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tv   [untitled]    October 11, 2021 10:30pm-11:00pm AST

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diesel than the coming hours. it's thanks to a burst of solar activity known as a current or mass ejection. it has the potential to alter the earth's magnetic field. and there are warnings of weak fluctuations which could effect power supplies. it were borealis could be seen in new york and washington state in the us as well as parts of northern england, weather permitting ah, it up for is around 0. united nations has made a desperate plea for international aid for afghanistan. a 2nd general said the african economy was lurching closer to collapse, and another urgent call has been made to rest the humanitarian crisis. it's already engulfed half the population. antonio terror said international funds need to breathe life back into the taliban, lead nation. already before the tale of antique already norquist,
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afghanistan's for a giant economy which has been kept afloat by foreign aid over the past 20 years, suffered from the impact of drought and governance. right now with assets frozen and development, 8 balls. the economy is breaking down. banks are closing and the social services such as l, scared and been suspended in many places. a cry for assistance coincided with taliban officials emerging from high level talks with u. s. officials and representatives from the e. u. at every meeting in the country, capital doha, afghanistan's acting pharmacists as his government is entering a new phase in his country's relationship with the rest of the world. preliminary election results in iraq point to a strong result for the party of shia cleric looked at her asada. boat counting is still underway with the electoral commission releasing some initial results. it's the 5th parliamentary elections since the 2003 us led invasion,
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which toppled sadam. hussein turned out was believed to be about 41 percent of the lowest in that time. lock, june is years president, case said, was unveiled a new government nearly 3 months after he dismissed the previous administration and seized additional powers. and your cabinet will ultimately answer to him rather than problem is to naturally buddha in that been mass protests against sides move to suspend parliament and sweep aside much of the constitution. a ticker people's liberation front says ethiopian troops have launched coordinated attacks on all fronts of the rebels. se heavy artillery tanks, fighter jets and drones are being used against them. the government offensive was launched last week, but appears to be intensified. the stream is up next dance king. how are back composers shaping opera, to stay with us. more news after that, like watching, ah
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ah ah, [000:00:00;00] ah, ah,
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the music all fire shot up in my bones with its compose, a terrence blanchard, on trumpet and baritone, will live. and then what you saw it is that, that is musical history as opera history for the 1st time in a 138 years. the metropolitan opera is producing a bug action by an african american composer. this is why we're all here. and today's episode we're looking at the contributions of african americans of black people around the world to the form of opera. let's me out guess hello terrace. hello, kevin. hello, michael. say good to have you hear the stream at tara's? introduce yourself, do i go? i will audience. well my name is charles bradshaw. i'm a jazz musician, brad trade from new orleans, louisiana. and now apparently, i'm an opera composer. i've already so i was so happy about that. i know karen i room. dina. introduce yourself. hello, my name is karen slur, irma soprano and i,
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i originally originated the role of bill in the original production of fire shipping my bones and st. louis. ah, i go to hello. hello my lot like a welcome to the street. please introduce yourself to an audience around the world . i am michael mohammed. i am a director and an educator based in san francisco, california, all right, unfiltered. first thoughts about fire shot up in my balance. what does it mean to you, michael? karen kent, michael, you sound i think the importance of it is a representation representation on its deepest level of what happens when we actually get to see a black stories, black bodies on stage and in see one of the largest platforms possible for opera. and how does that welcome in a new set of people? how does that actually make space at the table for new stories and for stories that are contemporary and stories. that means something to the,
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to the bodies that are in the seats and who's getting to experience what that story i, i knew there fire was an incredible piece of history. when i read the libretto for the 1st time, i wept and to, and i already knew terrence is music by singing the opera champion, which was here. it's his 1st opera. and i knew it was that he's special. and this to see such a prolific story told by such an incredible musician, it welcome to what opera, what we say we want to be in the 21st century to have the full culture as we say, for the culture on the stage of a place there is so white, i've been on this stage, you know, i've been in that company but to have it on the largest operatic platform in the world to have our story. so prolific by parents and casey and charles is incredible for our brennan think that they even understand how great it the
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moment parents south. well, i think for me you know what this means is we get a chance to see our culture. you know, i meg karen and because of karen, i had this conversation with the cast here. we talked about it a while ago can remembers this when we're in my home in new orleans, when we were doing champion. we talked about how so many african american oper, singh as grew up in a church and grew up singing rhythm and blues. some of them even grew up singing jazz. but when they enter into the operating world, they are told to throw all of that and put it aside. and what i've wanted people to do in this production is to bring all that back to this format, you know, and allow them give them space to, to experience and express themselves. you know, angel blue. she took it very seriously while everybody has but angel was the 1st approach. ready me and dad, she said, you know,
