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"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Past Isn't Done With Us,' Says 'Hamilton' Creator Lin-Manuel Miranda",
"headTitle": "‘The Past Isn’t Done With Us,’ Says ‘Hamilton’ Creator Lin-Manuel Miranda | KQED",
"content": "\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A new visual album written, directed and executive produced by Beyoncé is on its way.\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> will celebrate Black resilience and culture, and premiere globally on Disney+ on July 31, according to a \u003ca href=\"https://dtcimedia.disney.com/news/black-is-king-july-31\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>. The album is based on the music of \u003cem>The Lion King: The Gift\u003c/em>, the Beyoncé-curated soundtrack album for the \u003cem>Lion King\u003c/em> animated remake released last July, in which she voiced the character of Nala.\u003c/p>\n\u003cp>“The visual album from Beyoncé reimagines the lessons of \u003cem>The Lion King\u003c/em> for today’s young kings and queens in search of their own crowns,” reads the statement from Disney and from Beyoncé’s company, Parkwood Entertainment.\u003c/p>\n\u003cp>The film, which was in production for one year, will star the album’s featured artists as well as special guest appearances. A minute-long \u003ca href=\"https://beyonce.com/\" target=\"_blank\" rel=\"noopener noreferrer\">teaser video\u003c/a> is available on Beyoncé’s website.\u003c/p>\n\u003cp>The press release says the album honors the voyages of Black families throughout time, and tells the story of a young king’s journey through betrayal, love and self-identity. Guided by his ancestors, father and childhood love, he earns the virtues needed to reclaim his “home and throne.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These timeless lessons are revealed and reflected through Black voices of today, now sitting in their own power,” it reads. \u003cem>Black Is King \u003c/em>“is an affirmation of a grand purpose, with lush visuals that celebrate Black resilience and culture. The film highlights the beauty of tradition and Black excellence.”\u003c/p>\n\u003cp>The announcement comes on the heels of Beyoncé’s latest surprise, a single called \u003ca href=\"https://www.npr.org/2020/06/20/881215617/beyonce-releases-new-song-black-parade-in-the-final-hours-of-juneteenth\" target=\"_blank\" rel=\"noopener noreferrer\">“Black Parade”\u003c/a> that she released on Juneteenth. She announced \u003ca href=\"https://www.beyonce.com/black-parade-route/?q=&page=1&category=all\" target=\"_blank\" rel=\"noopener noreferrer\">on her website\u003c/a> that proceeds from the song will benefit Black-owned small businesses in need through her BeyGOOD initiative.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Black excellence is a form of protest,” the post said. “Black joy is your right.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+To+Drop+Visual+Album%2C+%27Black+Is+King%2C%27+On+Disney%2B+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tu1ZpF0bzMg\u003c/p>\n\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpzEIrtBzTM\u003c/p>\n\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xpzEIrtBzTM'\n title='//www.youtube.com/embed/xpzEIrtBzTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Search Party' Season 3: Jerks Brought to Justice",
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"content": "\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Gone With The Wind' Returns to HBO Max With New Introduction",
"headTitle": "‘Gone With The Wind’ Returns to HBO Max With New Introduction | KQED",
"content": "\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” [aside postid='arts_13881748']\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "K-Pop's Digital 'Army' Musters to Meet the Moment, Baggage in Tow",
"headTitle": "K-Pop’s Digital ‘Army’ Musters to Meet the Moment, Baggage in Tow | KQED",
"content": "\u003cp>A week before Trump held his controversial campaign rally in Tulsa was when Viviana Dark, a K-pop fan from Wisconsin (who has requested pseudonymity over concerns of online harassment), first heard of plans to “sabotage” the event. Users on TikTok, the exceptionally popular social-video platform, were urging others to reserve tickets to the rally, with no intention of actually going. “You know how a TikTok Challenge happens? It was kind of like that. ‘Everybody go do this!’ And it spread like wildfire,” Dark, 19 years old, tells NPR Music.\u003c/p>\n\u003cp>She signed up for two seats, received a confirmation email from the Trump campaign—”I’m counting on my loyal supporters like you”—and never showed up to the rally, which drew just \u003ca href=\"https://www.npr.org/2020/06/20/881313605/trump-crowd-size-underwhelms-campaign-blames-protesters\" target=\"_blank\" rel=\"noopener noreferrer\">a few thousand\u003c/a> supporters to the 19,000-seat auditorium on June 20.\u003c/p>\n\u003cp>It’s \u003ca href=\"https://www.washingtonpost.com/technology/2020/06/21/tiktok-kpop-trump-tulsa-rally/\" target=\"_blank\" rel=\"noopener noreferrer\">not clear\u003c/a> how much TikTok teens and K-pop fans should be credited for the rally’s disappointing turnout; Trump’s campaign originally \u003ca href=\"https://www.theguardian.com/us-news/2020/jun/15/trump-tulsa-rally-coronavirus-calls-for-cancellation\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> it received more than a million requests for tickets. A stage prepared for overflow was \u003ca href=\"https://twitter.com/daveweigel/status/1274481380836114433\" target=\"_blank\" rel=\"noopener noreferrer\">never used\u003c/a>.\u003c/p>\n\u003cp>Dark, who supports the girl groups TWICE and GWSN, is no stranger to political activism in coordination with her K-pop community. She has a Twitter group chat with fellow idol fans from all over the world, where they exchange info about stars, petitions and hashtag movements. To “clog up” the platform, she tweeted #WhiteLivesMatter and #KeepAmericaGreat hashtags, coupled with irrelevant fancams of her favorite stars, as a way of diluting the usefulness and relevance of the tags.\u003c/p>\n\u003cp>“I’m Black before I’m a K-pop stan,” she says. “The main point of why we were fighting was for the Black Lives Matter cause, not to get recognized [as K-pop fans].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But getting recognized they are, as “\u003ca href=\"https://www.latimes.com/world-nation/story/2020-06-04/k-pop-fans-maestros-of-social-media-bring-their-powers-to-bear-on-blacklivesmatter-protests\" target=\"_blank\" rel=\"noopener noreferrer\">maestros of social media\u003c/a>,” “\u003ca href=\"https://time.com/5851211/kpop-bts-black-lives-matter-social-media/\" target=\"_blank\" rel=\"noopener noreferrer\">an unexpected ally\u003c/a>,” “\u003ca href=\"https://www.adobomagazine.com/digital-news/digital-dont-anger-the-k-pop-fans-k-pop-community-invades-racist-hashtags/\" target=\"_blank\" rel=\"noopener noreferrer\">unlikely heroes\u003c/a>.” Earlier this month, fans of BTS matched the boy band’s $1 million Black Lives Matter donation in roughly a day. Others are credited with flooding the iWatch Dallas app \u003ca href=\"https://www.insider.com/kpop-trump-tulsa-rally-hashtags-fancams-donations-activism-online-stan-2020-6#in-late-may-some-k-pop-fans-tried-to-stop-fandom-hashtags-from-trending-out-of-respect-for-blacklivesmatter-1\" target=\"_blank\" rel=\"noopener noreferrer\">with fancams\u003c/a> (and sinking its App Store \u003ca href=\"https://apps.apple.com/us/app/iwatch-dallas/id1482321757\" target=\"_blank\" rel=\"noopener noreferrer\">ranking\u003c/a>), after the Dallas police asked people to report “illegal activity” from the George Floyd and Black Lives Matter protests.