much like other commercial AI services, it said it doesn’t allow “adult or non-consensual intimate content, and any repeated attempts to produce content that goes against our policies may result in loss of access to the service.”

Asked about the Swift deepfakes on NBC Nightly News, Microsoft CEO Satya Nadella told host Lester Holt in an interview airing Tuesday that there’s a lot still to be done in setting AI safeguards and “it behooves us to move fast on this.”

“Absolutely this is alarming and terrible, and so therefore yes, we have to act,” Nadella said.

Midjourney, OpenAI and Stable Diffusion-maker Stability AI didn’t immediately respond to requests for comment.

Federal lawmakers who’ve introduced bills to put more restrictions or criminalize deepfake porn indicated the incident shows why the U.S. needs to implement better protections.

“For years, women have been victims of non-consensual deepfakes, so what happened to Taylor Swift is more common than most people realize,” said U.S. Rep. Yvette D. Clarke, a Democrat from New York who’s introduced legislation would require creators to digitally watermark deepfake content.

“Generative-AI is helping create better deepfakes at a fraction of the cost,” Clarke said.

U.S. Rep. Joe Morelle, another New York Democrat pushing a bill that would criminalize sharing deepfake porn online, said what happened to Swift was disturbing and has become more and more pervasive across the internet.

“The images may be fake, but their impacts are very real,” Morelle said in a statement. “Deepfakes are happening every day to women everywhere in our increasingly digital world, and it’s time to put a stop to them.” 
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Washington, DC has turned the National Building Museum into a wonderland of children’s literature. Using children’s books, it’s an immersive journey into architecture, engineering and design. Maxim Adams has the story. Camera and edit: Andrey Degtyarev, Andrey Degtyarev, Anna Rice
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MELBOURNE, Australia — Jannik Sinner has upset Novak Djokovic to reach the Australian Open men’s final, ending the 10-time champion’s career unbeaten streak in semifinals at Melbourne Park.

The 22-year-old Italian broke Djokovic’s serve twice in each of the first two sets but missed a match point in the third set of a 6-1, 6-2, 6-7 (6), 6-3 victory Friday that earned him a place in a Grand Slam final for the first time.

On his second match point, 55 minutes later, he made no mistake and completed his third victory in four matches against Djokovic since losing to the world No. 1 in last year’s Wimbledon semifinals.

“It’s always nice to have this kind of player who you can learn from,” Sinner said in his on-court TV interview. “I lost last year in the semifinals in Wimbledon, and I learned a lot from that. The confidence from the end of last year has for sure kept the belief that I can play the best players in the world.”

The youngest player to reach the men’s final in Australia since Djokovic’s first title in 2008, Sinner will play either third-seeded Daniil Medvedev or No. 6 Alexander Zverev for the championship on Sunday.

Djokovic’s bid for a record-extending 11th Australian and 25th major title overall will have to wait.

He hadn’t lost a match at Melbourne Park since 2018 and was on a 33-match winning streak at the season’s first major. Every previous time he’d won a quarterfinal in Australia, Djokovic had gone on to win the hardcourt title.

The loss to Djokovic at Wimbledon has become a turning point in their rivalry. After losing the first three meetings, Sinner won two of the next three — all in November — in the group stage of the ATP Finals in Turin and in the Davis Cup semifinals.

Sinner was the only player in the final four who didn’t drop a set in the tournament, and he spent almost four fewer hours on court through five rounds than Djokovic, who was taken to four sets three times.

Still, the odds were stacked against fourth-seeded Sinner.

But he played calm, nearly flawless tennis in the first two sets and piled pressure on Djokovic’s serve in a relatively cool 21 degrees Celsius and a light breeze.

He was holding his serve with relative ease against a player contesting a 48th Grand Slam semifinal.

Djokovic rallied, as he always does, to make Sinner win it. But he had few chances and didn’t get a look at a break point in the match — the first time he’s experienced that in a completed Grand Slam match.

The 36-year-old Serbian star missed his first chance to be just the third person in history to win 11 titles at any Grand Slam event — Rafael Nadal has 14 French Open titles and Margaret Court won 11 Australian Open women’s titles. 
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LONDON — An American scientist has sparked a trans-Atlantic tempest in a teapot by offering Britain advice on its favorite hot beverage.

Bryn Mawr College chemistry professor Michelle Francl says one of the keys to a perfect cup of tea is a pinch of salt. The tip is included in Francl’s book Steeped: The Chemistry of Tea, published Wednesday by the Royal Society of Chemistry.

