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EPA Finds No Widespread Drinking Water Pollution From Fracking

Workers use perforating tools to create fractures in rock. An EPA study finds that "fracking" to reach and extract deep pockets of hydrocarbons has not caused widespread drinking water pollution.

Workers use perforating tools to create fractures in rock. An EPA study finds that “fracking” to reach and extract deep pockets of hydrocarbons has not caused widespread drinking water pollution. Brennan Linsley/AP hide caption

itoggle caption Brennan Linsley/AP

The Environmental Protection Agency says it finds no evidence that hydraulic fracturing — better known as fracking — has led to widespread pollution of drinking water. The oil industry and its backers welcome the long-awaited study while environmental groups criticize it.

“We found the hydraulic fracturing activities in the United States are carried out in a way that has not led to widespread systemic impacts on drinking water resources,” says Tom Burke, Science Advisor and Deputy Assistant Administrator of EPA’s Office of Research and Development. “In fact, the number of documented impacts to drinking water resources is relatively low when compared to the number of fractured wells,” he adds.

The EPA’s draft assessment was conducted at the request of Congress. “It is the most complete compilation of scientific data to date,” says Burke, “including over 950 sources of information, published papers, numerous technical reports, information from stakeholders and peer-reviewed EPA scientific reports.”

Fracking has allowed drillers to tap oil and natural gas reserves once thought off-limits deep underground. That has led to drilling booms across the country and boosted the country’s oil and natural gas production significantly. But environmental groups have long argued fracking comes with a cost to the environment, especially to water. Those groups have called for stronger regulations and even bans on fracking altogether.

The EPA study does identify some potential vulnerabilities to drinking water. They include the amount of water required for fracking in dry places and fracking in underground formations containing drinking water. The report also raises concerns about wells that are inadequately cased or cemented — something that can allow gases and liquids to migrate below ground. Another area of vulnerability the EPA highlights in its report is how wastewater and fracking fluids from drilling operations are handled and treated.

The American Petroleum Institute says the conclusions echo what the oil industry has argued all along. “Hydraulic fracturing is being done safely under the strong environmental stewardship of state regulators and industry best practices,” says Erik Milito, API upstream group director.

Acknowledging the potential vulnerabilities outlined in the EPA report, Milito says, “Continuous safety improvements have been an ongoing part of hydraulic fracturing for 65 years.”

The environmental group Food and Water Watch criticizes the EPA assessment, saying it “has the industry’s oil fingerprints all over it.” The group supports a ban on fracking and says this report should not be used to decide the industry’s future.

“Sadly, the EPA study released today falls far short of the level of scrutiny and government oversight needed to protect the health and safety of the millions of American people affected by drilling and fracking for oil and gas,” says Wenonah Hauter, Food & Water Watch executive director.

This is just a draft assessment. The EPA study will be finalized after a review by the Science Advisory Board and public comment.

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In A First For Online Media, Gawker Writers Join Union

For the first time, workers at a digital media company have voted to join a union. Editorial employees at Gawker Media are joining the Writers Guild of America, after a vote in which 80 employees or 75 percent voted in favor of forming a union, and 27 employees, or 25 percent opposed.

In a post on the Gawker website, the editorial employees say the next steps are “determining what we want to bargain for, forming a bargaining committee and negotiating a contract.”

Gawker, based in New York, runs a number of websites, including Gawker, Gizmodo and Jezebel. Together they claim 64 million readers. While Gawkers move is a first in the digital world, employees of many newspapers and broadcast networks, including NPR are union members.

In an earlier post explaining why employees wanted to form a union, writer Hamilton Nolan praised Gawker as being “relatively well run”, but added this:

“The online media industry makes real money. It’s now possible to find a career in this industry, rather than just a fleeting job. An organized work force is part of growing up. I fully expect that Gawker Media will emerge from this experience stronger than it has ever been.”

Gawker CEO Nick Denton issued a statement, saying he is “pleased Gawker is leading the movement in the online media world toward collaboration and inclusion.”

In an op ed piece in the LA Times published before the vote, former New York Times labor reporter Steven Greenhouse said a successful vote “would be a big PR boost for the ailing labor movement.”

“It will show that unions, which have focused in recent years on organizing low-wage workers, can also attract hip, highly educated workers, many of them Ivy League graduates.”

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Thomas Mapfumo, Zimbabwe's Cultural Advocate In Exile

Thomas Mapfumo performs on stage during Live 8, Africa Calling, in 2005.
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Thomas Mapfumo performs on stage during Live 8, Africa Calling, in 2005. Matt Cardy/Getty Images hide caption

itoggle caption Matt Cardy/Getty Images

As Bob Marley is to Jamaicans or Fela Kuti is to Nigerians, Thomas Mapfumo is to Zimbabweans. The bandleader is a superstar in his home country, both for his masterful blending of traditional sounds with world music and for his powerful political messages. Mapfumo has been a tireless critic of the colonial government of former Southern Rhodesia, as well as the dictatorship that presently rules Zimbabwe.

Music critic Banning Eyre has written a new biography of Mapfumo and compiled an album of his music, both titled Lion Songs: Thomas Mapfumo And The Music That Made Zimbabwe. Eyre recently joined NPR’s Robert Siegel to discuss Mapfumo’s music and his career of moving people — both on the dance floor and in their political views.

