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"content": "\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\u003c/p>\n\u003cp>https://youtu.be/FhwktRDG_aQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FhwktRDG_aQ'\n title='//www.youtube.com/embed/FhwktRDG_aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musician and 'Whale Whisperer' Sued for Defrauding Investors of $3.3 Million",
"headTitle": "Musician and ‘Whale Whisperer’ Sued for Defrauding Investors of $3.3 Million | KQED",
"content": "\u003cp>The New Age composer, rock music producer, entrepreneur and filmmaker Paul Gilman, who produced a film about using music to communicate with ocean mammals, is being sued by the Securities and Exchange Commission for allegedly defrauding 40 investors of $3.3 million over the course of three years.\u003c/p>\n\u003cp>Filed Monday in Texas federal court, \u003ca href=\"https://www.sec.gov/litigation/complaints/2018/comp24156.pdf\">the SEC’s suit\u003c/a> against Paul Gilman, who it says refers to himself as a “whale whisperer,” accuses him of misleading investors in his three companies, GilmanSound, WaveTech and Oil Migration Group (OMG). GIlman claimed that OMG had developed “revolutionary technology based on ‘sonication’ that would transform the oil and gas industry by using soundwaves to cheaply and effectively lower the viscosity of oil,” according to the complaint, which would presumably lower the cost of oil distribution and processing. With WaveTech, Gilman claimed to have developed a separate sound-based technology for water separation and purification of oil, the SEC alleges.\u003c/p>\n\u003cp>Multiple attempts to contact Gilman’s representation, Dallas-based attorney John Teakell, were not returned. Teakell did give \u003ca href=\"https://www.usatoday.com/story/money/2018/06/05/whale-whisperer-charged-3-million-financial-scam-sec/672510002/\" target=\"_blank\" rel=\"noopener\">a statement to \u003cem>USA Today\u003c/em>\u003c/a> on Tuesday however, saying his client “believes that the evidence will show that the subject technology was being developed and continued to be developed. Therefore, he had no intent to defraud anyone.” Multiple attempts to contact WaveTech were not returned. Calls to Raymond McGlamery, the registered agent of Oil Migration Group, were also not returned.\u003c/p>\n\u003cp>The SEC claims Gilman misled several individuals about what their investments would be used for, and that he instead spent the funding on travel, designer clothes and cash withdrawals at casinos. Those investors included a nurse in Dallas, from whom he is said to have taken $540,000, a psychology professor in Parker, Texas,. from whom he received $60,000 and a church minister in Franklin, Tenn., who gave him $100,000. The latter received a repayment of $100,000 after he became “disillusioned with Gilman” and asked for his money back, which the SEC refers to as a “Ponzi payment” — besides that Ponzi payment and a separate legal settlement, the government claims no money raised by Gilman was ever returned to investors.\u003c/p>\n\u003cp>The companies were the most recent in a long line of projects related to sound and music from Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While GilmanSound’s exact purpose isn’t clear — \u003ca href=\"https://www.sportsvideo.org/2014/06/03/gilmansounds-black-box-audio-processor-attracts-nfl-mlb-attention/\" target=\"_blank\" rel=\"noopener\">a report on its work from 2014\u003c/a> said Gilman was “coy about how the system works” — it was founded in order to improve the audio of sports stadiums, and secured at least two clients, both in Texas, that NPR could confirm. And the work it did still gets a thumbs-up from at least one of its customers.\u003c/p>\n\u003cp>“In 2011, the Texas Rangers purchased equipment and paid for service from GilmanSound to improve the audio system in the Globe Life Park seating bowl,” says John Blake, executive vice president for the Texas Rangers, in a statement to NPR. “The work certainly enhanced the sound, especially as it pertained to the audio on the video boards and the ballpark speakers. Our dealings with GilmanSound have been very professional. Other than that, we really have no other comment.”\u003c/p>\n\u003cp>The Houston Astros declined a request to comment, but did confirm that Minute Maid Park, its home stadium, also installed technology from GilmanSound. However, the SEC accuses Gilman of misappropriating investor funds from GilmanSound as well, after it “failed to perform” — NPR was unable to find up-to-date contact information for GilmanSound.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=ZXvEzV0eisU\" target=\"_blank\" rel=\"noopener\">a 2015 interview\u003c/a> with author\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Alena Chapman, Gilman explained his work with whales and dolphins, which eventually led to the 2004 film \u003ca href=\"https://www.imdb.com/title/tt0447676/\" target=\"_blank\" rel=\"noopener\">\u003cem>Ocean Odyssey\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>During that interview, Gilman said he was led to the project after receiving a call while working with John Phillips, of The Mamas and The Papas. “I’m in a studio with Papa John Phillips, producing for him … I get this call from a gentleman named [indecipherable] from Hawaii, and he’s a kahuna, a medicine man, who had heard my music through friends. He called up and said ‘You are the one who will carry the message to the whales and dolphins, you must be here tomorrow.’ I looked at John and said, ‘I have to go now.’ ” Gilman goes on to explain how he cultivated a relationship with that kahuna, which led him to research direct communication, through music, with whales and dolphins.\u003c/p>\n\u003cp>Ten years before \u003cem>Ocean Odyssey\u003c/em>, Gilman released an album of ocean-themed ambient music, \u003ca href=\"https://www.allmusic.com/album/uncharted-seas-mw0000884949\">\u003cem>Uncharted Seas\u003c/em>\u003c/a>. That album was followed in 1997 by another New Age record, \u003ca href=\"https://www.amazon.com/Other-Side-Paul-Gilman/dp/B000003TJC/ref=ntt_mus_ep_dpi_2\" target=\"_blank\" rel=\"noopener\">\u003cem>From the Other Side\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In that same 2015 interview, Gilman claimed to have worked with Apple on audio technologies alongside the engineer John Worthington, who did not respond to a request for confirmation. Apple did not immediately respond to a request for confirmation that Gilman had worked with the company.\u003c/p>\n\u003cp>So, given that Gilman appears to have spent his life working in both music and technology, the question has to be asked: Could this oil project of his ever, if developed, bear fruit?\u003c/p>\n\u003cp>Sanat Kumar, professor of chemical engineering at Columbia, tells NPR that Gilman’s oil viscosity technology is “not out of the realm of possibility, but very unlikely. To reduce a liquid’s viscosity you would need to apply sound at frequencies comparable to or faster than that of the liquid molecule — a molecule in a liquid is bouncing around like a dust particle in a beam of light, only much, much more rapidly. These frequencies are much too high, something like 10\u003csup>9\u003c/sup> or 10\u003csup>10\u003c/sup> Hz – remember that humans only hear between 20 and 20,000 Hz. At these frequencies you will cause cavitation in the liquid that could cause damage and possibly destroy whatever [is] carrying the oil.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cNad5dsIKAU\" target=\"_blank\" rel=\"noopener\">a trailer for \u003cem>Ocean Odyssey\u003c/em>\u003c/a>, a voice-over explains: “Paul Gilman’s calling will bring him face to face with a defining moment that will help us all realize how little we know, how much we have to learn. A moment that will inspire us to believe in those things we can’t prove with research and statistics. Things that can only be explained with our hearts.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Musician+And+%27Whale+Whisperer%27+Sued+For+Defrauding+Investors+Of+%243.3+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New Age composer, rock music producer, entrepreneur and filmmaker Paul Gilman, who produced a film about using music to communicate with ocean mammals, is being sued by the Securities and Exchange Commission for allegedly defrauding 40 investors of $3.3 million over the course of three years.\u003c/p>\n\u003cp>Filed Monday in Texas federal court, \u003ca href=\"https://www.sec.gov/litigation/complaints/2018/comp24156.pdf\">the SEC’s suit\u003c/a> against Paul Gilman, who it says refers to himself as a “whale whisperer,” accuses him of misleading investors in his three companies, GilmanSound, WaveTech and Oil Migration Group (OMG). GIlman claimed that OMG had developed “revolutionary technology based on ‘sonication’ that would transform the oil and gas industry by using soundwaves to cheaply and effectively lower the viscosity of oil,” according to the complaint, which would presumably lower the cost of oil distribution and processing. With WaveTech, Gilman claimed to have developed a separate sound-based technology for water separation and purification of oil, the SEC alleges.\u003c/p>\n\u003cp>Multiple attempts to contact Gilman’s representation, Dallas-based attorney John Teakell, were not returned. Teakell did give \u003ca href=\"https://www.usatoday.com/story/money/2018/06/05/whale-whisperer-charged-3-million-financial-scam-sec/672510002/\" target=\"_blank\" rel=\"noopener\">a statement to \u003cem>USA Today\u003c/em>\u003c/a> on Tuesday however, saying his client “believes that the evidence will show that the subject technology was being developed and continued to be developed. Therefore, he had no intent to defraud anyone.” Multiple attempts to contact WaveTech were not returned. Calls to Raymond McGlamery, the registered agent of Oil Migration Group, were also not returned.\u003c/p>\n\u003cp>The SEC claims Gilman misled several individuals about what their investments would be used for, and that he instead spent the funding on travel, designer clothes and cash withdrawals at casinos. Those investors included a nurse in Dallas, from whom he is said to have taken $540,000, a psychology professor in Parker, Texas,. from whom he received $60,000 and a church minister in Franklin, Tenn., who gave him $100,000. The latter received a repayment of $100,000 after he became “disillusioned with Gilman” and asked for his money back, which the SEC refers to as a “Ponzi payment” — besides that Ponzi payment and a separate legal settlement, the government claims no money raised by Gilman was ever returned to investors.\u003c/p>\n\u003cp>The companies were the most recent in a long line of projects related to sound and music from Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While GilmanSound’s exact purpose isn’t clear — \u003ca href=\"https://www.sportsvideo.org/2014/06/03/gilmansounds-black-box-audio-processor-attracts-nfl-mlb-attention/\" target=\"_blank\" rel=\"noopener\">a report on its work from 2014\u003c/a> said Gilman was “coy about how the system works” — it was founded in order to improve the audio of sports stadiums, and secured at least two clients, both in Texas, that NPR could confirm. And the work it did still gets a thumbs-up from at least one of its customers.\u003c/p>\n\u003cp>“In 2011, the Texas Rangers purchased equipment and paid for service from GilmanSound to improve the audio system in the Globe Life Park seating bowl,” says John Blake, executive vice president for the Texas Rangers, in a statement to NPR. “The work certainly enhanced the sound, especially as it pertained to the audio on the video boards and the ballpark speakers. Our dealings with GilmanSound have been very professional. Other than that, we really have no other comment.”\u003c/p>\n\u003cp>The Houston Astros declined a request to comment, but did confirm that Minute Maid Park, its home stadium, also installed technology from GilmanSound. However, the SEC accuses Gilman of misappropriating investor funds from GilmanSound as well, after it “failed to perform” — NPR was unable to find up-to-date contact information for GilmanSound.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=ZXvEzV0eisU\" target=\"_blank\" rel=\"noopener\">a 2015 interview\u003c/a> with author\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Alena Chapman, Gilman explained his work with whales and dolphins, which eventually led to the 2004 film \u003ca href=\"https://www.imdb.com/title/tt0447676/\" target=\"_blank\" rel=\"noopener\">\u003cem>Ocean Odyssey\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>During that interview, Gilman said he was led to the project after receiving a call while working with John Phillips, of The Mamas and The Papas. “I’m in a studio with Papa John Phillips, producing for him … I get this call from a gentleman named [indecipherable] from Hawaii, and he’s a kahuna, a medicine man, who had heard my music through friends. He called up and said ‘You are the one who will carry the message to the whales and dolphins, you must be here tomorrow.’ I looked at John and said, ‘I have to go now.’ ” Gilman goes on to explain how he cultivated a relationship with that kahuna, which led him to research direct communication, through music, with whales and dolphins.\u003c/p>\n\u003cp>Ten years before \u003cem>Ocean Odyssey\u003c/em>, Gilman released an album of ocean-themed ambient music, \u003ca href=\"https://www.allmusic.com/album/uncharted-seas-mw0000884949\">\u003cem>Uncharted Seas\u003c/em>\u003c/a>. That album was followed in 1997 by another New Age record, \u003ca href=\"https://www.amazon.com/Other-Side-Paul-Gilman/dp/B000003TJC/ref=ntt_mus_ep_dpi_2\" target=\"_blank\" rel=\"noopener\">\u003cem>From the Other Side\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In that same 2015 interview, Gilman claimed to have worked with Apple on audio technologies alongside the engineer John Worthington, who did not respond to a request for confirmation. Apple did not immediately respond to a request for confirmation that Gilman had worked with the company.\u003c/p>\n\u003cp>So, given that Gilman appears to have spent his life working in both music and technology, the question has to be asked: Could this oil project of his ever, if developed, bear fruit?\u003c/p>\n\u003cp>Sanat Kumar, professor of chemical engineering at Columbia, tells NPR that Gilman’s oil viscosity technology is “not out of the realm of possibility, but very unlikely. To reduce a liquid’s viscosity you would need to apply sound at frequencies comparable to or faster than that of the liquid molecule — a molecule in a liquid is bouncing around like a dust particle in a beam of light, only much, much more rapidly. These frequencies are much too high, something like 10\u003csup>9\u003c/sup> or 10\u003csup>10\u003c/sup> Hz – remember that humans only hear between 20 and 20,000 Hz. At these frequencies you will cause cavitation in the liquid that could cause damage and possibly destroy whatever [is] carrying the oil.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cNad5dsIKAU\" target=\"_blank\" rel=\"noopener\">a trailer for \u003cem>Ocean Odyssey\u003c/em>\u003c/a>, a voice-over explains: “Paul Gilman’s calling will bring him face to face with a defining moment that will help us all realize how little we know, how much we have to learn. A moment that will inspire us to believe in those things we can’t prove with research and statistics. Things that can only be explained with our hearts.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Musician+And+%27Whale+Whisperer%27+Sued+For+Defrauding+Investors+Of+%243.3+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Facebook's New Features Encourage Users to Telegraph Their Music Taste",
