scenario is as a, replicated throughout our stadium. so we are pretty sure that there will be a, you know, some sort of a daily usage for these facilities at beyond 2020, to the middle east. first, ever, wealth camp has taken more than a decade in the making. a game changer for cats are, is the aims to establish itself as a cultural hub in the region. so, okay, that al jazeera doha, ah, this is all to say that these are the top stories and nato's warning. moscow of serious consequences, including sanctions of russia, uses force against ukraine. concerns about a russian military build up in the ukrainian border, had dominated a meeting of nato foreign ministers and riga and the future russian aggression would come at the high price and had a serious political and economic consequences for russia. georgia

and ukraine are longstanding and close natal partners contributing her missions and operations on the spidering for a membership ministers made it clear that we stand by our decisions, our support for that sovereignty until the total integrity remains and wavering and we remain committed to enhance our support to both countries. the ear chief says it's time for the block to consider making covered 19 vaccinations. mandatory cases are on the rise across the continent, which is deemed to be the epicenter of the pandemic. nigeria is detected its 1st cases of the alma khan variance. the center for disease control says 2 cases were fine among travelers who arrived from south africa last week. health officials say they've imposed measures to slow the spread of the new variant, uganda deploying soldiers across the border into democratic republic of congo as

a battles. an armed group that follows airstrikes against the allied democratic forces on tuesday. as part of a joint operation with the colleagues army, the us supreme court listening to arguments that could reverse decades of access to abortion. decide whether to uphold a 2018 mississippi law bands. most abortions after 15 weeks of pregnancy, the us without a bond of ended 2 days of meetings in kata, where they discussed the humanitarian crisis in afghanistan. it's out of and asked us to release financial assets and remove sanctions, washington's calling on the taliban to ensure the rights of afghans and for many clues of government. the un says more than half of the people that have gone to san are suffering from acute food shortages this winter, and those are the headlines. these is going to continue here on all the 0 after studio be unscripted. i'll see about 25 minutes goodbye. ah

for in those early days it was a real battle to do something other than what i was supposed to do. because i was a feel as a face that rock music ship have. my name is skin, i'm the leasing, and so i saw a multi 1000000 selling, pretty short brand skunky, nancy, and i'm also a d j. as 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. yeah,

that's what they fate 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 of making films about people that looked like me who are under represented all of the screens and often on the margins of our industry. jobs. 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 for me, writing about politics or writing about can school things really was just writing about my perfect spirit. we are the recorders of all voices as people, the diaspora and because that they can't be taken away. ah, so you have said that music has no boundaries of the sea. you were

a piece of the normally, 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 some of our songs of list goes. because for me, the most effective political so come from per se 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 looked 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 the 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. one of the things i'm really interested about is if you've done some hugely popular movies and 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 my 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. and it's not just our parents coming off the boat as it were, with their whole colonial. i'm 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 in asia. chris h it ships away, which is to be so, i mean, i can only imagine her arguments are full for, for you to get those movie made and get those topics, keep us up exam or get water down. yeah. i mean, even been delay back home in my message 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, 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 a death of 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 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 christ's things 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 still 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, what you've done, what you've done for people around here was 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 has stayed with me because in a way that is what i was trying to do. you know, with, with my film like just the wow, if i never make another film again, 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, viceroy house and it was about the partition of india. yeah. so i want to move

