in doha, next year, pole reese out is era. little messy has won the battle on the door, the award given to the best football. if the, if a record extending 7 time the parents, saint germain argentina, ford helped his country when the copper america, his 1st international honor scored 40 goals in 2021 spain lexia patella's was name the women's football of the year. about selina midfield scored 26 goals in 40 t ah . dissolved, there are these, your top stories? the world health organization is warning. be new, as coven 19 very imposes a very high risk of facade and infections. on the call with fuss detected in southern africa last week, president joe biden says the u. s. won't need additional restrictions to contain

the new variance. this period is a cause for concern, not a cause for panic. we have the best vaccine in the world. the best medicines, the best scientists, and we're learning more every single day, if needed. my team is already working with officials at pfizer and darn and johnson and johnson. terms develop contingent trans for vaccines or boosters if needed. the car be an island nation off. barbados will become a republic, has soon when it comes time with the british monarchy monarch will be replaced by ball baby and president leg, sandra mason, the country were main member, the commonwealth group of nations. iran says it's help to mystic onto the 1st day of talks in vienna aimed at salvaging the 2015 nuclear deal. representatives from russia, china, germany, france, and the u. k. met with iranian officials. the u. s. is also that, but only holding tools indirectly the trial of the british socialites gillian

maxwell has begun in new york. the 59 year old is accused of enabling the crimes of the convicts pay to fall jeffrey epstein. she has denied any wrong during the covert. eggs will soon be handed to me animals to pose the dogs on suit. she. the trial over incitement is the 1st in a series of charges against her journalists have involved from the court room, and a lawyer is on pan from speaking to the media. so she was detained in february when the military seized power to go found the jack to see a step down as a see, he's face internal pressure to resign and survived and invest a bit to oust him last year. you will be replaced by the chief technology officer. and as he had a lot sneeze continues. here now, does air of the studio be our scripted? the listening post cuts through the noise. we're talking about competing narratives . we're seeing modern day tools being used to perpetuate those competing narratives,

separating spin from fuck all 3 versions of the story and then some elements of the truth. but the full story remains and content on the parking the stories you're being told. it's not a science story. at all, it's a story about politics, the listening post, your guide to the media on a just 0 news in those early days. it was a real battle to do something other than what i was supposed to do. because i was a fear as a faith that rock music should have. my name is skin m m, the leasing. and so i saw a multi 1000000 selling pretty short band scanner. see, i'm also of dejan and one of the few black women in the rock industry, i passionately believe that music is a force that can break down barriers and move beyond stereotypes about race and gender. the biggest surprise,

even after 30 years filmmaking is people's expectations of what you can actually do it. what they think you can do. i'm going to chatter. i'm a writer, director, producer, the wider mac cameras. lovely with the clouds. i have spent my career making films about people that looked like me who are under represented all the screens and often on the margins of our industry jobs. ah, the whole reason i came into making films was because i wanted to challenge the fact that we were absent from the screen and therefore absent from history from me, writing about politics or writing about pins can things really was just writing about my perfect spirit. we are the recorders of our voices as people, the diaspora and because they're, they're, they can't be taken away. ah,

so you have said that music has no boundaries of the sea. you were a bit of an anomaly at that time. no one could put you in a, in a category. you would be jazzy, you would be ballads, you would be punky, you'd be natalie, you'd be everything. right. and did you find that you were able to channel some of your political sort of anger into easy, i mean, you know, for me the way i will talk about music and politics and why we do one about why, from all sorts of political it's because for me the most effect to political sofa come from pers experience like i saw a little tiny swastika half way a pool. and in my head on my little baby, forced to go on the wall. and that was our very 1st little single because the question is, who put little babies for school? it looks like it was the 1st one could be more than 4 years old. and in that way i