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"content": "\u003cp>What do you go to Facebook for? Given how many of us use it — 68 percent of Americans, according to the Pew Research Center, with 74 percent of them visiting the site at least once a day — it’s striking that, anecdotally at least, using the site evokes a sort of dissociative muscle memory, the ritual of dutifully giving posts from family and close-enough friends a thumbs-up.\u003c/p>\n\u003cp>Bringing joy to our lives would seem to be an existential priority for social media companies, whose stated goal is to facilitate connection and community — but which, \u003ca href=\"https://www.apa.org/news/press/releases/stress/2017/technology-social-media.PDF\" target=\"_blank\" rel=\"noopener\">by some measures\u003c/a>, have the opposite effect, driving us further into ourselves. Squaring this circle isn’t easy — and it probably won’t be helped along much by Facebook’s announcement on Tuesday that it is more deeply integrating music into its platform.\u003c/p>\n\u003cp>“Together with our amazing music partners, we’ve been building a foundation for new music experiences on Facebook,” the company’s head of music partnerships, Tamara Hrivnak, \u003ca href=\"https://www.facebook.com/tamara.hrivnak/posts/10155377184852385\" target=\"_blank\" rel=\"noopener\">posted yesterday\u003c/a>, alluding to the \u003ca href=\"https://www.facebook.com/facebookmedia/blog/building-community-together-with-music/\" target=\"_blank\" rel=\"noopener\">many deals\u003c/a> the company has struck \u003ca href=\"https://www.facebook.com/facebookmedia/blog/a-diverse-music-community-is-a-very-good-thing/\" target=\"_blank\" rel=\"noopener\">with the music industry\u003c/a> since she first started there in January 2017.\u003c/p>\n\u003cp>The company announced two new features on Tuesday. One is “Lip Sync Live,” a classic Facebook carbon-copying of another company’s core usefulness — in this case, the sing-along app Musical.ly, which \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563290820/chinese-firm-buying-lip-sync-app-musical-ly-for-up-to-1-billion\" target=\"_blank\" rel=\"noopener\">sold to a Chinese company for $1 billion\u003c/a> last fall and is said to be used by half of America’s children. With it, folks can turn their smartphone camera on themselves as they karaoke away to a song of their choosing. The other announcement on Tuesday was a new option to legally include music on video uploads; now, finally, Ed Sheeran can soundtrack the evidence of your beer pong tournament.\u003c/p>\n\u003cp>Both moves are safe bets, early toe-dips into what Facebook promises will be more music-related features in the future. And like the Spotify integration that Facebook subsidiary Instagram \u003ca href=\"https://artists.spotify.com/blog/we%27ve-made-it-easier-to-share-spotify-to-instagram-stories\" target=\"_blank\" rel=\"noopener\">just released\u003c/a>, which allows people to post what they’re listening to on Spotify to their “Story” (another \u003ca href=\"https://www.nytimes.com/2016/08/03/technology/instagram-stories-snapchat-facebook.html\" target=\"_blank\" rel=\"noopener\">copycat feature\u003c/a>, this time from Snapchat), they point to the performative nature of social media. The new features are there to telegraph taste, or to augment self-expression through it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting aside your feelings about these platforms and their capacity to be \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">culturally\u003c/a> or \u003ca href=\"https://www.npr.org/2018/06/06/617530138/facebooks-data-sharing-deals-included-huawei-under-u-s-suspicion-since-2012\" target=\"_blank\" rel=\"noopener\">geopolitically\u003c/a> \u003ca href=\"https://www.npr.org/2017/09/07/549184076/facebooks-russia-ads-could-be-tip-of-the-iceberg-warns-senate-intel-dem\" target=\"_blank\" rel=\"noopener\">problematic\u003c/a>, there’s nothing wrong with sharing what you’re listening to: adding a hilariously counterintuitive backing track to your birthday party video, or broadcasting yourself live while singing whatever-it-may-be. Music has been a product since the player piano. But in the digital age, our preferences are mines — and the more information we share about ourselves, the richer our veins become for those with the means to extract it. With every new feature meant to connect joy to those preferences (laid over with a patina of promotion for the artists being sung along to), it’s become a matter of mental health to wonder if it’s really all that fun, or just for show. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Facebook%27s+New+Features+Encourage+Users+To+Telegraph+Their+Music+Taste&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you go to Facebook for? Given how many of us use it — 68 percent of Americans, according to the Pew Research Center, with 74 percent of them visiting the site at least once a day — it’s striking that, anecdotally at least, using the site evokes a sort of dissociative muscle memory, the ritual of dutifully giving posts from family and close-enough friends a thumbs-up.\u003c/p>\n\u003cp>Bringing joy to our lives would seem to be an existential priority for social media companies, whose stated goal is to facilitate connection and community — but which, \u003ca href=\"https://www.apa.org/news/press/releases/stress/2017/technology-social-media.PDF\" target=\"_blank\" rel=\"noopener\">by some measures\u003c/a>, have the opposite effect, driving us further into ourselves. Squaring this circle isn’t easy — and it probably won’t be helped along much by Facebook’s announcement on Tuesday that it is more deeply integrating music into its platform.\u003c/p>\n\u003cp>“Together with our amazing music partners, we’ve been building a foundation for new music experiences on Facebook,” the company’s head of music partnerships, Tamara Hrivnak, \u003ca href=\"https://www.facebook.com/tamara.hrivnak/posts/10155377184852385\" target=\"_blank\" rel=\"noopener\">posted yesterday\u003c/a>, alluding to the \u003ca href=\"https://www.facebook.com/facebookmedia/blog/building-community-together-with-music/\" target=\"_blank\" rel=\"noopener\">many deals\u003c/a> the company has struck \u003ca href=\"https://www.facebook.com/facebookmedia/blog/a-diverse-music-community-is-a-very-good-thing/\" target=\"_blank\" rel=\"noopener\">with the music industry\u003c/a> since she first started there in January 2017.\u003c/p>\n\u003cp>The company announced two new features on Tuesday. One is “Lip Sync Live,” a classic Facebook carbon-copying of another company’s core usefulness — in this case, the sing-along app Musical.ly, which \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563290820/chinese-firm-buying-lip-sync-app-musical-ly-for-up-to-1-billion\" target=\"_blank\" rel=\"noopener\">sold to a Chinese company for $1 billion\u003c/a> last fall and is said to be used by half of America’s children. With it, folks can turn their smartphone camera on themselves as they karaoke away to a song of their choosing. The other announcement on Tuesday was a new option to legally include music on video uploads; now, finally, Ed Sheeran can soundtrack the evidence of your beer pong tournament.\u003c/p>\n\u003cp>Both moves are safe bets, early toe-dips into what Facebook promises will be more music-related features in the future. And like the Spotify integration that Facebook subsidiary Instagram \u003ca href=\"https://artists.spotify.com/blog/we%27ve-made-it-easier-to-share-spotify-to-instagram-stories\" target=\"_blank\" rel=\"noopener\">just released\u003c/a>, which allows people to post what they’re listening to on Spotify to their “Story” (another \u003ca href=\"https://www.nytimes.com/2016/08/03/technology/instagram-stories-snapchat-facebook.html\" target=\"_blank\" rel=\"noopener\">copycat feature\u003c/a>, this time from Snapchat), they point to the performative nature of social media. The new features are there to telegraph taste, or to augment self-expression through it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting aside your feelings about these platforms and their capacity to be \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">culturally\u003c/a> or \u003ca href=\"https://www.npr.org/2018/06/06/617530138/facebooks-data-sharing-deals-included-huawei-under-u-s-suspicion-since-2012\" target=\"_blank\" rel=\"noopener\">geopolitically\u003c/a> \u003ca href=\"https://www.npr.org/2017/09/07/549184076/facebooks-russia-ads-could-be-tip-of-the-iceberg-warns-senate-intel-dem\" target=\"_blank\" rel=\"noopener\">problematic\u003c/a>, there’s nothing wrong with sharing what you’re listening to: adding a hilariously counterintuitive backing track to your birthday party video, or broadcasting yourself live while singing whatever-it-may-be. Music has been a product since the player piano. But in the digital age, our preferences are mines — and the more information we share about ourselves, the richer our veins become for those with the means to extract it. With every new feature meant to connect joy to those preferences (laid over with a patina of promotion for the artists being sung along to), it’s become a matter of mental health to wonder if it’s really all that fun, or just for show. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Facebook%27s+New+Features+Encourage+Users+To+Telegraph+Their+Music+Taste&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dresses Flutter on Drones in Saudi Fashion Show, But Critics Aren't Buying It",
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"content": "\u003cp>A fashion show in Jeddah, Saudi Arabia, that used drones to walk clothes down a runway has been ripped apart by Arab fashion elites and critics who compared the dresses to ghosts and dementors.\u003c/p>\n\u003cp>Ali Nabil Akbar tells \u003ca href=\"http://www.bbc.com/arabic/media-44387837\" target=\"_blank\" rel=\"noopener\">BBC Arabic \u003c/a>he thought showing the dresses via drone during the Saturday show at Hilton Hotel was “suitable for Ramadan.”\u003c/p>\n\u003cp>“The idea is that we want to add things that are simple yet beautiful,” Akbar tells the BBC. “Even the décor and set-up of the hall was organized beautifully, everything involved innovation.”\u003c/p>\n\u003cp>https://twitter.com/jinakhoushnaw/status/1004463889130622976\u003c/p>\n\u003cp>Footage shows a black floor-length dress fluttering across a hotel ballroom, its sleeves rustling under chandeliers and above the heads of men in long white robes and checked red and white headscarves. A green dress follows on a black hanger, while the drone’s loud buzz competes with the soft music playing in the background.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show in the western port city came weeks after the Saudi capital Riyadh hosted its first-ever Arab Fashion Week. NPR’s Jackie Northam and Fatma Tanis \u003ca href=\"https://www.npr.org/sections/parallels/2018/04/13/601972541/saudi-arabias-first-arab-fashion-week-kicks-off-beyond-fashionably-late\" target=\"_blank\" rel=\"noopener\">covered \u003c/a>the April event, which featured models wearing clothes by Jean Paul Gaultier and other designers from around the world:\u003c/p>\n\u003cblockquote>\n\u003cp>“The first gowns by designers like Lebanon’s Tony Ward and Bibisara from Kazakhstan were ultra-feminine — with long trains and an emphasis on sequins, feathers and beads…\u003c/p>\n\u003cp>“Saudi women regularly attend fashion weeks in New York, Paris and Milan. But the kingdom is still highly conservative and there are restrictions on what types of clothes can be exhibited at the Riyadh show — no cleavage, nothing above the knee and nothing too transparent. The audience was female only.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Jacob Abrian, the founder and CEO of the Dubai-based Arab Fashion Council that organized the Riyadh event, said at the time that Saudia Arabia was the most important market in the Arab region for fashion because of its young population with high purchasing power. He writes NPR in an email that Arab Fashion Week reflected “the serious steps taken to reform the country.”\u003c/p>\n\u003cp>However, Abrian pans the drone catwalk. He notes that Dolce & Gabbana recently used drones for the first time in history in their 2018 show of handbags and accessories.\u003c/p>\n\u003cp>“The latest show in Saudi Arabia has copied D&G innovative idea in a very bad quality which absolutely doesn’t reflect the vision and standards of the Arab Fashion Council,” Abrian writes NPR.\u003c/p>\n\u003cp>Twitter users piled on the scorn after London student Jina Khoushnaw \u003ca href=\"https://twitter.com/jinakhoushnaw/status/1004463889130622976?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Fpreview%2FtwitterPreview.php%3FtweetId%3D1004463889130622976%26hideMedia%3Dtrue\" target=\"_blank\" rel=\"noopener\">tweeted \u003c/a>a video of the event she found on YouTube. Khoushnaw writes NPR that she posted it because she thought the show was “creative, different and extremely amusing too.”\u003c/p>\n\u003cp>https://twitter.com/TheSanPlanet/status/1004525536259997696\u003c/p>\n\u003cp>One user \u003ca href=\"https://twitter.com/TheSanPlanet/status/1004525536259997696\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> that he didn’t know “if they’re living in 3018 or 1018.”\u003c/p>\n\u003cp>Another calls it a ghost show and a third writes a dress reminded her of “\u003ca href=\"https://twitter.com/itshvda/status/1004475988426743808\" target=\"_blank\" rel=\"noopener\">dementors from Harry Potter\u003c/a>.”\u003c/p>\n\u003cp>https://twitter.com/itshvda/status/1004475988426743808\u003c/p>\n\u003cp>The April fashion event was a mark of reform in Saudi Arabia. Recently, the kingdom has allowed cinemas to open and granted women permission to obtain drivers licenses. The change is an initiative of Crown Prince Mohammed bin Salman, who has billed his reign as a time of renewal and innovation. However, many restrictions on women remain and the nation is strictly segregated by gender.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Abrian of Arab Fashion Week has said he plans to repeat his high-end fashion show in Riyadh in fall. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dresses+Flutter+On+Drones+In+Saudi+Fashion+Show%2C+But+Critics+Aren%27t+Buying+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show in the western port city came weeks after the Saudi capital Riyadh hosted its first-ever Arab Fashion Week. NPR’s Jackie Northam and Fatma Tanis \u003ca href=\"https://www.npr.org/sections/parallels/2018/04/13/601972541/saudi-arabias-first-arab-fashion-week-kicks-off-beyond-fashionably-late\" target=\"_blank\" rel=\"noopener\">covered \u003c/a>the April event, which featured models wearing clothes by Jean Paul Gaultier and other designers from around the world:\u003c/p>\n\u003cblockquote>\n\u003cp>“The first gowns by designers like Lebanon’s Tony Ward and Bibisara from Kazakhstan were ultra-feminine — with long trains and an emphasis on sequins, feathers and beads…\u003c/p>\n\u003cp>“Saudi women regularly attend fashion weeks in New York, Paris and Milan. But the kingdom is still highly conservative and there are restrictions on what types of clothes can be exhibited at the Riyadh show — no cleavage, nothing above the knee and nothing too transparent. The audience was female only.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Jacob Abrian, the founder and CEO of the Dubai-based Arab Fashion Council that organized the Riyadh event, said at the time that Saudia Arabia was the most important market in the Arab region for fashion because of its young population with high purchasing power. He writes NPR in an email that Arab Fashion Week reflected “the serious steps taken to reform the country.”\u003c/p>\n\u003cp>However, Abrian pans the drone catwalk. He notes that Dolce & Gabbana recently used drones for the first time in history in their 2018 show of handbags and accessories.\u003c/p>\n\u003cp>“The latest show in Saudi Arabia has copied D&G innovative idea in a very bad quality which absolutely doesn’t reflect the vision and standards of the Arab Fashion Council,” Abrian writes NPR.\u003c/p>\n\u003cp>Twitter users piled on the scorn after London student Jina Khoushnaw \u003ca href=\"https://twitter.com/jinakhoushnaw/status/1004463889130622976?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Fpreview%2FtwitterPreview.php%3FtweetId%3D1004463889130622976%26hideMedia%3Dtrue\" target=\"_blank\" rel=\"noopener\">tweeted \u003c/a>a video of the event she found on YouTube. Khoushnaw writes NPR that she posted it because she thought the show was “creative, different and extremely amusing too.”\u003c/p>\u003c/p>\u003c/div>",
