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South Africa snips lions to manage species in small reserves

By - Dec 21,2021 - Last updated at Dec 21,2021

By Sofia Christensen
Agence France-Presse

HOEDSPRUIT, South Africa — On the cusp of sexual maturity, a young lioness is about to be sterilised. It’s to prevent mating with her father and uncles, the only three wild males on this small South African reserve.

Such parks protect about 700 lions in South Africa alone, but the prides must be carefully managed to avoid overpopulation and in-breeding.

“Under natural circumstances, this would not happen because the males would have been displaced by other males,” said Manager Kevin Leo-Smith, hands on the wheel of an open-topped safari vehicle.

In large reserves, lions roam vast swathes of land, up to 12,000 hectares.

Only the strongest survive, as prides fight for territory and compete against other predators for food.

Smaller carnivores prey on cubs, and males can maul each other to death.

But the nine lions of Rietspruit game reserve have very little to fear.

Antelope abound on its 5,500 hectares near Kruger National Park, and there are too few hyenas, leopards or cheetahs to pose a threat.

The only three males are inseparable brothers who happily take turns with the females.

“The biggest problem is genetic diversity,” said Leo-Smith. “Lions breed very fast.”

Left to their own in such a plentiful setting, they would rapidly multiply, eat through the reserve and then move on to nearby cattle farms.

Nine is all the reserve can accommodate for now.

The lion mother is on birth control, and her four teenage daughters have to be spayed. The remaining older female has already been snipped.

 

‘She’s big!’

 

Wildlife veterinarian Peter Rogers cocks his dart rifle and aims it at the four young lionesses elegantly strewn with their mother in the shade of a tree, bellies bulging with a zebra killed overnight.

He settles on his target and pulls the trigger.

The startled pride grunts and disperses as a red-topped syringe filled with anaesthetic shoots into her neck.

One of her sisters pounces over and swats it to the ground.

Ten minutes later she’s fast asleep, unresponsive to her peers’ nudges.

Rogers drives up to the tree, shoos away the others and sets to work.

The team moves swiftly, blindfolding the animal to protect her eyes and fitting her with a drip.

They keep an eye on the horizon, as other lions lurk nearby, and heave the 140 kilogramme beast into a white four-wheel drive.

“She’s big!” says one vet, huffing as she slams the boot shut and jumps into the front seat, barely glancing at the sleeping killer behind her.

The vehicle speeds through the reserve, lifting clouds of red dust and unsettling a tower of giraffe browsing treetops.

Two ostriches trail along for a few metres before it turns out the gate and takes the main asphalt road into town.

 

‘Meta’ population

 

The surgery takes almost four hours, complicated by the lioness’s swollen intestines.

“They had just eaten a zebra so... she had a full stomach. It just made the [operation] a lot more difficult,” said Rogers, standing by the enclosure where the animal woke up retching and groggy from the anaesthetic.

“It’s a very invasive technique,” he conceded. “But as soon as you have got four fences around a place you have to manage it.”

Conservationists and small reserve managers in 2010 set up a forum to manage their wild lions as a “meta population”.

The Lion Management Forum South Africa (LiMF) oversees around 700 lions among 59 reserves.

They mimic natural processes by controlling reproduction rates and swapping males.

Careful management has allowed the meta population to grow at a sustainable 2 per cent per year.

“If we didn’t do the management... the population would be increasing at 22 per cent per year,” LiMF chair Sam Ferreira told AFP.

“Now that sounds really nice, but the trouble is we don’t have lots of space for that in South Africa.”

Globally, wild lions are disappearing fast, but South Africa has an abundant and growing population of around 3,500 — about 17 per cent of the world’s total.

“Smaller reserves have increased the lion range in the last 30 years probably by 50 per cent,” said Leo-Smith.

Rietspruit’s males will be replaced with younger lions when they age, and then some females will be taken off contraception.

They remain king until then, golden manes framing their faces.

Other reserves will probably still take them when they grow old, said Leo-Smith.

“They will be very desirable for photographic reasons.”

GWM Poer: Power projection

By - Dec 21,2021 - Last updated at Dec 21,2021

Something of an unknown quantity in Jordan when it arrived late last year accompanied with a prominent marketing campaign, the Great Wall Motors — or GWM — Poer promised more than the average mid-size pick-up’s regular remit. Bold and perhaps somewhat brash in its aesthetic, the Poer is pitched as a more luxurious and refined alternative in the popular dual private and work use truck market, with its affordable high equipment and appointment levels also making it a good value for money proposition.