talked about the rise of fascism and rise of white supremacy at that time. i mean some of those, those issues i'd grown up with because in bricks and they will come down no bars. that's right. the black people up where they could see them. yeah. i mean, there been a whole big fight in the middle of the street. yeah. and so it came from matt. and for me, writing about politics or writing about political things really was just writing about my past experience force. first. i'm one of the things i'm really interested about is if you've done some hugely popular movies, i'm at the same time the message of your work. it remains strong and prevalent in every thing that you do. i mean, how have you managed to stay radical in the mainstream? just by being a director? yeah. in our business is a radicals things, but it may present for me, prisoner. and whenever i write to film and then try and get it made,

if the lead as a person of color, it was a struggle. yeah. it would be much easier for me. it's my, it feels about white people. yeah. but of course, that's not what i'm going to do because the whole reason i came into making films was because i wanted to challenge the fact that we were absent from the screen and therefore absent from history so many ways. now i feel that the films i've made of lost that years have been a recording of our life and our presence in britain. so my 1st film, i'm british part, that really was just me wanting to express the fact that, you know, we come from a long history in a long relationship with britain. it's not just our parents coming off the boat as it were, with her whole colonial. i am the higher exactly. and then with banjo, the beach, i made a decision that i wanted to make commercial films. i didn't want to my art house films because i felt our house there was only gonna be seen by academics and yeah.

and certain people who are all in the same circle. yeah. and i wanted to create films that would be seen by everybody because i wanted to show our stories basically. and so with barge on the beach, i decided to tackle black an asian chris h. it shit about which has to be at the time, and i can only imagine her arguments for the full force of you to get those movie made and get those topics. keep us up exam not get water down. yeah, i mean even been delayed back home in m, i may say is such a struggle to get made 3 years and yeah, people just didn't believe that it was commercial that anyone beyond other indians who might like football, would be interested in it. but as a keep saying that phil is not about football, and that is a film about racism and what the father went through and how he's trying to protect his daughter from racism. whereas the daughter saying, you know,

well i got to go out and fight it myself and do my own stuff. you know, i think sometimes the story that gets told is how hard it is and how unsupported by parents. but at the same time, to load for incredibly supportive. yeah. well that and to my dad, beth, yeah. my parents, my mom was just obsessed with me, letting us go indian food throughout my childhood. but i was my dad and in some ways that was me. but what was important about that film was the fact that it was a seek family. yeah. and the film came out just after $911.00. and it, i think i really do believe that it, you know, it did a lot in terms of race relations. certainly in britain, i remember before the film was a hit. i was a screening in manchester and i'd gone up to introduce the film. and it was a really interesting audience because his weren't that many asians there. but the people were there. i notice of families who bought their own crisps thing is people,

paul. right. and anyway, they also went to the film and then after a people smiling at me and then this one women, i'll never forget her english women. she came up 3. she was wearing white shirt and white letters and she said to me, you think you made a comedy avenue? and i said, well, i try and use humor it. but she said, you then what you've done, what you've done for people around here is previous or they just had the older riots, whether it been completed for atlanta community, an english community. and it had been at loggerheads there. and she said, what your film taught us is that everyone wants the best for their kids. exactly. does it matter who you are? yeah, it was supposed the kids that woman had stayed with me because in a way that is what i was trying to do. you know, with, with my film like just the wife, i never make another film again. are you done?

you don't, i, i did get want to make you feel that was a very hard feel for me to make and it was cool, my choice house. and it was about the partition of india. yeah. so i wanted to move a bit away from england, which is, i mean, people really don't know a lot about by and why it was done and how it was done. yeah, 9047 was independence and then partition was happening. 47 in a basically britain before britain left divided india and created pakistan. and in my film i put for the theory as to why that happened. it was to do with the beginning of the cold war and american and british interests. the film was quite a tragic film because it was about refugees. and what happened to my ancestors and my grandparents and making it as a british person was also interesting because it is a british film. and i did have the mouth battens as well. and most of the film was about partition made in india, you know, are very violent and very angry. yeah. rightly so. you know, but being