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"title": "Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep'",
"headTitle": "Prince, With Just a Piano and a Sniffle, Interprets ‘Mary Don’t You Weep’ | KQED",
"content": "\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At a North Carolina nightclub in late May, a woman named Shaneera presided onstage, coyly flicking fake, nut-colored hair over her shoulders. Her eyes, super-sized by drag makeup, were visible from the back of the club as she chanted short spells in Arabic, while her music — all pandemonium and pummel — rattled the venue like a weak earthquake. Despite the diabolical display, when Shaneera looked out into the crowd, her gaze felt unexpectedly tender. At the end of her set, credits rolling behind her, she bowed, removed her wig and laughed herself offstage.\u003c/p>\n\u003cp>Shaneera is the latest incarnation of the Kuwait-born, Berlin-based U.K. bass producer Fatima Al Qadiri, a fascinating, often arch and wildly original artist who architects sound into concept-driven albums that bang as hard as they thoughtfully explore social theses she has, at least partially, retrofitted for the dance floor. For the last six years, these have revolved around\u003cstrong> \u003c/strong>the idea of the inexpressible – the what’s-lost-in-translation – via sonic sleights-of-hand.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5c9LLqvlhoAZb4hhm7VqLz\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Take \u003cem>Brute\u003c/em>, a debilitating album that looked to recreate the specific, ineffable agony of mass cultural outrage toward law enforcement by sampling the exact type of sound cannon that police in Ferguson, Mo., used to control rioters. \u003cem>Asiatisch\u003c/em>, released a year prior, presented an “Orientalist’s vision of China” through made-up Mandarin phrases and clichéd pan-Asian chords. Her first EP, \u003cem>Desert Strike\u003c/em>, managed to simulate the terror of Operation Desert Storm by reconfiguring the sound effects of a first-person shooter game. Her latest, \u003cem>Shaneera\u003c/em>, builds upon pop star mythologies by way of a she-devil avatar, a figure born from drag that works as a meditation on the expression of queer identities in the Arab world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5LSrTT4RFJP36yFU8Cm5JH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If this all sounds a bit ambitious, that’s part of the point. Her artist statements map precise parameters onto the scope of each work, claiming narratives and establishing firm intent in an act that’s more manifesto than press release. Though knowing the exact premise of each album isn’t necessary to get a sense of her work’s depth, there is something admirable, maybe fundamental, in her control of electronic music’s bottomless well to illustrate her meticulously-wrought narratives. Her albums’ droning, doppling textures — all so ownably, blatantly Al Qadiri’s — muddle the distinction between club and theatre in a mode that’s consistently larger-than-life.\u003c/p>\n\u003cp>Al Qadiri and I saw one another in passing three times over the course of a weekend in Durham, North Carolina, where I found the seriousness in her work checked by the fact that she is hugely goofy in person, laughing easily and musically, with a habit of tending toward pretty, poetic detours blended with a permanent interest in – what she terms – “glibness and bulls***.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A66pKCPaQnjhFEGBrKOIG2p\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“C***block has always one of my favorite words in English,” she says musingly, mid-way through a heavy-minded lecture titled “Non-Western Perspectives in Western Music Media,” during the electronic music festival Moogfest. “Because I haven’t heard a word in another language that more accurately — or, really, more beautifully — describes what a c***block does.”\u003c/p>\n\u003cp>This is a classic bit of Al Qadirian dialogue: indulgent, austere and obsessed with the overlooked. When she speaks, it is often about language itself, chronically invested as she is in its decomposition and abstraction. Part storyteller, part theoretician, she’s the Scheherazade of the electronic music world, chaining narrative and ideas together in the creation of her own universe.\u003c/p>\n\u003cp>On the final day of the festival, we met in an airy hotel restaurant in the heart of Durham. Dressed like an elegant newsboy visiting from the future (shin-length duster coat, ready-to-wear cottons from her friend, \u003ca href=\"http://www.telfar.net/\">Telfar Clemens\u003c/a>, and a tiny pair of sunglasses settled midway down the bridge of her nose), Al Qadiri delivered esoteria like a punchline, while destroying a glossy steak. She bloomed in response to questions which allowed her to spin yarns that stretched into symphonies of pop philosophy and personal narrative.\u003c/p>\n\u003cp>\u003cem>The following interview and has been edited and condensed.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>What did you originally find so enticing about electronic music-making? \u003c/strong>\u003c/p>\n\u003cp>It was the cheapest and easiest way to access and exercise a method of composition\u003cem>. \u003c/em>There was an itty-bitty Casio keyboard in my home in Kuwait growing up, and I used it to make these funny little ditties. It was a baby keyboard, but I was immediately obsessed with its sound. And, each year, with whatever Eid money I had, the keyboard slowly started expanding. It was totally out of necessity and boredom and utility. I also wanted to mimic and re-create the melodies that were coming out of all the video games I was playing — those were my endless fascination.\u003c/p>\n\u003cp>\u003cstrong>I often think of electronic music as something that’s almost overwhelmingly limitless. How did you impose limits, boundaries, or difficulties on the early music you were creating? \u003c/strong>\u003c/p>\n\u003cp>It was easy — the keyboard itself was limited. There’s only so much that you can do with an analog octave. I didn’t get into using a computer interface until I was in college, when I forced my way into an elective music composition course, finally had access to a studio and a computer, and, yes, quickly felt overwhelmed by it. I was used to the limitations of composing on an analog keyboard, recording it on cassette tape, then memorizing it, as opposed to the boundlessness of software. I think it was late in the year 2000 that I finally got my hands on a copy of [digital audio workstation and sequencer software] Logic Pro. Honestly, it took me ages to understand how to compose using it. I’m a Luddite, you know? I had no help, and it took years for me to become even semi-fluent in the program.\u003c/p>\n\u003cp>\u003cstrong>Where do you stand on the idea of an artist’s statement? No artists are required to say anything about their music, but much of your work, I’d argue, either comes with or merits a strong one. \u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>I think it’s about controlling the narrative of your work, which is something I actually want to do. Stating your intent can be important, especially when music is such an abstract language. I have a very clear narrative attachment to my work, and I want to be able to communicate that with some control. Each of my pieces is a short story; my father was obsessed with Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>, and I think my mother, a novelist, was a real-life Scheherazade too. She came from a chain of Persian storytellers.\u003c/p>\n\u003cp>\u003cstrong>Do you feel kin to Scheherazade as well? \u003c/strong>\u003c/p>\n\u003cp>Of course! I’ve always told stories to stay alive. And I love work with such a thematic, narrative bend to it. It’s almost a childlike impulse, I think. It’s about memory and preservation and legacy. It’s why I’m so obsessed with \u003cem>Revisionist History, \u003c/em>Malcom Gladwell’s podcast. His work discusses overlooked stories that somehow changed the course of history, and I adore the idea of what’s hidden right in front of us.\u003c/p>\n\u003cp>You know, I think if you’re creating some sort of narrative in an album, it’s worth putting it down and trying to articulate it and make it visible for others. Unfortunately, I’ve done only minimal writing in my day. I’ve always struggled with English, even though it’s my first language, in that I feel like I don’t and can never really \u003cem>own\u003c/em> it.\u003c/p>\n\u003cp>\u003cstrong>I think all writers go through their entire lives wrestling with that idea. \u003c/strong>\u003c/p>\n\u003cp>You know, I wish I could go even harder — even more HAM — with my work, and create a piece that’s somehow akin to a short story, where each track is as expansive as chapter. That’s a dream of mine.\u003c/p>\n\u003cp>\u003cstrong>Do you think very specifically about your audience? Either in who you’re making music for, or who’s checking it out?\u003c/strong>\u003c/p>\n\u003cp>Oh, no, not at all. That would be stunting. I make everything for myself. It’s a big diary — my body of work is just a huge journal. It’s a culmination of experiences and months and chapters in my history as a person. It’s homage, it’s memoir, and ultimately all autobiographical. Tie all these records together, and they each have something to do with periods in my life.\u003c/p>\n\u003cp>\u003cstrong>Would you say that \u003cem>Shaneera\u003c/em> is for everyone, or does that particular EP have a general audience in mind? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Shaneera\u003c/em> is admittedly different. There’s that Arabic language barrier, of course, but having said that, she’s found her audience. So many queer, non-Western music producers have gotten in touch with me since the announcement of the record, telling me that it’s been a huge inspiration for them to write in their own language. And that really touched me. I finally thought, “God, I’ve done the right thing.” It was eye-opening to see and hear how many producers were holding back for a number of reasons. For fear of tokenization, for fear of not gaining traction, for fear of being misunderstood or stereotyped.\u003c/p>\n\u003cp>Last night was my very first live performance as Shaneera, you know. I was so happy singing in Arabic for that crowd — that was the first time she’s come out of me.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t stop laughing at some moments. It was so joyous. It was pure drag!\u003c/strong>\u003c/p>\n\u003cp>Exactly. What is drag? It’s the performance of extreme gender. The thing that’s so interesting is that Shaneera’s supposed to be a fake Arab pop star. The thing is, Arab pop stars, like many pop stars around the world, are ultra-heteronormative icons. With some exceptions, they represent extreme femininity and extreme masculinity. So it’s so accurate to apply drag methodology to the sort of appropriated pop music I’m doing here.\u003c/p>\n\u003cp>\u003cstrong>I imagine much of your work lends itself to worlds of critical interpretation. Do you feel a degree of responsibility to correct assumptions made of your work? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13834435\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg\" alt=\"Fatima Al Qadiri, as Fatima Al Qadiri.\" width=\"200\" height=\"342\" class=\"size-full wp-image-13834435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052-160x274.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Fatima Al Qadiri, as Fatima Al Qadiri. \u003ccite>(Dom Smith/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I literally do it all the time.\u003c/p>\n\u003cp>\u003cstrong>I don’t think many artists do — or admit — that. \u003c/strong>\u003c/p>\n\u003cp>I do want to say it’s a losing battle sometimes, because I get the idea that whatever you put out into the world is honest. But there’s sometimes people out there that can be intentionally malicious, who want to change your narrative for their benefit. I can tell the difference between laziness and a hit job — and those people certainly exist. Especially being a particularly vocal woman of color… you know what I’m getting at here. You can be a target sometimes.\u003c/p>\n\u003cp>I’ve met so many women musicians around the world that refuse to release music for fear of being misinterpreted by white media. And I’m baffled. I’m blown away. This is how crippling the world of criticism can be. It’s terrifying, sometimes. It’s already tough enough to put something out there and make yourself vulnerable. Everything can be an act of joy and beauty until it gets put out. Then it can get dangerous.\u003c/p>\n\u003cp>Oh man, even for this record, my mother sat down with me and said, “Listen, girl. This record is in Arabic. It’s about \u003cem>this\u003c/em> subject? I’m going to listen to it, start to finish, and you’ll let me censor anything that would be too dangerous for you to include.”\u003c/p>\n\u003cp>\u003cstrong>That sense of obligation and duty to your mother sounds — as far as I can speak to — so endemically Middle Eastern. \u003c/strong>\u003c/p>\n\u003cp>Yes and no. My mother’s extraordinarily liberal — more liberal than other mothers, much less Mid-Eastern mothers, but what she did was right. She’s never interfered with my work before, and she lives in Kuwait. If anyone’s going to come for my work, they’re not going to go after me, they’re going to go after her. And she made me remove a few very graphic, sexually-explicit scenes from the album. I had to. Of course I had to! I’d be so undutiful, so ungrateful, if I didn’t do that for her.