Big on bling

Slightly larger and appreciably more luxurious inside than most in-class competition, the Poer has even been pitched as an alternative to larger, more indulgent full-size pick-ups. That being the case, the Poer’s design accentuates its above average size with a high bonnet, waistline and plenty of sheet metal area on display. Its slim, scowling and high-set headlights meanwhile add visual breadth and liberal doses of chrome give off the requisite “bling” factor to help pass for an ‘American’ style and size truck.

With soft-edged but prominent surfacing details, bulging flanks and a muscularly domed bonnet providing a greater sense of volume, the Poer’s more up-segment aspiration and overtly aggressive persona is, however, best exemplified by its larger than life grille. Tall, wide and heavily chromed with thick outline, slat and emblem, the Poer’s grille is a glitzy and overstated piece of automotive jewelry, but seems to work well for marking it out in its segment, and for projecting the desired character and effect. 

Accessible abilities

Dubbed the Poer in Middle East markets and pronounced as “power”, there is nothing coy about the Chinese manufacturer’s premier pick-up truck or its image. That said, it does however deliver well on its nameplate’s overt promise, and is propelled by a compact high-power 2-litre common-rail turbo-diesel 4-cylinder engine. Developing 161BHP at 3,600rpm and muscular 295lb/ft torque output available at a usefully accessible 1,500-2,500rpm mid-range sweet spot, it is estimated to allow for a 170km/h top speed and 0-100km/h acceleration of around 12-seconds.

With seemingly indefatigable mid-range pulling power for quick on the move acceleration and hauling, the Poer’s engine meanwhile spins happily to its low rev ceiling typical of diesel-powered vehicles. However, its smooth, slick and intuitive 8-speed automatic gearbox works very well to avoid the low-end turbo lag also characteristic of turbo-diesels in general. Responsive by segment standards, the Poer’s smooth engine delivers confident performance across the spectrum. Meanwhile, extensive noise insulation all but eliminates audible diesel clatter from the cabin.

Rugged and refined

A body-on-chassis pick-up with live axle and leaf spring suspension coupled with front double wishbones, it is the Poer’s level of ride refinement, reassuring road-holding, dynamic control that truly set it out as a more luxurious SUV-like daily drive prospect. Belying its rugged commercial vehicle style, construction and underpinnings, the Poer’s most distinctive dynamic feature is its settled road manners, body rigidity and excellent vertical control, with little evidence of the over compression, rebound or bounce often associated with such pick-ups.

The Poer’s buttoned down confidence over bumps and stable, settled and refined motorway cruising is well worth a slightly firm ride quality over sharp sudden road imperfections. Well controlling cornering body lean for its class, the Poer grips hard when exiting as active four-wheel-drive diverts power forwards when needed. Turning in tidily with well-damped if slightly long-geared steering, a short test drive alluded that its at the limit dynamic tendency might be biased for predictable understeer if pushed too fast or hard into a corner.

Deluxe double cab

Well-mannered and refined riding on road, the Poer is expected to perform well off-road, with generous estimated 232mm ground clearance, 500mm water fording and 27° approach, 21° ramp and 25° departure angles. For demanding off-road driving the Poer features low gear ratios, while a limited lip rear differential provides additional traction on or off road, and improved cornering agility on tarmac. Moreover, numerous safety and assistance features include a reversing camera and blind spot warning to make the vast Poer easier to drive.

Geared towards personal use rather than work duties, higher specification double cab versions of the Poer are thoroughly well-appointed with extensive safety, assistance, convenience and infotainment features. Finishing includes stylish glossy and metallic trim, soft textures in prominent places, two tone colour schemes and indulgent leathers, including an especially up-market quilted burgundy shade, as driven. Logically laid out and with clear instrumentation and user-friendly controls inside, the Poer’s cabin features generous front and rear space, and excellent cabin noise insulation and refinement.

Specifications: GWM Poer

  • Engine: 2-litre, common-rail turbo-diesel, in-line 4-cylinders
  • Valve-train: 16-valve, DOHC
  • Gearbox: 8-speed automatic
  • Gear ratios: 1st 5.0; 2nd 3.2; 3rd 2.143; 4th 1.72; 5th 1.314; 6th 1.0; 7th 0.822; 8th 0.64; R 3.456
  • Driveline: Four-wheel-drive, low gear transfer case, limited slip rear differential
  • Power, BHP (PS) [kW]: 161 (163) [120] @3,600rpm
  • Specific power: 80.6BHP/litre
  • Power-to-weight: 76.6BHP/tonne (estimate)
  • Torque, lb/ft (Nm): 295 (400) @1,500-2,500rpm
  • Specific torque: 200.4Nm/litre
  • Torque-to-weight: 190.4Nm/tonne (estimate)
  • 0-100km/h: approximately 12-seconds (estimate)
  • Top speed: 170km/h (estimate)
  • Fuel capacity: 80-litres
  • Length: 5,437mm
  • Width: 1,958mm
  • Height: 1,893mm
  • Wheelbase: 3,230mm
  • Ground clearance: 232mm
  • Approach / ramp / departure angles: 27°/21°/25° (estimate)
  • Water fording: 500mm (estimate)
  • Cargo bed length/width (max) / depth: 1,520/1,520/538mm
  • Kerb weight: 2,100kg (estimate)
  • Gross vewhicle weight: 3,150kg (estimate)
  • Suspension, F/R: Double wishbones, coilovers / leaf springs, live axle
  • Steering: Electric-assisted rack & pinion
  • Brakes, F/R: Ventilated discs /discs
  • Tyres: 265/65R18
  • Price, on-the-road: JD24,500-29,000 (including third party insurance, 3-year/100,000km warranty and 1-year/20,000km maintenance package)

