• How NPR’s Tiny Desk became the biggest stage in music

    Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars. 

    What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster. 

    In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmatesand an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views. 

    In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views. 

    That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April. 

    “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.”

    Bobby CarterTiny Desk, Big Influence

    The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023. 

    The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers. 

    In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices. 

    “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.”

    Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk. 

    “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.”

    Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says. 

    Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.   

    Reimagining Old Favorites

    It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history. 

    “I love what has happened with hip hop,” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.” 

    Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artistsbreathe new life into their careers.”

    In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.  

    “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.”

    Building a Diverse Audience

    When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of colormuch younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says. 

    That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Monthand is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer. 

    Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says.

    The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.”

    Tiny Desk heard round the world

    With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporationto launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says. 

    Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.”

    That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition. The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner.

    One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio”It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 
    #how #nprs #tiny #desk #became
    How NPR’s Tiny Desk became the biggest stage in music
    Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmatesand an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby CarterTiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop,” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artistsbreathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of colormuch younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Monthand is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporationto launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition. The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio”It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices.  #how #nprs #tiny #desk #became
    WWW.FASTCOMPANY.COM
    How NPR’s Tiny Desk became the biggest stage in music
    Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmates (sporting shirts screenprinted with their visas) and an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby Carter [Photo: Fenn Paider/courtesy NPR] Tiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop [on Tiny Desk],” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artists [to help] breathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of color [and] much younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Month (from mid September to mid October) and is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “[Our] audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporation (NHK) to launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition (their daily streams haven’t dipped below 50,000 a day since the beginning of the year). The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio” (What do we do now? Tiny Desk fucked me up.) It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 
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  • Real TikTokers are pretending to be Veo 3 AI creations for fun, attention

    The turing test in reverse

    Real TikTokers are pretending to be Veo 3 AI creations for fun, attention

    From music videos to "Are you a prompt?" stunts, "real" videos are presenting as AI

    Kyle Orland



    May 31, 2025 7:08 am

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    Of course I'm an AI creation! Why would you even doubt it?

    Credit:

    Getty Images

    Of course I'm an AI creation! Why would you even doubt it?

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    Getty Images

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    Since Google released its Veo 3 AI model last week, social media users have been having fun with its ability to quickly generate highly realistic eight-second clips complete with sound and lip-synced dialogue. TikTok's algorithm has been serving me plenty of Veo-generated videos featuring impossible challenges, fake news reports, and even surreal short narrative films, to name just a few popular archetypes.
    However, among all the AI-generated video experiments spreading around, I've also noticed a surprising counter-trend on my TikTok feed. Amid all the videos of Veo-generated avatars pretending to be real people, there are now also a bunch of videos of real people pretending to be Veo-generated avatars.
    “This has to be real. There’s no way it's AI.”
    I stumbled on this trend when the TikTok algorithm fed me this video topped with the extra-large caption "Google VEO 3 THIS IS 100% AI." As I watched and listened to the purported AI-generated band that appeared to be playing in the crowded corner of someone's living room, I read the caption containing the supposed prompt that had generated the clip: "a band of brothers with beards playing rock music in 6/8 with an accordion."

    @kongosmusicWe are so cooked. This took 3 mins to generate. Simple prompt: “a band of brothers playing rock music in 6/8 with an accordion”♬ original sound - KONGOS

    After a few seconds of taking those captions at face value, something started to feel a little off. After a few more seconds, I finally noticed the video was posted by Kongos, an indie band that you might recognize from their minor 2012 hit "Come With Me Now." And after a little digging, I discovered the band in the video was actually just Kongos, and the tune was a 9-year-old song that the band had dressed up as an AI creation to get attention.
    Here's the sad thing: It worked! Without the "Look what Veo 3 did!" hook, I might have quickly scrolled by this video before I took the time to listen to thesong. The novel AI angle made me stop just long enough to pay attention to a Kongos song for the first time in over a decade.

    Kongos isn't the only musical act trying to grab attention by claiming their real performances are AI creations. Darden Bela posted that Veo 3 had "created a realistic AI music video" over a clip from what is actually a 2-year-old music video with some unremarkable special effects. Rapper GameBoi Pat dressed up an 11-month-old song with a new TikTok clip captioned "Google's Veo 3 created a realistic sounding rapper... This has to be real. There's no way it's AI". I could go on, but you get the idea.

    @gameboi_pat This has got to be real. There’s no way it’s AI #google #veo3 #googleveo3 #AI #prompts #areweprompts? ♬ original sound - GameBoi_pat

    I know it's tough to get noticed on TikTok, and that creators will go to great lengths to gain attention from the fickle algorithm. Still, there's something more than a little off-putting about flesh-and-blood musicians pretending to be AI creations just to make social media users pause their scrolling for a few extra seconds before they catch on to the joke.
    The whole thing evokes last year's stunt where a couple of podcast hosts released a posthumous "AI-generated" George Carlin routine before admitting that it had been written by a human after legal threats started flying. As an attention-grabbing stunt, the conceit still works. You want AI-generated content? I can pretend to be that!

    Are we just prompts?
    Some of the most existentially troubling Veo-generated videos floating around TikTok these days center around a gag known as "the prompt theory." These clips focus on various AI-generated people reacting to the idea that they are "just prompts" with various levels of skepticism, fear, or even conspiratorial paranoia.
    On the other side of that gag, some humans are making joke videos playing off the idea that they're merely prompts. RedondoKid used the conceit in a basketball trick shot video, saying "of course I'm going to make this. This is AI, you put that I'm going to make this in the prompt." User thisisamurica thanked his faux prompters for putting him in "a world with such delicious food" before theatrically choking on a forkful of meat. And comedian Drake Cummings developed TikTok skits pretending that it was actually AI video prompts forcing him to indulge in vices like shots of alcohol or online gambling.

    @justdrakenaround Goolgle’s New A.I. Veo 3 is at it again!! When will the prompts end?! #veo3 #google #ai #aivideo #skit ♬ original sound - Drake Cummings

    Beyond the obvious jokes, though, I've also seen a growing trend of TikTok creators approaching friends or strangers and asking them to react to the idea that "we're all just prompts." The reactions run the gamut from "get the fuck away from me" to "I blame that, I now have to pay taxes" to solipsistic philosophical musings from convenience store employees.
    I'm loath to call this a full-blown TikTok trend based on a few stray examples. Still, these attempts to exploit the confusion between real and AI-generated video are interesting to see. As one commenter on an "Are you a prompt?" ambush video put it: "New trend: Do normal videos and write 'Google Veo 3' on top of the video."
    Which one is real?
    The best Veo-related TikTok engagement hack I've stumbled on so far, though, might be the videos that show multiple short clips and ask the viewer to decide which are real and which are fake. One video I stumbled on shows an increasing number of "Veo 3 Goth Girls" across four clips, challenging in the caption that "one of these videos is real... can you guess which one?" In another example, two similar sets of kids are shown hanging out in cars while the caption asks, "Are you able to identify which scene is real and which one is from veo3?"

    @spongibobbu2 One of these videos is real… can you guess which one? #veo3 ♬ original sound - Jett

    After watching both of these videos on loop a few times, I'm relativelyconvinced that every single clip in them is a Veo creation. The fact that I watched these videos multiple times shows how effective the "Real or Veo" challenge framing is at grabbing my attention. Additionally, I'm still not 100 percent confident in my assessments, which is a testament to just how good Google's new model is at creating convincing videos.

    There are still some telltale signs for distinguishing a real video from a Veo creation, though. For one, Veo clips are still limited to just eight seconds, so any video that runs longeris almost certainly not generated by Google's AI. Looking back at a creator's other videos can also provide some clues—if the same person was appearing in "normal" videos two weeks ago, it's unlikely they would be appearing in Veo creations suddenly.
    There's also a subtle but distinctive style to most Veo creations that can distinguish them from the kind of candid handheld smartphone videos that usually fill TikTok. The lighting in a Veo video tends to be too bright, the camera movements a bit too smooth, and the edges of people and objects a little too polished. After you watch enough "genuine" Veo creations, you can start to pick out the patterns.
    Regardless, TikTokers trying to pass off real videos as fakes—even as a joke or engagement hack—is a recognition that video sites are now deep in the "deep doubt" era, where you have to be extra skeptical of even legitimate-looking video footage. And the mere existence of convincing AI fakes makes it easier than ever to claim real events captured on video didn't really happen, a problem that political scientists call the liar's dividend. We saw this when then-candidate Trump accused Democratic nominee Kamala Harris of "A.I.'d" crowds in real photos of her Detroit airport rally.
    For now, TikTokers of all stripes are having fun playing with that idea to gain social media attention. In the long term, though, the implications for discerning truth from reality are more troubling.

    Kyle Orland
    Senior Gaming Editor

    Kyle Orland
    Senior Gaming Editor

    Kyle Orland has been the Senior Gaming Editor at Ars Technica since 2012, writing primarily about the business, tech, and culture behind video games. He has journalism and computer science degrees from University of Maryland. He once wrote a whole book about Minesweeper.