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I find that the need to correct “incorrect” interpretations of your work fascinating, especially because your music seems to constantly chase this idea of mistranslation. Have you always been fascinated by failure, or these impasses of intent and meaning?\u003c/strong>\u003c/p>\n\u003cp>I think so. The thing is, being rootless, and the idea of not fitting in — which I think most people feel — is compounded by that idea. It allows you to look at how things went wrong. It’s about hegemony, about power dynamics, about things that are inflicted upon us.\u003c/p>\n\u003cp>I was reading about this concept of “negative hallucination” earlier that might explain this a little better. A “positive hallucination” is when you see something that doesn’t exist. A “negative hallucination” is where you miss something that’s right in front of you. And I think this is the thing that I relate to most — the negative hallucination as the misinterpretation. Seeing things in front of you and not \u003cem>seeing\u003c/em> them.\u003c/p>\n\u003cp>\u003cstrong>That reminds me of something you’d spoken about yesterday during your lecture on the topic of semantic gaps. At the most literal level, some languages don’t have the capacity to understand something so natural in another language, only because its lexicon doesn’t accommodate for that idea.\u003c/strong>\u003c/p>\n\u003cp>I think every language has its own buffet of incredibly concise terminology. That’s why learning other languages is so incredible, because they hold ideas that don’t exist in the language that you grew up with, the language you natively speak, or the language you’ve created for yourself.\u003c/p>\n\u003cp>For instance, including the term “queer” in \u003cem>Shaneera\u003c/em>‘s press release really messed me up. There’s a lot of terminology for gender in a lot of other languages, but there’s no term for queer in Arabic. There’s no word for “heterosexual” in Arabic, either. Fixed sexuality, until recently, was a very Western concept. Queer, as a catch-all for this idea of non-binary gender – that’s new. So my friends almost edited it out of the press release, because they felt that the word “queer” wasn’t exactly true to the album. Ultimately, I left it in.\u003c/p>\n\u003cp>The thing is, Shaneera is a persona. She’s as non-binary as they come — she’s an evil spirit. An evil, queen spirit that can possess anything. Did you catch the credits that rolled behind me at the end of my show?\u003c/p>\n\u003cp>\u003cstrong>They were hilarious. So garish. \u003c/strong>\u003c/p>\n\u003cp>Yes! At the end of every major Arabic pop music video, there are these hilariously long credits. So I used that here — and I thanked Vincent Price, who’s obviously a vision of Shaneera, and Bette Davis, Joan Crawford, John Waters, Divine. I thanked a lot of people personally in my life, friends of mine, and obviously some Kuwaiti and Arab references — queers who shall not be named.\u003c/p>\n\u003cp>\u003cstrong>Can you elaborate on the tension between performing as an artist who interrogates non-Western ideas and as serving, for better or worse, as a de-facto “ambassador” of the Gulf in electronic music? \u003c/strong>\u003c/p>\n\u003cp>I’m so into the idea of the “nation as an apparition.” I think people from across the world have a deep sense of internalized nationalism, an ingrained idea that by coming from a country, you’re obligated to represent that country. And the smaller the country, the greater the stakes. To me, it’s similar to the idea of superiority; it’s a taunting, childlike, territorial idea. It’s denies humanity. It’s an impulse of media and artists alike.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t consider myself a part of the diaspora because I’m still so bound to my culture, but at the same time, I’m still at a remove. I left Kuwait for a reason. In that, I think, I have new freedom. I can pick and choose what I want to use – I can appropriate where I came from. Those Kuwaiti drum samples, those Arab sounds, all the work I make — all of those things are mine now. I’ve claimed them. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Transgression%2C+Noise+And+Drag%3A+The+Creation+Of+A+Fake+Arab+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a North Carolina nightclub in late May, a woman named Shaneera presided onstage, coyly flicking fake, nut-colored hair over her shoulders. Her eyes, super-sized by drag makeup, were visible from the back of the club as she chanted short spells in Arabic, while her music — all pandemonium and pummel — rattled the venue like a weak earthquake. Despite the diabolical display, when Shaneera looked out into the crowd, her gaze felt unexpectedly tender. At the end of her set, credits rolling behind her, she bowed, removed her wig and laughed herself offstage.\u003c/p>\n\u003cp>Shaneera is the latest incarnation of the Kuwait-born, Berlin-based U.K. bass producer Fatima Al Qadiri, a fascinating, often arch and wildly original artist who architects sound into concept-driven albums that bang as hard as they thoughtfully explore social theses she has, at least partially, retrofitted for the dance floor. For the last six years, these have revolved around\u003cstrong> \u003c/strong>the idea of the inexpressible – the what’s-lost-in-translation – via sonic sleights-of-hand.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5c9LLqvlhoAZb4hhm7VqLz\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Take \u003cem>Brute\u003c/em>, a debilitating album that looked to recreate the specific, ineffable agony of mass cultural outrage toward law enforcement by sampling the exact type of sound cannon that police in Ferguson, Mo., used to control rioters. \u003cem>Asiatisch\u003c/em>, released a year prior, presented an “Orientalist’s vision of China” through made-up Mandarin phrases and clichéd pan-Asian chords. Her first EP, \u003cem>Desert Strike\u003c/em>, managed to simulate the terror of Operation Desert Storm by reconfiguring the sound effects of a first-person shooter game. Her latest, \u003cem>Shaneera\u003c/em>, builds upon pop star mythologies by way of a she-devil avatar, a figure born from drag that works as a meditation on the expression of queer identities in the Arab world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5LSrTT4RFJP36yFU8Cm5JH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If this all sounds a bit ambitious, that’s part of the point. Her artist statements map precise parameters onto the scope of each work, claiming narratives and establishing firm intent in an act that’s more manifesto than press release. Though knowing the exact premise of each album isn’t necessary to get a sense of her work’s depth, there is something admirable, maybe fundamental, in her control of electronic music’s bottomless well to illustrate her meticulously-wrought narratives. Her albums’ droning, doppling textures — all so ownably, blatantly Al Qadiri’s — muddle the distinction between club and theatre in a mode that’s consistently larger-than-life.\u003c/p>\n\u003cp>Al Qadiri and I saw one another in passing three times over the course of a weekend in Durham, North Carolina, where I found the seriousness in her work checked by the fact that she is hugely goofy in person, laughing easily and musically, with a habit of tending toward pretty, poetic detours blended with a permanent interest in – what she terms – “glibness and bulls***.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A66pKCPaQnjhFEGBrKOIG2p\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“C***block has always one of my favorite words in English,” she says musingly, mid-way through a heavy-minded lecture titled “Non-Western Perspectives in Western Music Media,” during the electronic music festival Moogfest. “Because I haven’t heard a word in another language that more accurately — or, really, more beautifully — describes what a c***block does.”\u003c/p>\n\u003cp>This is a classic bit of Al Qadirian dialogue: indulgent, austere and obsessed with the overlooked. When she speaks, it is often about language itself, chronically invested as she is in its decomposition and abstraction. Part storyteller, part theoretician, she’s the Scheherazade of the electronic music world, chaining narrative and ideas together in the creation of her own universe.\u003c/p>\n\u003cp>On the final day of the festival, we met in an airy hotel restaurant in the heart of Durham. Dressed like an elegant newsboy visiting from the future (shin-length duster coat, ready-to-wear cottons from her friend, \u003ca href=\"http://www.telfar.net/\">Telfar Clemens\u003c/a>, and a tiny pair of sunglasses settled midway down the bridge of her nose), Al Qadiri delivered esoteria like a punchline, while destroying a glossy steak. She bloomed in response to questions which allowed her to spin yarns that stretched into symphonies of pop philosophy and personal narrative.\u003c/p>\n\u003cp>\u003cem>The following interview and has been edited and condensed.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>What did you originally find so enticing about electronic music-making? \u003c/strong>\u003c/p>\n\u003cp>It was the cheapest and easiest way to access and exercise a method of composition\u003cem>. \u003c/em>There was an itty-bitty Casio keyboard in my home in Kuwait growing up, and I used it to make these funny little ditties. It was a baby keyboard, but I was immediately obsessed with its sound. And, each year, with whatever Eid money I had, the keyboard slowly started expanding. It was totally out of necessity and boredom and utility. I also wanted to mimic and re-create the melodies that were coming out of all the video games I was playing — those were my endless fascination.\u003c/p>\n\u003cp>\u003cstrong>I often think of electronic music as something that’s almost overwhelmingly limitless. How did you impose limits, boundaries, or difficulties on the early music you were creating? \u003c/strong>\u003c/p>\n\u003cp>It was easy — the keyboard itself was limited. There’s only so much that you can do with an analog octave. I didn’t get into using a computer interface until I was in college, when I forced my way into an elective music composition course, finally had access to a studio and a computer, and, yes, quickly felt overwhelmed by it. I was used to the limitations of composing on an analog keyboard, recording it on cassette tape, then memorizing it, as opposed to the boundlessness of software. I think it was late in the year 2000 that I finally got my hands on a copy of [digital audio workstation and sequencer software] Logic Pro. Honestly, it took me ages to understand how to compose using it. I’m a Luddite, you know? I had no help, and it took years for me to become even semi-fluent in the program.\u003c/p>\n\u003cp>\u003cstrong>Where do you stand on the idea of an artist’s statement? No artists are required to say anything about their music, but much of your work, I’d argue, either comes with or merits a strong one. \u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>I think it’s about controlling the narrative of your work, which is something I actually want to do. Stating your intent can be important, especially when music is such an abstract language. I have a very clear narrative attachment to my work, and I want to be able to communicate that with some control. Each of my pieces is a short story; my father was obsessed with Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>, and I think my mother, a novelist, was a real-life Scheherazade too. She came from a chain of Persian storytellers.\u003c/p>\n\u003cp>\u003cstrong>Do you feel kin to Scheherazade as well? \u003c/strong>\u003c/p>\n\u003cp>Of course! I’ve always told stories to stay alive. And I love work with such a thematic, narrative bend to it. It’s almost a childlike impulse, I think. It’s about memory and preservation and legacy. It’s why I’m so obsessed with \u003cem>Revisionist History, \u003c/em>Malcom Gladwell’s podcast. His work discusses overlooked stories that somehow changed the course of history, and I adore the idea of what’s hidden right in front of us.\u003c/p>\n\u003cp>You know, I think if you’re creating some sort of narrative in an album, it’s worth putting it down and trying to articulate it and make it visible for others. Unfortunately, I’ve done only minimal writing in my day. I’ve always struggled with English, even though it’s my first language, in that I feel like I don’t and can never really \u003cem>own\u003c/em> it.\u003c/p>\n\u003cp>\u003cstrong>I think all writers go through their entire lives wrestling with that idea. \u003c/strong>\u003c/p>\n\u003cp>You know, I wish I could go even harder — even more HAM — with my work, and create a piece that’s somehow akin to a short story, where each track is as expansive as chapter. That’s a dream of mine.\u003c/p>\n\u003cp>\u003cstrong>Do you think very specifically about your audience? Either in who you’re making music for, or who’s checking it out?\u003c/strong>\u003c/p>\n\u003cp>Oh, no, not at all. That would be stunting. I make everything for myself. It’s a big diary — my body of work is just a huge journal. It’s a culmination of experiences and months and chapters in my history as a person. It’s homage, it’s memoir, and ultimately all autobiographical. Tie all these records together, and they each have something to do with periods in my life.\u003c/p>\n\u003cp>\u003cstrong>Would you say that \u003cem>Shaneera\u003c/em> is for everyone, or does that particular EP have a general audience in mind? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Shaneera\u003c/em> is admittedly different. There’s that Arabic language barrier, of course, but having said that, she’s found her audience. So many queer, non-Western music producers have gotten in touch with me since the announcement of the record, telling me that it’s been a huge inspiration for them to write in their own language. And that really touched me. I finally thought, “God, I’ve done the right thing.” It was eye-opening to see and hear how many producers were holding back for a number of reasons. For fear of tokenization, for fear of not gaining traction, for fear of being misunderstood or stereotyped.\u003c/p>\n\u003cp>Last night was my very first live performance as Shaneera, you know. I was so happy singing in Arabic for that crowd — that was the first time she’s come out of me.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t stop laughing at some moments. It was so joyous. It was pure drag!\u003c/strong>\u003c/p>\n\u003cp>Exactly. What is drag? It’s the performance of extreme gender. The thing that’s so interesting is that Shaneera’s supposed to be a fake Arab pop star. The thing is, Arab pop stars, like many pop stars around the world, are ultra-heteronormative icons. With some exceptions, they represent extreme femininity and extreme masculinity. So it’s so accurate to apply drag methodology to the sort of appropriated pop music I’m doing here.\u003c/p>\n\u003cp>\u003cstrong>I imagine much of your work lends itself to worlds of critical interpretation. Do you feel a degree of responsibility to correct assumptions made of your work? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13834435\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg\" alt=\"Fatima Al Qadiri, as Fatima Al Qadiri.\" width=\"200\" height=\"342\" class=\"size-full wp-image-13834435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052-160x274.