Learned helplessness

By , - Dec 20,2021 - Last updated at Dec 20,2021

I love psychology and learning about the tricks we can use to empower ourselves asdesperate dieters.

One of the fascinating things I read about recently wasan experiment done in 1974 that studied “helplessness” as a learned behaviour. The study split people into threegroups where: The first group was exposed to annoyinglyloud noise and could press a button four times to stopthe sound. The second group of subjects were exposed to the same loud noise, except their button did not function, so they weren’t able to stop it. The last groupwas not exposed to any noise.

Then they tested the three groups a second time, except for this time, all of them had a working leverthey could pull to stop the noise successfully. The findings were remarkable.

In the second part of this experiment, the subjects in the second group seldom tried to stop the loud noise. Theyhad developed learned helplessness so didn’t bother trying even though the lever was working and could have helped themselves.

Overcoming helplessness

We can easily fall into the pitfall of learned helplessness from years of trying to lose weight and not keeping it off. We unconsciously give up without even realising we have stopped believing that we can do it. If we believe we can’t succeed, then we won’t. 

The same is true for exercise. We don’t know how strong we are until we expose our body to a tougher workout instead of giving up before we even start. When I first started with my trainer in a semi-private setting, I couldn’t even imagine myself pulling my body on the pull-up bar. Not only am I afraid of heights and falling, I don’t have much grip strength to hold on.

Thankfully, my trainer didn’t put up with my “helplessness” and he made me do it with the group whenever it was part of our workout. I kept thinking he’d give up on me and letme do something easier. But like any good trainer, hewasn’t going to let my helplessness get in the way of what my body could learn to do. I’m proud to share thatnow I can hang onto that bar and lift my knees towards my chest, even if for a short time.

Progress, not perfection

If we aim for “perfect” then we will be helpless. But if ourgoal is to keep improving, then we have an opportunity to keep trying to do just a little better than last time.This is how we grow but it can’t happen if we are busy comparing ourselves with others. Only YOU can do YOU! So give it your best shot and pat yourself on the back every time you challenge yourself and discover just howstrong you are mentally, emotionally and physically.

Take the “less” out of helpless and live with “more” instead;More commitment, more strength and more energy totake on whatever life sends your way!

Reprinted with permission from Family Flavours magazine

Change despite the shadow of history

By - Dec 19,2021 - Last updated at Dec 19,2021

The Jordanians and the People of the Jordan
Kamel S. Abu Jaber
UK: Hesperus Press Limited, 2021, 159 pp.

Although the late Dr Kamel S. Abu Jaber first embarked on an academic career, prior to his well-known political career in Jordan, this book is not an academic undertaking. It is, however, obviously the work of a scholar, filled with knowledge that goes deeper than facts and figures. As his widow, Loretta Abu Jaber, writes in the introduction: “He wrote it to explain to foreigners the thoughts, feelings and aspirations of the Jordanians, Palestinians, and Arabs who are often misunderstood, hoping to provide them with insight into who we really are.” (p. 11)

Dr Abu Jaber had the gift of both loving his country and being able to appraise it with a critical (but not harsh) eye. He self-identifies as a nationalist humanist, and his book shows that it is possible to be objective without eliminating human feelings and values. In fact, this is what makes his book relevant forty years after it was first published in 1980. After all, many of the core issues have remained the same despite modernisation and change, notably the antagonistic Israeli policy towards the Palestinians. Loretta Abu Jaber chose to republish this bookto commemorate her husband a year after his death and coinciding with the Kingdom’s centennial year. Adding to the book’s continued relevance, the appendix, which originally consisted of statistics from 1952 and 1979, has been updated with 2020 figures to show Jordan’s progress in terms of vital social indicators in the fields of education, health, agriculture, economy and so forth.