\u003c/p>\n\u003cp>“I never thought I’d see the day where K-pop stans are defeating the police,” \u003ca href=\"https://twitter.com/blom_dot_com/status/1267252731959554050\" target=\"_blank\" rel=\"noopener noreferrer\">read\u003c/a> one tweet that received over 4,000 likes.\u003c/p>\n\u003cp>“Why is this so surprising? If you know the people in the K-pop fandom, this [political activism] seems natural,” says Lee Jeeheng, a cultural studies scholar and author of \u003ca href=\"https://www.amazon.com/BTS-ARMY-Culture-Lee-Jeeheng-ebook/dp/B083NJNNPR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>BTS and ARMY Culture\u003c/em>\u003c/a>, a book analyzing the fandom of the extremely popular group. “K-pop fandom is a digital tribe. Fans have been trained to mobilize quickly. They already have the infrastructure; when someone says, \u003cem>‘Go here!\u003c/em>‘ everybody can run towards the target.”\u003c/p>\n\u003cfigure id=\"attachment_13882460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg\" alt=\"K-pop fans in Central Park on May 15, 2019 in New York.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K-pop fans in Central Park on May 15, 2019 in New York. \u003ccite>(Drew Angerer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past, fans have \u003ca href=\"https://twitter.com/magic_breakfast/status/1222920159851094018\" target=\"_blank\" rel=\"noopener noreferrer\">donated to a London charity\u003c/a> to fund over 35,000 meals, reportedly \u003ca href=\"https://www.newsweek.com/chilean-government-blames-k-pop-recent-protests-1479151\" target=\"_blank\" rel=\"noopener noreferrer\">protested against\u003c/a> the Chilean government in 2019, \u003ca href=\"https://twitter.com/hyunsuinseoul/status/1268520597853581312\" target=\"_blank\" rel=\"noopener noreferrer\">raised awareness\u003c/a> about the need for safer roads in Bangladesh.\u003c/p>\n\u003cp>This activism, while not practiced by every K-pop fan, has a \u003ca href=\"https://www.koreaexpose.com/fascinating-world-k-pop-fandom-culture/\" target=\"_blank\" rel=\"noopener noreferrer\">long history\u003c/a>. In South Korea, organized music fandoms \u003ca href=\"https://www.reportshop.co.kr/social/102427\" target=\"_blank\" rel=\"noopener noreferrer\">began appearing\u003c/a> in the 1980s and ’90s. Fan philanthropy, now common in Korea beyond pop music, \u003ca href=\"https://www.newsen.com/news_view.php?uid=201812081756208010\" target=\"_blank\" rel=\"noopener noreferrer\">has its roots\u003c/a> in the early 2000s. Fans of the “first-generation” idol band Shinhwa, which debuted in 1998 and is still active, are credited with starting the “fan rice” trend in 2007, sending thousands of kilograms of rice to charity. Other fandoms \u003ca href=\"https://www.soompi.com/article/837751wpp/fans-donate-to-deaf-children-for-infinites-hoyas-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">have funded\u003c/a> cochlear implants for deaf children and more recently, \u003ca href=\"http://www.wowtv.co.kr/NewsCenter/News/Read?articleId=A202006110079&t=NN\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 efforts\u003c/a>.\u003c/p>\n\u003cp>Within and across different fandoms, political awareness is shared through loose online networks on Twitter, Instagram, fan cafes, etc.\u003c/p>\n\u003cp>Scholar Lee, a BTS fan, remembers one instance: In 2018, BTS member Jimin wore \u003ca href=\"https://www.bbc.com/news/world-asia-46147777\" target=\"_blank\" rel=\"noopener noreferrer\">a shirt\u003c/a> depicting the U.S atomic bombing of Japan, after which fans became embroiled in contentious debates about Western imperialism and Japan’s atrocities during WWII, including \u003ca href=\"https://www.npr.org/sections/parallels/2017/11/13/563838610/comfort-woman-memorial-statues-a-thorn-in-japans-side-now-sit-on-korean-buses\" target=\"_blank\" rel=\"noopener noreferrer\">sexually enslaving women\u003c/a> for its military. Multilingual fans furiously translated on Twitter, including Lee. “Fans from Southeast Asia started talking about their grandmothers who were sexually enslaved,” she recalls. “It was an incredible history lesson. It was a really moving experience. I witnessed diversity and minority representation in action.”\u003c/p>\n\u003cp>“Worldwide, K-pop is being consumed in the name of diversity politics,” \u003ca href=\"http://news.khan.co.kr/kh_news/khan_art_view.html?artid=202006082139025&code=960802#csidx183f27eda83c4abb96adce82d8be04b\" target=\"_blank\" rel=\"noopener noreferrer\">says \u003c/a>Mimyo, the editor-in-chief of \u003ca href=\"http://idology.kr/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Idology\u003c/em>\u003c/a>, an online magazine specializing in K-pop idol music. “Most K-pop fans are already interested in diversity politics; combine this with K-pop fandom’s culture of collective action. That’s why K-pop’s global fandom is participating actively in social movements like Black Lives Matter.”\u003c/p>\n\u003cp>“To be a non-Korean K-pop fan is innately political, I dunno why anyone is still surprised that K-pop fans are political,” \u003ca href=\"https://twitter.com/TamarWrites/status/1274531852829765632\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>Tamar Herman, a K-pop correspondent for \u003cem>Billboard\u003c/em>.\u003c/p>\n\u003cp>Herman and Mimyo’s comments are part of a growing media \u003ca href=\"https://www.washingtonpost.com/opinions/2020/06/11/surprised-seeing-k-pop-fans-stand-up-black-lives-matter-you-shouldnt-be/\" target=\"_blank\" rel=\"noopener noreferrer\">narrative\u003c/a> highlighting K-pop fans’ political progressiveness. But the reality is more complicated.\u003c/p>\n\u003cp>For one, there are plenty of fans like Dionne Saville, who don’t really engage in K-pop’s political activities. “K-pop is not at all an inherently political act for me. It’s just excellent music that crosses global boundaries. I enjoy the deeper cultural connection it brings,” Saville, a 47-year-old BTS fan in Yorkshire, U.K., tells NPR Music.\u003c/p>\n\u003cp>Then there are more sinister issues. Ironically for a music industry seen as heralding diversity politics, with millions of POC fans worldwide, K-pop creators still face constant accusations of \u003ca href=\"https://www.insider.com/kpop-stans-hashtags-fancams-whitelivesmatter-bts-matchamillion-army-donation-2020-6\" target=\"_blank\" rel=\"noopener noreferrer\">cultural appropriation\u003c/a> and racism, particularly against Black people.\u003c/p>\n\u003cp>For example, \u003ca href=\"https://popcrush.com/k-pop-scandals-international-blackface-racist/\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, though less common now, has brought plenty of A-list idols under fire. Artists also frequently stylize themselves after Black culture, and many cite Black music as a central influence.\u003c/p>\n\u003cp>“Traditionally, K-pop has not been a space that has validated Black feelings about those choices,” \u003ca href=\"https://www.teenvogue.com/story/k-pop-stars-speaking-up-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">writes\u003c/a> Natasha Mulenga for \u003cem>Teen Vogue\u003c/em>, “despite the impact Blackness has had on an industry that was reported at $5.4 billion … in 2018.”\u003c/p>\n\u003cp>Within the fandom, plenty of Black fans have voiced concerns about being \u003ca href=\"https://www.teenvogue.com/story/bts-fandom-needs-to-check-anti-blackness\" target=\"_blank\" rel=\"noopener noreferrer\">gaslit\u003c/a> by other fans when bringing up racism.\u003c/p>\n\u003cp>“It feels really hard to be a POC in K-pop,” says Dark. “When some fans try to talk about internal racism, or even cultural appropriation, it kind of gets pushed under the bed. People of color are shushed by other K-pop fans.”