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Fatima Al Qadiri, as Fatima Al Qadiri. \u003ccite>(Dom Smith/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I literally do it all the time.\u003c/p>\n\u003cp>\u003cstrong>I don’t think many artists do — or admit — that. \u003c/strong>\u003c/p>\n\u003cp>I do want to say it’s a losing battle sometimes, because I get the idea that whatever you put out into the world is honest. But there’s sometimes people out there that can be intentionally malicious, who want to change your narrative for their benefit. I can tell the difference between laziness and a hit job — and those people certainly exist. Especially being a particularly vocal woman of color… you know what I’m getting at here. You can be a target sometimes.\u003c/p>\n\u003cp>I’ve met so many women musicians around the world that refuse to release music for fear of being misinterpreted by white media. And I’m baffled. I’m blown away. This is how crippling the world of criticism can be. It’s terrifying, sometimes. It’s already tough enough to put something out there and make yourself vulnerable. Everything can be an act of joy and beauty until it gets put out. Then it can get dangerous.\u003c/p>\n\u003cp>Oh man, even for this record, my mother sat down with me and said, “Listen, girl. This record is in Arabic. It’s about \u003cem>this\u003c/em> subject? I’m going to listen to it, start to finish, and you’ll let me censor anything that would be too dangerous for you to include.”\u003c/p>\n\u003cp>\u003cstrong>That sense of obligation and duty to your mother sounds — as far as I can speak to — so endemically Middle Eastern. \u003c/strong>\u003c/p>\n\u003cp>Yes and no. My mother’s extraordinarily liberal — more liberal than other mothers, much less Mid-Eastern mothers, but what she did was right. She’s never interfered with my work before, and she lives in Kuwait. If anyone’s going to come for my work, they’re not going to go after me, they’re going to go after her. And she made me remove a few very graphic, sexually-explicit scenes from the album. I had to. Of course I had to! I’d be so undutiful, so ungrateful, if I didn’t do that for her.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I find that the need to correct “incorrect” interpretations of your work fascinating, especially because your music seems to constantly chase this idea of mistranslation. Have you always been fascinated by failure, or these impasses of intent and meaning?\u003c/strong>\u003c/p>\n\u003cp>I think so. The thing is, being rootless, and the idea of not fitting in — which I think most people feel — is compounded by that idea. It allows you to look at how things went wrong. It’s about hegemony, about power dynamics, about things that are inflicted upon us.\u003c/p>\n\u003cp>I was reading about this concept of “negative hallucination” earlier that might explain this a little better. A “positive hallucination” is when you see something that doesn’t exist. A “negative hallucination” is where you miss something that’s right in front of you. And I think this is the thing that I relate to most — the negative hallucination as the misinterpretation. Seeing things in front of you and not \u003cem>seeing\u003c/em> them.\u003c/p>\n\u003cp>\u003cstrong>That reminds me of something you’d spoken about yesterday during your lecture on the topic of semantic gaps. At the most literal level, some languages don’t have the capacity to understand something so natural in another language, only because its lexicon doesn’t accommodate for that idea.\u003c/strong>\u003c/p>\n\u003cp>I think every language has its own buffet of incredibly concise terminology. That’s why learning other languages is so incredible, because they hold ideas that don’t exist in the language that you grew up with, the language you natively speak, or the language you’ve created for yourself.\u003c/p>\n\u003cp>For instance, including the term “queer” in \u003cem>Shaneera\u003c/em>‘s press release really messed me up. There’s a lot of terminology for gender in a lot of other languages, but there’s no term for queer in Arabic. There’s no word for “heterosexual” in Arabic, either. Fixed sexuality, until recently, was a very Western concept. Queer, as a catch-all for this idea of non-binary gender – that’s new. So my friends almost edited it out of the press release, because they felt that the word “queer” wasn’t exactly true to the album. Ultimately, I left it in.\u003c/p>\n\u003cp>The thing is, Shaneera is a persona. She’s as non-binary as they come — she’s an evil spirit. An evil, queen spirit that can possess anything. Did you catch the credits that rolled behind me at the end of my show?\u003c/p>\n\u003cp>\u003cstrong>They were hilarious. So garish. \u003c/strong>\u003c/p>\n\u003cp>Yes! At the end of every major Arabic pop music video, there are these hilariously long credits. So I used that here — and I thanked Vincent Price, who’s obviously a vision of Shaneera, and Bette Davis, Joan Crawford, John Waters, Divine. I thanked a lot of people personally in my life, friends of mine, and obviously some Kuwaiti and Arab references — queers who shall not be named.\u003c/p>\n\u003cp>\u003cstrong>Can you elaborate on the tension between performing as an artist who interrogates non-Western ideas and as serving, for better or worse, as a de-facto “ambassador” of the Gulf in electronic music? \u003c/strong>\u003c/p>\n\u003cp>I’m so into the idea of the “nation as an apparition.” I think people from across the world have a deep sense of internalized nationalism, an ingrained idea that by coming from a country, you’re obligated to represent that country. And the smaller the country, the greater the stakes. To me, it’s similar to the idea of superiority; it’s a taunting, childlike, territorial idea. It’s denies humanity. It’s an impulse of media and artists alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t consider myself a part of the diaspora because I’m still so bound to my culture, but at the same time, I’m still at a remove. I left Kuwait for a reason. In that, I think, I have new freedom. I can pick and choose what I want to use – I can appropriate where I came from. Those Kuwaiti drum samples, those Arab sounds, all the work I make — all of those things are mine now. I’ve claimed them. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Transgression%2C+Noise+And+Drag%3A+The+Creation+Of+A+Fake+Arab+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Miss America is waving goodbye to its swimsuit competition, scrapping one of its most iconic elements in an attempt to shift the annual ceremony’s emphasis away from its longtime focus on contestants’ physical beauty.\u003c/p>\n\u003cp>“We are no longer a pageant, we are a competition,” Gretchen Carlson, the chairwoman of Miss America’s board of directors, announced \u003ca href=\"https://twitter.com/ABC7/status/1003996875073073153\">Tuesday\u003c/a> on ABC’s \u003cem>Good Morning America\u003c/em>. “We will no longer judge our candidates on their outward physical appearance. That’s huge.”\u003c/p>\n\u003cp>https://twitter.com/ABC7/status/1003996875073073153\u003c/p>\n\u003cp>Carlson, who won the Miss America competition herself in 1989, says the change is intended to change the very nature of the program — and it will begin all but immediately. The move will be put into effect when the next edition is held on Sept. 9 in Atlantic City, N.J.\u003c/p>\n\u003cp>Cara Mund, who holds the current title of Miss America, welcomed the move as ushering in a “whole new era,” emphasizing it \u003ca href=\"https://twitter.com/MissAmerica/status/1003967565633327104\">with a tweet\u003c/a> depicting a bikini going up in smoke.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MissAmerica/status/1003967565633327104?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2018%2F06%2F05%2F617088219%2Fmiss-america-drops-its-swimsuit-competition-embracing-whole-new-era\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever they choose to do,” Carlson said, “it’s what comes out of their mouth that we’re interested in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Miss+America+Says+Farewell+To+Its+Swimsuit+Competition%2C+Embracing+%27Whole+New+Era%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Miss America is waving goodbye to its swimsuit competition, scrapping one of its most iconic elements in an attempt to shift the annual ceremony’s emphasis away from its longtime focus on contestants’ physical beauty.\u003c/p>\n\u003cp>“We are no longer a pageant, we are a competition,” Gretchen Carlson, the chairwoman of Miss America’s board of directors, announced \u003ca href=\"https://twitter.com/ABC7/status/1003996875073073153\">Tuesday\u003c/a> on ABC’s \u003cem>Good Morning America\u003c/em>. “We will no longer judge our candidates on their outward physical appearance. That’s huge.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Carlson, who won the Miss America competition herself in 1989, says the change is intended to change the very nature of the program — and it will begin all but immediately. The move will be put into effect when the next edition is held on Sept. 9 in Atlantic City, N.J.\u003c/p>\n\u003cp>Cara Mund, who holds the current title of Miss America, welcomed the move as ushering in a “whole new era,” emphasizing it \u003ca href=\"https://twitter.com/MissAmerica/status/1003967565633327104\">with a tweet\u003c/a> depicting a bikini going up in smoke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jimmy Fallon to Parkland Graduates: 'That Was You Choosing Hope Over Fear'",
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"content": "\u003cp>Jimmy Fallon made a surprise visit at Marjory Stoneman Douglas High School’s graduation ceremony on Sunday, nearly four months after the students \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/14/585835311/shooter-and-possible-injuries-reported-at-broward-county-fla-high-school\" target=\"_blank\" rel=\"noopener\">survived a shooting\u003c/a> that killed 17 of their classmates and teachers.\u003c/p>\n\u003cp>In his commencement speech, Fallon offered comic relief and thanked the student activists who have been spearheading gun control reform.\u003c/p>\n\u003cp>“Today you’re graduating from high school,” Fallon, host of \u003cem>The Tonight Show\u003c/em>, said. “You should feel incredibly proud of yourselves. That doesn’t mean you should rest on your laurels — or your yannys.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/16/611701171/yanny-or-laurel-why-people-hear-different-things-in-that-viral-clip\" target=\"_blank\" rel=\"noopener\">Yannys and Laurels\u003c/a> aside, he continued, “Here’s what will matter: You, the class of 2018, will have graduated. And you won’t be classmates anymore. You’ll be adults who Facebook search each other at two in the morning for the next 10 years.”\u003c/p>\n\u003cp>In simultaneous dig at himself, and a nod to the far-reaching movement inspired by MSD students who showed not all change-makers are adults, Fallon humorously ushered in the occasion as “Opposite Day.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you think of commencement speakers, you think of people who are inspirational, people who are eloquent, people who’ve changed the world,” he said. “When you think of high school students, you think of people who are immature, slightly awkward, still learning to be an adult.”\u003c/p>\n\u003cp>In the ceremony’s venue, the BB&T Center, home to the Florida Panthers hockey team, Fallon then delivered the graduating seniors some “real-world advice.”\u003c/p>\n\u003cp>“When something feels hard, remember that it gets better. Choose to move forward. Don’t let anything stop you,” he told the graduates, who wore sashes that read “MSD Strong.”\u003c/p>\n\u003cp>The families of the four seniors who had died in the shooting — Nicholas Dworet, Joaquin Oliver, Meadow Pollack, Carmen Schentrup — accepted diplomas on their behalf. \u003c/p>\n\u003cp>He mentioned having met some of the students at the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/24/596679790/hundreds-of-thousands-march-for-gun-control-across-the-u-s\" target=\"_blank\" rel=\"noopener\">“March for Our Lives” protest\u003c/a> in Washington, D.C., earlier this year: “It was an amazing day.”\u003c/p>\n\u003cp>“Thank you for your courage and your bravery,” he said, “and for giving amazing speeches I could never possibly live up to.”\u003c/p>\n\u003cp>He says he and his wife brought his two young daughters to Sunday’s event “because we wanted them to see what hope and light looks like.”\u003c/p>\n\u003cp>The comedian poked fun at what, at first, he saw as a personal setback for his younger self, who he said “wasn’t dumb” but “just had other strengths.” Obligated to go to summer school, happily, he said, it turned out “I met 15 versions of myself. Everyone was funny — and slightly dumb. I loved summer school!”\u003c/p>\n\u003cp>In other words, he said, “Some things that seem like setbacks can take our lives in a totally new direction — they change us in ways we don’t expect. And they make us better, and stronger.”\u003c/p>\n\u003cp>“You guys have already proven that to everyone,” he said. “You took something horrific, and instead of letting it stop you, you started a movement.”\u003c/p>\n\u003cp>“The whole world has heard your voice. And that was you making a choice,” he said. “That was you choosing hope over fear.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can listen to Fallon’s full commencement speech below: \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jimmy+Fallon+To+Parkland+Graduates%3A+%27That+Was+You+Choosing+Hope+Over+Fear%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jimmy Fallon made a surprise visit at Marjory Stoneman Douglas High School’s graduation ceremony on Sunday, nearly four months after the students \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/14/585835311/shooter-and-possible-injuries-reported-at-broward-county-fla-high-school\" target=\"_blank\" rel=\"noopener\">survived a shooting\u003c/a> that killed 17 of their classmates and teachers.\u003c/p>\n\u003cp>In his commencement speech, Fallon offered comic relief and thanked the student activists who have been spearheading gun control reform.\u003c/p>\n\u003cp>“Today you’re graduating from high school,” Fallon, host of \u003cem>The Tonight Show\u003c/em>, said. “You should feel incredibly proud of yourselves. That doesn’t mean you should rest on your laurels — or your yannys.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/16/611701171/yanny-or-laurel-why-people-hear-different-things-in-that-viral-clip\" target=\"_blank\" rel=\"noopener\">Yannys and Laurels\u003c/a> aside, he continued, “Here’s what will matter: You, the class of 2018, will have graduated. And you won’t be classmates anymore. You’ll be adults who Facebook search each other at two in the morning for the next 10 years.”\u003c/p>\n\u003cp>In simultaneous dig at himself, and a nod to the far-reaching movement inspired by MSD students who showed not all change-makers are adults, Fallon humorously ushered in the occasion as “Opposite Day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you think of commencement speakers, you think of people who are inspirational, people who are eloquent, people who’ve changed the world,” he said. “When you think of high school students, you think of people who are immature, slightly awkward, still learning to be an adult.”