“He is a singer and a bandleader,” Eyre says, “but also an activist: a social critic who has kept in his heart the interests of poor people and rural people and people who become the victims of governments, whether it’s the white, racist Rhodesian regime or the corrupt regime of Robert Mugabe. He’s a politician in the sense that he has really moved the politics of the country forward. But really, at a deeper level, he’s an advocate of culture.”

One element that stands out in Mapfumo’s music is the way he uses a traditional thumb piano called the mbira, which Eyre explains is believed to have the ability to contact the spirits of ancestors. Mapfumo translates music traditionally played on the mbira — a repertoire of songs thought to have been around since ancient times — to the electric guitar.

“And so, when Mapfumo started putting that music on electric guitars in the 1970s and singing songs that were both bringing forward the culture but also attacking the regime and encouraging fighters,” Eyre says, “it was a really powerful package.”

Other former British colonies in Africa saw black-majority governments take over once given independence, but in Southern Rhodesia, colonial whites declared their own independence and wanted to remain a white-ruled country. A 1977 song, “Pamuromo Chete (It’s Only Talk),” was Mapfumo’s response to a statement by the leader of the white government, Ian Smith.

“Smith had declared that there would never be a black-majority government, not in a thousand years, so Mapfumo was right there with his response: ‘You’re just talking, it’s only talk,'” Eyre says. “And he was right. Within a few months, Smith had to walk that back. And you can hear this kind of moral authority in [Mapfumo’s] voice in that song. This is the moment when he’s really discovering that he can harness traditional rhythms, melodies and attitudes and make it really sting.”

Now living in exile in Oregon due to his outspoken criticism of Zimbabwean president Robert Mugabe, Mapfumo yearns to go home, according to Eyre.

“He still has this … sense of unfinished business: that he’s needed at home,” Eyre says. “He tries his best to record music and release it, but you never really lose that restlessness, that desire to get back.”

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Latitudes: The Global Music You Must Hear In May

Galician bagpiper Cristina Pato and her band.

Galician bagpiper Cristina Pato and her band. Xan Padron/Courtesy of the artists hide caption

itoggle caption Xan Padron/Courtesy of the artists

One of the biggest pleasures of listening to global music is hearing artists wed the past, present and future — especially as they create smart, innovative juxtapositions of elements you might think have no musical or cultural commonalities. And this month’s roundup is full of those kinds of surprises.

If you’re a fan of our Tiny Desk Concerts, you may remember a highly unusual, enormously vital and joyous performance by Galician bagpiper Cristina Pato. She’s back with her quartet for an album called Latina, which explores all kinds of great sounds, textures and rhythms from the Latin world, from Spain to Peru, Colombia, Brazil, Argentina and beyond. Here’s a fandango written by one of her band members, bassist Edward Perez, that tweaks a popular dance rhythm from Spain that migrated across Europe and into the Americas.

Moroccan pop star Saad Lamjarred’s new song “Lm3allem” (“Teacher”) is not exactly breaking new sonic ground, but the eye-popping video is a total blast — and it seems to be a direct homage to the exciting work of the Moroccan-born, U.K.-based visual artist Hassan Hajjaj (whose work happens to be on display right now at the Newark Museum in New Jersey), down to repeating some of his most familiar images, beginning with those young women on motorbikes.

This video isn’t new, but I just came across the 18-year-old female Afghan rapper Sonita Alizadeh, and her song “Brides for Sale,” through a feature broadcast earlier this month on the public radio program The World. Raised since age 8 in Tehran, Alizadeh was told by her parents that she would be married off to a man in Afghanistan — because her family needed the dowry money to pay for her brother’s wedding. In response, the anguished Alizadeh wrote this song, by turns anguished and acidic.

The upshot: Alizadeh’s parents loved the video and told her she didn’t have to marry. She is now studying in Utah, but she told The World she’ll always sing about Afghanistan.

And the dawn of summer should bring dance parties, so here are two songs to get your groove on. I’ve been a fan of the band Yiddish Twist Orchestra for a while now. They call what they do “London retropolitan.” It’s a throwback to the 1950s and early 1960s mashups of big band, mambo, calypso — and Eastern European Jewish music. (See: Bagels and Bongos.) Their new album, Let’s!, is hugely fun, and I bet you’ll never hear the chestnut “Bei Mir Bistu Shein,” birthed in the Yiddish theater of New York’s Lower East Side, in quite the same way ever again.

The other is “Tepotzteco,” a track from the Oakland duo Dirtwire (David Satori and Evan Fraser). Its name hearkens back to an ancient Aztec temple that attracted worshipers from as far away as Guatemala. But here, it’s a song that weaves electronic sounds with cumbia and a West African ngoni lute. But rather than sounding sleek and cold, the song is full of grit and pulsates with life. The video was shot in Guatemala City with dancers from the Heroes Company crew.

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Time Lapse

Part of the fun of time-travel movies is batting around their rules, and bending brains in an attempt to follow the internal logic or lack thereof. If that were all of the fun of time-travel…