\u003c/p>\n\u003cp>That’s why, for Dark, some K-pop fans jumping in online to support the BLM movement feels hollow. “Some people’s gestures of ‘being an ally’ feels performative, like it’s just on a surface level.”\u003c/p>\n\u003cp>“Being a K-pop fan causes me lots of drama and issues mentally, because of the racism. But I feel it’s almost worth it to have that connection to the world, to music, to all these different ideas. K-pop helps me learn about the world.”\u003c/p>\n\u003cp>Meanwhile, many \u003ca href=\"https://abcnews.go.com/International/pop-stars-part-black-lives-matter-movement/story?id=71131938\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop artists have spoken out\u003c/a> on Black Lives Matter—a rare sight, since unlike many of their fans, most artists refrain from making political statements in public.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.twitter.com/Haekoko\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haeryun Kang\u003c/em>\u003c/a>\u003cem> is a freelance journalist based in Seoul and the creative director of \u003c/em>\u003ca href=\"https://twitter.com/videocusIN\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>videocusIN\u003c/em>\u003c/a>\u003cem>, a media incubator.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=K-Pop%27s+Digital+%27Army%27+Musters+To+Meet+The+Moment%2C+Baggage+In+Tow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A week before Trump held his controversial campaign rally in Tulsa was when Viviana Dark, a K-pop fan from Wisconsin (who has requested pseudonymity over concerns of online harassment), first heard of plans to “sabotage” the event. Users on TikTok, the exceptionally popular social-video platform, were urging others to reserve tickets to the rally, with no intention of actually going. “You know how a TikTok Challenge happens? It was kind of like that. ‘Everybody go do this!’ And it spread like wildfire,” Dark, 19 years old, tells NPR Music.\u003c/p>\n\u003cp>She signed up for two seats, received a confirmation email from the Trump campaign—”I’m counting on my loyal supporters like you”—and never showed up to the rally, which drew just \u003ca href=\"https://www.npr.org/2020/06/20/881313605/trump-crowd-size-underwhelms-campaign-blames-protesters\" target=\"_blank\" rel=\"noopener noreferrer\">a few thousand\u003c/a> supporters to the 19,000-seat auditorium on June 20.\u003c/p>\n\u003cp>It’s \u003ca href=\"https://www.washingtonpost.com/technology/2020/06/21/tiktok-kpop-trump-tulsa-rally/\" target=\"_blank\" rel=\"noopener noreferrer\">not clear\u003c/a> how much TikTok teens and K-pop fans should be credited for the rally’s disappointing turnout; Trump’s campaign originally \u003ca href=\"https://www.theguardian.com/us-news/2020/jun/15/trump-tulsa-rally-coronavirus-calls-for-cancellation\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> it received more than a million requests for tickets. A stage prepared for overflow was \u003ca href=\"https://twitter.com/daveweigel/status/1274481380836114433\" target=\"_blank\" rel=\"noopener noreferrer\">never used\u003c/a>.\u003c/p>\n\u003cp>Dark, who supports the girl groups TWICE and GWSN, is no stranger to political activism in coordination with her K-pop community. She has a Twitter group chat with fellow idol fans from all over the world, where they exchange info about stars, petitions and hashtag movements. To “clog up” the platform, she tweeted #WhiteLivesMatter and #KeepAmericaGreat hashtags, coupled with irrelevant fancams of her favorite stars, as a way of diluting the usefulness and relevance of the tags.\u003c/p>\n\u003cp>“I’m Black before I’m a K-pop stan,” she says. “The main point of why we were fighting was for the Black Lives Matter cause, not to get recognized [as K-pop fans].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But getting recognized they are, as “\u003ca href=\"https://www.latimes.com/world-nation/story/2020-06-04/k-pop-fans-maestros-of-social-media-bring-their-powers-to-bear-on-blacklivesmatter-protests\" target=\"_blank\" rel=\"noopener noreferrer\">maestros of social media\u003c/a>,” “\u003ca href=\"https://time.com/5851211/kpop-bts-black-lives-matter-social-media/\" target=\"_blank\" rel=\"noopener noreferrer\">an unexpected ally\u003c/a>,” “\u003ca href=\"https://www.adobomagazine.com/digital-news/digital-dont-anger-the-k-pop-fans-k-pop-community-invades-racist-hashtags/\" target=\"_blank\" rel=\"noopener noreferrer\">unlikely heroes\u003c/a>.” Earlier this month, fans of BTS matched the boy band’s $1 million Black Lives Matter donation in roughly a day. Others are credited with flooding the iWatch Dallas app \u003ca href=\"https://www.insider.com/kpop-trump-tulsa-rally-hashtags-fancams-donations-activism-online-stan-2020-6#in-late-may-some-k-pop-fans-tried-to-stop-fandom-hashtags-from-trending-out-of-respect-for-blacklivesmatter-1\" target=\"_blank\" rel=\"noopener noreferrer\">with fancams\u003c/a> (and sinking its App Store \u003ca href=\"https://apps.apple.com/us/app/iwatch-dallas/id1482321757\" target=\"_blank\" rel=\"noopener noreferrer\">ranking\u003c/a>), after the Dallas police asked people to report “illegal activity” from the George Floyd and Black Lives Matter protests.\u003c/p>\n\u003cp>“I never thought I’d see the day where K-pop stans are defeating the police,” \u003ca href=\"https://twitter.com/blom_dot_com/status/1267252731959554050\" target=\"_blank\" rel=\"noopener noreferrer\">read\u003c/a> one tweet that received over 4,000 likes.\u003c/p>\n\u003cp>“Why is this so surprising? If you know the people in the K-pop fandom, this [political activism] seems natural,” says Lee Jeeheng, a cultural studies scholar and author of \u003ca href=\"https://www.amazon.com/BTS-ARMY-Culture-Lee-Jeeheng-ebook/dp/B083NJNNPR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>BTS and ARMY Culture\u003c/em>\u003c/a>, a book analyzing the fandom of the extremely popular group. “K-pop fandom is a digital tribe. Fans have been trained to mobilize quickly. They already have the infrastructure; when someone says, \u003cem>‘Go here!\u003c/em>‘ everybody can run towards the target.”\u003c/p>\n\u003cfigure id=\"attachment_13882460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg\" alt=\"K-pop fans in Central Park on May 15, 2019 in New York.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/gettyimages-1143982902_wide-902ba8609047c8c705b9b42ce98ec20e0ed89d3e-1-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K-pop fans in Central Park on May 15, 2019 in New York. \u003ccite>(Drew Angerer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past, fans have \u003ca href=\"https://twitter.com/magic_breakfast/status/1222920159851094018\" target=\"_blank\" rel=\"noopener noreferrer\">donated to a London charity\u003c/a> to fund over 35,000 meals, reportedly \u003ca href=\"https://www.newsweek.com/chilean-government-blames-k-pop-recent-protests-1479151\" target=\"_blank\" rel=\"noopener noreferrer\">protested against\u003c/a> the Chilean government in 2019, \u003ca href=\"https://twitter.com/hyunsuinseoul/status/1268520597853581312\" target=\"_blank\" rel=\"noopener noreferrer\">raised awareness\u003c/a> about the need for safer roads in Bangladesh.