In the opening chapter, Dr Abu Jaber combinedpoetics with geographic, religious and historical references to describe the significance of the Jordan River and its environment, and how the land has influenced the character of the people. But the river is also the point at which conflict enters the scene due to the Israeli occupation which has turned it into a boundary. However, it didn’t start there. In Dr Abu Jaber’s view, Jordan is overburdened by history: “Too much history in this land, a land haunted by the echoes of history… pre-Biblical, Biblical, Hellenistic, Roman, Islamic and now modern times… Too much enmity, love, blood, tears and sweat where the shape and course of humanity was influenced. The shadow of history is always here, elongated beyond belief, giving further dimensions to the land and its people.” (p. 20)

Still, the challenge posed by Israel was seen as the most damaging by Dr. Abu Jaber: “We are paying the price by being forced to devote so much time and energy to the struggle, time and energy which we should be devoting to the development of a better life for our people.” (p. 37)

Yet, he was ever-hopeful, writing, “This, too, shall pass, and this land, the Jordan Valley kissing both banks and touching the hills of Palestine and Jordan, the cradle of civilization now so utterly degraded it cannot defend itself, the land of the prophets and heroes, shall once more produce a savior.” (p. 23) 

The approach adopted by Dr Abu Jaber is inclusive and closely aligned with reality. That’s what makes the wording of the title important. The term, people of the Jordan,obviously refersto Jordanians, but also to Palestinians of whom he writes, “It really does not matter whether or not they are a minority in Jordan. This has nothing to do with their rights in Palestine, nor with the fact that they are very welcome in Jordan, and are indeed in their home.” (pp. 29-30)

For the author, the people of the Jordan encompass bedouin, villagers, farmers, urbanites, workers, professionals, etc. It also includes Circassians, Chechens, Armenians, Assyrians, Kurds, Turkman and Gypsies. What they all share, according to Dr Abu Jaber, is being in a state of transition between old and new ways of life.

Dr Abu Jaber evaluates many aspects of life in Jordan: The role of government, the priority assigned to education, women’s role in public life (where he was perhaps a bit too optimistic), the gradual loosening of kinship bonds, the personalised social atmosphere, the development of culture and the arts and more. To put his evaluations in perspective, one must remember that he was writing at a time when King Hussein was still alive and reigning, a time when the Internet had not yet invaded every corner of life, a time when radio and television still held sway.

The last chapter in the book is devoted to politics and mainly pays tribute to the wisdom of Hashemite rule, especially that of King Hussein. If Jordan’s centennial is an occasion to pause and contemplate how far Jordan has come, then this is a book that deserves to be read and/or reread. “The Jordanians and the People of the Jordan” is available at the Jordan Book Centre and other bookstores.

Melania Trump launches own NFT platform

By - Dec 19,2021 - Last updated at Dec 19,2021

First Lady Melania Trump speaks at the White House in September 2020 (AFP photo)

WASHINGTON — Former US first lady Melania Trump on Thursday launched her own NFT platform, the latest public figure to join the crypto boom.

A non-fungible token (NFT) is a digital object that can be a drawing, animation, piece of music, photo or video with a certificate of authenticity created by blockchain technology. This authentication by a network of computers is considered inviolable.

A portion of the proceeds from Melania Trump’s NFT collection will be used to help children in foster care.

“I am proud to announce my new NFT endeavor, which embodies my passion for the arts and will support my ongoing commitment to children through my Be Best initiative,” Trump said in a statement.

“Through this new technology-based platform, we will provide children computer science skills, including programming and software development, to thrive after they age out of the foster community.”

The first NFT, a watercolor by the French artist Marc-Antoine Coulon titled “Melania’s Vision”, will be available for purchase through the end of the year for the price of 1 SOL, the cryprocurrency of the Solana blockchain protocol, (approximately $150).

Coulon, a fashion illustrator, has been published in magazines, including Vogue, Vanity Fair, and ELLE, according to his website.

The limited-edition piece of digital artwork “embodies Mrs Trump’s cobalt blue eyes, providing the collector with an amulet to inspire”, according to the statement. It also includes an audio recording from Melania Trump “with a message of hope”.

The Melania Trump NFT platform will run on Solana and will accept both the SOL cryptocurrency and credit card payments.

This is Melania’s Trump first public project since she left office a year ago.

Using the blockchain technology behind cryptocurrencies, NFTs transform anything from illustrations to memes into virtual collectors’ items that cannot be duplicated.

NFTs rocketed into the mainstream this year and are now traded at major auction houses, generating several hundred million dollars in transactions every month.

Swiss museum orders experts to review Nazi-era art collection

By - Dec 18,2021 - Last updated at Dec 18,2021

GENEVA — Experts will review the methods used to determine the provenance of works in a vast private art collection acquired during World War II by Emil Buhrle, a Swiss museum said on Wednesday.