Not since the Boston Tea Party has mixing tea with salt water roiled the Anglo-American relationship so much.

The salt suggestion drew howls of outrage from tea lovers in Britain, where popular stereotype sees Americans as coffee-swilling boors who make tea, if at all, in the microwave.

“Don’t even say the word ‘salt’ to us,” the etiquette guide Debrett’s wrote on X, formerly known as Twitter.

The U.S. Embassy in London intervened in the brewing storm with a social media post reassuring “the good people of the U.K. that the unthinkable notion of adding salt to Britain’s national drink is not official United States policy.”

“Let us unite in our steeped solidarity and show the world that when it comes to tea, we stand as one,” said the tongue-in-cheek post. “The U.S. Embassy will continue to make tea in the proper way — by microwaving it.”

The embassy later clarified that its statement was “a lighthearted play on our shared cultural connections” rather than an official press release.

Steeped, in contrast, is no joke. The product of three years’ research and experimentation, the book explores the more than 100 chemical compounds found in tea and “puts the chemistry to use with advice on how to brew a better cup,” its publisher says.

Francl said adding a small amount of salt — not enough to taste — makes tea seem less bitter because “the sodium ions in salt block the bitter receptors in our mouths.”

She also advocates making tea in a pre-warmed pot, agitating the bag briefly but vigorously and serving it in a short, stout mug to preserve the heat. And she says milk should be added to the cup after the tea, not before — another issue that often divides tea lovers.

Francl has been surprised by the level of reaction to her book in Britain.

“I kind of understood that there would hopefully be a lot of interest,” she told The Associated Press. “I didn’t know we’d wade into a diplomatic conversation with the U.S. Embassy.”

It has made her ponder the ocean-wide coffee-tea divide that separates the U.S. and Britain.

“I wonder if we’re just a more caffeinated society — coffee is higher in caffeine,” she said. “Or maybe we’re just trying to rebel against our parent country.”
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San Francisco — Netflix added 13 million subscribers in the final three months of last year, the company said on Tuesday, despite price hikes at the leading streaming service.

Netflix finished 2023 with slightly more than 260 million subscribers worldwide, with a profit of $938 million in the final quarter versus just $55 million in the same period a year earlier.

“We believe there is plenty of room for growth ahead as streaming expands,” the U.S. company said in an earnings letter.

Netflix shares were up more than 8% to $532.75 in after-market trades that followed the release of the earnings figures.

“Netflix sticks out as the clear front-runner in the streaming wars,” said Insider Intelligence principal analyst Ross Benes.

The streaming pioneer said that despite last year’s strikes by Hollywood actors and writers, the company has a “big, bold” slate of content for release this year.

The company touted coming content including a sequel to the hit Squid Game series out of South Korea and a brand new “3 Body Problem” show based on a bestselling novel by the same name.

“Choice and control are the price of entry in modern entertainment, and that is streaming,” Netflix said in the letter. “It’s what consumers want, and we believe it’s the best way for our industry to stay relevant and growing.”

The earnings news came the same day that Netflix sealed a long-term broadcast deal with the WWE professional wrestling juggernaut, as it pushes further into sporting events.

Beginning in the United States in 2025, Netflix will become the exclusive new home of “Raw,” the WWE’s flagship program that has been broadcasting on television since 1993.

The agreement will also see WWE shows and live events streamed across the globe as their rights become available.

With an initial 10-year term for $5 billion, the deal has an option for Netflix to extend the deal for an additional 10 years or opt out after the first five years.

“We expect our industry to remain highly competitive,” Netflix said, citing heavy investment by rivals including Amazon, Apple and YouTube. “It’s why continuing to improve our entertainment offering is so important.”

Netflix late last year increased the price of its basic plan in the United States to $11.99 monthly and its premium plan to $22.99, with similar price increases seen in Britain and France.

After a period of rocky earnings, earlier in 2022, the Silicon Valley giant expanded its crackdown on users sharing passwords with people beyond their immediate family.

In a separate bid for revenue, Netflix launched an ad-subsidized offering around the same time as the crackdown.

The ad-supported tier is priced at $7 monthly and is growing fast but has yet to become a main driver of overall revenue, according to Netflix.

As the ad-tiers gain momentum, the company said on Tuesday that it would retire the lowest cost ad-free plan, starting with Canada and the UK in the second quarter of this year.

The company said earlier this month it has 23 million subscribers using the ad-supported tier, which accounts for 40% of new sign-ups.