a british filmmaker i had to take it on but it was different. yeah. energy to different. and also i think the other thing is being a mother as well, by that point i've had my children so that maternal thing came in where i just felt like enough already enough hatred and pain and division. and so i tried to make a very healing film in film and music in writing all the creatives. the point is to try and get to be better. and sometimes you have to highlight that in ways that make people feel very uncomfortable. and certainly within some of the songs i've done that kind of swear, you know is because it's like, yeah, this is, you know, this is our reality. and in some of our magazines, so that people can try and understand how it is from our perspective. yes, i think in terms of being radical in terms of making it mainstream, you know, it's a songs that aren't hookey little bit populous to it. yeah. and you're kind of in the preaching to the converted. yes. watch here on the ones that you're trying to

reach, you know, trying to reach a broader spectrum of people. so you can actually the songs and if matic can get out there and can have a really strong effect. it just when people feel uncomfortable, they call it radical, a slave. like black women, they think we're aggressive because we have a strong point of view or because we tend to stand marin demand off space there. and she stand by the fact that i don't think any of complementary thoughts about radical or very extreme. some of them are cry for help and some of them kind of like look what's going on was always you, can you not see, we're trying to find a different way to express something that has been expressed since bob dylan, you know, so yeah. marvin gaye, you know, yeah, public enemy, there's so many bad. so many artists that have written things in political ways. how do you touch people? and i think again, it's just to find a unique in a personal way to talk about actually my last film. blinded by the lights were based on a memoir by suffering,

missouri who grew up in the island just sort of 25 miles after looted an industrial town and it's based around job. it's a kid who's feeling really kind of see in luton with his parents with the national front. and so many people come up to me and said, how much they cried through that film. because it's will express is something that you can't put down. it expresses all reality because there's so few people to do that in the, in our industries and in the world of art, if you like, you know, when you see it there and people respond to it is it's an emotional experience. i think the one thing about bri springfield, he's a wonderful translator of emotions. yes, i find may. he's the difference between me or restrictive if that is how we translator. well, i remember when i showed him the film, i was very nervous. but at the end of the film, he came out when he gave me a big hug and a kiss. and he said, thank you for looking after me so beautifully. so i was kind of nice here. we

ultimate thing really is that when we were doing it, when we were creating, we were struggling and we were angry with like, why can't we does, why can't we? where's our space now to have our space? yeah. yeah. but a lot of energy doing that. but now looking back and seeing the work and like you writing the book, you know, i have this tremendous sense of achievement because at she, we did, we were subversive. we made in road and was, and still a lot of the thing is, is to just acknowledge for a minute that we are the recorders of our voices as but as people, the diaspora and, and, and because they're there, they can't be taken away. exactly. i mean, in those early days when i'm, i'm, you know, i'm the skinny black go leasing on a rock brand. and i was looking at me like really,

really because what i think what music is, is wasteful authenticity. b reeves got be true risk or be cool. i'm so in those days people would look at me and think, well it can't be authentic, it can't be real because this isn't the face of rock music that we want to have. so it's like a big boulder and you're like handing me your boulder rate is for me to carry. yeah . my i to of, i don't know. you get that back? yes, exactly. you remember my shoes, a cleaning clear. you know, i don't, it's harry, that i have to carry the weight of your races. yes, that's so true. if i finally got to this plan of joy and happiness, you know, 26 years old is quite late. really trying to record label i'm, i was really happy, i'm fun. i'm finding media back up singer is what has come being pushed into. i'm and i that was my approach to it. and i will say this when i work with kids, i would say, just don't take you on into your own here. it. yes. and the book, my writing the was, i was pitching a young go like

a young version of myself. what she want to be totally in the book is all about you know, the lessons, i've learned the things i've, i've been told and that was one of the major things i want to face it to kids. now it was like, you know, you're fine. they have the problem, i don't carry other people's wait a minute, you get way down, you stop what you're doing and make one. exactly a my point of that where i learned that was in 2002. yeah. and bend it, like beckham, came out in america, and the new york times described the film as at this isn't the authentic voice of living in britain today. if that's because they, the idea they have of asians in, you know, is not playing football. how would really have the goal is a blue song about a sailor to an asian woman who made a film about our upbringing. i mean, i talk about it because i think he's probably quite mortified that he wrote her quite mod for the i repeat it quite a lot. yeah. but that was