The announcement by the Kunsthaus in Zurich came as renewed suspicions swirl around the Nazi-era origins of one of Europe’s most prestigious private art collections.

The late industrialist (1890-1956) amassed a fortune selling weapons to both the Nazis and the Allies during World War II, wealth that helped buy around 600 artworks by the end of his life.

The Buhrle Foundation itself confirms that 13 paintings bought by the German-born industrialist, who later acquired Swiss citizenship, had been stolen by the Nazis from Jewish owners in France.

Following a series of court cases after the war, Buhrle returned all 13 pieces to their rightful owners then repurchased nine of them, the foundation said.

But long-simmering suspicions around the provenance of other pieces in the collection, which includes famous works by the likes of Manet, Degas, Cezanne, Monet, Renoir, Gauguin and Picasso, have picked up steam in recent years.

The collection was long displayed at a discrete private museum on the outskirts of Zurich, but it was determined it should be moved following a spectacular 2008 heist of four 19th century masterpieces.

It was decided to move the collection to the Kunsthaus, one of Switzerland’s leading museums, which this past October opened a new wing to permanently house the works, setting off fresh debate.

Contaminated museum?

A recent book by historian Erich Keller called “Das kontaminerte Museum”, or The contaminated museum, raises questions around the provenance of the works and criticises a lack of contextualisation.

The Buhrle Foundation meanwhile presented a report to the Kunsthaus on Wednesday over the provenance research it had conducted over the past two decades, concluding that there were no indications of problematic circumstances nor problematic provenances for any of the 203 works in the current collection.

Even though Buhrle conducted business during World War II, “he has not left us a collection of Nazi art”, collection director Lukas Gloor told a press conference, according to the ATS news agency.

The Kunsthaus meanwhile said it had strived to contextualise the collection, including through a historic study by experts at the University of Zurich.

And in a bid to remove any remaining doubts, it said it had appointed “an independent committee of experts”.

They would evaluate whether the methodology and approach used by the Buhrle Foundation to determine the provenance of the works “were correct and whether the results were presented correctly”, the Kunsthaus said.

Adored and endangered: The complex world of the Japanese eel

By - Dec 18,2021 - Last updated at Dec 21,2021

Chef Tsuyoshi Hachisuka grills eel at his restaurant in Hamamatsu, Shizuoka prefecture, in April (AFP photo)

By Mathias Cena
Agence France -Presse

HAMAMATSU, Japan — Tsuyoshi Hachisuka gently places skewered eel on a grill, preparing a much-loved Japanese delicacy that is now so endangered it commands eyewatering prices and the attention of international traffickers.

Consumed worldwide, eel is particularly popular in Asia, and perhaps nowhere more so than Japan, where remains found in tombs show it has been eaten on the archipelago for thousands of years.

Despite its enduring popularity, much about the eel remains a mystery. Precisely how it reproduces is unclear, and coaxing it to do so in captivity without intervention has proved unsuccessful so far.

Pressures on wild stocks ranging from pollution to overfishing mean supplies have dwindled dramatically in recent decades.

While the writhing snake-like creature is repellent to some, it is a mainstay of Japanese cuisine, and since the 17th century has most often been prepared “kabayaki”-style: Skewered, grilled and basted in a mixture of soy sauce and mirin rice wine.

In central Japan’s Shizuoka, 66-year-old Hachisuka’s restaurant in Hamamatsu city has used the same basting sauce base for four decades.

“I adjust it as I go. It mustn’t be too sweet or too salty,” he told AFP.

But while his recipe has stayed the same, his product has not. The annual catch in Japan of young known as glass eels has fallen to 10 per cent of 1960 levels.

That has driven prices sky-high, even in a country that has battled for years to achieve inflation.

“A dish of unaju [eel on rice] is today nearly three times more expensive than when I started,” said Hachisuka.

There are 19 species and subspecies of eel, many of them now threatened.

In 2014, the Japanese eel was listed as endangered by the International Union for Conservation of Nature, which cited factors including habitat loss, overfishing, pollution and migration barriers.

Enduring mysteries

Protecting the animal is complicated by their complex life cycle, which unfolds over a vast area, and the many unknowns about how they reproduce.

The mystery of eel reproduction has fascinated scientists for thousands of years, with even ancient Greek philosopher and naturalist Aristotle puzzling over it.

He theorised eels must simply emerge spontaneously in mud because he could find no traces of their larvae.

“We think that the eel emerged approximately 60 million years ago, near the island of Borneo,” explains Mari Kuroki, assistant professor at Tokyo University’s aquatic biosciences department.

“As continental drift affected marine currents and the distance grew between the areas where eels lived and laid eggs, the creature has adapted,” she told AFP.

It is now present in every ocean except the Antarctic.