Netflix Co-Chief Executive Greg Peters said during an earnings call that the company is continuing to expand its lineup of more than 80 mobile games that subscribers can play, having recently added the blockbuster “Grand Theft Auto.”

“We’re stoked by the performance of GTA,” said Peters, noting that the Netflix mobile game exceeded even the company’s high hopes for it.
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Park City, Utah — An audience member was ejected from a Sundance festival event Tuesday in a spat over artificial intelligence, triggering a walkout that illustrates the divisions the technology has rapidly wrought in the film industry.

AI — a key driver of the recent and devastating Hollywood strikes — has been debated extensively at this year’s indie movie festival in Utah.

Filmmakers have experimented with using the technology as a creative tool, while also cautioning about its potential to erase jobs and stifle human expression and connection.

At a Tuesday screening of “Being (The Digital Griot),” in which audience members were encouraged to approach the screen and discuss issues like racism and the patriarchy with an AI bot, an audience member appeared to shout profanity about AI.

“I’m not here to be cursed out and I’m not going to have my AI child be cursed out either,” responded the film’s creator, artist Rashaad Newsome, refusing to participate in a post-screening Q&A until action was taken.

Festival staff forced the woman who had apparently yelled to leave the auditorium, prompting jeers.

Roughly a quarter of the auditorium walked out in solidarity, with some complaining that debate was being shut down and others insisting the lady expelled had not been the actual culprit.

Sundance organizers told AFP they were “looking into” the incident and “reviewing all available material to determine what happened so that corrective actions can be taken.”

But the incident highlighted long-brewing and sharply escalating tensions triggered by the issue of AI in the film world — something that this year’s Sundance lineup was specifically programmed to address.

‘Scary’

In addition to “Being,” the Sundance indie festival has hosted “Eternal You” and “Love Machina,” two documentaries about loved ones using AI to communicate after death.

Another film, “Eno,” explored musician Brian Eno’s career and creative process, using a “generative engine” to mesh together near-infinite different versions of a film from hundreds of possible scenes.

AI was also addressed on the fiction side by films like “Love Me,” starring Kristen Stewart, which imagined a romance between an AI-powered buoy and a satellite in a post-human world.

“Love Machina” director Peter Sillen told AFP that AI could soon mean that making a film will be a similar process to writing a novel.

“You’re going to be able to have somebody who’s sitting in their room create a masterpiece of filmmaking, probably,” he said. 

The idea was “hard and scary” but “interesting,” Sillen said, concluding: “I think you have to be open to it.”

“Eternal You” director Hans Block pointed out that AI is already widely used in movies — indeed, the Adobe software he used to edit the film is “full of AI” and “helped us as a tool a lot.”

“It’s so much more easy to make a film nowadays,” he said.

But Block said that while AI can help as a tool, it is important to debate what harm could be caused if the technology is not regulated.

“That’s why we are so happy to present the film right now, because it’s a perfect time to open the debate about these discussions,” he said. 

‘Human touch’

The danger that AI could replace screenwriters, actors and other professions was a key sticking point in last year’s Hollywood strikes, with unions holding out for guarantees from studios that they would not be replaced.

The encroachment of AI has sparked resolutely negative reactions from many filmmakers at Sundance.

Anirban Dutta, co-director of “Nocturnes,” an experiential documentary about scientists studying moths in the eastern Himalayas, said his movie is “a response to what’s happening to this world where all our human instincts are being mechanized.”

“Our film is a love letter to invite people to come back to what we are losing… human touch,” he said.

The woman who was thrown out of the “Being” screening, who has not been identified, was making a similar point before chaos erupted.

“As interesting as this (film) is… all of the knowledge it has comes from people,” she said.
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NEW YORK — Charles Osgood, a five-time Emmy Award-winning journalist who anchored “CBS Sunday Morning” for more than two decades, hosted the long-running radio program “The Osgood File” and was referred to as CBS News’ poet-in-residence, has died. He was 91. 

CBS reported that Osgood died Tuesday at his home in Saddle River, New Jersey, and that the cause was dementia, according to his family. 

Osgood was an erudite, warm broadcaster with a flair for music who could write essays and light verse as well as report hard news. He worked in radio and television with equal facility and signed off by telling listeners: “I’ll see you on the radio.” 

“To say there’s no one like Charles Osgood is an understatement,” Rand Morrison, executive producer of “Sunday Morning,” said in a statement. “He embodied the heart and soul of ‘Sunday Morning.’ … At the piano, Charlie put our lives to music. Truly, he was one of a kind — in every sense.” 

“CBS News Sunday Morning” will honor Osgood with a special broadcast on Sunday. 