\u003c/p>\n\u003cp>This activism, while not practiced by every K-pop fan, has a \u003ca href=\"https://www.koreaexpose.com/fascinating-world-k-pop-fandom-culture/\" target=\"_blank\" rel=\"noopener noreferrer\">long history\u003c/a>. In South Korea, organized music fandoms \u003ca href=\"https://www.reportshop.co.kr/social/102427\" target=\"_blank\" rel=\"noopener noreferrer\">began appearing\u003c/a> in the 1980s and ’90s. Fan philanthropy, now common in Korea beyond pop music, \u003ca href=\"https://www.newsen.com/news_view.php?uid=201812081756208010\" target=\"_blank\" rel=\"noopener noreferrer\">has its roots\u003c/a> in the early 2000s. Fans of the “first-generation” idol band Shinhwa, which debuted in 1998 and is still active, are credited with starting the “fan rice” trend in 2007, sending thousands of kilograms of rice to charity. Other fandoms \u003ca href=\"https://www.soompi.com/article/837751wpp/fans-donate-to-deaf-children-for-infinites-hoyas-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">have funded\u003c/a> cochlear implants for deaf children and more recently, \u003ca href=\"http://www.wowtv.co.kr/NewsCenter/News/Read?articleId=A202006110079&t=NN\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 efforts\u003c/a>.\u003c/p>\n\u003cp>Within and across different fandoms, political awareness is shared through loose online networks on Twitter, Instagram, fan cafes, etc.\u003c/p>\n\u003cp>Scholar Lee, a BTS fan, remembers one instance: In 2018, BTS member Jimin wore \u003ca href=\"https://www.bbc.com/news/world-asia-46147777\" target=\"_blank\" rel=\"noopener noreferrer\">a shirt\u003c/a> depicting the U.S atomic bombing of Japan, after which fans became embroiled in contentious debates about Western imperialism and Japan’s atrocities during WWII, including \u003ca href=\"https://www.npr.org/sections/parallels/2017/11/13/563838610/comfort-woman-memorial-statues-a-thorn-in-japans-side-now-sit-on-korean-buses\" target=\"_blank\" rel=\"noopener noreferrer\">sexually enslaving women\u003c/a> for its military. Multilingual fans furiously translated on Twitter, including Lee. “Fans from Southeast Asia started talking about their grandmothers who were sexually enslaved,” she recalls. “It was an incredible history lesson. It was a really moving experience. I witnessed diversity and minority representation in action.”\u003c/p>\n\u003cp>“Worldwide, K-pop is being consumed in the name of diversity politics,” \u003ca href=\"http://news.khan.co.kr/kh_news/khan_art_view.html?artid=202006082139025&code=960802#csidx183f27eda83c4abb96adce82d8be04b\" target=\"_blank\" rel=\"noopener noreferrer\">says \u003c/a>Mimyo, the editor-in-chief of \u003ca href=\"http://idology.kr/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Idology\u003c/em>\u003c/a>, an online magazine specializing in K-pop idol music. “Most K-pop fans are already interested in diversity politics; combine this with K-pop fandom’s culture of collective action. That’s why K-pop’s global fandom is participating actively in social movements like Black Lives Matter.”\u003c/p>\n\u003cp>“To be a non-Korean K-pop fan is innately political, I dunno why anyone is still surprised that K-pop fans are political,” \u003ca href=\"https://twitter.com/TamarWrites/status/1274531852829765632\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>Tamar Herman, a K-pop correspondent for \u003cem>Billboard\u003c/em>.\u003c/p>\n\u003cp>Herman and Mimyo’s comments are part of a growing media \u003ca href=\"https://www.washingtonpost.com/opinions/2020/06/11/surprised-seeing-k-pop-fans-stand-up-black-lives-matter-you-shouldnt-be/\" target=\"_blank\" rel=\"noopener noreferrer\">narrative\u003c/a> highlighting K-pop fans’ political progressiveness. But the reality is more complicated.\u003c/p>\n\u003cp>For one, there are plenty of fans like Dionne Saville, who don’t really engage in K-pop’s political activities. “K-pop is not at all an inherently political act for me. It’s just excellent music that crosses global boundaries. I enjoy the deeper cultural connection it brings,” Saville, a 47-year-old BTS fan in Yorkshire, U.K., tells NPR Music.\u003c/p>\n\u003cp>Then there are more sinister issues. Ironically for a music industry seen as heralding diversity politics, with millions of POC fans worldwide, K-pop creators still face constant accusations of \u003ca href=\"https://www.insider.com/kpop-stans-hashtags-fancams-whitelivesmatter-bts-matchamillion-army-donation-2020-6\" target=\"_blank\" rel=\"noopener noreferrer\">cultural appropriation\u003c/a> and racism, particularly against Black people.\u003c/p>\n\u003cp>For example, \u003ca href=\"https://popcrush.com/k-pop-scandals-international-blackface-racist/\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, though less common now, has brought plenty of A-list idols under fire. Artists also frequently stylize themselves after Black culture, and many cite Black music as a central influence.\u003c/p>\n\u003cp>“Traditionally, K-pop has not been a space that has validated Black feelings about those choices,” \u003ca href=\"https://www.teenvogue.com/story/k-pop-stars-speaking-up-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">writes\u003c/a> Natasha Mulenga for \u003cem>Teen Vogue\u003c/em>, “despite the impact Blackness has had on an industry that was reported at $5.4 billion … in 2018.”\u003c/p>\n\u003cp>Within the fandom, plenty of Black fans have voiced concerns about being \u003ca href=\"https://www.teenvogue.com/story/bts-fandom-needs-to-check-anti-blackness\" target=\"_blank\" rel=\"noopener noreferrer\">gaslit\u003c/a> by other fans when bringing up racism.\u003c/p>\n\u003cp>“It feels really hard to be a POC in K-pop,” says Dark. “When some fans try to talk about internal racism, or even cultural appropriation, it kind of gets pushed under the bed. People of color are shushed by other K-pop fans.”\u003c/p>\n\u003cp>That’s why, for Dark, some K-pop fans jumping in online to support the BLM movement feels hollow. “Some people’s gestures of ‘being an ally’ feels performative, like it’s just on a surface level.”\u003c/p>\n\u003cp>“Being a K-pop fan causes me lots of drama and issues mentally, because of the racism. But I feel it’s almost worth it to have that connection to the world, to music, to all these different ideas. K-pop helps me learn about the world.”\u003c/p>\n\u003cp>Meanwhile, many \u003ca href=\"https://abcnews.go.com/International/pop-stars-part-black-lives-matter-movement/story?id=71131938\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop artists have spoken out\u003c/a> on Black Lives Matter—a rare sight, since unlike many of their fans, most artists refrain from making political statements in public.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.twitter.com/Haekoko\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haeryun Kang\u003c/em>\u003c/a>\u003cem> is a freelance journalist based in Seoul and the creative director of \u003c/em>\u003ca href=\"https://twitter.com/videocusIN\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>videocusIN\u003c/em>\u003c/a>\u003cem>, a media incubator.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=K-Pop%27s+Digital+%27Army%27+Musters+To+Meet+The+Moment%2C+Baggage+In+Tow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Irresistible' Chooses an Inopportune Moment to Get Glib About Politics",
"headTitle": "‘Irresistible’ Chooses an Inopportune Moment to Get Glib About Politics | KQED",