But despite their ubiquity, it wasn’t until the early 20th century that European scientists discovered that European and American eels are born somewhere in the Sargasso Sea near Cuba, with their larvae then carried by currents to different regions.

And the precise location of eel spawning sites remained an enigma until 2009, when a scientific mission pinpointed the breeding grounds of the Japanese eel, west of the Mariana Islands, some 2,000-3,000 kilometres from Japan’s coasts.

Evidence suggests the species mates and lays its eggs at the spot, but the process has still never been observed.

Once they hatch into larvae, the creatures drift towards coastlines, growing on the way into glass eels.

They swim into estuaries and rivers in Japan, Taiwan, China and South Korea, and live in freshwater habitats for between five and 15 years before swimming back out to sea to spawn, and then die.

‘White gold’

Eels are vulnerable to a wide range of catastrophic human behaviours, and climate change-linked phenomenon like El Nino have affected the ocean currents that carry them, as well as their spawning sites.

The deterioration of their freshwater habitats, including by river development, also plays a significant role, along with pollution.

Dams can block migratory routes and eels are sometimes caught in hydroelectric turbines, a leading cause of death for the species.

Since 2012, scientists in the four territories where the Japanese eel is most commonly found have worked together on conservation, setting aquaculture quotas in 2015.

But restrictions, including an EU ban on exports in 2010, have created a flourishing black market, with poaching and international trafficking.

Over 99 per cent of the supply in Japan consists of caught or imported glass eels raised to maturity on farms.

In 2020, declared catches and legal imports of glass eels for farms in Japan amounted to 14 tons, according to Japan’s Fisheries Agency (JFA).

But the country’s farms reported buying over 20 tonnes of glass eels, a gap indicating the role of illicit trade.

Environmental group WWF Japan believes the true scale of the problem is even larger, estimating between 40 to 60 per cent of eels raised in Japan come from illegal sources.

In Hamamatsu, the brackish waters of Lake Hamana near the sea are an ideal habitat for eels, and the hunt for the creatures takes place there each year between December and April, under a cloak of secrecy.

“The eel is the most valuable fish in this lake,” says KunihikoKako, a 66-year-old fisherman, holding a long net with a conical end that he uses for his catch.

“So we have to be careful.”

The creature is so precious it is sometimes dubbed “white gold”, with prices fluctuating wildly depending on the catch size.

Farms paid an average of 1.32 million yen ($11,680 at today’s rates) in 2020 for a kilo of glass eel, according to the JFA, after a record of 2.99 million yen in 2018.

‘Appreciate each eel’

With stocks falling and prices rising, eel consumption in Japan has changed, and the dish is now seen as a treat rather than a regular meal.

A record 160,000 tons was consumed across the country in 2000, but that figure has fallen by two-thirds.

“In the past, all the meals sold at grill places and local hotel restaurants had eel in them,” says Senichiro Kamo, a seafood wholesaler on Lake Hamana.

“It was also in the bento boxes sold at stations. But since the price has tripled, that’s no longer possible,” adds Kamo, half of whose sales are of eel.

Eels of all types are notoriously resistant to breeding in captivity, and since the 1960s, Japanese researchers have worked to coax them into the mood, but without success.

In 2010, experts bred two consecutive generations of Japanese eels in a lab for the first time, a major advance.

But these “artificial” eels aren’t likely to hit the market anytime soon, says RyusukeSudo of the Japan Fisheries Research and Education Agency in the Izu region, southwest of Tokyo.

“The biggest problem now is that the method is very expensive,” he told AFP.

Each eel requires individual human intervention, the reproduction rate is low, and creatures produced in captivity also grow slower than their wild counterparts, he said.

Researcher Kuroki believes the best way to protect the species is to make consumers more mindful.

“We need to appreciate each eel we eat,” she said, “keeping in mind that this is a precious natural resource”.

Can Spider-Man swing to Hollywood's rescue with 'No Way Home'?

By - Dec 16,2021 - Last updated at Dec 16,2021

Star Tom Holland on the red carpet for the world premiere of "Spider-Man: No Way Home" in Los Angeles on Monday (AFP photo)

By Andrew Marszal
Agence France-Presse

LOS ANGELES — With great power comes great responsibility — and so Spider-Man is being called upon to save Hollywood and movie theatres once again, with analysts eyeing the pandemic era's first potential billion-dollar-grossing film.

Box office watchers are spinning hopeful predictions for "Spider-Man: No Way Home," which hits theatres Friday, with some estimates for its North America opening weekend alone reaching $150 million or higher.

Despite the gradual recovery of movie theatres this year, that would be easily Hollywood's most successful opening since "Star Wars: The Rise of Skywalker" — way back in the heady pre-pandemic days of December 2019. 