    13 Comments
    #real #tiktokers #are #pretending #veo
    Real TikTokers are pretending to be Veo 3 AI creations for fun, attention
    The turing test in reverse Real TikTokers are pretending to be Veo 3 AI creations for fun, attention From music videos to "Are you a prompt?" stunts, "real" videos are presenting as AI Kyle Orland – May 31, 2025 7:08 am | 13 Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Since Google released its Veo 3 AI model last week, social media users have been having fun with its ability to quickly generate highly realistic eight-second clips complete with sound and lip-synced dialogue. TikTok's algorithm has been serving me plenty of Veo-generated videos featuring impossible challenges, fake news reports, and even surreal short narrative films, to name just a few popular archetypes. However, among all the AI-generated video experiments spreading around, I've also noticed a surprising counter-trend on my TikTok feed. Amid all the videos of Veo-generated avatars pretending to be real people, there are now also a bunch of videos of real people pretending to be Veo-generated avatars. “This has to be real. There’s no way it's AI.” I stumbled on this trend when the TikTok algorithm fed me this video topped with the extra-large caption "Google VEO 3 THIS IS 100% AI." As I watched and listened to the purported AI-generated band that appeared to be playing in the crowded corner of someone's living room, I read the caption containing the supposed prompt that had generated the clip: "a band of brothers with beards playing rock music in 6/8 with an accordion." @kongosmusicWe are so cooked. This took 3 mins to generate. Simple prompt: “a band of brothers playing rock music in 6/8 with an accordion”♬ original sound - KONGOS After a few seconds of taking those captions at face value, something started to feel a little off. After a few more seconds, I finally noticed the video was posted by Kongos, an indie band that you might recognize from their minor 2012 hit "Come With Me Now." And after a little digging, I discovered the band in the video was actually just Kongos, and the tune was a 9-year-old song that the band had dressed up as an AI creation to get attention. Here's the sad thing: It worked! Without the "Look what Veo 3 did!" hook, I might have quickly scrolled by this video before I took the time to listen to thesong. The novel AI angle made me stop just long enough to pay attention to a Kongos song for the first time in over a decade. Kongos isn't the only musical act trying to grab attention by claiming their real performances are AI creations. Darden Bela posted that Veo 3 had "created a realistic AI music video" over a clip from what is actually a 2-year-old music video with some unremarkable special effects. Rapper GameBoi Pat dressed up an 11-month-old song with a new TikTok clip captioned "Google's Veo 3 created a realistic sounding rapper... This has to be real. There's no way it's AI". I could go on, but you get the idea. @gameboi_pat This has got to be real. There’s no way it’s AI 😩 #google #veo3 #googleveo3 #AI #prompts #areweprompts? ♬ original sound - GameBoi_pat I know it's tough to get noticed on TikTok, and that creators will go to great lengths to gain attention from the fickle algorithm. Still, there's something more than a little off-putting about flesh-and-blood musicians pretending to be AI creations just to make social media users pause their scrolling for a few extra seconds before they catch on to the joke. The whole thing evokes last year's stunt where a couple of podcast hosts released a posthumous "AI-generated" George Carlin routine before admitting that it had been written by a human after legal threats started flying. As an attention-grabbing stunt, the conceit still works. You want AI-generated content? I can pretend to be that! Are we just prompts? Some of the most existentially troubling Veo-generated videos floating around TikTok these days center around a gag known as "the prompt theory." These clips focus on various AI-generated people reacting to the idea that they are "just prompts" with various levels of skepticism, fear, or even conspiratorial paranoia. On the other side of that gag, some humans are making joke videos playing off the idea that they're merely prompts. RedondoKid used the conceit in a basketball trick shot video, saying "of course I'm going to make this. This is AI, you put that I'm going to make this in the prompt." User thisisamurica thanked his faux prompters for putting him in "a world with such delicious food" before theatrically choking on a forkful of meat. And comedian Drake Cummings developed TikTok skits pretending that it was actually AI video prompts forcing him to indulge in vices like shots of alcohol or online gambling. @justdrakenaround Goolgle’s New A.I. Veo 3 is at it again!! When will the prompts end?! #veo3 #google #ai #aivideo #skit ♬ original sound - Drake Cummings Beyond the obvious jokes, though, I've also seen a growing trend of TikTok creators approaching friends or strangers and asking them to react to the idea that "we're all just prompts." The reactions run the gamut from "get the fuck away from me" to "I blame that, I now have to pay taxes" to solipsistic philosophical musings from convenience store employees. I'm loath to call this a full-blown TikTok trend based on a few stray examples. Still, these attempts to exploit the confusion between real and AI-generated video are interesting to see. As one commenter on an "Are you a prompt?" ambush video put it: "New trend: Do normal videos and write 'Google Veo 3' on top of the video." Which one is real? The best Veo-related TikTok engagement hack I've stumbled on so far, though, might be the videos that show multiple short clips and ask the viewer to decide which are real and which are fake. One video I stumbled on shows an increasing number of "Veo 3 Goth Girls" across four clips, challenging in the caption that "one of these videos is real... can you guess which one?" In another example, two similar sets of kids are shown hanging out in cars while the caption asks, "Are you able to identify which scene is real and which one is from veo3?" @spongibobbu2 One of these videos is real… can you guess which one? #veo3 ♬ original sound - Jett After watching both of these videos on loop a few times, I'm relativelyconvinced that every single clip in them is a Veo creation. The fact that I watched these videos multiple times shows how effective the "Real or Veo" challenge framing is at grabbing my attention. Additionally, I'm still not 100 percent confident in my assessments, which is a testament to just how good Google's new model is at creating convincing videos. There are still some telltale signs for distinguishing a real video from a Veo creation, though. For one, Veo clips are still limited to just eight seconds, so any video that runs longeris almost certainly not generated by Google's AI. Looking back at a creator's other videos can also provide some clues—if the same person was appearing in "normal" videos two weeks ago, it's unlikely they would be appearing in Veo creations suddenly. There's also a subtle but distinctive style to most Veo creations that can distinguish them from the kind of candid handheld smartphone videos that usually fill TikTok. The lighting in a Veo video tends to be too bright, the camera movements a bit too smooth, and the edges of people and objects a little too polished. After you watch enough "genuine" Veo creations, you can start to pick out the patterns. Regardless, TikTokers trying to pass off real videos as fakes—even as a joke or engagement hack—is a recognition that video sites are now deep in the "deep doubt" era, where you have to be extra skeptical of even legitimate-looking video footage. And the mere existence of convincing AI fakes makes it easier than ever to claim real events captured on video didn't really happen, a problem that political scientists call the liar's dividend. We saw this when then-candidate Trump accused Democratic nominee Kamala Harris of "A.I.'d" crowds in real photos of her Detroit airport rally. For now, TikTokers of all stripes are having fun playing with that idea to gain social media attention. In the long term, though, the implications for discerning truth from reality are more troubling. Kyle Orland Senior Gaming Editor Kyle Orland Senior Gaming Editor Kyle Orland has been the Senior Gaming Editor at Ars Technica since 2012, writing primarily about the business, tech, and culture behind video games. He has journalism and computer science degrees from University of Maryland. He once wrote a whole book about Minesweeper. 13 Comments #real #tiktokers #are #pretending #veo
    ARSTECHNICA.COM
    Real TikTokers are pretending to be Veo 3 AI creations for fun, attention
    The turing test in reverse Real TikTokers are pretending to be Veo 3 AI creations for fun, attention From music videos to "Are you a prompt?" stunts, "real" videos are presenting as AI Kyle Orland – May 31, 2025 7:08 am | 13 Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Since Google released its Veo 3 AI model last week, social media users have been having fun with its ability to quickly generate highly realistic eight-second clips complete with sound and lip-synced dialogue. TikTok's algorithm has been serving me plenty of Veo-generated videos featuring impossible challenges, fake news reports, and even surreal short narrative films, to name just a few popular archetypes. However, among all the AI-generated video experiments spreading around, I've also noticed a surprising counter-trend on my TikTok feed. Amid all the videos of Veo-generated avatars pretending to be real people, there are now also a bunch of videos of real people pretending to be Veo-generated avatars. “This has to be real. There’s no way it's AI.” I stumbled on this trend when the TikTok algorithm fed me this video topped with the extra-large caption "Google VEO 3 THIS IS 100% AI." As I watched and listened to the purported AI-generated band that appeared to be playing in the crowded corner of someone's living room, I read the caption containing the supposed prompt that had generated the clip: "a band of brothers with beards playing rock music in 6/8 with an accordion." @kongosmusicWe are so cooked. This took 3 mins to generate. Simple prompt: “a band of brothers playing rock music in 6/8 with an accordion”♬ original sound - KONGOS After a few seconds of taking those captions at face value, something started to feel a little off. After a few more seconds, I finally noticed the video was posted by Kongos, an indie band that you might recognize from their minor 2012 hit "Come With Me Now." And after a little digging, I discovered the band in the video was actually just Kongos, and the tune was a 9-year-old song that the band had dressed up as an AI creation to get attention. Here's the sad thing: It worked! Without the "Look what Veo 3 did!" hook, I might have quickly scrolled by this video before I took the time to listen to the (pretty good!) song. The novel AI angle made me stop just long enough to pay attention to a Kongos song for the first time in over a decade. Kongos isn't the only musical act trying to grab attention by claiming their real performances are AI creations. Darden Bela posted that Veo 3 had "created a realistic AI music video" over a clip from what is actually a 2-year-old music video with some unremarkable special effects. Rapper GameBoi Pat dressed up an 11-month-old song with a new TikTok clip captioned "Google's Veo 3 created a realistic sounding rapper... This has to be real. There's no way it's AI" (that last part is true, at least). I could go on, but you get the idea. @gameboi_pat This has got to be real. There’s no way it’s AI 😩 #google #veo3 #googleveo3 #AI #prompts #areweprompts? ♬ original sound - GameBoi_pat I know it's tough to get noticed on TikTok, and that creators will go to great lengths to gain attention from the fickle algorithm. Still, there's something more than a little off-putting about flesh-and-blood musicians pretending to be AI creations just to make social media users pause their scrolling for a few extra seconds before they catch on to the joke (or don't, based on some of the comments). The whole thing evokes last year's stunt where a couple of podcast hosts released a posthumous "AI-generated" George Carlin routine before admitting that it had been written by a human after legal threats started flying. As an attention-grabbing stunt, the conceit still works. You want AI-generated content? I can pretend to be that! Are we just prompts? Some of the most existentially troubling Veo-generated videos floating around TikTok these days center around a gag known as "the prompt theory." These clips focus on various AI-generated people reacting to the idea that they are "just prompts" with various levels of skepticism, fear, or even conspiratorial paranoia. On the other side of that gag, some humans are making joke videos playing off the idea that they're merely prompts. RedondoKid used the conceit in a basketball trick shot video, saying "of course I'm going to make this. This is AI, you put that I'm going to make this in the prompt." User thisisamurica thanked his faux prompters for putting him in "a world with such delicious food" before theatrically choking on a forkful of meat. And comedian Drake Cummings developed TikTok skits pretending that it was actually AI video prompts forcing him to indulge in vices like shots of alcohol or online gambling ("Goolgle’s [sic] New A.I. Veo 3 is at it again!! When will the prompts end?!" Cummings jokes in the caption). @justdrakenaround Goolgle’s New A.I. Veo 3 is at it again!! When will the prompts end?! #veo3 #google #ai #aivideo #skit ♬ original sound - Drake Cummings Beyond the obvious jokes, though, I've also seen a growing trend of TikTok creators approaching friends or strangers and asking them to react to the idea that "we're all just prompts." The reactions run the gamut from "get the fuck away from me" to "I blame that [prompter], I now have to pay taxes" to solipsistic philosophical musings from convenience store employees. I'm loath to call this a full-blown TikTok trend based on a few stray examples. Still, these attempts to exploit the confusion between real and AI-generated video are interesting to see. As one commenter on an "Are you a prompt?" ambush video put it: "New trend: Do normal videos and write 'Google Veo 3' on top of the video." Which one is real? The best Veo-related TikTok engagement hack I've stumbled on so far, though, might be the videos that show multiple short clips and ask the viewer to decide which are real and which are fake. One video I stumbled on shows an increasing number of "Veo 3 Goth Girls" across four clips, challenging in the caption that "one of these videos is real... can you guess which one?" In another example, two similar sets of kids are shown hanging out in cars while the caption asks, "Are you able to identify which scene is real and which one is from veo3?" @spongibobbu2 One of these videos is real… can you guess which one? #veo3 ♬ original sound - Jett After watching both of these videos on loop a few times, I'm relatively (but not entirely) convinced that every single clip in them is a Veo creation. The fact that I watched these videos multiple times shows how effective the "Real or Veo" challenge framing is at grabbing my attention. Additionally, I'm still not 100 percent confident in my assessments, which is a testament to just how good Google's new model is at creating convincing videos. There are still some telltale signs for distinguishing a real video from a Veo creation, though. For one, Veo clips are still limited to just eight seconds, so any video that runs longer (without an apparent change in camera angle) is almost certainly not generated by Google's AI. Looking back at a creator's other videos can also provide some clues—if the same person was appearing in "normal" videos two weeks ago, it's unlikely they would be appearing in Veo creations suddenly. There's also a subtle but distinctive style to most Veo creations that can distinguish them from the kind of candid handheld smartphone videos that usually fill TikTok. The lighting in a Veo video tends to be too bright, the camera movements a bit too smooth, and the edges of people and objects a little too polished. After you watch enough "genuine" Veo creations, you can start to pick out the patterns. Regardless, TikTokers trying to pass off real videos as fakes—even as a joke or engagement hack—is a recognition that video sites are now deep in the "deep doubt" era, where you have to be extra skeptical of even legitimate-looking video footage. And the mere existence of convincing AI fakes makes it easier than ever to claim real events captured on video didn't really happen, a problem that political scientists call the liar's dividend. We saw this when then-candidate Trump accused Democratic nominee Kamala Harris of "A.I.'d" crowds in real photos of her Detroit airport rally. For now, TikTokers of all stripes are having fun playing with that idea to gain social media attention. In the long term, though, the implications for discerning truth from reality are more troubling. Kyle Orland Senior Gaming Editor Kyle Orland Senior Gaming Editor Kyle Orland has been the Senior Gaming Editor at Ars Technica since 2012, writing primarily about the business, tech, and culture behind video games. He has journalism and computer science degrees from University of Maryland. He once wrote a whole book about Minesweeper. 13 Comments
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  • Russian Hackers Breach 20+ NGOs Using Evilginx Phishing via Fake Microsoft Entra Pages