a real turning point for me is i so they thought, wow, you can't win. don't try and win, don't try to be on their level. yeah. be on your own level to and can on a, don't take it on. and therefore i think out in what we create is really about ourselves. i mean, i think the simple, most difficult thing that's happening now is that we don't, we grew up in an environment where we didn't, you didn't have to read those wasn't, do you picked up newspaper, social media, you cannot get away from people's opinion. yes. it's just in your face punch in, you know, faith, non stop, no wonder we could have having so much difficulty terminate mental issues dealing with this on to raj of negativity, people negative. how can you carry that way? i mean, i would just be like asked if i could, i could just leave the room when you come to me with your nonsense. we need to increase the rooms in your pocket. yeah. and you harriet like a nic and wait with you wherever you are. so he, i'll, sir,

is meditation. the else is been 5 minutes a day, just meditating about your own strengths, who you are, what your purposes in life, what you're here to do, what you're here to cray, who you love, who loves you, do just a fat people and then everything else. any haters out there, you know, i've been for the phone down the toilet. i. i more social believe in just not reading it because i mean, i don't even know you've been in the business for a long time. yeah. if you still have quite a thin skin for things you do, like easier now do you think because things seem to be more diverse, you know, do you think is easier to make your fills? you know, as it is just a subtle, i think it's just harder to speak. so they're not going to corrupt you saying we're not making a film because your black asian writer. yeah. sure. our audience was going to like it. yeah, it'll just be yeah, it will just be more unique. can we think about some

a different car scaling? yes. can you me another story as a way in for the audience? it'll just be different words talking of the audience. few i did there. i think if it question time make it. yes. hi. hi, my name is natasha. my question is it for grinda? i was wondering, do you write your characters and stories with complete freedom or do you feel maybe unfairly that they come to be represent terms and in that sense, carry the burden of portraying south asian communities positively like defending the cultures or breaking stereotypes, the audiences and how do you cope with if you, if you do feel it? well, i think early on. yeah. i think i did feel what we call the burden of representation . but you just have to be authentic, i think. but as the years go past, you realize there are, as in as a writer in as a director, there are films that you want to make in their films that you don't, you know,

i don't necessarily like how uncertain tv station in england, there's always stories about you know how i was killed by my father, my brother type dramas, because in a there. so reductionist, i think, you know, so what i try and do is counteract what's already out there. that's not to say, don't hide from serious issues, but try and create 3 dimensional characters who are dealing with stuff. but i try and do it from a way that doesn't make us the victim. and i think that's the problem when you're working in a world in an industry that has so many ideas of who we are and what we represent, i e, backwards um, not educated or whatever. my job is always to join a redress that. but what i also try and do is create characters that, that my own community can recognize and feel as authentic,

but also our universal is inno film received by everybody around the world. you know, so it's important for me that you know that you find that thing that makes us universal as well as specific hello my name is learning, gosh, i'm north africa. so my question is, as our youngest you, them, when in your begin is in your career, who was there present? would you look up to and you got this by? well, so i saw. yeah, i think the person, his voice, i think meant so much to me in her writing. was there maya angelou mean christ, the bravery and the poetry, but this amazing ability to deal with all the crosses she had to bear and come out, shining to me. she remains a huge influence for me. the 1st so could i have bore as she was in nina simone

record. and i took it home and i was allowed to listen to it for a few few months because the local play was in a nice room of the from the house. my mom is to lock, you know, the good the yeah. i remember i sat them, i played it 10 times in a row. and then i followed nina. someone's career for my whole life. and i she ended up meeting her and now some a little say it's your birthday party. we sang happy birthday. you know, i don't the thing down, i'm in the hotel bar off to with on this hung out with i will not. and i remember st where, you know, you the 1st i could, i have bull. and you know, just in terms of has a math is the voice she didn't. so the thing is, you know, she was 19 years old because she was trained the classical pianists and she couldn't get into the classical classical school that you want to get into. so she end up singing in balls and you know, and she a late, 20 can vary for the school. what some incredibly poignant political souls. i'm as