a bit away from england, which is, i mean, people really don't know a lot about via why it was done and how it was done. yeah. 9047 was independence and then partition was happening. 47, it 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 british filmmaker i had to take it and it was different. yeah. energy. her 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 try to make a very healing film in film and music and writing all the creatives. the point is to try and get to be better. and i mean, 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, it's because it's like, yeah, this is, you know, this is our reality. and in some of the magazines for that people can try to understand how it is from our perspective. yeah. i think in terms of being radical in terms of making it mainstream, you know, it's a songs hookey, little bit populous to it. yeah. when you're kind of in the preaching to the converted white sheet 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 matters 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 were aggressive because we have a strong point of view or because we tend to stand marin demand off space there as 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 the kind of like look what's going on was all 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 expresses something that you can't put down. express is all reality because it'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 wonderful translate 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. me 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. but 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 band. and it was looking at me like really, really because what i think what music is, is based off and to city b. reeves got be true, is what we call i'm so i in those bay people would look at me 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. no, my i to of. i don't know. you get that back. yes, exactly. you remember my shoes are liam in clear? you know, i always tell you 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 out media backup. singer is what i was coming, 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 room, i was writing the words 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 wanted 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. 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. that's because they, the idea they have of asians in, you know, he's not playing football. how would he have the goal as a new yorker blue, talk about a sailor to an asian woman. he made a film about our upbringing. i mean, i talk about it because i think he's probably quite mortified. yeah, 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 slowly 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, and can on a,

don't take it on. and therefore i think 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 was do you picked up newspaper, social media, you cannot get away from people's opinion. yes, it's just in your face punch in your face. non stop. no wonder if we could have having so much difficulty from any mental issues dealing with this on to raj of miss stevens, him, he was 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 when you leave him cuz the room is in your pocket. yeah. and he's harriet like a nic and wait with you. where you are. so he, i'll, sir, is meditation. fiancee's 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 we've been in 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 is just harder to speak. that's why 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 different cost killing? yes. can you me another story as a way in for the old years it will just be different words talking of the audience

. few i did there. i'm i think it's question time again. 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 tips and in that sense carry the burden of portraying south asian communities positively like defending the cultures or breaking stereotypes, the audiences and how to 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 lives 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 join 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 is seen by everyone 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 literally gosh, i'm north africa. so my question is i, i youngest you them, when in your begin is in your career, who was there person? would you look up to and you got this by? well, so i saw. yeah, i think the person whose 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 house and my mom used to lock, you know, the good room. i sat them, i played it 10 times in a row, and then i followed minas one's career for my whole life and i she ended up meeting her. i now some a little say your birthday party. we sang happy birthday. you that test. i don't to sing down, i'm in the hotel bar off to with on is hung out with. i will not. and i remember central, you know, you, the 1st 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 to 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 at the late 20 can vary for the school. what some incredibly poignant political songs i'm as analysis. 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. would just let this one go and then the next one will 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 un conditioning that has to happen. so i think to do it in a lot like a productive positive loving way. but i think you need this the so much the rise of a racism, fascism and why scripts is going up and up and up. i'm and 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 to they do certain things, but i do think it as a study has to be in an open conversation a positive way. not just like jumping and pouncing something 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 way 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 feel 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 many discount. it's 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 back to that was this, this time. so i'm going to go and sing now in a recording studio from quite inspired for excellence. have the feeling of this moment that we've been able to talk through in recall from a timer generation. when what mattered denart was to be radical? today, what the hell does radical me 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 declaration for your living room.

painting is oh. from the al jazeera london broadcast center to people in thoughtful conversation, lard cannot be erased by the superpower with no host and no limitation. what mattered in all to was to be radical. how can the thing that's radical with part one, highway and a nice to pool? it's not about wanting to sell. you know about the message in the studio. b, unscripted on al jazeera. in

a doing the debates, 90 percent of the world's refugees have come from a common impacted country. the climate emergency is putting more pressure on across the world and amplify your voice. it's not really the future. 8. now this is not a lot can, i believe it cannot lose hope. we know what to do and we have the tools to do to get back with all the paper. the stream on al jazeera is done with

a ah, and the future russian aggression would come at the high price. nato was economic sanctions and political restrictions are on the table if russia uses force against ukraine. ah, monroe baptism, this is all the 0 life and doe hob, also coming up. the e chief says it's time to consider mandatory vaccinations against coven 19 as the w . h. o labels. europe. the epicenter of the pandemic. the biggest legal challenge. so.