    Microsoft has shed light on a previously undocumented cluster of malicious activity originating from a Russia-affiliated threat actor dubbed Void Blizzardthat it said is attributed to "worldwide cloud abuse."
    Active since at least April 2024, the hacking group is linked to espionage operations mainly targeting organizations that are important to Russian government objectives, including those in government, defense, transportation, media, non-governmental organizations, and healthcare sectors in Europe and North America.
    "They often use stolen sign-in details that they likely buy from online marketplaces to gain access to organizations," the Microsoft Threat Intelligence team said in a report published today. "Once inside, they steal large amounts of emails and files."
    Attacks mounted by Void Blizzard have been found to disproportionately single out NATO member states and Ukraine, suggesting that the adversary is looking to collect intelligence to further Russian strategic objectives.

    Specifically, the threat actor is known to target government organizations and law enforcement agencies in NATO member states and countries that provide direct military or humanitarian support to Ukraine. It's also said to have staged successful attacks aimed at education, transportation, and defense verticals in Ukraine.
    This includes the October 2024 compromise of several user accounts belonging to a Ukrainian aviation organization that had been previously targeted by Seashell Blizzard, a threat actor tied to the Russian General Staff Main Intelligence Directorate, in 2022.
    The attacks are characterized as opportunistic and targeted high-volume efforts that are engineered to breach targets deemed of value to the Russian government. Initial access methods comprise unsophisticated techniques like password spraying and stolen authentication credentials.
    In some of the campaigns, the threat actor has utilized stolen credentials likely sourced from commodity information stealer logs available on the cybercrime underground to access Exchange and SharePoint Online and harvest email and files from compromised organizations.
    "The threat actor has also in some cases enumerated the compromised organization's Microsoft Entra ID configuration using the publicly available AzureHound tool to gain information about the users, roles, groups, applications, and devices belonging to that tenant," Microsoft said.
    As recently as last month, the Windows maker said it observed the hacking crew shifting to "more direct methods" to steal passwords, such as sending spear-phishing emails that are engineered to trick victims into parting with their login information by means of an adversary-in-the-middlelanding pages.
    The activity entails the use of a typosquatted domain to impersonate the Microsoft Entra authentication portal to target over 20 NGOs in Europe and the United States. The email messages claimed to be from an organizer from the European Defense and Security Summit and contained a PDF attachment with fake invitations to the summit.
    Present wishing the PDF document is a malicious QR code that redirects to an attacker-controlled domainthat hosts a credential phishing page. It's believed that the phishing page is based on the open-source Evilginx phishing kit.
    Post-compromise actions after gaining initial access encompass the abuse of Exchange Online and Microsoft Graph to enumerate users' mailboxes and cloud-hosted files, and then make use of automation to facilitate bulk data collection. In select instances, the threat actors are also said to have accessed Microsoft Teams conversations and messages via the web client application.

    "Many of the compromised organizations overlap with past – or, in some cases, concurrent – targeting by other well-known Russian state actors, including Forest Blizzard, Midnight Blizzard, and Secret Blizzard," Microsoft said. "This intersection suggests shared espionage and intelligence collection interests assigned to the parent organizations of these threat actors."
    Void Blizzard Linked to September Breach of Dutch Police Agency
    In a separate advisory, the Netherlands Defence Intelligence and Security Serviceattributed Void Blizzard to a September 23, 2024, breach of a Dutch police employee account via a pass-the-cookie attack, stating work-related contact information of police employees was obtained by the threat actor.
    Pass-the-cookie attack refers to a scenario where an attacker uses stolen cookies obtained via information stealer malware to sign in to accounts without having to enter a username and password. It's currently not known what other information was stolen, although it's highly likely that other Dutch organisations were also targeted.
    "Laundry Bear is looking for information about the purchase and production of military equipment by Western governments and Western supplies of weapons to Ukraine," said MIVD director, Vice Admiral Peter Reesink, in a statement.

    Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post.
    #russian #hackers #breach #ngos #using
    Russian Hackers Breach 20+ NGOs Using Evilginx Phishing via Fake Microsoft Entra Pages
    Microsoft has shed light on a previously undocumented cluster of malicious activity originating from a Russia-affiliated threat actor dubbed Void Blizzardthat it said is attributed to "worldwide cloud abuse." Active since at least April 2024, the hacking group is linked to espionage operations mainly targeting organizations that are important to Russian government objectives, including those in government, defense, transportation, media, non-governmental organizations, and healthcare sectors in Europe and North America. "They often use stolen sign-in details that they likely buy from online marketplaces to gain access to organizations," the Microsoft Threat Intelligence team said in a report published today. "Once inside, they steal large amounts of emails and files." Attacks mounted by Void Blizzard have been found to disproportionately single out NATO member states and Ukraine, suggesting that the adversary is looking to collect intelligence to further Russian strategic objectives. Specifically, the threat actor is known to target government organizations and law enforcement agencies in NATO member states and countries that provide direct military or humanitarian support to Ukraine. It's also said to have staged successful attacks aimed at education, transportation, and defense verticals in Ukraine. This includes the October 2024 compromise of several user accounts belonging to a Ukrainian aviation organization that had been previously targeted by Seashell Blizzard, a threat actor tied to the Russian General Staff Main Intelligence Directorate, in 2022. The attacks are characterized as opportunistic and targeted high-volume efforts that are engineered to breach targets deemed of value to the Russian government. Initial access methods comprise unsophisticated techniques like password spraying and stolen authentication credentials. In some of the campaigns, the threat actor has utilized stolen credentials likely sourced from commodity information stealer logs available on the cybercrime underground to access Exchange and SharePoint Online and harvest email and files from compromised organizations. "The threat actor has also in some cases enumerated the compromised organization's Microsoft Entra ID configuration using the publicly available AzureHound tool to gain information about the users, roles, groups, applications, and devices belonging to that tenant," Microsoft said. As recently as last month, the Windows maker said it observed the hacking crew shifting to "more direct methods" to steal passwords, such as sending spear-phishing emails that are engineered to trick victims into parting with their login information by means of an adversary-in-the-middlelanding pages. The activity entails the use of a typosquatted domain to impersonate the Microsoft Entra authentication portal to target over 20 NGOs in Europe and the United States. The email messages claimed to be from an organizer from the European Defense and Security Summit and contained a PDF attachment with fake invitations to the summit. Present wishing the PDF document is a malicious QR code that redirects to an attacker-controlled domainthat hosts a credential phishing page. It's believed that the phishing page is based on the open-source Evilginx phishing kit. Post-compromise actions after gaining initial access encompass the abuse of Exchange Online and Microsoft Graph to enumerate users' mailboxes and cloud-hosted files, and then make use of automation to facilitate bulk data collection. In select instances, the threat actors are also said to have accessed Microsoft Teams conversations and messages via the web client application. "Many of the compromised organizations overlap with past – or, in some cases, concurrent – targeting by other well-known Russian state actors, including Forest Blizzard, Midnight Blizzard, and Secret Blizzard," Microsoft said. "This intersection suggests shared espionage and intelligence collection interests assigned to the parent organizations of these threat actors." Void Blizzard Linked to September Breach of Dutch Police Agency In a separate advisory, the Netherlands Defence Intelligence and Security Serviceattributed Void Blizzard to a September 23, 2024, breach of a Dutch police employee account via a pass-the-cookie attack, stating work-related contact information of police employees was obtained by the threat actor. Pass-the-cookie attack refers to a scenario where an attacker uses stolen cookies obtained via information stealer malware to sign in to accounts without having to enter a username and password. It's currently not known what other information was stolen, although it's highly likely that other Dutch organisations were also targeted. "Laundry Bear is looking for information about the purchase and production of military equipment by Western governments and Western supplies of weapons to Ukraine," said MIVD director, Vice Admiral Peter Reesink, in a statement. Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. #russian #hackers #breach #ngos #using
    THEHACKERNEWS.COM
    Russian Hackers Breach 20+ NGOs Using Evilginx Phishing via Fake Microsoft Entra Pages
    Microsoft has shed light on a previously undocumented cluster of malicious activity originating from a Russia-affiliated threat actor dubbed Void Blizzard (aka Laundry Bear) that it said is attributed to "worldwide cloud abuse." Active since at least April 2024, the hacking group is linked to espionage operations mainly targeting organizations that are important to Russian government objectives, including those in government, defense, transportation, media, non-governmental organizations (NGOs), and healthcare sectors in Europe and North America. "They often use stolen sign-in details that they likely buy from online marketplaces to gain access to organizations," the Microsoft Threat Intelligence team said in a report published today. "Once inside, they steal large amounts of emails and files." Attacks mounted by Void Blizzard have been found to disproportionately single out NATO member states and Ukraine, suggesting that the adversary is looking to collect intelligence to further Russian strategic objectives. Specifically, the threat actor is known to target government organizations and law enforcement agencies in NATO member states and countries that provide direct military or humanitarian support to Ukraine. It's also said to have staged successful attacks aimed at education, transportation, and defense verticals in Ukraine. This includes the October 2024 compromise of several user accounts belonging to a Ukrainian aviation organization that had been previously targeted by Seashell Blizzard, a threat actor tied to the Russian General Staff Main Intelligence Directorate (GRU), in 2022. The attacks are characterized as opportunistic and targeted high-volume efforts that are engineered to breach targets deemed of value to the Russian government. Initial access methods comprise unsophisticated techniques like password spraying and stolen authentication credentials. In some of the campaigns, the threat actor has utilized stolen credentials likely sourced from commodity information stealer logs available on the cybercrime underground to access Exchange and SharePoint Online and harvest email and files from compromised organizations. "The threat actor has also in some cases enumerated the compromised organization's Microsoft Entra ID configuration using the publicly available AzureHound tool to gain information about the users, roles, groups, applications, and devices belonging to that tenant," Microsoft said. As recently as last month, the Windows maker said it observed the hacking crew shifting to "more direct methods" to steal passwords, such as sending spear-phishing emails that are engineered to trick victims into parting with their login information by means of an adversary-in-the-middle (AitM) landing pages. The activity entails the use of a typosquatted domain to impersonate the Microsoft Entra authentication portal to target over 20 NGOs in Europe and the United States. The email messages claimed to be from an organizer from the European Defense and Security Summit and contained a PDF attachment with fake invitations to the summit. Present wishing the PDF document is a malicious QR code that redirects to an attacker-controlled domain ("micsrosoftonline[.]com") that hosts a credential phishing page. It's believed that the phishing page is based on the open-source Evilginx phishing kit. Post-compromise actions after gaining initial access encompass the abuse of Exchange Online and Microsoft Graph to enumerate users' mailboxes and cloud-hosted files, and then make use of automation to facilitate bulk data collection. In select instances, the threat actors are also said to have accessed Microsoft Teams conversations and messages via the web client application. "Many of the compromised organizations overlap with past – or, in some cases, concurrent – targeting by other well-known Russian state actors, including Forest Blizzard, Midnight Blizzard, and Secret Blizzard," Microsoft said. "This intersection suggests shared espionage and intelligence collection interests assigned to the parent organizations of these threat actors." Void Blizzard Linked to September Breach of Dutch Police Agency In a separate advisory, the Netherlands Defence Intelligence and Security Service (MIVD) attributed Void Blizzard to a September 23, 2024, breach of a Dutch police employee account via a pass-the-cookie attack, stating work-related contact information of police employees was obtained by the threat actor. Pass-the-cookie attack refers to a scenario where an attacker uses stolen cookies obtained via information stealer malware to sign in to accounts without having to enter a username and password. It's currently not known what other information was stolen, although it's highly likely that other Dutch organisations were also targeted. "Laundry Bear is looking for information about the purchase and production of military equipment by Western governments and Western supplies of weapons to Ukraine," said MIVD director, Vice Admiral Peter Reesink, in a statement. Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post.
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  • The digital nomad dream has a dark side