Osgood took over “Sunday Morning” after the beloved Charles Kuralt retired in 1994. Osgood seemingly had an impossible act to follow, but with his folksy erudition and his slightly bookish, bow-tied style, he immediately clicked with viewers, who continued to embrace the program as an unhurried TV magazine. 

Osgood, who graduated from Fordham University in 1954, started as a classical music disk jockey in Washington, served in the Army and returned to help start WHCT in Hartford, Connecticut. In 1963, he got an on-air position at ABC Radio in New York. 

In 1967, he took a job as reporter on the CBS-owned New York news radio station NewsRadio 88. Then, one fateful weekend, he was summoned to fill in at the anchor desk for the TV network’s Saturday newscast. In 1971, he joined the CBS network and launched what would be known as “The Osgood File.” 

In 1990, he was inducted into the radio division of the National Association of Broadcaster’s Hall of Fame. In 2008, he was awarded the National Association of Broadcasters Distinguished Service Award. He won four Emmy Awards and earned a fifth lifetime achievement honor in 2017. 

Jane Pauley succeeded Osgood as host of “Sunday Morning,” becoming only the third host of the program. 

When he retired in 2016 after 45 years of journalism, Osgood did so in a very Osgood fashion. 

“For years now, people — even friends and family — have been asking me why I continue doing this, considering my age,” the then-83-year-old Osgood said in brief concluding remarks. “It’s just that it’s been such a joy doing it! It’s been a great run, but after nearly 50 years at CBS … the time has come.” 

And then he sang a few wistful bars from a favorite folk song: “So long, it’s been good to know you. I’ve got to be drifting along.” 
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Nairobi, Kenya — Being the preferred choice of footwear for many, flip-flops – typically made of plastic or rubber – break easily and often aren’t disposed of properly. Therefore, millions of them end up in oceans, waterways, dumpsites, and landfills all over the world. 

Ocean Sole, a Kenya-based company, has found creative and functional ways to reuse the hundreds of thousands of discarded flip-flops that arrive regularly at their warehouse located in Karen, about 45 minutes from Nairobi’s city center.

Joe Mwakiremba has been working for the company for about 10 years. He says the company was “founded on the premise of cleaning our ocean and waterways [while] at the same time employing lots of artists from high-impact communities in Kenya.” 

He told VOA that flip-flops are generally collected from weekly beach cleanups and other places.  

At Ocean Sole, they usually weigh the material and pay collectors about 18 cents per kilogram. Then, to prepare them for carving, they are first hand-washed, one flip-flop at a time.

“The next stage for our smaller and medium-size sculptures, we have a die cut machine that would punch out a template of a giraffe, a lion or a rhino. Those templates are joined together with glue and carved out into that respective animal,” he notes. 

For life-size pieces, the company reuses an additional material. 

“The big piece like this couch I am sitting on, the inside of it is polystyrene. Polystyrene comes from shipping companies; they use it as insulation. When it’s worn out, they toss it away, so we carve out our big-size sculpture like the giraffe behind me using that material and pad it using the flip flops around it,” he expressed.

Using a machine, the pieces are then sanded before being cleaned again and readied for shipment. 

In 2023, the company said it recycled 750,000 flip-flops. This year it aims to recycle one million. 

Florence Auma is an artist who has been working for the company for 14 years. Auma told VOA she had to learn the art of carving from scratch. 

“I came into this company, washing flip-flops. I started with washing, then I started with blocking, then I am the first female carver in this company. Now, I am happy because I have many skills in this company,” she says.

Skills, she says, that have allowed her to be able to carve just about anything — like coasters — and to travel the world to showcase her talent. 

Mwakiremba told us one of the largest pieces the company made was a life-size car for a Honda dealership in the United States. They spent three months on the project, using 2,500 flip flops.

Ocean Sole is now collaborating with a design artist from Uganda who now lives in Finland and founded a studio there, in one of their biggest projects to date.

It’s a project they had planned to work on together in 2019 but had to pause due to the COVID-19 pandemic.

Lincoln Kayiwa – who has used material such as ceramic, granite, wood, and glass — has decided to try something new with flip flops. 

He recently traveled to Kenya to finalize a furniture project to be launched in April during Milan Design Week — Salone del Mobile — in Italy. 

To cook up this kind of project, Kayima told us he wanted to combine different elements, including a unique design concept with a meaningful product combined with his Ugandan and Finnish cultures — and that of Kenyans at Ocean Sole.