"content": "\u003cp>Early in \u003cem>Irresistible\u003c/em>, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as “Rural America,” and under that, “Heartland, USA.” This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we’re about to visit will be the film’s purpose. Unfortunately, “Rural America: Heartland, USA” is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic. Given how broadly unobjectionable it is designed to be, it’s a little shocking how transparently it’s laboring to be subversive.\u003c/p>\n\u003cp>Gary (Steve Carell) is a campaign consultant (interestingly, the film’s official synopsis calls him a \u003ca href=\"https://www.newyorker.com/magazine/2006/08/07/the-ic-factor\" target=\"_blank\" rel=\"noopener noreferrer\">“Democrat campaign consultant”\u003c/a>) who worked for Hillary Clinton and is reeling from the 2016 election when we first meet him. If you watched Carell on \u003cem>The Office\u003c/em>, you largely know who Gary is: Think Michael Scott if he’d made his way into political consulting and used his sales skills over there, and also he didn’t have any of the redeeming qualities Michael Scott had.\u003c/p>\n\u003cp>Gary comes across a viral video of a Wisconsin veteran and farmer named Jack Hastings (Chris Cooper) giving a speech about principle at a town meeting in Rural America, Heartland USA. Enthralled by Hastings and seeing an opportunity, Gary descends on the town and becomes the leader of Jack’s campaign for mayor, which he wants to use as a proving ground for a more rural-friendly Democratic party in the wake of losses in several midwestern states in 2016.\u003c/p>\n\u003cp>Naturally, Jack is a reticent and plain-spoken farmer who resists Gary’s big-city, D.C. insider ways, and the film spends a lot of time guffawing at things like Gary telling his staff he wants to be authentic and stripped down for his trip to Wisconsin and needs a regular rental car, not a fancy one—then popping his head back in to ask for a car with Bose speakers in the kind of sequence you can call out from your couch with ease: “He’s going to pop back in and say he wants a champagne bath or something!”\u003c/p>\n\u003cp>Back in Rural America, Heartland USA, Gary and a Republican counterpart of his named Faith (played by Rose Byrne, deserving better as she often does) descend into a caricature of politics in which they’re uninterested in the stakes of the mayoral election; they just are interested in winning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, it’s hard to blame them, because there are no stakes in the election. There is no indication at any point that there is any disagreement among people in this town about anything. They are, as we will eventually learn, literally unified on every issue. There are no dissenters, there are no policies at stake; they are simple, ideologically interchangeable residents of Rural America, Heartland USA, who all just want to build schools and help each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0vhaAoSm1NY\u003c/p>\n\u003cp>This has always been Stewart’s theory, that if the media and national politicians and campaign finance laws would get out of the way, everyone really is basically the same on the inside. I first heard him articulate it at the Rally to Restore Sanity And/Or Fear on the National Mall in 2010, and it seems that his view of American political life has remained stable for the last 10 years. Which is really an accomplishment, of a sort.\u003c/p>\n\u003cp>Ironically, while castigating Beltway insiders for not really caring about the town, Stewart is also not interested in any of the local politics of the town and doesn’t doesn’t even suggest it has any; he’s only interested in Gary and Faith’s attempted manipulation of these simple good (white) people as a simulacrum of D.C. decay.\u003c/p>\n\u003cp>What of the fact that local governments actually have enormous influence on issues like zoning, policing, schools, election security, housing, and all manner of regulations? And what of the fact that bitter local battles have been central to issues of race, the safety of LGBTQ people, the economic security of imperiled communities, and the security of the environment? Battles that have played on genuine enmity between neighbors? That stuff, Stewart posits, doesn’t matter. We’d all be getting along fine without those Beltway insiders and their artificial divides.\u003c/p>\n\u003cp>In fairness, it may help the town avoid at least some common conflicts about race that the only Black people you ever see are specifically used in jokes about Black people. One appears in a scene where the joke is that he’s not part of a focus-group demographic, he’s the one Black guy. Three Black men in Black Lives Matter shirts later walk up to a Republican voter registration table, and the men working the table sloooooowly pull the pens and clipboards back. (Very funny to those in the mood for casual voter suppression humor!) None of these men speak.\u003c/p>\n\u003cp>Gary has one Black co-worker whose job it is to side-eye and mutter at her clueless colleagues (who, led by Debra Messing, hold hands and start chanting “si se puede” in a staff meeting) for a few seconds. And we meet a Black woman at a Washington fundraiser who I think has one line, but she is there as part of what appears to be an interracial lesbian couple wearing paired “Stay Woke” shirts who are trying to urbansplain “farm to table” to Jack the decent and wise Wisconsin farmer. They are part of the mockery of insufferable D.C. liberals, you see.\u003c/p>\n\u003cp>Perhaps what makes \u003cem>Irresistible \u003c/em>so hard to take at this moment is that it has the swagger of a much smarter movie than it is. It purports to investigate what’s gone wrong in American politics but focuses its idea of good Americans on an all-white town where everyone agrees about everything and nothing matters. Small towns only matter in this story because they are, as a single bloc, being mistreated and manipulated and blown about by Washington. It is in this story, and not in the world, that only Washington matters.\u003c/p>\n\u003cp>It’s also so utterly toothless as satire, because there’s nothing in it that challenges anyone’s ideas about anything. Who is going to find this provocative? The people who love Beltway insiders? SuperPAC stans? The thesis of the film is that people in the United States have been convinced that they have legitimate policy divisions by a cynical and manipulative media. We only think we have serious disagreements because the pundits are focused on artificial right-left divide, Stewart lectures through a character’s mouth at one point. He probably believes it; there are certainly those who can afford to.\u003c/p>\n\u003cp>It’s worth noting the “It’s just comedy! It’s not trying to teach anybody anything!” line that has been Jon Stewart’s explanation for every flaw in the impassioned civic arguments he’s been making since he took over \u003cem>The Daily Show \u003c/em>in 1999. But—and you won’t believe me when I tell you this—the closing image of \u003cem>Irresistible\u003c/em> is someone telling Jon Stewart how he got something exactly right and the two of them having a good laugh about how right he is. People who are just making little comedies don’t need to make special featurettes where they’re told that they’re right.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The funny thing is this: You know who’s really going to love this movie? People who go to D.C. political fundraising dinners, who will say, “Ha ha, that’s \u003cem>so\u003c/em> true, we \u003cem>are \u003c/em>like that,” and then they will keep doing exactly what they’re doing. They’ll also lament the fact that Jon Stewart ever left \u003cem>The Daily Show\u003c/em> and handed the reins to Trevor Noah, because they really miss Jon (who they call Jon), and they’re pretty sure he’d have had a \u003cem>lot \u003c/em>to say that’s relevant to our current political moment. Unfortunately, if he does, it won’t be in this movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Irresistible%27+Chooses+An+Inopportune+Moment+To+Get+Glib+About+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in \u003cem>Irresistible\u003c/em>, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as “Rural America,” and under that, “Heartland, USA.” This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we’re about to visit will be the film’s purpose. Unfortunately, “Rural America: Heartland, USA” is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic. Given how broadly unobjectionable it is designed to be, it’s a little shocking how transparently it’s laboring to be subversive.