In the United States, women’s access to legal abortion depends on where they live. The Western U.S. state of Idaho has some of the toughest laws against abortion, and that may be having an impact on women who are trying to have babies. Deborah Bloom has our story.
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Day: June 12, 2023
The new Modern Art gallery at the Denver Art Museum includes two painters from Ghana. VOA’s Scott Stearns gives us a look.
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Singapore was the first country in the world to greenlight the sale of lab-grown meat, but even after nearly 2½ years, the fledgling industry is still struggling with supply issues and hurdles such as public acceptance, experts say.
Lab-grown or cultivated meat is meat grown in a lab by extracting cells from animals and growing the muscles to eventually have the texture, nutrition and taste of meat from real-life animals.
The product has long been touted as a potential solution to multiple issues, including burgeoning food insecurity brought by human-caused climate change, degrading soil and biodiversity, and a way to reduce greenhouse gas emissions from livestock.
Southeast Asia is at the forefront of the impact of climate change impacts, with recent heatwaves sweeping across the region and food security has become a priority in the region’s agenda. In land-scarce Singapore, the issue is even more acute where its citizens import 90% of the food they consume.
Turning to more sustainable meat is one of the city-state’s food strategies. Its so-called “30 by 30” goal aims to produce 30% of Singapore’s nutritional needs locally by 2030, and COVID-19’s impacts on food exports was another wake-up call for the country. Chicken rice is Singapore’s de-facto national dish, but its neighbor, Malaysia, banned its exports of chicken to Singapore last year due to a global feed shortage.
“We [Singapore] had to scramble to try and find chicken supplies from other countries,” Andre Huber, executive director of Huber’s Butchery and Bistro, the only restaurant in Singapore that serves cultivated chicken dishes, told VOA News.
“I think the government’s decision to try and grow some of our own produce … we don’t have land or animals roaming around. I think this [lab-grown chicken] can be grown in high rise buildings.”
Singapore gave its green light to the sale of lab-grown chicken in December 2020 but so far, the product from U.S. cultivated meat provider GOOD Meat is only available in Huber’s and remains in limited supply.
Asked why the supply of cultivated chicken remains limited after over two years of gaining approval, Jun Chong, GOOD Meat’s associate product developer said money has been an issue.
“It was after two years when we have enough fundings and investment of money, and then we started to build our own facility,” Chong said. “It’s slowly getting into place.”
The new facility Chong mentioned is set to become the largest cultivated meat production center in Asia when it opens later this year in Singapore’s Bedok town and will provide “tens of thousands of pounds of meat from cells,” according to a statement from GOOD Meat.
In addition to infrastructure, another controversy connected to cultivated meat is the use of fetal bovine serum, which is often made from killing cows when they are pregnant. A recent study showed that over 2 million bovine fetuses are used globally to produce around 800,000 liters of such serum, sparking ethical debates in the industry. The use of such serum also goes against the feature of lab-grown meat being slaughter-free.
Chong said GOOD Meat has just gained approval to use a new plant-based serum that will be able to replace the fetus bovine serum. He added that the firm will start using the new serum to grow the muscles of chicken meat after the Bedok facility starts operating.
Meanwhile, Alfredo Franco-Obregon, associate professor at the National University of Singapore, found a way to grow cell-based meat with a magnet that can potentially replace fetus bovine serum.
“We found that we are just as good as fetal bovine serum in sustaining muscle growth, which makes sense because these [meat] factors are coming from muscles, either from a fetus or in a dish,” he told VOA News in a video interview.
The muscle growth expert said if lab-grown meat can be scaled up, the inhumane livestock farms can hopefully be wiped out.
“You have to keep the animal alive for two years [before it’s ready to be made into meat], and it would be good if you could do it in a way that’s humane, but a lot of these systems aren’t very humane.”
Franco-Obregon added that while lab-grown meat cannot completely replace real meat, “there’s a way of improving … the livestock industry. It’s more efficient, less greenhouse emissions, higher productivity and cell-based meat will be a supplement. … We are going to run out of food. That’s the honest truth. And like it or not, we’re going to have to find alternatives, otherwise people will start to starve.”
