STOCKHOLM — On a recent Friday night, the Swedish rapper Silvana Imam appeared on stage at Annexet, a concert venue in the south side of Stockholm, dressed like a comic-book villain. Her face hidden by a black mask studded with spikes, she dragged a metal baseball bat across the stage to the loud cheers of her mostly female audience.
The menacing display was a theatrical embodiment of the gleefully confrontational role Imam, the lesbian daughter of refugees, has come to play in Swedish pop culture. Imam, whose mother is Lithuanian and father Syrian, is one of the country’s best-known hip-hop artists, and a symbol of the counterreaction to the rise of right-wing populism in Scandinavia’s most populous country.
When the mask came off, Imam, 32, launched into “I Min Zon” (“In My Zone”), a languid, withering song from her first EP, in which she rails against racism and sexism in the country. “Fifteen million people in the world are named Mohamed,” she rapped in Swedish, “but whose name do they want to see on the résumé?”
Mattias Naxe, 30, a lighting designer in the audience, said that he was drawn to Imam’s music primarily because she was a “very good rapper,” but added that her success was also a reflection of Sweden’s polarized political climate. In last fall’s national election, the right-wing populist Sweden Democrats won 18 percent of the vote, making them the country’s third-largest party. “She came at the right time,” he said, adding that she “very much” represents this particular moment.
Although Sweden is known for being one of the world’s premier suppliers of dance-pop, it also has one of Europe’s most vibrant hip-hop scenes. Imam is one of its biggest female stars. In 2014, her breakout single “IMAM,” a political song in which she refers to herself as a “176 centimeter Pussy Riot,” reached number one in the Swedish charts. Since then, she has won numerous awards, including a Swedish Grammi, the country’s equivalent to a Grammy Award, for artist of the year.
Her most recent album, “Helig Moder” (“Holy Mother”), released in February, has been widely praised in the Swedish news media, and she was recently announced as the opening act for the main stage of the renowned Roskilde Music Festival in Denmark.
In an interview in a coffee shop in the Hornstull neighborhood of Stockholm, where she lives, Imam said she had struggled with the pressure of her success and the fallout from her position as a political provocateur. She explained that her new album was an attempt to come to terms with the “superhero everyone wants me to be, or the one that I’ve become in Scandinavia for a lot of people.”
Although Sweden is often seen internationally as a paragon of social liberalism, many of Imam’s songs have highlighted the racism, misogyny and homophobia she believes permeate society here. Her 2015 single “Imam Cobain” included a frequently quoted line instructing the men who “say my love is a crime” to “go and kiss” a “swastika.” Another song called out people offended by the fact that she is a “hybrid,” with Syrian roots.
The rise of the Sweden Democrats, she argued, only goes to prove her point. The party, whose slogans include “Keep Sweden Swedish,” has its roots in the neo-Nazi movement and campaigned on severely limiting immigration. “Sweden is finally revealing itself for what it is,” Imam said.
The rapper was born in 1986 in communist Lithuania, but her family moved to what was then Czechoslovakia when she was a toddler. When her father, a journalist and lawyer, came under pressure there because of his far-left politics, the family fled to Kiruna, Sweden’s northernmost city, which she described as “very cold” and “with no people of color.” After the family relocated to Stockholm, Imam attended a school in the suburbs where she said there were “neo-Nazis and immigrants, and nothing in between.”
A longtime fan of the Fugees and Kanye West, she started performing while completing her degree in English and psychology at the University of Stockholm. Her anger at the far right was galvanized in 2013, when Jimmie Akesson, the leader of the Sweden Democrats, retweeted a photo of her performing at a protest against the far right while wearing a jacket bearing a crossed-out “S.D.,” the party’s initials. The song she performed included the line, “send the pigs to slaughter,” referring to members of the party. Afterward, she received threats from his supporters. “He knew what he was doing. He knew what kinds of followers he had,” she said.
The debate around refugees in Sweden, she argued, has become untethered from reality. “The claim that we can’t afford the refugees isn’t fact-based,” Imam said. Tax avoidance by large companies was a bigger drain on the economy, she added.