\u003c/p>\n\u003cp>In the ceremony’s venue, the BB&T Center, home to the Florida Panthers hockey team, Fallon then delivered the graduating seniors some “real-world advice.”\u003c/p>\n\u003cp>“When something feels hard, remember that it gets better. Choose to move forward. Don’t let anything stop you,” he told the graduates, who wore sashes that read “MSD Strong.”\u003c/p>\n\u003cp>The families of the four seniors who had died in the shooting — Nicholas Dworet, Joaquin Oliver, Meadow Pollack, Carmen Schentrup — accepted diplomas on their behalf. \u003c/p>\n\u003cp>He mentioned having met some of the students at the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/24/596679790/hundreds-of-thousands-march-for-gun-control-across-the-u-s\" target=\"_blank\" rel=\"noopener\">“March for Our Lives” protest\u003c/a> in Washington, D.C., earlier this year: “It was an amazing day.”\u003c/p>\n\u003cp>“Thank you for your courage and your bravery,” he said, “and for giving amazing speeches I could never possibly live up to.”\u003c/p>\n\u003cp>He says he and his wife brought his two young daughters to Sunday’s event “because we wanted them to see what hope and light looks like.”\u003c/p>\n\u003cp>The comedian poked fun at what, at first, he saw as a personal setback for his younger self, who he said “wasn’t dumb” but “just had other strengths.” Obligated to go to summer school, happily, he said, it turned out “I met 15 versions of myself. Everyone was funny — and slightly dumb. I loved summer school!”\u003c/p>\n\u003cp>In other words, he said, “Some things that seem like setbacks can take our lives in a totally new direction — they change us in ways we don’t expect. And they make us better, and stronger.”\u003c/p>\n\u003cp>“You guys have already proven that to everyone,” he said. “You took something horrific, and instead of letting it stop you, you started a movement.”\u003c/p>\n\u003cp>“The whole world has heard your voice. And that was you making a choice,” he said. “That was you choosing hope over fear.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can listen to Fallon’s full commencement speech below: \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jimmy+Fallon+To+Parkland+Graduates%3A+%27That+Was+You+Choosing+Hope+Over+Fear%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Benedict Cumberbatch, who plays detective Sherlock Holmes in the television series \u003cem>Sherlock\u003c/em>, foiled an attempted robbery by fighting off a gang of muggers in London. The attack occurred near his fictional character’s home on Baker Street. \u003c/p>\n\u003cp>Cumberbatch and his wife, Sophie Hunter, were riding in an Uber when the 41-year-old actor spotted the attempted mugging on Marylebone High Street and jumped out of the vehicle. Four muggers were attacking a \u003ca href=\"https://deliveroo.co.uk/\" target=\"_blank\" rel=\"noopener\">Deliveroo \u003c/a>cyclist and attempting to steal his bicycle. According to witnesses, Cumberbatch screamed at the attackers and then dragged them off of the victim. \u003c/p>\n\u003cp>\u003ca href=\"https://www.thesun.co.uk/news/6432784/benedict-cumberbatch-saves-deliveroo-assault/\" target=\"_blank\" rel=\"noopener\">Uber driver Manuel Dias, 53, told The Sun\u003c/a>, “I was taking Benedict and his wife to a club — but I didn’t know it was him at first.”\u003c/p>\n\u003cp>“I went to turn down into Marylebone High Street and we saw four guys were pushing around a Deliveroo cyclist. My passenger jumped out, ran over and pulled the men away. They turned towards him and things looked like they were getting worse, so I joined in. He stood there instructing them in the street, shouting, ‘Leave him alone.’ ”\u003c/p>\n\u003cp>“Then it all got a bit surreal. Here was Sherlock Holmes fighting off four attackers just round the corner from Baker Street,” Dias continued. “I had hold of one lad and Benedict another. He seemed to know exactly what he was doing. He was very brave. He did most of it, to be honest. They tried to hit him, but he defended himself and pushed them away. He wasn’t injured. Then I think they also recognized it was Benedict and ran away.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the attackers left, Dias said Cumberbatch asked how the cyclist was. When he said, ” ‘I’m OK,’ Benedict just hugged him.”\u003c/p>\n\u003cp>The Metropolitan Police released a statement about an incident that took place in November: “One of the males attempted to grab the victim’s cycle … He was then punched in the face, struck on the head and hit with his helmet.” \u003c/p>\n\u003cp>“Nothing was reported stolen. The victim did not require hospital treatment. No arrests have been made.” \u003c/p>\n\u003cp>Cumberbatch played the lead role in the \u003cem>Sherlock\u003c/em> television series since 2010 and has starred in the films \u003cem>The Hobbit\u003c/em>; \u003cem>Avengers\u003c/em>: \u003cem>Infinity War\u003c/em> and \u003cem>The Imitation Game.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The cyclist was lucky; Benedict’s a superhero,” Dias said. “Benedict was courageous, brave and selfless. If he hadn’t stepped in, the cyclist could have been seriously injured.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sherlock%27+Star+Benedict+Cumberbatch+Saves+Cyclist+From+Muggers+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Benedict Cumberbatch, who plays detective Sherlock Holmes in the television series \u003cem>Sherlock\u003c/em>, foiled an attempted robbery by fighting off a gang of muggers in London. The attack occurred near his fictional character’s home on Baker Street. \u003c/p>\n\u003cp>Cumberbatch and his wife, Sophie Hunter, were riding in an Uber when the 41-year-old actor spotted the attempted mugging on Marylebone High Street and jumped out of the vehicle. Four muggers were attacking a \u003ca href=\"https://deliveroo.co.uk/\" target=\"_blank\" rel=\"noopener\">Deliveroo \u003c/a>cyclist and attempting to steal his bicycle. According to witnesses, Cumberbatch screamed at the attackers and then dragged them off of the victim. \u003c/p>\n\u003cp>\u003ca href=\"https://www.thesun.co.uk/news/6432784/benedict-cumberbatch-saves-deliveroo-assault/\" target=\"_blank\" rel=\"noopener\">Uber driver Manuel Dias, 53, told The Sun\u003c/a>, “I was taking Benedict and his wife to a club — but I didn’t know it was him at first.”\u003c/p>\n\u003cp>“I went to turn down into Marylebone High Street and we saw four guys were pushing around a Deliveroo cyclist. My passenger jumped out, ran over and pulled the men away. They turned towards him and things looked like they were getting worse, so I joined in. He stood there instructing them in the street, shouting, ‘Leave him alone.’ ”\u003c/p>\n\u003cp>“Then it all got a bit surreal. Here was Sherlock Holmes fighting off four attackers just round the corner from Baker Street,” Dias continued. “I had hold of one lad and Benedict another. He seemed to know exactly what he was doing. He was very brave. He did most of it, to be honest. They tried to hit him, but he defended himself and pushed them away. He wasn’t injured. Then I think they also recognized it was Benedict and ran away.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the attackers left, Dias said Cumberbatch asked how the cyclist was. When he said, ” ‘I’m OK,’ Benedict just hugged him.”\u003c/p>\n\u003cp>The Metropolitan Police released a statement about an incident that took place in November: “One of the males attempted to grab the victim’s cycle … He was then punched in the face, struck on the head and hit with his helmet.” \u003c/p>\n\u003cp>“Nothing was reported stolen. The victim did not require hospital treatment. No arrests have been made.” \u003c/p>\n\u003cp>Cumberbatch played the lead role in the \u003cem>Sherlock\u003c/em> television series since 2010 and has starred in the films \u003cem>The Hobbit\u003c/em>; \u003cem>Avengers\u003c/em>: \u003cem>Infinity War\u003c/em> and \u003cem>The Imitation Game.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The cyclist was lucky; Benedict’s a superhero,” Dias said. “Benedict was courageous, brave and selfless. If he hadn’t stepped in, the cyclist could have been seriously injured.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sherlock%27+Star+Benedict+Cumberbatch+Saves+Cyclist+From+Muggers+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This Room is Thought to Have Been Michelangelo's Secret Hideaway",
"headTitle": "This Room is Thought to Have Been Michelangelo’s Secret Hideaway | KQED",
"content": "\u003cp>It was an art historian’s chance discovery of a lifetime. Over 40 years ago, a museum director in Florence, Italy, found a hidden room whose walls were covered in drawings believed to be the work of Michelangelo and his disciples.\u003c/p>\n\u003cp>Although the drawings are not signed by the master, art experts say some of the sketches in charcoal and chalk are almost certain to be Michelangelo originals. They could shed light not only on the Renaissance artist’s creative process but also on a mysterious and dangerous period in his life.\u003c/p>\n\u003cp>The room is located in Florence’s Basilica di San Lorenzo. That was the official church of the Medici family — the famous patrons of the arts who governed Florence, and later Tuscany, for centuries.\u003c/p>\n\u003cp>Around 1520, the Medicis commissioned Michelangelo to design a family mausoleum. It came to be known as the Medici Chapels.\u003c/p>\n\u003cp>Visitors to the Chapels speak in hushed tones as they admire the nude marble sculptures adorning the tombs of Lorenzo de’ Medici and two other relatives. The naked forms — allegories of four parts of day — project an intense sensation of serenity and philosophical contemplation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But historians believe Michelangelo eventually betrayed his patrons by joining a 1527 revolt that drove the Medicis out of Florence. When the family returned three years later, Michelangelo is thought to have gone into hiding for months — in the secret dwelling below the chapels.\u003c/p>\n\u003cp>The hidden room, 23 feet by 6 1/2 feet, was discovered in 1975 by a museum director who spotted a trapdoor below a wardrobe that led to the room. After cleaning the walls, the museum director discovered dozens of doodles and scribbles on the walls. Some of the drawings called to mind known works by the master.\u003c/p>\n\u003cp>For security reasons, there is no access for the public and researchers need special permission to visit the room.\u003c/p>\n\u003cp>“You have to go down a series of very steep steps, and you start seeing all these drawings that are breathtaking,” says Paola d’Agostino, director of the Bargello Museum that oversees the Medici Chapels.\u003c/p>\n\u003cp>She says the drawings in the hidden room are varied. Some recall Michelangelo’s frescoes in the Sistine Chapel. One is similar to the artist’s bigger-than-life David sculpture.\u003c/p>\n\u003cp>There’s also a drawing of the \u003ca href=\"https://www.britannica.com/topic/Laocoon-Greek-mythology\">Laocoon\u003c/a>, based on a statue from antiquity depicting a mythological attack on a Trojan priest and his two sons by writhing sea snakes. Michelangelo was in Rome when the statue was unearthed in 1506.\u003c/p>\n\u003cp>“Michelangelo was obsessed, as were all the other sculptors of the time,” says D’Agostino, “because it was the incarnation of movement and deep expression in sculpture.”\u003c/p>\n\u003cp>There are as many as 70 different sketches on the room’s walls. Art experts disagree on how many of them were drawn by the master himself.\u003c/p>\n\u003cfigure id=\"attachment_13834250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-800x599.jpg\" alt=\"There are some 60 to 70 different sketches on the walls of the hidden room. Art historians do not believe all the drawings are the work of Michelangelo.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13834250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There are some 60 to 70 different sketches on the walls of the hidden room. Art historians do not believe all the drawings are the work of Michelangelo. \u003ccite>(Claudio Giovannini/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think maybe less than half a dozen could possibly be by Michelangelo,” says William Wallace, a Michelangelo scholar at Washington University in St. Louis who has viewed the drawings in Florence.\u003c/p>\n\u003cp>Even if the sketches are not all works by the master, Wallace says their discovery was an exciting addition to Renaissance scholarship.\u003c/p>\n\u003cp>“It’s a glimpse into something of the culture of the time. These drawings are part of the day-to-day routine of what a bunch of people had to do to put together a complicated and important work like the Medici Chapel,” he says.\u003c/p>\n\u003cp>The Medicis pardoned Michelangelo after their return to power. But following the end the republic of Florence, he left his native city for Rome in 1532 and never returned.\u003c/p>\n\u003cp>The mausoleum remained unfinished. Nevertheless, says D’Agostino, it became what she calls the “school of the world.”\u003c/p>\n\u003cp>“It became the place where everybody from all over Europe — draftsmen, sculptors, painters — went to look at Michelangelo’s work,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>D’Agostino says that after years of study and careful conservation, she expects the drawings in the secret room will be made visible to the public by 2020. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Room+Is+Thought+To+Have+Been+Michelangelo%27s+Secret+Hideaway+And+Drawing+Board&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was an art historian’s chance discovery of a lifetime. Over 40 years ago, a museum director in Florence, Italy, found a hidden room whose walls were covered in drawings believed to be the work of Michelangelo and his disciples.\u003c/p>\n\u003cp>Although the drawings are not signed by the master, art experts say some of the sketches in charcoal and chalk are almost certain to be Michelangelo originals. They could shed light not only on the Renaissance artist’s creative process but also on a mysterious and dangerous period in his life.\u003c/p>\n\u003cp>The room is located in Florence’s Basilica di San Lorenzo. That was the official church of the Medici family — the famous patrons of the arts who governed Florence, and later Tuscany, for centuries.\u003c/p>\n\u003cp>Around 1520, the Medicis commissioned Michelangelo to design a family mausoleum. It came to be known as the Medici Chapels.\u003c/p>\n\u003cp>Visitors to the Chapels speak in hushed tones as they admire the nude marble sculptures adorning the tombs of Lorenzo de’ Medici and two other relatives. The naked forms — allegories of four parts of day — project an intense sensation of serenity and philosophical contemplation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But historians believe Michelangelo eventually betrayed his patrons by joining a 1527 revolt that drove the Medicis out of Florence. When the family returned three years later, Michelangelo is thought to have gone into hiding for months — in the secret dwelling below the chapels.\u003c/p>\n\u003cp>The hidden room, 23 feet by 6 1/2 feet, was discovered in 1975 by a museum director who spotted a trapdoor below a wardrobe that led to the room. After cleaning the walls, the museum director discovered dozens of doodles and scribbles on the walls. Some of the drawings called to mind known works by the master.