\u003c/p>\n\u003cp>Gary (Steve Carell) is a campaign consultant (interestingly, the film’s official synopsis calls him a \u003ca href=\"https://www.newyorker.com/magazine/2006/08/07/the-ic-factor\" target=\"_blank\" rel=\"noopener noreferrer\">“Democrat campaign consultant”\u003c/a>) who worked for Hillary Clinton and is reeling from the 2016 election when we first meet him. If you watched Carell on \u003cem>The Office\u003c/em>, you largely know who Gary is: Think Michael Scott if he’d made his way into political consulting and used his sales skills over there, and also he didn’t have any of the redeeming qualities Michael Scott had.\u003c/p>\n\u003cp>Gary comes across a viral video of a Wisconsin veteran and farmer named Jack Hastings (Chris Cooper) giving a speech about principle at a town meeting in Rural America, Heartland USA. Enthralled by Hastings and seeing an opportunity, Gary descends on the town and becomes the leader of Jack’s campaign for mayor, which he wants to use as a proving ground for a more rural-friendly Democratic party in the wake of losses in several midwestern states in 2016.\u003c/p>\n\u003cp>Naturally, Jack is a reticent and plain-spoken farmer who resists Gary’s big-city, D.C. insider ways, and the film spends a lot of time guffawing at things like Gary telling his staff he wants to be authentic and stripped down for his trip to Wisconsin and needs a regular rental car, not a fancy one—then popping his head back in to ask for a car with Bose speakers in the kind of sequence you can call out from your couch with ease: “He’s going to pop back in and say he wants a champagne bath or something!”\u003c/p>\n\u003cp>Back in Rural America, Heartland USA, Gary and a Republican counterpart of his named Faith (played by Rose Byrne, deserving better as she often does) descend into a caricature of politics in which they’re uninterested in the stakes of the mayoral election; they just are interested in winning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, it’s hard to blame them, because there are no stakes in the election. There is no indication at any point that there is any disagreement among people in this town about anything. They are, as we will eventually learn, literally unified on every issue. There are no dissenters, there are no policies at stake; they are simple, ideologically interchangeable residents of Rural America, Heartland USA, who all just want to build schools and help each other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0vhaAoSm1NY'\n title='//www.youtube.com/embed/0vhaAoSm1NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This has always been Stewart’s theory, that if the media and national politicians and campaign finance laws would get out of the way, everyone really is basically the same on the inside. I first heard him articulate it at the Rally to Restore Sanity And/Or Fear on the National Mall in 2010, and it seems that his view of American political life has remained stable for the last 10 years. Which is really an accomplishment, of a sort.\u003c/p>\n\u003cp>Ironically, while castigating Beltway insiders for not really caring about the town, Stewart is also not interested in any of the local politics of the town and doesn’t doesn’t even suggest it has any; he’s only interested in Gary and Faith’s attempted manipulation of these simple good (white) people as a simulacrum of D.C. decay.\u003c/p>\n\u003cp>What of the fact that local governments actually have enormous influence on issues like zoning, policing, schools, election security, housing, and all manner of regulations? And what of the fact that bitter local battles have been central to issues of race, the safety of LGBTQ people, the economic security of imperiled communities, and the security of the environment? Battles that have played on genuine enmity between neighbors? That stuff, Stewart posits, doesn’t matter. We’d all be getting along fine without those Beltway insiders and their artificial divides.\u003c/p>\n\u003cp>In fairness, it may help the town avoid at least some common conflicts about race that the only Black people you ever see are specifically used in jokes about Black people. One appears in a scene where the joke is that he’s not part of a focus-group demographic, he’s the one Black guy. Three Black men in Black Lives Matter shirts later walk up to a Republican voter registration table, and the men working the table sloooooowly pull the pens and clipboards back. (Very funny to those in the mood for casual voter suppression humor!) None of these men speak.\u003c/p>\n\u003cp>Gary has one Black co-worker whose job it is to side-eye and mutter at her clueless colleagues (who, led by Debra Messing, hold hands and start chanting “si se puede” in a staff meeting) for a few seconds. And we meet a Black woman at a Washington fundraiser who I think has one line, but she is there as part of what appears to be an interracial lesbian couple wearing paired “Stay Woke” shirts who are trying to urbansplain “farm to table” to Jack the decent and wise Wisconsin farmer. They are part of the mockery of insufferable D.C. liberals, you see.\u003c/p>\n\u003cp>Perhaps what makes \u003cem>Irresistible \u003c/em>so hard to take at this moment is that it has the swagger of a much smarter movie than it is. It purports to investigate what’s gone wrong in American politics but focuses its idea of good Americans on an all-white town where everyone agrees about everything and nothing matters. Small towns only matter in this story because they are, as a single bloc, being mistreated and manipulated and blown about by Washington. It is in this story, and not in the world, that only Washington matters.\u003c/p>\n\u003cp>It’s also so utterly toothless as satire, because there’s nothing in it that challenges anyone’s ideas about anything. Who is going to find this provocative? The people who love Beltway insiders? SuperPAC stans? The thesis of the film is that people in the United States have been convinced that they have legitimate policy divisions by a cynical and manipulative media. We only think we have serious disagreements because the pundits are focused on artificial right-left divide, Stewart lectures through a character’s mouth at one point. He probably believes it; there are certainly those who can afford to.\u003c/p>\n\u003cp>It’s worth noting the “It’s just comedy! It’s not trying to teach anybody anything!” line that has been Jon Stewart’s explanation for every flaw in the impassioned civic arguments he’s been making since he took over \u003cem>The Daily Show \u003c/em>in 1999. But—and you won’t believe me when I tell you this—the closing image of \u003cem>Irresistible\u003c/em> is someone telling Jon Stewart how he got something exactly right and the two of them having a good laugh about how right he is. People who are just making little comedies don’t need to make special featurettes where they’re told that they’re right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The funny thing is this: You know who’s really going to love this movie? People who go to D.C. political fundraising dinners, who will say, “Ha ha, that’s \u003cem>so\u003c/em> true, we \u003cem>are \u003c/em>like that,” and then they will keep doing exactly what they’re doing. They’ll also lament the fact that Jon Stewart ever left \u003cem>The Daily Show\u003c/em> and handed the reins to Trevor Noah, because they really miss Jon (who they call Jon), and they’re pretty sure he’d have had a \u003cem>lot \u003c/em>to say that’s relevant to our current political moment. Unfortunately, if he does, it won’t be in this movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Irresistible%27+Chooses+An+Inopportune+Moment+To+Get+Glib+About+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Democracy in One Book or Less' Proposes Solutions to U.S. Government Ills",