Huang Dejian, deputy head of NUS’ Department of Food Science and Technology, echoed Franco-Obrego’s view. Huang pioneered extraction of plant-based cells to develop edible 3D-printed scaffolds to replace the current plastic scaffolds used in the production process.
“In a decade or two … maybe 50% of all the meat we found in our market is hybrid meat [lab-grown meat with animal cells and plant-based cells],” Huang told VOA.
Asked if lab-grown meat with many tech-heavy processes might involve more greenhouse gas emissions than traditional meat from livestock farms — as suggested by a preprint study at the University of California, Davis — Huang said, “I feel it’s unfair to calculate, you know, the footprint because it [the product] is too early. If you take advantage of technology to a level and the cost of production is lowered, it might also reduce the energy input and efficiency.”
Consumer acceptance of lab-grown meat could be a bigger challenge for the industry, he added, but he remained optimistic about the future of cultivated meat.
“A lot of the groundwork has already been laid. And we can see, I think in the next five years or so, people may be able to have a chance to taste [lab-grown meat]. The future to me is quite bright.”
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U.N. Secretary-General Antonio Guterres said Monday that he will appoint a scientific advisory body in the coming days that will include outside experts on artificial intelligence, and said he is open to the idea of creating a new U.N. agency that would focus on AI.
“I would be favorable to the idea that we could have an artificial intelligence agency, I would say, inspired by what the International Atomic Energy Agency is today,” Guterres said of the U.N. nuclear watchdog agency.
He said he does not have the authority to create an IAEA-like agency — that is up to the organization’s 193-member states. But he said it has been discussed and he would see it as a positive development.
“What is the advantage of the IAEA — it is a very solid, knowledge-based institution,” Guterres told reporters. “And at the same time, even if limited, it has some regulatory functions. So, I believe this is a model that could be very interesting.”
The Vienna-based IAEA is the focal point for international nuclear cooperation. It has developed international nuclear safety standards and is both watchdog and advisor on the peaceful use of nuclear energy.
There are growing concerns about the power of artificial intelligence and how it can be abused for negative and even deadly purposes, including from Geoffrey Hinton, who is the scientist known as “the godfather of AI.”
British Prime Minister Rishi Sunak announced last week plans for the UK to host the first major global summit on AI safety in the autumn.
Guterres said in terms of regulating AI, in an industry where things move very quickly, you can establish a set of norms one day, and it can be outdated the next. So, something that is more flexible is necessary.
“We need a process, a constant process of intervention of the different stakeholders, working together to permanently establish a number of soft law mechanisms, a number of — I would say — norms, codes of conduct and others,” he said.
Guterres said the scientific advisory body he will soon create will also include the chief scientists from the U.N. Educational, Scientific and Cultural Organization (UNESCO) and the International Telecommunication Union (ITU), which is a specialized U.N. agency related to information and telecommunication technology.
He said outside experts, including two from the AI sphere, would be a part of the advisory body.
He also announced plans for a digital compact he says would be a voluntary “code of conduct” that he hopes technology companies and governments will adhere to, with the aim of decreasing the spread of mis- and dis-information and hate speech to billions of people and making the internet a safer space.
“Its proposals are aimed at creating guardrails to help governments come together around guidelines that promote facts, while exposing conspiracies and lies, and safeguarding freedom of expression and information,” he said. “And to help tech companies navigate difficult ethical and legal issues and build business models based on a healthy information ecosystem.”
He said tech companies have done little to prevent their platforms from contributing to hate and violence, and he criticized governments for ignoring human rights and sometimes taking drastic measures, including sweeping internet shutdowns.
Guterres said he hopes to issue the code of conduct after discussions with member states and before the U.N. Summit of the Future, which is planned for September 2024.
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A three-year-old startup company is leading Kenya into the world of high-tech manufacturing, building a sophisticated workforce capable of making the semiconductors and nanotechnology products that operate modern devices from mobile phones to refrigerators. VOA’s Africa correspondent Mariama Diallo visited the plant and has this story.