    Sophie Rucker had been living and working in London for five years when a trip to a yoga training school in Bali presented her with an alternative to the rat race. Despite enjoying life in London, witnessing digital nomads balance work with sun, sea, and relaxed vibes in the Indonesian island province prompted her to pursue more freelance work. 
    At the start of 2020, having set herself up as a communications strategist for NGOs and social impact organisations, Sophie quit her permanent role and moved to Bali. Despite the uncertainty of the progressing pandemic, she found the space she needed to grieve her mother, whom she had lost not long before. And to Sophie’s delight, the digital nomad lifestyle has fulfilled many of her expectations.
    She soon noticed, however, a distinct bias against her choice of location. Some potential clients wouldn’t even entertain a conversation, because she was based in Bali. “I couldn’t make sense of it — it felt so stupid,” she explains. “I’m working with organisations like Greenpeace and the UNDP to instigate positive global change, as well as being a somatic trauma counsellor, so when people assume I’m not doing ‘serious work’ out here, it grinds my gears.”
    Now she has greater control over the projects she pursues, Sophie tells employers she lives in Indonesia, and is transparent about exactly where once she’s secured a contract. It’s the same for many of her remote working friends in Bali, who don’t disclose their location to remote employers for fear of losing work.
    Getting snubbed from projects, haemorrhaging your savings on basic living costs and constantly edging on burnout are usually the hardships associated with full-time home-based working in a metropolitan centre like London, New York, or Amsterdam.
    Despite the dominant utopian narrative presented in the media — think bossing it at the beach, bottomless cocktails, and a perennial tan — the reality of balancing global travel with remote work has always been hard. And it’s only getting harder: surging costs, political turbulence, and fickle visa rules are pushing digital nomads in new directions.
    Forking out for freedom
    New research from the Dutch neobank Bunq has revealed the hidden financial, emotional and mental toll, with its survey of 5,000 workers across Europe who identify as digital nomads and/or living internationally. Indeed, just one in five say that working internationally has positively impacted their career, with Britons in particularsaying their career has actually suffered as a result of being a digital nomad.
    It’s certainly not the picture that wistful salaried employees conjure when daydreaming at their desks. For experts in the field, however, the tough reality is widely known. “Many of those experimenting with the lifestyle can’t sustain it,” says David Cook, an anthropologist and researcher at University College London who specialises in remote work. “Maintaining self-discipline, staying productive, and finding the space to focus gets worse over time, not better, alongside all the other external circumstances.”
    Managing the finance side is an area of particular concern. Bunq found that 17% of study participants feel less financially secure, while 14% are spending more than expected. Although this cohort isn’t weighed down by a mortgage or a huge rental deposit, they do have to factor in local taxes, medical bills, nomad visa costs, insurance claims, legal assistance, and banking fees.
    Sophie boarding a flight from Bali to visit family in Australia. Credit: Sophie Rucker
    The top unforeseen expenses, according to Bunq, include medical expensesand local taxes. Less common, but equally unsettling, is that 5% of nomads across Europe have had to pay for emergency evacuation costs.  
    All that is before budgeting for the rise in everyday living costs, which have impacted home-based and remote workers alike. Everyone is feeling the pinch, with the majority of Europeansnoticing the rise in food and beverage prices in the past 12 months, as per data from the Dutch firm Innova Market Insights.
    Day-to-day budgeting trumps a laundry list of other anxieties too. In the first quarter of 2025, McKinsey’s ConsumerWise research found that Europeans ranked rising prices and inflation as their number one concern over issues such as job security, international conflicts, climate change, and political tension, to name a few.
    Geoarbitrage — decoupling life and work from a specific location to make your income go further — has long been a practice employed by digital nomads. Coined by Tim Ferriss in his 2009 book The 4-Hour Workweek, the tactic is now often being reconsidered due to increased outgoings.
    “Accommodation has always been the biggest challenge, but in the last few years, after COVID-19 and the war in Ukraine, it’s significantly more expensive, sometimes €200 extra a month for the same place and conditions haven’t changed,” says Anna Maria Kochanska, a strategist who advises governments on digital nomad policy, and has been nomadic since 2017.
    Anna Maria tends to avoid Airbnb, negotiating directly with apartment owners for midterm rentals, but even so, her rental outgoings are much higher in 2025. “I’m based in Barcelona at the moment, and of course, one solution is to go to new and emerging destinations, with fewer tourists and nomads, but my travel costs are going up too, so I’m moving around less frequently.”
    Popular digital nomad hubs like Barcelona, Lisbon, and Mexico City are losing their affordable edge, as available housing dries up, prices rise, and neighbourhoods are transformed to meet the needs of itinerant knowledge workers. Local residents are tiring of the impact remote workers are having, and have been protesting against the influx.
    The souring of once-beloved hubs is leading nomads to look elsewhere and decamp to more off-the-beaten-track destinations. According to 2025 data from Nomad List, which tracks cities, locations and remote workers through the trips booked on its platform, cities like Sarajevo, Portimao, and Varna are emerging as some of the most popular among nomad, with 46% of them staying in one city for less than seven days, and 33% staying between seven and 30 days.
    Fatigued by visa strategising
    While some digital nomads are travelling less and avoiding established hotspots to mitigate rising expenses, others are turning their backs on location independence entirely. Kach Umandap has been nomadic since 2014, originally starting as a virtual assistant, then moving into blogging and e-commerce.
    “For a Filipino like me, there are a ton of limitations on the places I can visit visa-free, but I was determined to visit every single country in the world,” says Kach. “I had to be really strategic about planning and already figure out where I would go afterwards, which is perhaps not the carefree image you have of digital nomad life.” 
    During certain weeks, Kach would spend more time arranging visas and doing travel admin than her actual job. She often had to do expensive visa runs to neighbouring countries to reset the clock. For example, when based in Vietnam, she needed to travel to Laos every 30 days, pay for transport, a hotel, and a booking agent each time. Having achieved the goal of working from all 193 UN member states and spending thousands of dollars each year on visa applications, Kach has returned to the Philippines to slowly establish her base there.
    Kach in Turkmenista, one of the 193 UN states she’s worked in. Credit: Kach Umandap
    Although new digital nomad visas are being rolled out constantly — the latest include Taiwan and the Philippines — many are launched hurriedly, so governments can have a horse in the race in the global talent tussle. Each one has wildly different eligibility criteria and often high minimum income requirements. Iceland, for example, requires a monthly salary of. Few digital nomads actually even engage with these visa programs.
    Grappling with a messy landscape and muddy definitions of “a digital nomad,” those eligible are being deterred. For nomads who do try, an application can take months to process, and putting one in only to find out you aren’t eligible due to poor signposting is hugely stressful.
    “We have the best lifestyle in the world, yet the worst ecosystem,” says Gonçalo Hall, CEO of NomadX, a global platform for digital nomads and president of the Digital Nomad Association Portugal. “Nomads have the numbers, energy, and economic force, but the cohesion is missing.”
    What’s more, nomads with ”weaker” passports, such as those from Syria, Pakistan, and Nigeria, have a hard time travelling compared to those from the EU and North America. With ongoing conflicts, political instability, and changing immigration laws, crossing the next border for a period of remote work is getting more intimidating by the day. 
    People drop off from full-time digital nomad lifestyles for many reasons though, from loneliness and moving too often to dealing with bureaucracy and the precarity of their careers. “It’s not for everyone, and although many people experiment with the lifestyle, they discover the real struggle a few months to a year in,” says Cook, of UCL. “It gets harder over time, so successful, long-term nomads need to be disciplined, resilient and self-motivated — in many ways, the perfect neoliberal person.”
    Cook is in his eighth year of collecting data in Chiang Mai, Thailand with the same group of people and estimates that 90% of the nomads in his research give up the lifestyle in the first year or two. “They tend to start hyper mobile, but end up craving place and being embedded in communities, which is not easy to sustain while living on the move,” explains Cook. “This is compounded when their income situation is precarious.”
    A strong pull, no matter the cost
    With 60 million digital nomads predicted to have joined the ranks by 2030, the lifestyle — despite, or even because of its challenges — remains alluring. For the knowledge workers who are forcibly displaced due to war, climate disaster, or fears of persecution, digital nomadism offers the chance to earn, even when on the move.
    For today’s remote workers, change is the only constant, and roaming patterns will continue to shift, as people adapt and find ways to thrive amid global change. They might choose to housesit through platforms like Nomador and Trusted Housesitters instead of renting, become an e-resident in a country like Estonia to maximise profit and minimise cost, or travel less and embed themselves deeper in a community. After all, the same autonomy and flexibility that draws people to this lifestyle also enables them to overcome the hurdles that come their way.
    Back in Bali, the housing and rental market is booming — and the clamour about overtourism is getting louder. To slow its development and ease local worries, the Balinese officials have floated the idea of a tourist tax, set to cost aroundper day.
    In the current climate, Sophie is paying £750a month for her cabin in Bali — just £70shy of the room she rented in London — so she cannot save and is feeling the pressure to maintain her earnings. “The only thing that means I can make it work is the culture and lifestyle — for example, I work when my clients are sleeping, because of the different time zones,” she explains. “It eases my anxiety and enables me to solve problems more creatively.” 
    As many of her friends return home due to rocketing costs, Sophie is committed to staying put. “I’m in a privileged position to be working on some big projects, and am paying taxes in the UK and contributing to the local economy here,” she says. “I have to keep checking in on myself, but I’ve come to a very conscious decision: loving Bali and this life as much as I do, why should it be any cheaper than where I started?” 

    Story by

    Megan Carnegie

    Megan Carnegie is a London-based independent journalist who specialises in writing features about the world of technology, work, and businesMegan Carnegie is a London-based independent journalist who specialises in writing features about the world of technology, work, and business for publications like WIRED, Business Insider, Digital Frontier and BBC. Her work is underpinned by a desire to investigate what's not working in the working world, and how more equitable conditions can be secured for workers — whatever their industry.