No film since has passed $100 million on its debut.

"All year for the industry, it's been one step forward, and then two steps back," said Comscore analyst Paul Dergarabedian.

"The performance of 'Spider-Man' is really important."

"Spider-Man: No Way Home" is British star Tom Holland's third solo outing in the wildly popular role, played in earlier films by Tobey Maguire and Andrew Garfield.

The webslinger has form when it comes to big openings. 

The original "Spider-Man" film starring Maguire in 2002 was the first movie in the history of cinema to gross more than $100 million on its debut weekend.

On the red carpet for Monday's world premiere in Los Angeles, Holland raved about the latest film's "nostalgia, the culmination of three franchises, the celebration of cinema."

The plot picks up directly from 2019's "Far From Home," which saw Peter Parker publicly unmasked by the villainous Mysterio.

Parker scrambles to regain his anonymity, with the help of another popular Marvel movie character — Benedict Cumberbatch's Doctor Strange.

"Really, Batman, Superman and X-Men are the only other series that have gotten this far — this is a ninth episode," said industry analyst David A. Gross, who runs Franchise Entertainment Research.

"It's just incredibly popular. And so we're going to see a big weekend."

Sony 'on a roll'

Although 2021 is on course to roughly double the box office take of movie theatres of last year, the annus horribilis, there have been more misses than hits.

Films leaning toward older audiences, such as Steven Spielberg's "West Side Story" last weekend, have generally bombed.

Even the normally reliable Marvel superhero franchise — which enjoyed an unprecedented streak of billion-dollar-grossing movies culminating in 2019's briefly record-breaking "Avengers: Endgame" — has struggled.

Poorly reviewed recent instalments such as "Eternals" opened to around $70 million, a paltry amount by usual Marvel standards.

While Disney owns the film rights to most other Marvel characters, rival Sony controls the Spider-Man movies.

The highest-opening film in North America since the pandemic began has been Sony's "Venom: Let There Be Carnage," a sequel based on Spider-Man's nemesis.

Analysts said it is no coincidence that Sony, the only "traditional" big studio in Hollywood to not have its own streaming service, will likely soon have the two biggest openings of the pandemic. 

"This is yet another great win for Sony — they've been on a roll," said Dergarabedian.

"I don't know if it's by design, but certainly having really not as many options to go streaming has held them in good stead and has made their movies more successful."

'Long way to go'

Despite the excitement surrounding "No Way Home," Gross warned that the industry's recovery "still has a long way to go," especially amid fears of a new surge in coronavirus cases fuelled by the Omicron variant.

"Even if 'Spider-Man' does $130 or $150 [million domestic opening] or more, it would have done more if conditions were healthy," he said.

For it to break $1 billion worldwide, the film will surely need to do well in China, where it has yet to be granted a release date.

"It's going to be outstanding — I don't want to rain on it at all," Gross added.

"But I don't think it's a breakthrough and we're back, we're good."

Held up by history: Roman ruins provide building blocks for Serbian village

By - Dec 15,2021 - Last updated at Dec 15,2021

Archaeologist works at an archaeological site right next to a coal mine and a power plant, in central Serbia’s Stari Kostolac, on December 3 (AFP photo)

By Miodrag Sovilj
Agence France-Presse

KOSTOLAC, Serbia — Amid the devastation after World War I, Verica Ivanovic's grandfather used whatever construction materials he could find to build the family's home including, unbeknown to him, bricks from the Roman Empire.

The house and its ancient foundation are still used by the family in central Serbia's Stari Kostolac — on the outskirts of what was once a major Roman settlement and military garrison then known as Viminacium.

It was only years later that the family realised the bricks were cobbled together from the ruins belonging to structures from the once powerful empire.

Emilija Nikolic, a research associate from the Belgrade Institute of Archaeology, estimates that the bricks found on Ivanovic's house likely originate from the third or fourth century AD.

"It's kind of awkward, I know it's Roman. But everyone was doing it," Ivanovic, 82, told AFP.

The fields around Viminacium remain an archaeological gold mine teeming with ancient coins, jewellery, and other artefacts.

In an abandoned backyard near Ivanovic's home lies the remnants of an ancient Roman wall.

"We were ploughing potatoes in a field. I looked down and saw a cameo... When I turned it with my hoe, I saw a beautiful female face," said Ivanovic. "It's in a museum now."

Buried treasure 

 

For centuries, residents near Stari Kostolac have used the bricks and mosaic tiles and other pieces from antiquity that were found in abundance in the area to fill everyday needs.

"Historians in the 19th century noted that a peasant from a nearby village used a sarcophagus as a pig feeder," Nikolic told AFP.

Today, the sarcophagus — which features images from the ancient Greek myth of Jason and the Golden Fleece — resides in a museum.