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Best musical: “Kimberly Akimbo”
Best play: “Leopoldstadt”
Best revival of a musical: “Parade”
Best revival of a play: “Suzan-Lori Parks’ Topdog/Underdog”
Best performance by an actress in a leading role in a musical: Victoria Clark, “Kimberly Akimbo”
Best performance by an actor in a leading role in a play: Sean Hayes, “Good Night, Oscar”
Best performance by an actress in a leading role in a play: Jodie Comer, “Prima Facie”
Best book of a musical: “Kimberly Akimbo,” David Lindsay-Abaire
Best performance by an actor in a leading role in a musical: J. Harrison Ghee, “Some Like It Hot”
Best performance by an actor in a featured role in a musical: Alex Newell, “Shucked.”
Best performance by an actress in a featured role in a play: Miriam Silverman, “The Sign in Sidney Brustein’s Window”
Best performance by an actress in a featured role in a musical: Bonnie Milligan, “Kimberly Akimbo”
Best performance by an actor in a featured role in a play: Brandon Uranowitz, “Leopoldstadt”
Best direction of a play: Patrick Marber, “Leopoldstadt”
Best direction of a musical: Michael Arden, “Parade”
Best choreography: Casey Nicholaw, “Some Like It Hot”
Best original score: “Kimberly Akimbo,” Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire
Best orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot”
Best costume of a musical: Gregg Barnes, “Some Like It Hot”
Best costume of a play: Brigitte Reiffenstuel, “Leopoldstadt”
Best lighting design of a play: Tim Lutkin, “Life of Pi”
Best lighting design of a musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street”
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The intimate, funny-sad musical “Kimberly Akimbo” nudged aside splashier rivals on Sunday to win the musical crown at the Tony Awards on a night when Broadway flexed its creative muscle amid the Hollywood writers’ strike and made history with laurels for nonbinary actors J. Harrison Ghee and Alex Newell.
“Kimberly Akimbo,” with songs by Jeanine Tesori and a book by David Lindsay-Abaire, follows a teen with a rare genetic disorder that gives her a life expectancy of 16 navigating a dysfunctional family and a high school romance. Victoria Clark, as the lead in the show, added a second Tony to her trophy case, having previously won one in 2005 for “The Light in the Piazza.”
Producer David Stone credited the musical’s writers for penning a magic trick, calling “Kimberly Akimbo” a “musical comedy about the fragility of life, so healing and so profound and joyous that is almost impossible.” The musical took home a leading six awards.
Earlier, Tony Awards history was made when Newell and Ghee became the first nonbinary people to win Tonys for acting. Last year, composer and writer Toby Marlow of “Six” became the first nonbinary Tony winner.
“Thank you for the humanity. Thank you for my incredible company who raised me up every single day,” said leading actor in a musical winner Ghee, who stars in “Some Like It Hot,” the adaptation of the classic cross-dressing comedy film. The soulful Ghee stunned audiences with their voice and dance skills, playing a musician — on the run from gangsters — who tries on a dress and is transformed.
Newell, who plays Lulu — an independent, don’t-need-no-man whiskey distiller in “Shucked” — has been blowing audiences away with their signature number, “Independently Owned.” They won for best featured actor in a musical.
“Thank you for seeing me, Broadway. I should not be up here as a queer, nonbinary, fat, Black little baby from Massachusetts. And to anyone that thinks that they can’t do it, I’m going to look you dead in your face that you can do anything you put your mind to,” Newell said to an ovation.
Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, won best play, also earning wins for director Patrick Marber, featured actor Brandon Uranowitz and Brigitte Reiffenstuel’s costumes.
The British-Czech playwright, who now has five best play Tony Awards, joked he won his first in 1968 and noted that playwrights were “getting progressively devalued in the food chain” despite being “the sharp ends of the inverted pyramid.”
Strike leaves show script less
Second-time Tony Awards host Ariana DeBose opened a blank script backstage before dancing and leaping her way to open the main show with a hectic opening number that gave a jolt of electricity to what is usually an upbeat, safe and chummy night. The writers’ strike left the storied awards show honoring the best of musical theater and plays without a script.
