What voting means, even if it's part of a TV show
It's nearly time for the Salzburg Academy again — congrats to those going! — and there's no better reminder of why the Academy exists than in this week's New Yorker. Ken Auletta profiles Afghanistan media mogul Saad Mohseni and the complicated nature of his broadcasting.
Among the angles, Auletta writes about the Afghan Star show, the local take on American Idol. "Every Thursday night, an estimated one-third of Afghanistan's thirty million citizens gather in front of television sets to watch," Auletta writes. "In rural places without electricity, people fill generators with gasoline or hook up their TVs to car batteries."
The culmination of the passage is a sublime reminder about speech.
As on "American Idol," winners on "Afghan Star" are determined by the judges, the audience, and text messages sent from mobile phones throughout the country. Before the show aired, Mohseni made a deal with Roshan, the country's leading mobile-phone company, and ran promotional ads on Tolo and Arman instructing citizens how to place a vote. (The text messages cost voters about seven cents, the equivalent of a loaf of bread; three hundred thousand votes were cast in the final week.) With suspicious egalitarianism, the finalists have often been from each of the three main Afghan ethnic groups: Tajiks, Pashtuns, and Hazaras. At first, losers reacted badly on the air, smashing stage equipment and claiming ethnic prejudice, but, because their tantrums were so public, they were humiliated and seen as dividers.
In the third season, one of the finalists was Lema Sahar, a Pashtun woman from Kandahar, the spiritual home of the Taliban. Religious leaders were outraged that a woman was allowed to perform in public, and Sahar received death threats. In the "Afghan Star" documentary, she said, "We hide the songbooks and other things at night. If the Taliban come at night, we have a special place to hide the computer. If they find something, they kill you." She was undaunted. "If I do not sing, what else can I do?" she said. Sahar's performances on the show demonstrate a somewhat tenuous relationship with pitch and rhythm, but she was a crowd favorite. Mohseni told a reporter at the time, "They all realized how it was for her to come from Kandahar, and we all want to root for the underdog." The text-message voting did something else, Mohseni says: It "has changed Afghanistan in ways you could not imagine ten years ago. It has given people power to vote someone off."