According to archaeologists, Viminacium was once the provincial capital of Rome's Moesia region and supported a population of about 30,000 inhabitants during its heyday.

Tens of thousands of artefacts have been unearthed from the area so far, including a Roman bath with heated floors and walls, a fleet of ships and hundreds of sculptures.

The ancient city is also believed to have been home to one of the largest necropolises discovered in territory belonging to the former Roman empire, with about 14,000 tombs unearthed.

Viminacium started to decline following the Hun invasion in the mid-fifth century AD and was completely abandoned by the time Slavs arrived in the region at the beginning of the seventh century.

 

What lies beneath 

 

The archaeological site is also the only major Roman settlement that has no modern city built on top of it, according to experts.

"You can't see Londinium anymore because modern London is there. No Lutetia nor Singidunum — Paris and Belgrade are built on top of it," said Miomir Korac, director of the Belgrade Institute of Archaeology.

Sprawling underneath Stari Kostolac's corn fields are the remnants of the entire ancient city — including temples, an amphitheatre, a hippodrome, a mint and an imperial palace, according to extensive scannings, Korac said.

Just two to three percent of the area has been excavated and explored by experts to date.

But centuries after its fall, the ancient garrison city is under siege again.

For more than four decades, nearby mining projects, including the recent expansion of a coal project and a power plant, have increasingly encroached into the area.

Last year, miners unearthed several ancient ships during a dig, with archaeologists dating the oldest vessel to the first century BC.

"It has definitely put [the site] in danger, as many ancient buildings have already been destroyed by building the mine," Nikolic said. "We have saved what we could."

The ballet ‘saviours’ waiting in the wings

Dec 15,2021 - Last updated at Dec 15,2021

Mathieu Ganio was injured before the very first act of ‘The Red and the Black’ was over (AFP photo)

PARIS — When Valentine Colasante was called up to replace an injured dancer in the Paris Opera’s “Don Quixote”, a three-hour ballet that she had performed exactly once before, she didn’t even have time to be nervous.

“You don’t have a choice, you just go. You have to save the show and you feel yourself growing wings and your strength grows tenfold with the adrenaline,” she told AFP.

Companies have to think about understudies even more in the age of coronavirus — just this week the Paris Opera had to cancel a “Don Quixote” performance because of an outbreak in its ranks.

But even before COVID, dancers would often drop out suddenly owing to illness or injury.

Colasante earned her stripes in the process: She was awarded the top “etoile” status at the end of her final performance and is back performing as the official headliner in the current run.

She likens it to the reserve footballer on the bench, called up to score the winner in a penalty shootout.

“You need calm and self-confidence. It’s the body that leads and the brain barely registers what is happening,” she said.

She had just three days to get ready.

“Just preparing your shoes, trying on the costumes and getting to know your partner — the three days are up already,” she said, laughing.

And often, they have much less time than that.

In October, on the opening night of the Paris Opera’s major production of “The Red and the Black”, star dancer Mathieu Ganio hurt himself before even the first act was over.

Within minutes, first soloist Florian Magnenet had taken his place and became the “saviour” of the production.

“Very quickly, you have to create magic,” Paris Opera Ballet director Aurelie Dupont told AFP.

“Florian had learnt the role and was going to perform some of the other dates, but he found himself that night with a partner that was not his own,” said Dupont, herself a former etoile dancer.

“He was in the wings and had suddenly to find his costume, do his make-up in the intermission... so there was an element of stress.”

But she added that dancers in that situation were driven by a desire to save the show and all the work that the company had put into it.

 

‘Part of the job’ 

 

Each company has its own system.

At the Paris Opera, Dupont prepares one or two top-tier understudies for the lead roles.

At London’s Royal Ballet, the dancers should be in the building for the half-hour call before the show begins, said artistic director Kevin O’Hare.

But sometimes they leave too early — as happens when ballet superstar David Hallberg injured himself midway through a performance in 2018, and his replacement had already gone home.

“I called Matthew Ball [the replacement], he called a taxi, put on his make-up, warmed up and danced,” said O’Hare. “It’s part of the job.”

Laurent Hilaire, ballet director for the Stanislavsky Theatre in Moscow, said he always keeps a couple of etoile dancers in the building in case of a problem.

“There was even one time when a dancer was watching the show in the audience and had to throw on her costume in five minutes. She had never performed the role, only rehearsed it,” he said.

“There is an understanding among dancers that they have to react very, very quickly. They are trained for it.”

And it can be a breakthrough moment for young dancers — a chance to prove themselves.

“A footballer who takes the pitch to replace an injured teammate — I think they’re very happy,” said Hilaire.

“It’s the same thing for replacement dancers because ultimately their goal is to be on stage.”

 

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