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    Also tagged with
    #digital #nomad #dream #has #dark
    The digital nomad dream has a dark side
    Sophie Rucker had been living and working in London for five years when a trip to a yoga training school in Bali presented her with an alternative to the rat race. Despite enjoying life in London, witnessing digital nomads balance work with sun, sea, and relaxed vibes in the Indonesian island province prompted her to pursue more freelance work.  At the start of 2020, having set herself up as a communications strategist for NGOs and social impact organisations, Sophie quit her permanent role and moved to Bali. Despite the uncertainty of the progressing pandemic, she found the space she needed to grieve her mother, whom she had lost not long before. And to Sophie’s delight, the digital nomad lifestyle has fulfilled many of her expectations. She soon noticed, however, a distinct bias against her choice of location. Some potential clients wouldn’t even entertain a conversation, because she was based in Bali. “I couldn’t make sense of it — it felt so stupid,” she explains. “I’m working with organisations like Greenpeace and the UNDP to instigate positive global change, as well as being a somatic trauma counsellor, so when people assume I’m not doing ‘serious work’ out here, it grinds my gears.” Now she has greater control over the projects she pursues, Sophie tells employers she lives in Indonesia, and is transparent about exactly where once she’s secured a contract. It’s the same for many of her remote working friends in Bali, who don’t disclose their location to remote employers for fear of losing work. Getting snubbed from projects, haemorrhaging your savings on basic living costs and constantly edging on burnout are usually the hardships associated with full-time home-based working in a metropolitan centre like London, New York, or Amsterdam. Despite the dominant utopian narrative presented in the media — think bossing it at the beach, bottomless cocktails, and a perennial tan — the reality of balancing global travel with remote work has always been hard. And it’s only getting harder: surging costs, political turbulence, and fickle visa rules are pushing digital nomads in new directions. Forking out for freedom New research from the Dutch neobank Bunq has revealed the hidden financial, emotional and mental toll, with its survey of 5,000 workers across Europe who identify as digital nomads and/or living internationally. Indeed, just one in five say that working internationally has positively impacted their career, with Britons in particularsaying their career has actually suffered as a result of being a digital nomad. It’s certainly not the picture that wistful salaried employees conjure when daydreaming at their desks. For experts in the field, however, the tough reality is widely known. “Many of those experimenting with the lifestyle can’t sustain it,” says David Cook, an anthropologist and researcher at University College London who specialises in remote work. “Maintaining self-discipline, staying productive, and finding the space to focus gets worse over time, not better, alongside all the other external circumstances.” Managing the finance side is an area of particular concern. Bunq found that 17% of study participants feel less financially secure, while 14% are spending more than expected. Although this cohort isn’t weighed down by a mortgage or a huge rental deposit, they do have to factor in local taxes, medical bills, nomad visa costs, insurance claims, legal assistance, and banking fees. Sophie boarding a flight from Bali to visit family in Australia. Credit: Sophie Rucker The top unforeseen expenses, according to Bunq, include medical expensesand local taxes. Less common, but equally unsettling, is that 5% of nomads across Europe have had to pay for emergency evacuation costs.   All that is before budgeting for the rise in everyday living costs, which have impacted home-based and remote workers alike. Everyone is feeling the pinch, with the majority of Europeansnoticing the rise in food and beverage prices in the past 12 months, as per data from the Dutch firm Innova Market Insights. Day-to-day budgeting trumps a laundry list of other anxieties too. In the first quarter of 2025, McKinsey’s ConsumerWise research found that Europeans ranked rising prices and inflation as their number one concern over issues such as job security, international conflicts, climate change, and political tension, to name a few. Geoarbitrage — decoupling life and work from a specific location to make your income go further — has long been a practice employed by digital nomads. Coined by Tim Ferriss in his 2009 book The 4-Hour Workweek, the tactic is now often being reconsidered due to increased outgoings. “Accommodation has always been the biggest challenge, but in the last few years, after COVID-19 and the war in Ukraine, it’s significantly more expensive, sometimes €200 extra a month for the same place and conditions haven’t changed,” says Anna Maria Kochanska, a strategist who advises governments on digital nomad policy, and has been nomadic since 2017. Anna Maria tends to avoid Airbnb, negotiating directly with apartment owners for midterm rentals, but even so, her rental outgoings are much higher in 2025. “I’m based in Barcelona at the moment, and of course, one solution is to go to new and emerging destinations, with fewer tourists and nomads, but my travel costs are going up too, so I’m moving around less frequently.” Popular digital nomad hubs like Barcelona, Lisbon, and Mexico City are losing their affordable edge, as available housing dries up, prices rise, and neighbourhoods are transformed to meet the needs of itinerant knowledge workers. Local residents are tiring of the impact remote workers are having, and have been protesting against the influx. The souring of once-beloved hubs is leading nomads to look elsewhere and decamp to more off-the-beaten-track destinations. According to 2025 data from Nomad List, which tracks cities, locations and remote workers through the trips booked on its platform, cities like Sarajevo, Portimao, and Varna are emerging as some of the most popular among nomad, with 46% of them staying in one city for less than seven days, and 33% staying between seven and 30 days. Fatigued by visa strategising While some digital nomads are travelling less and avoiding established hotspots to mitigate rising expenses, others are turning their backs on location independence entirely. Kach Umandap has been nomadic since 2014, originally starting as a virtual assistant, then moving into blogging and e-commerce. “For a Filipino like me, there are a ton of limitations on the places I can visit visa-free, but I was determined to visit every single country in the world,” says Kach. “I had to be really strategic about planning and already figure out where I would go afterwards, which is perhaps not the carefree image you have of digital nomad life.”  During certain weeks, Kach would spend more time arranging visas and doing travel admin than her actual job. She often had to do expensive visa runs to neighbouring countries to reset the clock. For example, when based in Vietnam, she needed to travel to Laos every 30 days, pay for transport, a hotel, and a booking agent each time. Having achieved the goal of working from all 193 UN member states and spending thousands of dollars each year on visa applications, Kach has returned to the Philippines to slowly establish her base there. Kach in Turkmenista, one of the 193 UN states she’s worked in. Credit: Kach Umandap Although new digital nomad visas are being rolled out constantly — the latest include Taiwan and the Philippines — many are launched hurriedly, so governments can have a horse in the race in the global talent tussle. Each one has wildly different eligibility criteria and often high minimum income requirements. Iceland, for example, requires a monthly salary of. Few digital nomads actually even engage with these visa programs. Grappling with a messy landscape and muddy definitions of “a digital nomad,” those eligible are being deterred. For nomads who do try, an application can take months to process, and putting one in only to find out you aren’t eligible due to poor signposting is hugely stressful. “We have the best lifestyle in the world, yet the worst ecosystem,” says Gonçalo Hall, CEO of NomadX, a global platform for digital nomads and president of the Digital Nomad Association Portugal. “Nomads have the numbers, energy, and economic force, but the cohesion is missing.” What’s more, nomads with ”weaker” passports, such as those from Syria, Pakistan, and Nigeria, have a hard time travelling compared to those from the EU and North America. With ongoing conflicts, political instability, and changing immigration laws, crossing the next border for a period of remote work is getting more intimidating by the day.  People drop off from full-time digital nomad lifestyles for many reasons though, from loneliness and moving too often to dealing with bureaucracy and the precarity of their careers. “It’s not for everyone, and although many people experiment with the lifestyle, they discover the real struggle a few months to a year in,” says Cook, of UCL. “It gets harder over time, so successful, long-term nomads need to be disciplined, resilient and self-motivated — in many ways, the perfect neoliberal person.” Cook is in his eighth year of collecting data in Chiang Mai, Thailand with the same group of people and estimates that 90% of the nomads in his research give up the lifestyle in the first year or two. “They tend to start hyper mobile, but end up craving place and being embedded in communities, which is not easy to sustain while living on the move,” explains Cook. “This is compounded when their income situation is precarious.” A strong pull, no matter the cost With 60 million digital nomads predicted to have joined the ranks by 2030, the lifestyle — despite, or even because of its challenges — remains alluring. For the knowledge workers who are forcibly displaced due to war, climate disaster, or fears of persecution, digital nomadism offers the chance to earn, even when on the move. For today’s remote workers, change is the only constant, and roaming patterns will continue to shift, as people adapt and find ways to thrive amid global change. They might choose to housesit through platforms like Nomador and Trusted Housesitters instead of renting, become an e-resident in a country like Estonia to maximise profit and minimise cost, or travel less and embed themselves deeper in a community. After all, the same autonomy and flexibility that draws people to this lifestyle also enables them to overcome the hurdles that come their way. Back in Bali, the housing and rental market is booming — and the clamour about overtourism is getting louder. To slow its development and ease local worries, the Balinese officials have floated the idea of a tourist tax, set to cost aroundper day. In the current climate, Sophie is paying £750a month for her cabin in Bali — just £70shy of the room she rented in London — so she cannot save and is feeling the pressure to maintain her earnings. “The only thing that means I can make it work is the culture and lifestyle — for example, I work when my clients are sleeping, because of the different time zones,” she explains. “It eases my anxiety and enables me to solve problems more creatively.”  As many of her friends return home due to rocketing costs, Sophie is committed to staying put. “I’m in a privileged position to be working on some big projects, and am paying taxes in the UK and contributing to the local economy here,” she says. “I have to keep checking in on myself, but I’ve come to a very conscious decision: loving Bali and this life as much as I do, why should it be any cheaper than where I started?”  Story by Megan Carnegie Megan Carnegie is a London-based independent journalist who specialises in writing features about the world of technology, work, and businesMegan Carnegie is a London-based independent journalist who specialises in writing features about the world of technology, work, and business for publications like WIRED, Business Insider, Digital Frontier and BBC. Her work is underpinned by a desire to investigate what's not working in the working world, and how more equitable conditions can be secured for workers — whatever their industry. Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with #digital #nomad #dream #has #dark
    THENEXTWEB.COM
    The digital nomad dream has a dark side