\u003c/p>\n\u003cp>For security reasons, there is no access for the public and researchers need special permission to visit the room.\u003c/p>\n\u003cp>“You have to go down a series of very steep steps, and you start seeing all these drawings that are breathtaking,” says Paola d’Agostino, director of the Bargello Museum that oversees the Medici Chapels.\u003c/p>\n\u003cp>She says the drawings in the hidden room are varied. Some recall Michelangelo’s frescoes in the Sistine Chapel. One is similar to the artist’s bigger-than-life David sculpture.\u003c/p>\n\u003cp>There’s also a drawing of the \u003ca href=\"https://www.britannica.com/topic/Laocoon-Greek-mythology\">Laocoon\u003c/a>, based on a statue from antiquity depicting a mythological attack on a Trojan priest and his two sons by writhing sea snakes. Michelangelo was in Rome when the statue was unearthed in 1506.\u003c/p>\n\u003cp>“Michelangelo was obsessed, as were all the other sculptors of the time,” says D’Agostino, “because it was the incarnation of movement and deep expression in sculpture.”\u003c/p>\n\u003cp>There are as many as 70 different sketches on the room’s walls. Art experts disagree on how many of them were drawn by the master himself.\u003c/p>\n\u003cfigure id=\"attachment_13834250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-800x599.jpg\" alt=\"There are some 60 to 70 different sketches on the walls of the hidden room. Art historians do not believe all the drawings are the work of Michelangelo.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13834250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-170287602_custom-9856117743b956b988261a306ee5f74a85e61c9a.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There are some 60 to 70 different sketches on the walls of the hidden room. Art historians do not believe all the drawings are the work of Michelangelo. \u003ccite>(Claudio Giovannini/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think maybe less than half a dozen could possibly be by Michelangelo,” says William Wallace, a Michelangelo scholar at Washington University in St. Louis who has viewed the drawings in Florence.\u003c/p>\n\u003cp>Even if the sketches are not all works by the master, Wallace says their discovery was an exciting addition to Renaissance scholarship.\u003c/p>\n\u003cp>“It’s a glimpse into something of the culture of the time. These drawings are part of the day-to-day routine of what a bunch of people had to do to put together a complicated and important work like the Medici Chapel,” he says.\u003c/p>\n\u003cp>The Medicis pardoned Michelangelo after their return to power. But following the end the republic of Florence, he left his native city for Rome in 1532 and never returned.\u003c/p>\n\u003cp>The mausoleum remained unfinished. Nevertheless, says D’Agostino, it became what she calls the “school of the world.”\u003c/p>\n\u003cp>“It became the place where everybody from all over Europe — draftsmen, sculptors, painters — went to look at Michelangelo’s work,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>D’Agostino says that after years of study and careful conservation, she expects the drawings in the secret room will be made visible to the public by 2020. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Room+Is+Thought+To+Have+Been+Michelangelo%27s+Secret+Hideaway+And+Drawing+Board&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>https://youtu.be/UW_xEqCWrm0\u003c/p>\n\u003cp>Last week, a Nigerian rapper released his own version of Childish Gambino’s hit song and music video “This Is America.”\u003c/p>\n\u003cp>It’s called “This Is Nigeria” and was written and performed by lawyer-turned-musician Falz The Bahd Guy. Like the hugely popular Donald Glover song and video (Gambino is his stage name), the Nigerian version looks at harsh everyday realities.\u003c/p>\n\u003cp>In “This Is America,” the issues include gun violence, racism and the distraction of viral entertainment and social media. Falz’s lyrics and visuals touch on some of Nigeria’s major problems: poor electricity supply, drug addiction and government corruption. The video even features veiled Muslim girls to allude to Boko Haram’s abductions of schoolgirls in the northeast.\u003c/p>\n\u003cp>Falz performs in pidgin English, a blend of English and local languages that is widely spoken in West Africa. The chorus says:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is Nigeria.\u003cbr>\nNever-ending recession-o\u003cbr>\nWhere looters are killers and stealers are still contesting election-o.\u003cbr>\nPolitician wey steal some billion and billion e no dey go prison-o.”\u003c/p>\n\u003cp>Released on May 25, just four days before the 19th anniversary of democracy in the West African nation, the three-minute video has been viewed on YouTube 2.9 million times. The hashtag \u003ca href=\"https://twitter.com/hashtag/thisisnigeria\">#ThisIsNigeria\u003c/a> has generated tens of thousands of tweets. And the song has captured the attention of the American rapper Diddy, who reposted “This Is Nigeria” \u003ca href=\"https://www.instagram.com/p/BjSNt8hFLkO/?hl=en&taken-by=diddy\">on his Instagram account\u003c/a>, where it currently has an additional 2.2 million views.\u003c/p>\n\u003cp>Falz, whose real name is Folarin Falana, is not new to social commentary. His music often reflects the views of his father, \u003ca href=\"https://en.wikipedia.org/wiki/Femi_Falana\">Femi Falana\u003c/a>, a popular Nigerian lawyer and human rights activist. Falz’s previous songs “Child of the World,” “Confirm” and “Wehdone Sir” tackle sexual harassment, Internet fraud and the rise of \u003ca href=\"http://www.pulse.ng/bi/lifestyle/these-african-millionaires-pastors-are-living-like-superstars-id7861633.html\">wealthy megachurch pastors\u003c/a>.\u003c/p>\n\u003cp>For a non-Nigerian, the scenes in the video may be a bit hard to figure out at times. Here’s a guide to some of the references and meanings:\u003c/p>\n\u003ch3>Colonialism [0:10]\u003c/h3>\n\u003cfigure id=\"attachment_13834183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-800x338.png\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-768x324.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-240x101.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-375x158.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>The video begins with Falz clutching a boombox to his ear. The radio plays a clip from a speech delivered by his father, Falana, who is criticizing the Nigerian government: “… The medical facilities are poor. We operate a predatory neo-colonial capitalist system.” Falana speaks often on these issues on the radio.\u003c/p>\n\u003ch3>Herders vs. farmers [00:30]\u003c/h3>\n\u003cp>A machete-wielding man, dressed as a herdsman, simulates an attack on a blindfolded man. “Fulani herdsmen still dey slaughter, carry people dey massacre,” Falz says.\u003c/p>\n\u003cp>The scene refers to the country’s simmering conflict between herders, many from the Fulani ethnic group, and farming communities. Since 2011, both sides have been embroiled in clashes \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2017/12/12/569913821/why-its-now-a-crime-to-let-cattle-graze-freely-in-2-nigerian-states\">that have claimed more than 2,000 lives, \u003c/a>according to Brussels-based think tank the International Crisis Group.\u003c/p>\n\u003ch3>Money-eating snake [1:09]\u003c/h3>\n\u003cfigure id=\"attachment_13834182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-800x334.png\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-375x157.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-520x217.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A woman picks up wads of colorful notes on the ground as a snake emerges from a half calabash melon to eat up the money. It’s a reference to \u003ca href=\"https://www.cnn.com/2018/02/13/africa/nigerias-snake-swallows-100000/index.html\">a story from February\u003c/a>: Philomena Chieshe, a sales clerk of Nigeria’s exam board, the Joint Admission and Matriculation Board, claimed that a snake ate 36 million naira ($100,000) from her office. Falz makes a joke about this story: “Where that Madam Philomena?” he asks, “money vanish for your office, 36 mily, you say na animal.”\u003c/p>\n\u003ch3>Drug addiction [1:10]\u003c/h3>\n\u003cp>In the video, Falz shows a young Nigerian disembarking from a bus with a bottle of cough syrup in one hand. Last month, Nigeria’s health ministry banned cough syrup with codeine after a BBC \u003ca href=\"http://www.bbc.com/news/world-africa-43982302\">investigation \u003c/a>revealed the role of the syrup in Nigeria’s addiction epidemic.\u003c/p>\n\u003ch3>Corruption [1:17]\u003c/h3>\n\u003cp>Falz makes several references to corruption, calling out politicians who have been accused of stealing from the government. By many accounts, corruption is one of Nigeria’s biggest problems. According to a U.N. report, roughly \u003ca href=\"https://www.unodc.org/documents/data-and-analysis/Crime-statistics/Nigeria/Corruption_Nigeria_2017_07_31_web.pdf\">$4.6 billion is spent on bribes\u003c/a> in Nigeria each year. This part of the video struck a chord with Kingsley Moghalu, former deputy governor of Nigeria’s central bank and presidential aspirant, who, after quoting the lyrics, called for a “new kind of leadership.”\u003c/p>\n\u003cp>https://twitter.com/MoghaluKingsley/status/1000430557124317190\u003c/p>\n\u003ch3>Boko Haram [1:22]\u003c/h3>\n\u003cfigure id=\"attachment_13834179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-800x339.png\" alt=\"\" width=\"800\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-768x325.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-240x102.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-375x159.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falz with Boko Haram\u003cbr>(FalzVEVO via YouTube/Screen grab by NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>Falz is joined by four veiled Muslim schoolgirls, who depict the young women in Nigeria’s northeastern region where the radical group Boko Haram operates. Boko Haram militants came into the limelight in April 2014 when they kidnapped more than 270 schoolgirls from the town of Chibok.\u003c/p>\n\u003cp>In February, a splinter group of Boko Haram abducted 110 girls from an all-girls boarding school in the town of Dapchi in northeastern Nigeria’s Yobe state.\u003c/p>\n\u003cp>The girls are performing the \u003ca href=\"http://www.pulse.ng/gist/pop-culture/shaku-shaku-the-new-street-dance-style-we-should-all-learn-in-2018-id7799976.html\">shaku shaku dance\u003c/a>, a street dance that became popular in Nigeria this year. A similar scene is represented in Glover’s “This Is America”: amid violence and chaos, students perform dances that have gone viral on the Internet. In Glover’s video, critics say the scene illustrates people’s tendency to get distracted by viral entertainment instead of focusing on social issues.\u003c/p>\n\u003ch3>Unethical preachers [1:47]\u003c/h3>\n\u003cfigure id=\"attachment_13834181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834181\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-800x301.png\" alt=\"\" width=\"800\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-160x60.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-768x289.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-240x90.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-375x141.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-520x196.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A young woman in a white garment is surrounded by a small group of people praying for her. In previous songs, Falz has criticized religious figures for money-making schemes. In “This is Nigeria,” Falz gets angrier: “Pastor put his hand in the breast of his member, he is pulling the demon out,” he raps. In April 2017, a Nigerian televangelist named Tim Omotoso was arrested and \u003ca href=\"https://citizen.co.za/news/south-africa/1927417/1case-against-nigerian-sex-pastor-transferred-to-port-elizabeth-high-court/\">charged with trafficking\u003c/a> more than 30 girls and women from various branches of his church, and allegedly sexually exploiting them.\u003c/p>\n\u003ch3>Erratic electricity [1:51]\u003c/h3>\n\u003cp>Falz worries that there is “no electricity daily o.” Nigerians often complain about this problem.\u003c/p>\n\u003ch3>Lazy youth [1:54]\u003c/h3>\n\u003cp>When President Muhammadu Buhari got a chance to speak at a Commonwealth Business Forum in Westminster on April, he said “a lot of” young Nigerians “sit and do nothing” and expect everything for free, including housing, health care and education. This attracted a backlash on social media, with young Nigerians using the hashtag #LazyNigerianYouth to fire back at the president. Falz’s rap defies the president’s assessment: “people working multiple jobs and dem talk sey we lazy o.”\u003c/p>\n\u003ch3>Internet fraud [2:14]\u003c/h3>\n\u003cp>Falz throws a jab at Nigerian fraudsters who try to con people into sending them money via the Internet. Known as Yahoo Boys, some pretend to be beautiful women online and get into romantic relationships in order to con people into sending money; others use malware to control systems and compromise emails. The stereotypical Yahoo Boy drives a fast car and flaunts his wealth.\u003c/p>\n\u003cp>The Nigerian pop star has been vocal about his dislike for society’s acceptance of ill-gotten wealth. In the song, he criticizes society for acting like these fraudulent schemes are “so cool.”\u003c/p>\n\u003ch3>Police brutality [2:30]\u003c/h3>\n\u003cfigure id=\"attachment_13834184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-800x303.png\" alt=\"\" width=\"800\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-768x291.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-375x142.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-520x197.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>In this scene, officers from the Special Anti-Robbery Squad (SARS), a unit of the Nigerian police, arrest three university students only to free one of them upon receiving a bribe from his wealthy father. Two SARS officers hit and kick one of the students.\u003c/p>\n\u003cp>According \u003ca href=\"https://www.amnesty.org/en/documents/afr44/4868/2016/en/\">a report from Amnesty International\u003c/a> in 2016, SARS has been cited for accepting bribes as well as engaging in extortion, torture and degrading treatment of detainees in their custody. In December 2017, using the hashtag #EndSARS on social media, Nigerians \u003ca href=\"https://www.vanguardngr.com/2017/12/anti-sars-campaign-ig-orders-investigation-anti-robbery-squad/\">strongly called for an end to the brutality\u003c/a> meted out by SARS. In response, the Inspector General of Police Ibrahim Idris ordered an investigation of the anti-robbery squad.\u003c/p>\n\u003ch3>“I mean transmission” [3:00]\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-800x304.png\" alt=\"\" width=\"800\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-768x292.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-375x143.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-520x198.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This scene is a parody of a \u003ca href=\"https://www.thecable.ng/trending-video-mean-transmission-transmissionigp-struggles-read-speech\">popular video\u003c/a> from mid-May in which police chief Idris delivered a speech but ended up saying the word “transmission” over and over, rendering his talk nonsensical.