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do you mind if i take some liberties and i'm like, please, angels want to know that, you know, he's one of the characters in the production 5 set up in my bag. yes, he's one of the principal. she plays 3 characters. she plays loneliness, bethany, and now granted the child's dates. but she sings this area peculiar grace, which is about charles. and you can hear her bringing in her background as i am a spiritually based performer. you know you can hear it. and as she marries that with her training as an opera, singer, and for me, it creates something very unique but distinctly our own. you know, and the other thing about it too, is that because we have an all black task, which was something we didn't set out to do with just wound up happening to be that way. is that the world gets a chance to see this level of talent that it's existed in our community because, you know, i did one interview and a journalist asked me, he said, man, do you think your opera is going to inspire people to sing opera in black community
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dabbling. dude, they've been, ha, ha, ha ha. all right, sick parents and karen and michael, i am going to share you with that international audience. if you want to right now, you're on you chip. jump into the comments section. our conversation today is black artist flipping the libretto. see what i did that in opera, comment section is care, please join our discussion to see the masons authorize storytelling. and pretty much up to this point. the offer is that happened before. we're really composed by one demographic which ignores the narrative and stories of people. for example, hulu, miami. we also have to tell stories that are romantic, tragic, funny, sad, joyful. soon. that needs to be told on the contrary stage to this beautiful medium of opera,
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the production of buyers. and my boss says our stories and should be endured anymore, because we have much to say many i have to ask you, hey kevin, i have to ask you what you are playing billy, which is the mom in fi shell up in my bones. did that? did it feel different from other productions that you were in? you your inexperience soprano? you you've what the world over. did it feel different? absolutely. first of all, terrence knew my voice very well, because i had sung his 1st opera, so he crafted the piece for my instrument particularly, but i didn't have to get into the skin. i was playing my aunt's. i mean, my, my mom, my, my cousin women that i saw in my church in the, you know, it, there's something about getting into oscar trying to turn yourself into and you know, an 18th century italian, so operate the piano. you know what i mean?
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that's one thing, but to say something like billy to live her and i were, i know who i represent it on that stage. it was important for women who look like meets us to see themselves when i walked out the even before open my mouth. that comment, michael came from earlier from shown e r co. he's a composer anna conductor. and he talked about that being relate to pull stories. is this a time now where operate is realizing that you have to encompass the diversity of the community? you can't just be eurocentric. i think from last summer with the reckoning, as i keep calling it from the reckoning a last summer as realizing that our institutions have to reflect the, the bodies, the people who, who, who are around it. i think. and i think because as, as opera is an institution that is old and it's slow to change. so i think
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that we as the current living people trying to live and work and create in this media. i think that we're seeing that more and more it's gotta open up and we gotta be hospitable to people who want to explore this as, as a storytelling media. because i think as he said in the video that, that it's well, it's theater. storytelling. it's narrative. one of the things i wanted to add to what michael was talking about is that, you know, what's the definition of insanity doing the same thing and expecting a different result, right? so that's what the art world has been doing when it's trying to sell this art form . and people have gotten to the point, you know, where we start to realize, no, that has to change. and i think when george floyd was, was murdered on, on television at video was sent around the world. it opened up a lot of people's added to what we would have been complaining about in this country for generations. and people have sought to make
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a difference. and i give peter go up all the credit for, for saying that we need to not only do stories that are related to our generation, but we need to do stories. ready like this to let people know that there are other voices out there that need to be heard. and here's the thing that's most important . it's a universal story. it's not a start is just unique to the african american community, but it's a story that's told through our lands. and by and being told through our lands, you know, there's so many people who can come and relate. one journalist said this is the most diverse audience he seen at the mit. and his 20 some years of covering the met, that i want to talk over whole, don't know, the so fire shut up in my bones. it is based on the memoir of chas blow, who was a really well known new york times columnist and a writer. it is an extraordinary story, but it is also a story about an african american man. and you're hearing karen and michael and carrots,
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talking about stories being relate to boy and stories from our community. what would that look like, for instance, in rehab? so a practice session. i love this video because a movement excise, the fire shot up in my beds. halleck,