"headTitle": "‘Democracy in One Book or Less’ Proposes Solutions to U.S. Government Ills | KQED",
"content": "\u003cp>Our twin pandemics in the forefront at the moment—racism and health—underscore a democracy in crisis.\u003c/p>\n\u003cp>David Litt, author of \u003cem>Thanks, Obama\u003c/em> and a speechwriter for the 44th president, has a prescription: \u003cem>Democracy In One Book Or Less: How It Works, Why It Doesn’t, and Why Fixing It Is Easier Than You Think.\u003c/em> Litt refreshingly debunks myths about our founders, pointing up false narratives and warped historical perceptions. He is explicit on the calamitous risks of a widening income gap that concentrates power in the one percent. The racism that erodes our democracy bears repeating as well, and loudly.\u003c/p>\n\u003cp>Writing in breezy, digestible prose, Litt opens with Senate Majority Leader Mitch McConnell. Until President Trump, “no politician … has so openly treated accumulating power as a sport,” Litt writes. McConnell’s political ideal: Constituents have nothing to do with it.\u003c/p>\n\u003cp>Litt presents statistics that prove our democracy is ill: Since 1980, the number of Americans legally barred from voting has more than doubled. Since the 1990s, the odds of living in a competitive congressional district have fallen by half. Since 2000, money spent on lobbying in Washington has risen by 100 percent.\u003c/p>\n\u003cp>\u003cem>Democracy In One Book Or Less\u003c/em> explores egregious injustices throughout our system and proposes solutions. Voting inequities serve as illustration. Contrary to common perceptions, nonvoters are not “couch potatoes,” abjuring their civic duties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Litt discusses Rick Scott, a white man who ran a Florida hospital system that committed massive Medicare fraud. The Justice Department obtained a $1.7 billion settlement from the company but charged no executives. Litt then considers Ricky Scott, a black man charged with “grand theft” in Florida, which can be something as trivial as removing a fire extinguisher from a wall. The white man is the junior senator from Florida following two terms as governor; the black man was found guilty of a felony and barred from voting for life.\u003c/p>\n\u003cp>Before 2006, no state required an ID to vote. Today, Litt says, 17 states do. In Tennessee, a voter with a gun permit can vote, while a student using a University of Tennessee ID cannot. ID laws, however, aren’t the biggest problem. Voter “purges” result in glaring injustices.\u003c/p>\n\u003cp>A chapter outs the “godfather of the modern purge,” Hans von Spakovsky, former member of the Federal Election Commission and the Republican party’s standard bearer for shrinking the electorate. Litt spotlights Georgia Secretary of State Brian Kemp, the white gubernatorial candidate who happened to be the state official in charge of voting, as responsible for purging 1.5 million names from the rolls under a new “Use It or Lose It” rule he put into place.\u003c/p>\n\u003cp>Moreover, Litt recounts, on election day 2018, Fulton County, which includes much of metro Atlanta (read, African American), locked up a quarter of its voting machines. Abrams “lost” by 55,000. It is an ugly truth that in red and blue states alike, “The less white your neighborhood, the longer you wait,” Litt writes.\u003c/p>\n\u003cp>We don’t have to have million of adults legally barred from voting. Litt offers solutions, showing their success in other countries. He suggests we automatically register voters as soon as they turn 18; help disabled people get to the polls; vote by mail so people don’t miss work, or, in the age of pandemic, risk their health. He notes we can vote on weekends, when it’s easier for low-wage workers, and abolish voter ID laws because despite false claims by President Trump, voter fraud is virtually nonexistent.\u003c/p>\n\u003cp>The franchise can and has been expanded. Litt reports that 40 states have allowed non-citizen immigrants to vote at one time or another, but not since 1926. He believes there’s no reason why long-term undocumented people shouldn’t be allowed to vote, to say nothing of greencard holders.\u003c/p>\n\u003cp>Litt examines the flaws of the Electoral College, which can result in the winner of the popular vote losing the presidency, as happened with Presidents George W. Bush and Donald Trump. Although the Electoral College is constitutionally mandated, there are ways to fix it.\u003c/p>\n\u003cp>Using Las Vegas mogul Sheldon Adelson as an example, Litt probes the evils of money in politics. “Dark,” unreported money donated to candidates of both parties severs them from constituents, making them accountable only to their wealthiest donors. Although a majority of Americans care deeply care about a range of issues, including gun control and curbing global warming, politicians can not only ignore, but also escalate these problems with impunity.\u003c/p>\n\u003cp>Here’s Litt on the Trump administration, where there is no daylight between official government and special interests: A coal-mining lobbyist was appointed to run the Environmental Protection Agency, an oil-and-gas lobbyist the Interior Department, a banking lobbyist the Labor Department, and a steel industry lobbyist to serve as U.S. Trade Representative.\u003c/p>\n\u003cp>The book has a long section on the negative impacts of gerrymandering congressional districts and ends with the challenges of getting a bill through Congress, two phenomena that are not unrelated.\u003c/p>\n\u003cp>The good news is that there isn’t space to describe most of Litt’s proposed solutions. \u003cem>Democracy In One Book Or Less\u003c/em> is a no-nonsense guide for how we, the people, can fix ourselves. In the words of Abraham Lincoln, “Democracy is direct self-government over all the people, for all the people, by all the people.”\u003c/p>\n\u003cp>“I’d sure like to live in a country like that,” Litt concludes.\u003c/p>\n\u003cp>Me too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Martha Anne Toll’s writing is at \u003ca href=\"https://urldefense.com/v3/__http:/www.marthaannetoll.com/__;!!Iwwt!DXh2BZkEDFfk4_3Bc_6MxcNx_fXTM1J_aRI26iciHR8feUuB9mWeHKijbcpXig%24\" target=\"_blank\" rel=\"noopener noreferrer\">www.marthaannetoll.com\u003c/a>, and she tweets \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/marthaannetoll?lang=en__;!!Iwwt!DXh2BZkEDFfk4_3Bc_6MxcNx_fXTM1J_aRI26iciHR8feUuB9mWeHKiTsrfMmg%24\" target=\"_blank\" rel=\"noopener noreferrer\">@marthaannetoll\u003c/a>. She was the founding executive director of the \u003ca href=\"https://urldefense.com/v3/__http:/www.butlerfamilyfund.org/__;!!Iwwt!DXh2BZkEDFfk4_3Bc_6MxcNx_fXTM1J_aRI26iciHR8feUuB9mWeHKjQbl3oAQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">Butler Family Fund.\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Democracy+In+One+Book+Or+Less%27+Proposes+Solutions+To+U.S.+Government+Ills&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our twin pandemics in the forefront at the moment—racism and health—underscore a democracy in crisis.\u003c/p>\n\u003cp>David Litt, author of \u003cem>Thanks, Obama\u003c/em> and a speechwriter for the 44th president, has a prescription: \u003cem>Democracy In One Book Or Less: How It Works, Why It Doesn’t, and Why Fixing It Is Easier Than You Think.\u003c/em> Litt refreshingly debunks myths about our founders, pointing up false narratives and warped historical perceptions. He is explicit on the calamitous risks of a widening income gap that concentrates power in the one percent. The racism that erodes our democracy bears repeating as well, and loudly.