Before the pre-show began, DeBose revealed to the audience the only words that would be seen on the teleprompter: “Please wrap up.” Later in the evening, virtually out of breath after her wordless opening performance, she thanked the labor organizers for allowing a compromise.
“I’m live and unscripted. You’re welcome,” she said. “So to anyone who may have thought that last year was a bit unhinged, to them, I say, ‘Darlings, buckle up.'”
Winners demonstrated their support for the striking writers either at the podium or on the red carpet with pins. Miriam Silverman, who won the Tony for best featured actress in a play for “The Sign in Sidney Brustein’s Window,” ended her speech with: “My parents raised me to believe in the power of labor and workers being compensated and treated fairly. We stand with the WGA in solidarity!”
Jodie Comer, the three-time Emmy nominated star of “Killing Eve” won leading actress in a play for her Broadway debut, the one-woman play “Prima Facie,” which illustrates how current laws fail terribly when it comes to sexual assault cases.
Sean Hayes won lead actor in a play for “Good Night, Oscar,” which dramatizes a long night’s journey into the scarred psyche of pianist Oscar Levant, now obscure but once a TV star.
“This has got to be the first time an Oscar won a Tony,” Hayes cracked.
Suzan-Lori Parks’ “Topdog/Underdog,” a Pulitzer Prize-winning play about sibling rivalry, inequality and society’s false promises, won the Tony for best play revival. She thanked director Kenny Leon and stars Corey Hawkins and Yahya Abdul-Mateen II: “They showed up to be large in a world that often does not much want the likes of us living at all.”
Bonnie Milligan, who won for best featured actress in a musical for “Kimberly Akimbo,” also had a message to the audience: “I want to tell everybody that doesn’t maybe look like what the world is telling you what you should look like — whether you’re not pretty enough, you’re not fit enough, your identity is not right, who you love isn’t right — that doesn’t matter.”
“‘Cause just guess what?” she continued, brandishing her award. “It’s right, and you belong.”
Kander gets lifetime award
Many of the technical awards — for things like costumes, sound, lighting and scenic design — were handed out at a breakneck pace during a pre-show hosted by Skylar Astin and Julianne Hough, allowing winners plenty of airtime for acceptance speeches but little humor.
The pre-show telecast on Pluto featured some awkwardly composed shots and some presenters slipped up on certain words. The tempo was so rapid, it ended more than 10 minutes before the main CBS broadcast was slated to start.
John Kander, the 96-year-old composer behind such landmark shows as “Chicago,” “Cabaret” and “The Scottsboro Boys,” was honored with a special lifetime award. He thanked his parents; his husband, Albert Stephenson; and music, which “has stayed my friend through my entire life and has promised to stick with me until the end.”
Jennifer Grey handed her father, “Cabaret” star Joel Grey, the other lifetime achievement Tony. “Being recognized by the theater community is such a gift because it’s always been, next to my children, my greatest, most enduring love,” the actor said.
Echoing the there of antisemitism, “Parade” — a doomed musical love story set against the real backdrop of a murder and lynching in pre-World War I Georgia that won Tonys as a new musical in 1999 — won for best musical revival, with Michael Arden winning for best musical director.
“‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more valuable than another and that they might be more deserving of justice,” Arden said. “This is a belief that is the core of antisemitism, white supremacy, homophobia and transphobia and intolerance of any kind. We must come together. We must battle this.”
The telecast featured performances from all the nominated musicals and Will Swenson — starring on Broadway in a Neil Diamond musical — led the audience in a vigorous rendition of “Sweet Caroline.” Lea Michele of “Glee” and now “Funny Girl” fame also performed a soaring version of “Don’t Rain on My Parade.”
It all took place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many miles from Times Square and the theater district.
“Thank you all for coming uptown. Never in my wildest dreams, truly,” Lin-Manuel Miranda joked onstage. He, of course, wrote the musical “In the Heights,” set in Washington Heights.
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