Egyptian pop singer detained over racy video

Shyma
Updated 20 November 2017
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Egyptian pop singer detained over racy video

CAIRO: Egyptian police on Saturday arrested a pop singer known as Shyma after she appeared in a music video in lingerie while making suggestive gestures, officials said.
The racy video for her song “I Have Issues” had led to complaints, police officials said, adding she is suspected of “inciting debauchery.”
In the video the hitherto little-known singer appears in a mock classroom licking an apple and a banana.
“Singer Shyma presents a lesson in depravity to youths,” thundered the Youm 7 newspaper in an article after the video was released.
It was not immediately clear whether she would be formally charged.
In a Facebook posting on Thursday, Shyma wrote that she had not anticipated the backlash against her video.
“I apologize to all the people who saw the clip and were upset by it and took it in an inappropriate way,” she wrote.
“I didn’t imagine all this would happen and that I would be subjected to such a strong attack from everyone, as a young singer...who has dreamt from a young age of being a singer,” she added.
The authorities under President Abdel Fattah El-Sisi have cracked down on some artists in Egypt using wide-ranging morality laws.
In 2015, a court jailed a female dancer to a year in prison for “inciting debauchery” in a raunchy music video for a song called “Let Go of My Hand.”


Pressures and pains that tear a couple apart

A still from the film.
Updated 19 July 2018
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Pressures and pains that tear a couple apart

DENVER: Like a gallery wall-sized enlargement of a microscopic image, “Scenes from a Marriage” is all about size, space and perspective.
Directed by Ingmar Bergman — whose birth centenary was marked this week — at 281 minutes long, its unwieldly length presents an intimidating canvas, yet the claustrophobic intimacy of its gaze is unprecedented: The two leads are alone in nearly every scene, many of which play out for more than a half-hour at a time.
Premiered in 1973, the work is technically a TV mini-series, but such is its legend that theaters continue to program its nearly five-hour arc in its entirety. A three-hour cinematic edit was prepared for US theater consumption a year later (it won the Golden Globe Award for Best Foreign Language Film, but was ruled ineligible for the corresponding Oscar).
Not a lot a happens but, then again, everything does. Shot over four months on a shoestring budget, its six chapters punctuate the period of a decade. The audience are voyeurs, dropped amid the precious and pivotal moments which may not make up a life, but come to define it.
We meet the affluent Swedish couple Marianne and Johan — played by regular screen collaborators Liv Ullmann and Erland Josephson, both of whom clocked at least 10 Bergman credits — gloating about ten years’ happy marriage to a visiting reporter. This opening magazine photoshoot is the only time we see their two children on camera, and inevitably the image projected is as glossy, reflective and disposable as the paper it will be printed on.
The pressures, pains and communication breakdowns which tear this unsuited pair apart are sadly familiar. The series was blamed for a spike in European divorce rates. It may be difficult to survive the piece liking either lead, but impossible not to emerge sharing deep pathos with them both. Sadly, much of the script is said to be drawn from Bergman’s real-life off-screen relationship with Ullmann.
It’s a hideously humane, surgical close-up likely to leave even the happiest couple groping into the ether on their way out of the cinema.