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i challenge you not to dallas. ah my, my so many people around the world are now going to go see. all right, what about? i'm going to bring in another voice voice say, this is juliana historian, who, who really gets to the matter of why it has been challenging for african americans for people of color to be involved in opera patient. i think the thing with black compose is contributions to our brush is not necessarily that they are treated better or worse, but the del always treated is somehow different. this is not just oprah, but black, oprah, or indigenous oprah or cobra, or any of the other names that are used to describe these contributions. so black boys were always comes with
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a qualifier which implies that and somehow falls outside the norm, or that it's not normal. and because of this, i don't think it is treated on an equal footing. know how you're looking for your thoughts 1st and then michael. me what kind of stuff, what i also think it is a lack of education with the administrators and a lack of courage with those who get to make decisions. you know, people, we hear a lot about gatekeeping because of the time that we were in with the racial racial reckoning. but it is the administrators, the general director of the intern dots, who get to dictate what culture is for the community to come to the the come to the opera and we can change this is not 1930 by it's 2021. and i think every organization has
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a responsibility to the community to show them the breath of what's available. yeah, and i also think it even begins even beyond that with them. the pipeline in and who it's, it's reaching forward and reaching back and we're reaching forward. we're moving things forward, but we're also reaching back to bring people along with us. and i think that's a part of the gate keeping. and how do we break open the gates? how do we disrupt the, any of the systems that are there, have kept what the ideas are normal and not normal? and who gets to be part of the conversation? and who does it? i think the more the we can disrupt and break those doors open and bring people along. and that's the part and, and they did an t sorta colonial mindset of opera and that we're really trying to learn to, to widen the conversation, democratize the space so that most more people get a chance to, to be in the space and to talk about it in
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a hell these stories be till i have questions for you from you chip. i'm gonna fire them at your combat with instant answer so we can get in as many as possible. i parents, i'm going to get this wanting. this is donovan. he wanted to know about the met opera and quote and author dot donovan. he, it's racist history making a black op or is big. but it's a hell, a sad that he took this long to do this ah $138.00. yes. that me. and now the rest was donovan doris in south. well, here's the thing you know about this, you know, wow, i'm very proud of my heritage. i'm very proud of everybody that's in this production. we made oper, you know, we're not trying to be separate us. you know, up and i think this really important. karen is my sister and we know we've had a lot of conversations and one of the things that we've never talked about is her being a black soprano. we talked about her being an amazing soprano. it just so happens
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that she's african american just so happens that the story is told through the lens of the african american community. but you know, there are other communities, asia commute ever. all people, what different walks of life, who have stores towel and i think that's where i think we start to fall short. you know, one guy asked me, did it, did i think that why people will gonna come listen to this opera and i told him, i said your question implies that we shouldn't go see opera. that's done by verity opportunity. you know, i think, you know, at the end of the day we are trying to be the most accomplished artist that we could be. we're trying to bring all of our communities are background. i'll upbringing, our experiences, to the stage. and if we're really trying to be artist that business people are politicians. if we're trying to be artists, then everybody should be welcome. everybody should have a form to tell stories. i'm going to get back to you chief in
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a moment because i some really good questions on you chief for you guys. but 1st, we take a pause to bring in the gorgeous flights of parents flat. he singing here in minnesota . oh productions. dad mom walking based on the book of the same name, his miss black ah . 2 ah oh i got oh, i like it once if you're okay, want me to call you kiki because i've been watching your 2 key conversations and you are having have a look here on my laptop or karen. those issues me having during, during locked down during the pandemic. she's,
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she has been bringing to the opera community together. he is. she is, this is my favorite one with soprano angela brown. and there was a moment where angela told a story. you were really good cuz she let her tell the story about how she didn't get a row because the dress wasn't big, the right size for her. but then she went to see the production. and the woman playing the part who won the part was exactly the same size of angela brown. so there's this sense of unfairness in the upper world or at what point does the fact that this impact your ability to play and sing a fictional kite oftentimes. oh my goodness. yeah. that, yeah. to fill out a questionnaire for you. yeah, exactly. that was the conversation before black before color about size. you know that there were void is one of the most prolific dramatic sopranos the word time. and she had had this gigantic career and because she couldn't fit address