    Sophie Rucker had been living and working in London for five years when a trip to a yoga training school in Bali presented her with an alternative to the rat race. Despite enjoying life in London, witnessing digital nomads balance work with sun, sea, and relaxed vibes in the Indonesian island province prompted her to pursue more freelance work.  At the start of 2020, having set herself up as a communications strategist for NGOs and social impact organisations, Sophie quit her permanent role and moved to Bali. Despite the uncertainty of the progressing pandemic, she found the space she needed to grieve her mother, whom she had lost not long before. And to Sophie’s delight, the digital nomad lifestyle has fulfilled many of her expectations. She soon noticed, however, a distinct bias against her choice of location. Some potential clients wouldn’t even entertain a conversation, because she was based in Bali. “I couldn’t make sense of it — it felt so stupid,” she explains. “I’m working with organisations like Greenpeace and the UNDP to instigate positive global change, as well as being a somatic trauma counsellor, so when people assume I’m not doing ‘serious work’ out here, it grinds my gears.” Now she has greater control over the projects she pursues, Sophie tells employers she lives in Indonesia, and is transparent about exactly where once she’s secured a contract. It’s the same for many of her remote working friends in Bali, who don’t disclose their location to remote employers for fear of losing work. Getting snubbed from projects, haemorrhaging your savings on basic living costs and constantly edging on burnout are usually the hardships associated with full-time home-based working in a metropolitan centre like London, New York, or Amsterdam. Despite the dominant utopian narrative presented in the media — think bossing it at the beach, bottomless cocktails, and a perennial tan — the reality of balancing global travel with remote work has always been hard. And it’s only getting harder: surging costs, political turbulence, and fickle visa rules are pushing digital nomads in new directions. Forking out for freedom New research from the Dutch neobank Bunq has revealed the hidden financial, emotional and mental toll, with its survey of 5,000 workers across Europe who identify as digital nomads and/or living internationally. Indeed, just one in five say that working internationally has positively impacted their career, with Britons in particular (25%) saying their career has actually suffered as a result of being a digital nomad. It’s certainly not the picture that wistful salaried employees conjure when daydreaming at their desks. For experts in the field, however, the tough reality is widely known. “Many of those experimenting with the lifestyle can’t sustain it,” says David Cook, an anthropologist and researcher at University College London who specialises in remote work. “Maintaining self-discipline, staying productive, and finding the space to focus gets worse over time, not better, alongside all the other external circumstances.” Managing the finance side is an area of particular concern. Bunq found that 17% of study participants feel less financially secure, while 14% are spending more than expected. Although this cohort isn’t weighed down by a mortgage or a huge rental deposit, they do have to factor in local taxes, medical bills, nomad visa costs, insurance claims, legal assistance, and banking fees. Sophie boarding a flight from Bali to visit family in Australia. Credit: Sophie Rucker The top unforeseen expenses, according to Bunq, include medical expenses (16%) and local taxes (15%). Less common, but equally unsettling, is that 5% of nomads across Europe have had to pay for emergency evacuation costs.   All that is before budgeting for the rise in everyday living costs, which have impacted home-based and remote workers alike. Everyone is feeling the pinch, with the majority of Europeans (67%) noticing the rise in food and beverage prices in the past 12 months, as per data from the Dutch firm Innova Market Insights. Day-to-day budgeting trumps a laundry list of other anxieties too. In the first quarter of 2025, McKinsey’s ConsumerWise research found that Europeans ranked rising prices and inflation as their number one concern over issues such as job security, international conflicts, climate change, and political tension, to name a few. Geoarbitrage — decoupling life and work from a specific location to make your income go further — has long been a practice employed by digital nomads. Coined by Tim Ferriss in his 2009 book The 4-Hour Workweek, the tactic is now often being reconsidered due to increased outgoings. “Accommodation has always been the biggest challenge, but in the last few years, after COVID-19 and the war in Ukraine, it’s significantly more expensive, sometimes €200 extra a month for the same place and conditions haven’t changed,” says Anna Maria Kochanska, a strategist who advises governments on digital nomad policy, and has been nomadic since 2017. Anna Maria tends to avoid Airbnb, negotiating directly with apartment owners for midterm rentals, but even so, her rental outgoings are much higher in 2025. “I’m based in Barcelona at the moment, and of course, one solution is to go to new and emerging destinations, with fewer tourists and nomads, but my travel costs are going up too, so I’m moving around less frequently.” Popular digital nomad hubs like Barcelona, Lisbon, and Mexico City are losing their affordable edge, as available housing dries up, prices rise, and neighbourhoods are transformed to meet the needs of itinerant knowledge workers. Local residents are tiring of the impact remote workers are having, and have been protesting against the influx. The souring of once-beloved hubs is leading nomads to look elsewhere and decamp to more off-the-beaten-track destinations. According to 2025 data from Nomad List, which tracks cities, locations and remote workers through the trips booked on its platform, cities like Sarajevo, Portimao, and Varna are emerging as some of the most popular among nomad, with 46% of them staying in one city for less than seven days, and 33% staying between seven and 30 days. Fatigued by visa strategising While some digital nomads are travelling less and avoiding established hotspots to mitigate rising expenses, others are turning their backs on location independence entirely. Kach Umandap has been nomadic since 2014, originally starting as a virtual assistant, then moving into blogging and e-commerce. “For a Filipino like me, there are a ton of limitations on the places I can visit visa-free, but I was determined to visit every single country in the world,” says Kach. “I had to be really strategic about planning and already figure out where I would go afterwards, which is perhaps not the carefree image you have of digital nomad life.”  During certain weeks, Kach would spend more time arranging visas and doing travel admin than her actual job. She often had to do expensive visa runs to neighbouring countries to reset the clock. For example, when based in Vietnam, she needed to travel to Laos every 30 days, pay for transport, a hotel, and a booking agent each time. Having achieved the goal of working from all 193 UN member states and spending thousands of dollars each year on visa applications, Kach has returned to the Philippines to slowly establish her base there. Kach in Turkmenista, one of the 193 UN states she’s worked in. Credit: Kach Umandap Although new digital nomad visas are being rolled out constantly — the latest include Taiwan and the Philippines — many are launched hurriedly, so governments can have a horse in the race in the global talent tussle. Each one has wildly different eligibility criteria and often high minimum income requirements. Iceland, for example, requires a monthly salary of $7,763 (€6,868). Few digital nomads actually even engage with these visa programs. Grappling with a messy landscape and muddy definitions of “a digital nomad,” those eligible are being deterred. For nomads who do try, an application can take months to process, and putting one in only to find out you aren’t eligible due to poor signposting is hugely stressful. “We have the best lifestyle in the world, yet the worst ecosystem,” says Gonçalo Hall, CEO of NomadX, a global platform for digital nomads and president of the Digital Nomad Association Portugal. “Nomads have the numbers, energy, and economic force, but the cohesion is missing.” What’s more, nomads with ”weaker” passports, such as those from Syria, Pakistan, and Nigeria, have a hard time travelling compared to those from the EU and North America. With ongoing conflicts, political instability, and changing immigration laws, crossing the next border for a period of remote work is getting more intimidating by the day.  People drop off from full-time digital nomad lifestyles for many reasons though, from loneliness and moving too often to dealing with bureaucracy and the precarity of their careers. “It’s not for everyone, and although many people experiment with the lifestyle, they discover the real struggle a few months to a year in,” says Cook, of UCL. “It gets harder over time, so successful, long-term nomads need to be disciplined, resilient and self-motivated — in many ways, the perfect neoliberal person.” Cook is in his eighth year of collecting data in Chiang Mai, Thailand with the same group of people and estimates that 90% of the nomads in his research give up the lifestyle in the first year or two. “They tend to start hyper mobile, but end up craving place and being embedded in communities, which is not easy to sustain while living on the move,” explains Cook. “This is compounded when their income situation is precarious.” A strong pull, no matter the cost With 60 million digital nomads predicted to have joined the ranks by 2030, the lifestyle — despite, or even because of its challenges — remains alluring. For the knowledge workers who are forcibly displaced due to war, climate disaster, or fears of persecution, digital nomadism offers the chance to earn, even when on the move. For today’s remote workers, change is the only constant, and roaming patterns will continue to shift, as people adapt and find ways to thrive amid global change. They might choose to housesit through platforms like Nomador and Trusted Housesitters instead of renting, become an e-resident in a country like Estonia to maximise profit and minimise cost, or travel less and embed themselves deeper in a community. After all, the same autonomy and flexibility that draws people to this lifestyle also enables them to overcome the hurdles that come their way. Back in Bali, the housing and rental market is booming — and the clamour about overtourism is getting louder. To slow its development and ease local worries, the Balinese officials have floated the idea of a tourist tax, set to cost around $100 (€88) per day. In the current climate, Sophie is paying £750 (€881) a month for her cabin in Bali — just £70 (€82) shy of the room she rented in London — so she cannot save and is feeling the pressure to maintain her earnings. “The only thing that means I can make it work is the culture and lifestyle — for example, I work when my clients are sleeping, because of the different time zones,” she explains. “It eases my anxiety and enables me to solve problems more creatively.”  As many of her friends return home due to rocketing costs, Sophie is committed to staying put. “I’m in a privileged position to be working on some big projects, and am paying taxes in the UK and contributing to the local economy here,” she says. “I have to keep checking in on myself, but I’ve come to a very conscious decision: loving Bali and this life as much as I do, why should it be any cheaper than where I started?”  Story by Megan Carnegie Megan Carnegie is a London-based independent journalist who specialises in writing features about the world of technology, work, and busines (show all) Megan Carnegie is a London-based independent journalist who specialises in writing features about the world of technology, work, and business for publications like WIRED, Business Insider, Digital Frontier and BBC. Her work is underpinned by a desire to investigate what's not working in the working world, and how more equitable conditions can be secured for workers — whatever their industry. Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with
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  • Morris, the Movie Star Alligator Who Appeared in 'Happy Gilmore,' Dies of Old Age