“The project itself has 14 pieces; you are just seeing three of them … of course it’s a win-win situation; the more flip-flops are used, that means the more flip-flops are being taken out of the environment. For me that’s the meaning of sustainability,” the Alvar Aalto University graduate said.
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NEW YORK — After a tumultuous movie year marred by strikes and work stoppages, the Academy Awards showered nominations Tuesday on Christopher Nolan’s blockbuster biopic, “Oppenheimer,” which came away with a leading 13 nominations.

Nolan’s three-hour opus, viewed as the best picture frontrunner, received nods for best picture; Nolan’s direction; acting nominations for Cillian Murphy, Robert Downey Jr. and Emily Blunt; and multiple honors for the craft of the J. Robert Oppenheimer drama.

But the year’s biggest hit, “Barbie,” came away with a nominations haul notably less than its partner in Barbenheimer mania. Greta Gerwig’s feminist comedy, with more than $1.4 billion in ticket sales, was nominated for eight awards, including best picture; Ryan Gosling for best supporting actor; and two best-song candidates in “What Was I Made For” and “I’m Just Ken.”

But Gerwig was surprisingly left out of the best director field. Gerwig was nominated for best director in 2018 for her solo directorial debut, “Lady Bird.” At the time, she was just the fifth woman nominated for the award. Since then, Chloé Zhao (“Nomadland”) and Jane Campion (“The Power of the Dog”) have won best director. Before those wins, Kathryn Bigelow (“The Hurt Locker,” in 2010) was the only woman to win the Oscar’s top filmmaking honor.

Both Martin Scorsese’s Osage epic “Killers of the Flower Moon” and Yorgos Lanthimos’ Frankenstein riff “Poor Things” were also widely celebrated. “Poor Things” landed 11 nods, while “Killers of the Moon” was nominated for 10 Oscars.

Lily Gladstone, star of “Killers of the Flower Moon,” became the first Native American nominated for best actress. For the 10th time, Scorsese was nominated for best director. Leonardo DiCaprio, though, was left out of best actor.

The 10 films nominated for best picture were: “Oppenheimer,” “Barbie,” “Poor Things,” “Killers of the Flower Moon,” “The Holdovers,” “Maestro,” “American Fiction,” “Past Lives,” “Anatomy of a Fall” and “The Zone of Interest.”

Lead nominees “Oppenheimer,” “Barbie,” “Poor Things” and “Killers of the Flower Moon” made for a maximalist quartet of Oscar heavyweights. Nolan’s sprawling biopic. Gerwig’s near-musical. Scorsese’s pitch-black Western. Lanthimos’ sumptuously designed fantasy. Each utilized a wide spectrum of cinematic tools to tell big, often disturbing big-screen stories. And each — even Apple’s biggest-budgeted movie yet, “Killers of the Flower Moon” — had robust theatrical releases that saved streaming for months later.

The Associated Press notched its first Oscar nomination in the news organization’s 178-year history with “20 Days in Mariupol,” Mstyslav Chernov’s harrowing chronicle of the besieged Ukrainian city and of the last international journalists left there after the Russia invasion. It was nominated for best documentary, along with “Four Daughters,” “Bobi Wine: The People’s President,” “The Eternal Memory” and “To Kill a Tiger.”

“20 Days” is a joint production between The Associated Press and PBS’ “Frontline.”

The nominees for best international film are: “Society of the Snow,” (Spain); “The Zone of Interest,” (United Kingdom); “The Teachers’ Lounge” (Germany); “Io Capitano” (Italy) ; “Perfect Days” (Japan).

The nominees for best animated film are: “The Boy and the Heron”; “Elemental”; “Nimona”; “Robot Dreams”; “Spider-Man: Across the Spider-Verse.”

Oscar season has reunited “Oppenheimer” with its summer box-office partner, “Barbie.”

Historically, blockbusters have helped fueled Oscar ratings. Though the pile-up of award shows (an after-effect of last year’s strikes ) could be detrimental to the Academy Awards, the Barbenheimer presence could help lift the March 10 telecast on ABC. Jimmy Kimmel is returning as host, with the ceremony moved up an hour, to 7 p.m. Eastern.
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Being the preferred choice of footwear for many, flip-flops — typically made of plastic or rubber — break easily and don’t get disposed of properly. Millions of them, therefore, end up in oceans, waterways, dumpsites and landfills all over the world. A Kenya-based company has found creative and functional ways to reuse them. VOA Nairobi Bureau Chief Mariama Diallo visited their warehouse located in Karen, about 45 minutes from the city center, and has this report. Camera: Amos Wangua
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