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a covent garden, that they wanted to have a smaller woman, she was hired. and so the, you know, the common denominator or that we don't get rules unless i guess they are the, the leon, teen price rules. ideally, if you are not just singing the bed with cheney as if, you know, black people can't sing german musical french music. you know, i mean, it does matter in this, in that, but again, it goes back to the people who get to decide who gets to have a career, who doesn't, what rolls, what offers, get shown and produce. we have to change the people who make the decision. we have to make that more inclusive, you know, because again, we want people to come to the theater to see themselves in every, every oper, every role we present, you know, not just then people make love. not just then people fall in love, not just white people. you know, have happily ever after we me or you know, poison a death, whatever that is, you know, and, you know, just shot me with that. the
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a walking i was, i was beautiful on, on youtube, where, where we're at, this is a reading. if you question question, mike, i'm going to get this one to you want to do, you know if he want to be much more diverse, but the funding comes from white don't who that's the rates question. yeah. really. i mean question because, you know, and, and funding in the united states is so not tied to the government. it's not it's, it's untethered to any sort of real system of support. so it does rely on donors. so there's always this, this balancing act between what do you expect the donors to want to support and what do you expect audiences, because audiences rely on, you know, companies relying on ticket sales. so it's, it's a delicate dance that companies have to do. yeah,
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i am. i'm sorry, i'm sorry. go ahead. good. well, no, i think i think there's a misconception about that too. you know, it's just like anything else because what i was very, very proud of with the production of fire should have been my bones were, was that darren walker, who's an african american who runs the ford foundation, was a big supporter of this production. sheila johnson, who's also african american and loves classical music, was also a big supporter of this production. so we made history in that regard as well. and i think, you know, we have people in our community who have money, you know, who have been raising dollars and they need to understand that they can have a say. so in what goes. ready on the stage at these performance theaters, you know, and i think darren walker and sheila johnson have set a precedent by doing so at the mit, i'm tense, i want to pick up on, on
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a point that you made early about the universality of opera and, and stories that they can be for all people all around the world. so for this last coming, i'm going to count town to an up per student who is a soprano. and she took that universality of operate no guess like people im papa itself is as, as, as a european upon by the stories that have been told in his office require universal which is why we find different adaptations of the stories done all over the world are relating to the culture, experiences of those areas. for instance, there was once a production of i am that was done here in, in this production me and died because of i have in a sling tv. and you do also get um oprah companies who go even further to even alta. the orchestration way, not you know,
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on to strive issue and getting those big houses. so terrence, so i'm just looking at a pick to him on my laptop. and i, i love this picture so much, i'm just going to do it on here. never saw this calvin watts. i love it so much. when i was a kid, i used to go to the rural opera house in covent garden. in london, i used to place the other black person if there was another black medicine. i be like, no king would have all who got these on? i would be looking. i don't know. why isn't that? i know what all 3 of you doing in the community of black performers, i think because i think that game of smoke you have a black person is going to be less rewarding. now that they're going to be so many that it will no longer be a game talents, closing thoughts. go ahead. well i think it's a shame when i listen to the young lady talk to think that in order to have a black task, we need to do a retake arm coaching. and i love watching. i love libel one's one of my favorite offers,
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but i'm so proud of the fact that we're doing stuff that can ready to people's last a day. and hopefully that will open the door for that young lady. and now the people just like her to tell their stories, the way they see fit. because i know with what the level of success we've had with fire shut up in my bones at the met. it's, and it's, it, it's been a reckoning for people who understand that they are people who will come to oper if they will see themselves on the cell like it is. it is a perfect segue into the closing video. i'm going to show you is the famous step down from fire shot up in my bones. michael. karen parents. thank you so much. i will leave you with fi shock. my bones the step down. thanks for watching everybody .
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oh. with it's the was most populous democracy. diverse dynamic and undergoing momentous change. context india dixon. in depth. look at the people and politics of india. exploring how the coven 19 pandemic struck the nation. it's continuing impact and
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corporations that are interested in profit, anticipate the consequences. the media was complicit in perpetuating this myth. i'm here to tell you that i think that many people died because of the lifting pace. deconstruct the media on al jazeera. ah hello. norm taylor in london, the top stories when our 0 united nations has made a desperate plea for international aid for afghanistan, the sector general said the afghan economy was lurching closer to collapse. antonio terrace made another urgent call to arrest the humanitarian crisis that already engulfed half the population. he said international funds need to breathe life back

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