In 2015, one of Imam’s cousins was among the many thousands of migrants attempting to make their way across the Mediterranean into Europe after the outbreak of the Syrian civil war. The incident, she recalled, affected her deeply. “She sent me a photo of her boat, with just water and three sandwiches, and I thought this was crazy,” she said. The cousin and her two children ultimately ended up in Denmark.
Ametist Azordegan, a radio host and producer currently writing a book about Swedish hip-hop, described Imam by phone as one of the country’s “top hip-hop artists” and one of the “absolute best” lyricists, and argued that she “has built a space for gay, young women that hasn’t existed in the media in Sweden.”
Christina Tsiobanelis, one of the three co-directors of “Silvana,” a documentary about Imam’s early career that played in movie theaters around Europe, said in a phone interview that the rapper’s success coincided with not only the rise of the far right, but also the growth of an increasingly vocal feminist movement in the country. “If she had come up three years earlier, she might not have become that successful,” she said.
The film, which won a Guldbagge Award, the Swedish equivalent of an Oscar, for best documentary, also chronicled the beginnings of Imam’s relationship with Beatrice Eli, a Swedish pop singer. The two remain together, and have recorded several duets. In Imam’s view, they are the country’s first prominent lesbian couple to be “cool and young.” She added, after a pause, “and hot.”
At Annexet, Eli appeared on stage to perform with Imam in “Magi Som Orlando,” a sexually charged duet. They pressed into each other as the crowd cheered. Then, a few minutes later, the stage turned into a raucous celebration reflecting Imam’s cultural and sexual identities. Two belly dancers and a row of women in traditional Arab costume gyrated on the stage, while another dancer balanced on her head. Silvana jumped up and down, laughing.
“Silvana is a symbol for the new Swedish girl,” said Leonora Haag, 20, who watched in the audience. “Swedish people are very much a collective, you don’t stand out. What’s amazing about her is that she just doesn’t care.”B:
【一】【身】【宫】【装】【的】【沈】【阑】【珊】【走】【进】【来】，“【主】【子】，【秦】【医】【师】【他】【们】【已】【经】【在】【偏】【厅】【等】【候】。” 【风】【夙】【月】【起】【身】，【向】【殿】【外】【走】【去】。 【帝】【飞】【天】【无】【奈】，【有】【心】【一】【起】【去】，【想】【到】【要】【去】【历】【练】，【朝】【中】【还】【有】【很】【多】【事】【要】【处】【理】，【只】【能】【作】【罢】。 【风】【夙】【月】【命】【沈】【阑】【珊】【带】【他】【们】【来】，【就】【是】【要】【教】【他】【们】【更】【深】【层】【次】【的】【医】【术】。 【将】【他】【们】【培】【养】【出】【来】，【不】【仅】【能】【够】【完】【成】【灵】【铺】【的】【任】【务】，【还】【能】【从】【中】【选】【出】
【来】【到】【了】【幻】【惜】【家】…… 【铲】【屎】【官】【看】【见】【了】【自】【己】【的】【车】。【宝】【马】m6。 【地】【球】【的】【东】【西】【应】【该】【不】【可】【以】【来】【到】【多】【利】【斯】【特】【的】，【为】【什】【么】【这】【个】【车】【例】【外】【了】？ 【简】【心】【摘】【下】【面】【具】，【趴】【在】【车】【窗】【上】【往】【里】【看】。【招】【财】【猫】【饰】【品】【还】【在】【原】【地】【招】【着】【手】。 “【你】【是】【想】【把】【我】【的】【车】【还】【给】【我】【吗】？”【铲】【屎】【官】【问】。 “【正】【好】【相】【反】，【我】【要】【把】【这】【辆】【车】【毁】【掉】。”【幻】【惜】【使】【用】【魔】【法】。 “【你】
【洛】【师】【师】【眼】【巴】【巴】【很】【委】【屈】【的】【看】【着】【她】【家】【砚】【哥】，“【砚】【哥】，【我】【穷】。” 【言】【外】【之】【意】，【你】【怎】【么】【能】【不】【让】【我】【赚】【他】【们】【的】【钱】？ 【快】【点】【告】【诉】【我】【那】【些】【人】【的】【联】【系】【方】【式】，【我】【要】【赚】【他】【们】【的】【钱】。 【晋】【砚】【之】【在】【易】【浩】【深】【开】【口】【后】，【便】【心】【里】【暗】【道】【一】【声】，【不】【好】，【现】【在】【听】【到】【小】【作】【精】【的】【控】【诉】，【唇】【角】【微】【动】。 【穷】【也】【亏】【得】【她】【敢】【说】。 【她】【要】【是】【都】【穷】【了】，【那】【这】【个】【世】【界】，香港四肖【圣】【若】【热】【城】【堡】【位】【于】【里】【斯】【本】【城】【东】【南】【方】【特】【若】【河】【入】【海】【口】【的】【地】【方】，【从】【呈】【现】【出】【一】【个】【不】【规】【则】【的】【长】【方】【状】【的】【城】【堡】【东】【南】【角】【望】【去】，【可】【以】【看】【到】【由】【比】【利】【牛】【斯】【山】【起】【源】【的】【特】【若】【河】【注】【入】【大】【西】【洋】【的】【盛】【况】。 【早】【在】【几】【百】【年】【前】【当】【还】【没】【有】【被】【摩】【尔】【人】【打】【败】【的】【时】【候】，【在】【这】【里】【曾】【经】【一】【度】【建】【立】【过】【国】【家】【的】【西】【哥】【特】【人】【建】【造】【了】【这】【座】【城】【堡】，【正】【因】【为】【这】【样】，【按】【照】【当】【时】【的】【建】【造】【风】【格】【建】【起】【的】【圣】
【转】【眼】【已】【是】【七】【月】，【经】【历】【过】【重】【重】【艰】【难】【险】【阻】【的】《【西】【游】【降】【魔】【篇】》【终】【于】【进】【入】【了】【拍】【摄】【的】【后】【期】，【已】【经】【成】【为】【光】【头】【的】【洛】【寻】【双】【手】【合】【十】，【一】【袭】【白】【衣】，【声】【音】【肃】【穆】：“【有】【过】【痛】【苦】，【才】【知】【道】【众】【生】【真】【正】【的】【痛】【苦】；【有】【过】【执】【着】，【才】【能】【放】【下】【执】【着】；【有】【过】【牵】【过】，【了】【无】【牵】【挂】。” “【咔】。” 【周】【星】【池】【喊】【停】，【又】【看】【了】【一】【遍】【刚】【刚】【的】【拍】【摄】【效】【果】，【确】【认】【没】【问】【题】【后】【点】【点】【头】【道】：
【宁】【逺】【啲】【憾】【倁】【壹】【淔】【嘟】【茬】【咑】【汧】，【珂】【湜】【周】【圍】【甚】【麽】【嘟】【沒】【冇】，【珂】【湜】【讓】【它】【冇】【篰】【汾】【奇】【怪】【孒】。 “【冇】【甚】【麽】【髮】【現】【吗】”【篁】【红】【問】【孒】【問】【宁】【逺】，【它】【甚】【麽】【嘟】【沒】【冇】【髮】【現】。 【宁】【逺】【摇】【孒】【摇】【頭】“【卧】【吔】【甚】【麽】【嘟】【沒】【冇】【髮】【現】，【這】【哩】【対】【启】【來】【丕】【壹】【様】，【珂】【湜】【壹】【點】【预】【兆】【嘟】【沒】【冇】。” “【卧】【扪】【進】【呿】【夿】。”【沒】【冇】【甚】【麽】【髮】【現】，【它】【扪】【呮】【螚】【進】【呿】【李】【間】【哩】【喕】【查】【対】【孒】。 【淔】【倒】【夨】【傢】【赱】
【新】【书】《【我】【的】【世】【界】【有】【点】【弹】【幕】》 【同】【类】【型】【作】【品】，x【之】【空】、【我】【们】【无】【法】【一】【起】【学】【习】、【五】【等】【分】【组】【合】，【外】【加】【弹】【幕】【的】【类】【型】。 【感】【兴】【趣】【的】【可】【以】【去】【瞅】【一】【眼】…