\u003c/p>\n\u003ch3>The reaction …\u003c/h3>\n\u003cp>Some Nigerians are critical of the video.\u003c/p>\n\u003cp>https://twitter.com/AbiolaAwosika1/status/1000594961316876290\u003c/p>\n\u003cp>But many are praising the song.\u003c/p>\n\u003cp>https://twitter.com/obyezeks/status/1000414042433998849\u003c/p>\n\u003cp>https://twitter.com/Thereal_TommyB/status/1000131143247826944\u003c/p>\n\u003cp>“I love the song,” Ezichi Ogbu, a senior at the University of Nigeria, says with a smile. “Everything about Falz’s ‘This is Nigeria’ depicts the ills affecting our society. He is serving as a voice of the people on the street, and he did this so well by creating certain situations on the background that tell the story better and in clear terms.”\u003c/p>\n\u003cp>“It’s a State of the Union address delivered just a few days to Democracy Day,” says \u003ca href=\"https://www.theguardian.com/profile/eromo-egbejule\">Eromo Egbejule \u003c/a>a Nigerian writer, journalist and West African editor of \u003cem>The Africa Report\u003c/em>. “This is instructive socio-political commentary in a time where only a few bother with socially conscious music. The message has been delivered and right on time.”\u003c/p>\n\u003cp>Cultural critics like Joey Akan, a music journalist based in Lagos, \u003ca href=\"https://www.cnn.com/2018/05/28/africa/falz-this-is-nigeria-video-analysis/index.html\">are drawing parallels\u003c/a> between Falz and Afrobeat pioneer Fela Kuti.\u003c/p>\n\u003cp>Until his death in 1997, Kuti also used music to criticize military dictators, corruption and other social problems. But his frankness and acerbic criticism came with consequences: He was arrested on several occasions, jailed and beaten by soldiers.\u003c/p>\n\u003cp>If anything like that were to happen to Falz, some of his fans say they’ll have his back.\u003c/p>\n\u003cp>https://twitter.com/segalink/status/1000518855159177222\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Linus Unah is a freelance journalist covering global health, conflict, agriculture and technology in Nigeria. Find him \u003c/em>\u003ca href=\"https://twitter.com/linusunah?lang=en\">\u003cem>@linusunah\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nigerian+Rapper+Goes+Viral+With+His+Take+On+%27This+Is+America%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Called \"This Is Nigeria,\" the music video by rapper Falz sheds light on the country's most pressing issues, from unemployed youth to unreliable electricity. Here's a handy guide to his references.",
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"title": "Nigerian Rapper Goes Viral With His Take On 'This Is America' | KQED",
"description": "Called "This Is Nigeria," the music video by rapper Falz sheds light on the country's most pressing issues, from unemployed youth to unreliable electricity. Here's a handy guide to his references.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UW_xEqCWrm0'\n title='//www.youtube.com/embed/UW_xEqCWrm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last week, a Nigerian rapper released his own version of Childish Gambino’s hit song and music video “This Is America.”\u003c/p>\n\u003cp>It’s called “This Is Nigeria” and was written and performed by lawyer-turned-musician Falz The Bahd Guy. Like the hugely popular Donald Glover song and video (Gambino is his stage name), the Nigerian version looks at harsh everyday realities.\u003c/p>\n\u003cp>In “This Is America,” the issues include gun violence, racism and the distraction of viral entertainment and social media. Falz’s lyrics and visuals touch on some of Nigeria’s major problems: poor electricity supply, drug addiction and government corruption. The video even features veiled Muslim girls to allude to Boko Haram’s abductions of schoolgirls in the northeast.\u003c/p>\n\u003cp>Falz performs in pidgin English, a blend of English and local languages that is widely spoken in West Africa. The chorus says:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is Nigeria.\u003cbr>\nNever-ending recession-o\u003cbr>\nWhere looters are killers and stealers are still contesting election-o.\u003cbr>\nPolitician wey steal some billion and billion e no dey go prison-o.”\u003c/p>\n\u003cp>Released on May 25, just four days before the 19th anniversary of democracy in the West African nation, the three-minute video has been viewed on YouTube 2.9 million times. The hashtag \u003ca href=\"https://twitter.com/hashtag/thisisnigeria\">#ThisIsNigeria\u003c/a> has generated tens of thousands of tweets. And the song has captured the attention of the American rapper Diddy, who reposted “This Is Nigeria” \u003ca href=\"https://www.instagram.com/p/BjSNt8hFLkO/?hl=en&taken-by=diddy\">on his Instagram account\u003c/a>, where it currently has an additional 2.2 million views.\u003c/p>\n\u003cp>Falz, whose real name is Folarin Falana, is not new to social commentary. His music often reflects the views of his father, \u003ca href=\"https://en.wikipedia.org/wiki/Femi_Falana\">Femi Falana\u003c/a>, a popular Nigerian lawyer and human rights activist. Falz’s previous songs “Child of the World,” “Confirm” and “Wehdone Sir” tackle sexual harassment, Internet fraud and the rise of \u003ca href=\"http://www.pulse.ng/bi/lifestyle/these-african-millionaires-pastors-are-living-like-superstars-id7861633.html\">wealthy megachurch pastors\u003c/a>.\u003c/p>\n\u003cp>For a non-Nigerian, the scenes in the video may be a bit hard to figure out at times. Here’s a guide to some of the references and meanings:\u003c/p>\n\u003ch3>Colonialism [0:10]\u003c/h3>\n\u003cfigure id=\"attachment_13834183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-800x338.png\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-768x324.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-240x101.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-375x158.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>The video begins with Falz clutching a boombox to his ear. The radio plays a clip from a speech delivered by his father, Falana, who is criticizing the Nigerian government: “… The medical facilities are poor. We operate a predatory neo-colonial capitalist system.” Falana speaks often on these issues on the radio.\u003c/p>\n\u003ch3>Herders vs. farmers [00:30]\u003c/h3>\n\u003cp>A machete-wielding man, dressed as a herdsman, simulates an attack on a blindfolded man. “Fulani herdsmen still dey slaughter, carry people dey massacre,” Falz says.\u003c/p>\n\u003cp>The scene refers to the country’s simmering conflict between herders, many from the Fulani ethnic group, and farming communities. Since 2011, both sides have been embroiled in clashes \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2017/12/12/569913821/why-its-now-a-crime-to-let-cattle-graze-freely-in-2-nigerian-states\">that have claimed more than 2,000 lives, \u003c/a>according to Brussels-based think tank the International Crisis Group.\u003c/p>\n\u003ch3>Money-eating snake [1:09]\u003c/h3>\n\u003cfigure id=\"attachment_13834182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-800x334.png\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-375x157.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-520x217.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A woman picks up wads of colorful notes on the ground as a snake emerges from a half calabash melon to eat up the money. It’s a reference to \u003ca href=\"https://www.cnn.com/2018/02/13/africa/nigerias-snake-swallows-100000/index.html\">a story from February\u003c/a>: Philomena Chieshe, a sales clerk of Nigeria’s exam board, the Joint Admission and Matriculation Board, claimed that a snake ate 36 million naira ($100,000) from her office. Falz makes a joke about this story: “Where that Madam Philomena?” he asks, “money vanish for your office, 36 mily, you say na animal.”\u003c/p>\n\u003ch3>Drug addiction [1:10]\u003c/h3>\n\u003cp>In the video, Falz shows a young Nigerian disembarking from a bus with a bottle of cough syrup in one hand. Last month, Nigeria’s health ministry banned cough syrup with codeine after a BBC \u003ca href=\"http://www.bbc.com/news/world-africa-43982302\">investigation \u003c/a>revealed the role of the syrup in Nigeria’s addiction epidemic.\u003c/p>\n\u003ch3>Corruption [1:17]\u003c/h3>\n\u003cp>Falz makes several references to corruption, calling out politicians who have been accused of stealing from the government. By many accounts, corruption is one of Nigeria’s biggest problems. According to a U.N. report, roughly \u003ca href=\"https://www.unodc.org/documents/data-and-analysis/Crime-statistics/Nigeria/Corruption_Nigeria_2017_07_31_web.pdf\">$4.6 billion is spent on bribes\u003c/a> in Nigeria each year. This part of the video struck a chord with Kingsley Moghalu, former deputy governor of Nigeria’s central bank and presidential aspirant, who, after quoting the lyrics, called for a “new kind of leadership.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Boko Haram [1:22]\u003c/h3>\n\u003cfigure id=\"attachment_13834179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-800x339.png\" alt=\"\" width=\"800\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-768x325.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-240x102.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-375x159.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falz with Boko Haram\u003cbr>(FalzVEVO via YouTube/Screen grab by NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>Falz is joined by four veiled Muslim schoolgirls, who depict the young women in Nigeria’s northeastern region where the radical group Boko Haram operates. Boko Haram militants came into the limelight in April 2014 when they kidnapped more than 270 schoolgirls from the town of Chibok.\u003c/p>\n\u003cp>In February, a splinter group of Boko Haram abducted 110 girls from an all-girls boarding school in the town of Dapchi in northeastern Nigeria’s Yobe state.\u003c/p>\n\u003cp>The girls are performing the \u003ca href=\"http://www.pulse.ng/gist/pop-culture/shaku-shaku-the-new-street-dance-style-we-should-all-learn-in-2018-id7799976.html\">shaku shaku dance\u003c/a>, a street dance that became popular in Nigeria this year. A similar scene is represented in Glover’s “This Is America”: amid violence and chaos, students perform dances that have gone viral on the Internet. In Glover’s video, critics say the scene illustrates people’s tendency to get distracted by viral entertainment instead of focusing on social issues.\u003c/p>\n\u003ch3>Unethical preachers [1:47]\u003c/h3>\n\u003cfigure id=\"attachment_13834181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834181\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-800x301.png\" alt=\"\" width=\"800\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-160x60.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-768x289.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-240x90.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-375x141.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-520x196.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A young woman in a white garment is surrounded by a small group of people praying for her. In previous songs, Falz has criticized religious figures for money-making schemes. In “This is Nigeria,” Falz gets angrier: “Pastor put his hand in the breast of his member, he is pulling the demon out,” he raps. In April 2017, a Nigerian televangelist named Tim Omotoso was arrested and \u003ca href=\"https://citizen.co.za/news/south-africa/1927417/1case-against-nigerian-sex-pastor-transferred-to-port-elizabeth-high-court/\">charged with trafficking\u003c/a> more than 30 girls and women from various branches of his church, and allegedly sexually exploiting them.\u003c/p>\n\u003ch3>Erratic electricity [1:51]\u003c/h3>\n\u003cp>Falz worries that there is “no electricity daily o.” Nigerians often complain about this problem.\u003c/p>\n\u003ch3>Lazy youth [1:54]\u003c/h3>\n\u003cp>When President Muhammadu Buhari got a chance to speak at a Commonwealth Business Forum in Westminster on April, he said “a lot of” young Nigerians “sit and do nothing” and expect everything for free, including housing, health care and education. This attracted a backlash on social media, with young Nigerians using the hashtag #LazyNigerianYouth to fire back at the president. Falz’s rap defies the president’s assessment: “people working multiple jobs and dem talk sey we lazy o.”\u003c/p>\n\u003ch3>Internet fraud [2:14]\u003c/h3>\n\u003cp>Falz throws a jab at Nigerian fraudsters who try to con people into sending them money via the Internet. Known as Yahoo Boys, some pretend to be beautiful women online and get into romantic relationships in order to con people into sending money; others use malware to control systems and compromise emails. The stereotypical Yahoo Boy drives a fast car and flaunts his wealth.\u003c/p>\n\u003cp>The Nigerian pop star has been vocal about his dislike for society’s acceptance of ill-gotten wealth. In the song, he criticizes society for acting like these fraudulent schemes are “so cool.”\u003c/p>\n\u003ch3>Police brutality [2:30]\u003c/h3>\n\u003cfigure id=\"attachment_13834184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-800x303.png\" alt=\"\" width=\"800\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-768x291.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-375x142.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-520x197.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>In this scene, officers from the Special Anti-Robbery Squad (SARS), a unit of the Nigerian police, arrest three university students only to free one of them upon receiving a bribe from his wealthy father. Two SARS officers hit and kick one of the students.\u003c/p>\n\u003cp>According \u003ca href=\"https://www.amnesty.org/en/documents/afr44/4868/2016/en/\">a report from Amnesty International\u003c/a> in 2016, SARS has been cited for accepting bribes as well as engaging in extortion, torture and degrading treatment of detainees in their custody. In December 2017, using the hashtag #EndSARS on social media, Nigerians \u003ca href=\"https://www.vanguardngr.com/2017/12/anti-sars-campaign-ig-orders-investigation-anti-robbery-squad/\">strongly called for an end to the brutality\u003c/a> meted out by SARS. In response, the Inspector General of Police Ibrahim Idris ordered an investigation of the anti-robbery squad.\u003c/p>\n\u003ch3>“I mean transmission” [3:00]\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-800x304.png\" alt=\"\" width=\"800\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-768x292.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-375x143.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-520x198.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This scene is a parody of a \u003ca href=\"https://www.thecable.ng/trending-video-mean-transmission-transmissionigp-struggles-read-speech\">popular video\u003c/a> from mid-May in which police chief Idris delivered a speech but ended up saying the word “transmission” over and over, rendering his talk nonsensical.\u003c/p>\n\u003ch3>The reaction …\u003c/h3>\n\u003cp>Some Nigerians are critical of the video.\u003c/p>\u003c/p>\u003c/div>",
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