    Morris, the Movie Star Alligator Who Appeared in ‘Happy Gilmore,’ Dies of Old Age
    Based on his growth rate and tooth loss, the 640-pound gator was estimated to be at least 80. He starred in movies and TV shows between 1975 and 2006

    After starring in numerous movies and television shows, Morris retired in 2006 and lived out his final days at the Colorado Gator Farm.
    RJ Sangosti / MediaNews Group / The Denver Post via Getty Images

    Morris, the alligator who starred in Happy Gilmore and numerous other movies and TV shows, has died.
    In an announcement from the Colorado Gator Farm, where the beloved 640-pound reptile had lived for the last two decades, caretakers say the cause of death was “old age.”
    “He started acting strange about a week ago. Wasn’t lunging at us and wasn’t taking food,” says Jay Young, the farm’s owner and operator, while tearfully petting Morris’ head in a video posted on Facebook.
    Morris was nearly 11 feet long at the time of his death, according to another post the Colorado Gator Farm shared on Facebook. Based on his growth rate and tooth loss, Young estimates the gator was at least 80 years old.
    “While we knew this was inevitable, we are very saddened by his passing,” the Colorado Gator Farm writes.
    Morris was rescued from a Los Angeles backyard, where he was being kept as an illegal pet. He began his prolific career in 1975 and kept working until his retirement in 2006. His TV and film credits include Interview With the Vampire, Dr. Dolittle 2, Blues Brothers 2000, “Coach,” “Night Court” and “The Tonight Show with Jay Leno,” reports Thomas Peipert of the Associated Press.
    But he’s perhaps best known for Happy Gilmore, the 1996 comedy starring Adam Sandler as a down-on-his-luck hockey player who discovers his powerful golf swing. After Gilmore hits a shot in a tournament, Morris grabs his golf ball with his mouth. Gilmore confronts the alligator.
    “Give me my ball! Give it here!” he shouts, while waving his golf club in the alligator’s face.
    Morris responds by snapping his jaws a few times. After Gilmore tries unsuccessfully to grab the ball from the alligator’s gaping mouth, he sees the creature is missing one eye. Gilmore realizes it’s the same gator that bit off the hand of his mentor, Derick “Chubbs” Peterson.
    When Morris sprints into a nearby pond, Gilmore follows. After a brief tussle, Gilmore retrieves his ball from the gator’s mouth and holds it above his head as the crowd cheers.
    Later, he presents the alligator’s head to Chubbs, who is so shocked he falls backward through an open window to his death.
    On May 14, Sandler posted a tribute to Morris on Instagram.“You could be hard on directors, make-up artists, costumers—really anyone with arms or legs—but I know you did it for the ultimate good of the film,” the actor wrote in a caption accompanying a still from the movie. “The day you wouldn’t come out of your trailer unless we sent in 40 heads of lettuce taught me a powerful lesson: Never compromise your art.”
    He added: “I will miss the sound of your tail sliding through the tall grass, your cold, bumpy skin, but, most of all, I will miss your infectious laugh.”
    Sandler is working on a sequel to the film, called Happy Gilmore 2, which will be released on Netflix in July. Morris does not appear in the new film, since he died in the first movie. But his memory will live on.
    “We have decided to get Morris taxidermied so that he can continue to scare children for years to come,” the Colorado Gator Farm writes on Facebook. “It’s what he would have wanted.”
    The farm is located in Mosca, a small town roughly 200 miles southwest of Denver. Situated in the San Luis Valley, the farm is home to roughly 300 alligators, as well as snakes, lizards, crocodiles and tortoises, per CBS News Colorado’s Logan Smith.
    Young’s parents, Erwin and Lynne, started the operation as a tilapia farm in the late 1970s. They brought in baby alligators to clean up the dead fish, but as the reptiles grew, visitors began showing up to see them. Today, the farm serves as a refuge for unwanted, illegal and abused reptiles.

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    #morris #movie #star #alligator #who
    Morris, the Movie Star Alligator Who Appeared in 'Happy Gilmore,' Dies of Old Age
    Morris, the Movie Star Alligator Who Appeared in ‘Happy Gilmore,’ Dies of Old Age Based on his growth rate and tooth loss, the 640-pound gator was estimated to be at least 80. He starred in movies and TV shows between 1975 and 2006 After starring in numerous movies and television shows, Morris retired in 2006 and lived out his final days at the Colorado Gator Farm. RJ Sangosti / MediaNews Group / The Denver Post via Getty Images Morris, the alligator who starred in Happy Gilmore and numerous other movies and TV shows, has died. In an announcement from the Colorado Gator Farm, where the beloved 640-pound reptile had lived for the last two decades, caretakers say the cause of death was “old age.” “He started acting strange about a week ago. Wasn’t lunging at us and wasn’t taking food,” says Jay Young, the farm’s owner and operator, while tearfully petting Morris’ head in a video posted on Facebook. Morris was nearly 11 feet long at the time of his death, according to another post the Colorado Gator Farm shared on Facebook. Based on his growth rate and tooth loss, Young estimates the gator was at least 80 years old. “While we knew this was inevitable, we are very saddened by his passing,” the Colorado Gator Farm writes. Morris was rescued from a Los Angeles backyard, where he was being kept as an illegal pet. He began his prolific career in 1975 and kept working until his retirement in 2006. His TV and film credits include Interview With the Vampire, Dr. Dolittle 2, Blues Brothers 2000, “Coach,” “Night Court” and “The Tonight Show with Jay Leno,” reports Thomas Peipert of the Associated Press. But he’s perhaps best known for Happy Gilmore, the 1996 comedy starring Adam Sandler as a down-on-his-luck hockey player who discovers his powerful golf swing. After Gilmore hits a shot in a tournament, Morris grabs his golf ball with his mouth. Gilmore confronts the alligator. “Give me my ball! Give it here!” he shouts, while waving his golf club in the alligator’s face. Morris responds by snapping his jaws a few times. After Gilmore tries unsuccessfully to grab the ball from the alligator’s gaping mouth, he sees the creature is missing one eye. Gilmore realizes it’s the same gator that bit off the hand of his mentor, Derick “Chubbs” Peterson. When Morris sprints into a nearby pond, Gilmore follows. After a brief tussle, Gilmore retrieves his ball from the gator’s mouth and holds it above his head as the crowd cheers. Later, he presents the alligator’s head to Chubbs, who is so shocked he falls backward through an open window to his death. On May 14, Sandler posted a tribute to Morris on Instagram.“You could be hard on directors, make-up artists, costumers—really anyone with arms or legs—but I know you did it for the ultimate good of the film,” the actor wrote in a caption accompanying a still from the movie. “The day you wouldn’t come out of your trailer unless we sent in 40 heads of lettuce taught me a powerful lesson: Never compromise your art.” He added: “I will miss the sound of your tail sliding through the tall grass, your cold, bumpy skin, but, most of all, I will miss your infectious laugh.” Sandler is working on a sequel to the film, called Happy Gilmore 2, which will be released on Netflix in July. Morris does not appear in the new film, since he died in the first movie. But his memory will live on. “We have decided to get Morris taxidermied so that he can continue to scare children for years to come,” the Colorado Gator Farm writes on Facebook. “It’s what he would have wanted.” The farm is located in Mosca, a small town roughly 200 miles southwest of Denver. Situated in the San Luis Valley, the farm is home to roughly 300 alligators, as well as snakes, lizards, crocodiles and tortoises, per CBS News Colorado’s Logan Smith. Young’s parents, Erwin and Lynne, started the operation as a tilapia farm in the late 1970s. They brought in baby alligators to clean up the dead fish, but as the reptiles grew, visitors began showing up to see them. Today, the farm serves as a refuge for unwanted, illegal and abused reptiles. Get the latest stories in your inbox every weekday. #morris #movie #star #alligator #who
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    Morris, the Movie Star Alligator Who Appeared in 'Happy Gilmore,' Dies of Old Age
    Morris, the Movie Star Alligator Who Appeared in ‘Happy Gilmore,’ Dies of Old Age Based on his growth rate and tooth loss, the 640-pound gator was estimated to be at least 80. He starred in movies and TV shows between 1975 and 2006 After starring in numerous movies and television shows, Morris retired in 2006 and lived out his final days at the Colorado Gator Farm. RJ Sangosti / MediaNews Group / The Denver Post via Getty Images Morris, the alligator who starred in Happy Gilmore and numerous other movies and TV shows, has died. In an announcement from the Colorado Gator Farm, where the beloved 640-pound reptile had lived for the last two decades, caretakers say the cause of death was “old age.” “He started acting strange about a week ago. Wasn’t lunging at us and wasn’t taking food,” says Jay Young, the farm’s owner and operator, while tearfully petting Morris’ head in a video posted on Facebook. Morris was nearly 11 feet long at the time of his death, according to another post the Colorado Gator Farm shared on Facebook. Based on his growth rate and tooth loss, Young estimates the gator was at least 80 years old. “While we knew this was inevitable, we are very saddened by his passing,” the Colorado Gator Farm writes. Morris was rescued from a Los Angeles backyard, where he was being kept as an illegal pet. He began his prolific career in 1975 and kept working until his retirement in 2006. His TV and film credits include Interview With the Vampire, Dr. Dolittle 2, Blues Brothers 2000, “Coach,” “Night Court” and “The Tonight Show with Jay Leno,” reports Thomas Peipert of the Associated Press. But he’s perhaps best known for Happy Gilmore, the 1996 comedy starring Adam Sandler as a down-on-his-luck hockey player who discovers his powerful golf swing. After Gilmore hits a shot in a tournament, Morris grabs his golf ball with his mouth. Gilmore confronts the alligator. “Give me my ball! Give it here!” he shouts, while waving his golf club in the alligator’s face. Morris responds by snapping his jaws a few times. After Gilmore tries unsuccessfully to grab the ball from the alligator’s gaping mouth, he sees the creature is missing one eye. Gilmore realizes it’s the same gator that bit off the hand of his mentor, Derick “Chubbs” Peterson (Carl Weathers). When Morris sprints into a nearby pond, Gilmore follows. After a brief tussle, Gilmore retrieves his ball from the gator’s mouth and holds it above his head as the crowd cheers. Later, he presents the alligator’s head to Chubbs, who is so shocked he falls backward through an open window to his death. On May 14, Sandler posted a tribute to Morris on Instagram.“You could be hard on directors, make-up artists, costumers—really anyone with arms or legs—but I know you did it for the ultimate good of the film,” the actor wrote in a caption accompanying a still from the movie. “The day you wouldn’t come out of your trailer unless we sent in 40 heads of lettuce taught me a powerful lesson: Never compromise your art.” He added: “I will miss the sound of your tail sliding through the tall grass, your cold, bumpy skin, but, most of all, I will miss your infectious laugh.” Sandler is working on a sequel to the film, called Happy Gilmore 2, which will be released on Netflix in July. Morris does not appear in the new film, since he died in the first movie. But his memory will live on. “We have decided to get Morris taxidermied so that he can continue to scare children for years to come,” the Colorado Gator Farm writes on Facebook. “It’s what he would have wanted.” The farm is located in Mosca, a small town roughly 200 miles southwest of Denver. Situated in the San Luis Valley, the farm is home to roughly 300 alligators, as well as snakes, lizards, crocodiles and tortoises, per CBS News Colorado’s Logan Smith. Young’s parents, Erwin and Lynne, started the operation as a tilapia farm in the late 1970s. They brought in baby alligators to clean up the dead fish, but as the reptiles grew, visitors began showing up to see them. Today, the farm serves as a refuge for unwanted, illegal and abused reptiles. Get the latest stories in your inbox every weekday.
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