an assay, she's the artist i keep going back to because there's always something more there i'm. so for me, i would say that's probably the artist as most inspired me. hello. hi, my name is lindy where, so i really, really wanted to just hear your thoughts on what can be done to achieve a greater depth of anti racist colonial work in educational spaces. you know, all the way from early years through to university. i mean, i would say 1st and foremost to not put up with it. you know, i think that live before but my mother even with just the recent thing, there was a culture of like, oh, we'll just do with this. we'll just let this one go. and then the next time we'll try and slowly, slowly and i think now some of us are fixing things that we can do is just shut it down if we see race is behavioral. we want to have a conversation about that to actually expose it and to talk about it. i don't think

necessarily we used, we need to weapon isaiah. i don't think we need to do, you know, have a thing of destroying people and counseling people. i just think that it's good to highlight it, deal with it, put it forward, make it in front of the conversation. so people can understand what's wrong because sometimes people don't really get it straight away and there's a lot of unconditional that has to happen. so i think to do it in a lot like a productive positive loving way. but i think yeah, it need this the so much the rise of racism, fascism and why scripts is going up and up and up. i'm, i think is not the time to kind of almost, you know, tap around and do delicately. i think, you know, it's time we need to spot and shut it down and so that people can see about something's going to happen. and it makes people kind of think twice before they say, are they act. they do certain things. but i do think it as a said, it has to be in an open conversation,

a positive way. not just like jumping and pouncing someone that was very aggressive way because sometimes people just make mistakes or they just don't understand or they're just not there. and in addition to was get is saying in terms of the teaching, i think it's up to educators now to start using the materials that are properly representative of the subjects that you're teaching. and i think that in terms of film, there are so many wonderful films that we're going back, revisiting lot battle of algiers, for example. either will you go back? can you talk about the issues raised in the film and how person that they are, for example, today and what's going on in france to day? so i think the in film to fill, made by filmmakers from different backgrounds about their own history is also a great way to combat prejudice and racism. or if you have been the most wonderful,

incredible experience so taught you the money to scan has just been wonderful. i'm . i'm sad. we haven't met in the past, but it's been wonderful to share all these experiences. upbringings and, and time in london a year that we went miles apart from each other. exactly. so interesting to hear that will help you with, with so connected by a time in a period is like from your memories or music that you've talked about. yeah. some of your influences, i remember bacteria that was at this time. so i'm going to go and sing now in a recording studio. some quite inspired for excellent. have the feeling of this moment that we've been able to throw in. we come from a timer generation. when what matter? denart was to be radical to day. what beheld as radical meat arctic are being used to make cause satisfaction of the brochure war?

our society for the rich and the powerful picasso in his late life said something wonderful painting is not decoration for your living room. painting is oh. from the al jazeera london broke our sentence to people in thoughtful conversation, lard cannot be erased by, by the superpower, with no host, and no limitations. what matter? the knowledge was to be radical. how can the thing that's radical be forsaken park one at highway and denise couple is not about wanting to sell a lot of the message in the studio. b unscripted on al jazeera december on a just either cattle host, the fee for our upcoming

a momentous event. for the region and a glimpse of what's in store for the 2022. welcome. people in power investigates the use and abuse of power across the globe. a world exclusive interview with joint nobel peace. lori if recognize the safeguarding freedom of expression as a precondition for democracy and lasting peace from shore documentary to in depth explain it. portal showcase is the best voucher. zeroes digital content of the year draws to a close. we look back at the events that have shake the news and look ahead to next year, december on a jesse europe, african stories of resilience and carrying a tradition and dedication to live without a short documentary by african

filmmakers on the white 9. and the bookmaking africa direct on al jazeera. ah, if the people are barbados, a new republic, barbados is set to swear in it's funny to have a president i think comes tie with the british monarchy. ah, hello money, money. this is out. there are line from day oh so coming up this for.