\u003c/p>\n\u003cp>Writing in breezy, digestible prose, Litt opens with Senate Majority Leader Mitch McConnell. Until President Trump, “no politician … has so openly treated accumulating power as a sport,” Litt writes. McConnell’s political ideal: Constituents have nothing to do with it.\u003c/p>\n\u003cp>Litt presents statistics that prove our democracy is ill: Since 1980, the number of Americans legally barred from voting has more than doubled. Since the 1990s, the odds of living in a competitive congressional district have fallen by half. Since 2000, money spent on lobbying in Washington has risen by 100 percent.\u003c/p>\n\u003cp>\u003cem>Democracy In One Book Or Less\u003c/em> explores egregious injustices throughout our system and proposes solutions. Voting inequities serve as illustration. Contrary to common perceptions, nonvoters are not “couch potatoes,” abjuring their civic duties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Litt discusses Rick Scott, a white man who ran a Florida hospital system that committed massive Medicare fraud. The Justice Department obtained a $1.7 billion settlement from the company but charged no executives. Litt then considers Ricky Scott, a black man charged with “grand theft” in Florida, which can be something as trivial as removing a fire extinguisher from a wall. The white man is the junior senator from Florida following two terms as governor; the black man was found guilty of a felony and barred from voting for life.\u003c/p>\n\u003cp>Before 2006, no state required an ID to vote. Today, Litt says, 17 states do. In Tennessee, a voter with a gun permit can vote, while a student using a University of Tennessee ID cannot. ID laws, however, aren’t the biggest problem. Voter “purges” result in glaring injustices.\u003c/p>\n\u003cp>A chapter outs the “godfather of the modern purge,” Hans von Spakovsky, former member of the Federal Election Commission and the Republican party’s standard bearer for shrinking the electorate. Litt spotlights Georgia Secretary of State Brian Kemp, the white gubernatorial candidate who happened to be the state official in charge of voting, as responsible for purging 1.5 million names from the rolls under a new “Use It or Lose It” rule he put into place.\u003c/p>\n\u003cp>Moreover, Litt recounts, on election day 2018, Fulton County, which includes much of metro Atlanta (read, African American), locked up a quarter of its voting machines. Abrams “lost” by 55,000. It is an ugly truth that in red and blue states alike, “The less white your neighborhood, the longer you wait,” Litt writes.\u003c/p>\n\u003cp>We don’t have to have million of adults legally barred from voting. Litt offers solutions, showing their success in other countries. He suggests we automatically register voters as soon as they turn 18; help disabled people get to the polls; vote by mail so people don’t miss work, or, in the age of pandemic, risk their health. He notes we can vote on weekends, when it’s easier for low-wage workers, and abolish voter ID laws because despite false claims by President Trump, voter fraud is virtually nonexistent.\u003c/p>\n\u003cp>The franchise can and has been expanded. Litt reports that 40 states have allowed non-citizen immigrants to vote at one time or another, but not since 1926. He believes there’s no reason why long-term undocumented people shouldn’t be allowed to vote, to say nothing of greencard holders.\u003c/p>\n\u003cp>Litt examines the flaws of the Electoral College, which can result in the winner of the popular vote losing the presidency, as happened with Presidents George W. Bush and Donald Trump. Although the Electoral College is constitutionally mandated, there are ways to fix it.\u003c/p>\n\u003cp>Using Las Vegas mogul Sheldon Adelson as an example, Litt probes the evils of money in politics. “Dark,” unreported money donated to candidates of both parties severs them from constituents, making them accountable only to their wealthiest donors. Although a majority of Americans care deeply care about a range of issues, including gun control and curbing global warming, politicians can not only ignore, but also escalate these problems with impunity.\u003c/p>\n\u003cp>Here’s Litt on the Trump administration, where there is no daylight between official government and special interests: A coal-mining lobbyist was appointed to run the Environmental Protection Agency, an oil-and-gas lobbyist the Interior Department, a banking lobbyist the Labor Department, and a steel industry lobbyist to serve as U.S. Trade Representative.\u003c/p>\n\u003cp>The book has a long section on the negative impacts of gerrymandering congressional districts and ends with the challenges of getting a bill through Congress, two phenomena that are not unrelated.\u003c/p>\n\u003cp>The good news is that there isn’t space to describe most of Litt’s proposed solutions. \u003cem>Democracy In One Book Or Less\u003c/em> is a no-nonsense guide for how we, the people, can fix ourselves. In the words of Abraham Lincoln, “Democracy is direct self-government over all the people, for all the people, by all the people.”\u003c/p>\n\u003cp>“I’d sure like to live in a country like that,” Litt concludes.\u003c/p>\n\u003cp>Me too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Martha Anne Toll’s writing is at \u003ca href=\"https://urldefense.com/v3/__http:/www.marthaannetoll.com/__;!!Iwwt!DXh2BZkEDFfk4_3Bc_6MxcNx_fXTM1J_aRI26iciHR8feUuB9mWeHKijbcpXig%24\" target=\"_blank\" rel=\"noopener noreferrer\">www.marthaannetoll.com\u003c/a>, and she tweets \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/marthaannetoll?lang=en__;!!Iwwt!DXh2BZkEDFfk4_3Bc_6MxcNx_fXTM1J_aRI26iciHR8feUuB9mWeHKiTsrfMmg%24\" target=\"_blank\" rel=\"noopener noreferrer\">@marthaannetoll\u003c/a>. She was the founding executive director of the \u003ca href=\"https://urldefense.com/v3/__http:/www.butlerfamilyfund.org/__;!!Iwwt!DXh2BZkEDFfk4_3Bc_6MxcNx_fXTM1J_aRI26iciHR8feUuB9mWeHKjQbl3oAQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">Butler Family Fund.\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Democracy+In+One+Book+Or+Less%27+Proposes+Solutions+To+U.S.+Government+Ills&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bandcamp, the online music marketplace used by tens of thousands of independent artists and labels, has once again announced plans to donate its cut of one day’s sales to a progressive cause, this time adding an annual commitment. On this and every subsequent Juneteenth—the June 19 holiday commemorating the end of African American slavery—the platform intends to direct its usual revenue share to the NAACP Legal Defense Fund.\u003c/p>\n\u003cp>\u003ca href=\"https://daily.bandcamp.com/features/bandcamp-naacp-ldf-fundraiser\" target=\"_blank\" rel=\"noopener noreferrer\">In a statement\u003c/a>, Bandcamp CEO Ethan Diamond described that fund as “a national organization that has a long history of effectively enacting racial justice and change through litigation, advocacy, and public education.” Diamond added, “We’re also allocating an additional $30,000 per year to partner with organizations that fight for racial justice and create opportunities for people of color.” [aside postid='arts_13882177']\u003c/p>\n\u003cp>This year’s sales event, which runs from 12 a.m. Friday through midnight that evening, will be bolstered by the \u003ca href=\"https://daily.bandcamp.com/features/artists-and-labels-offering-donations-special-merch-juneteenth-fundraiser\" target=\"_blank\" rel=\"noopener noreferrer\">participation\u003c/a> of many artists and labels who have pledged to donate their own proceeds to various racial justice initiatives and organizations. The independent artist Jennifer Vanilla, based in New York, plans to direct proceeds to the advocacy group \u003ca href=\"https://www.justiceforblackgirls.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Black Girls\u003c/a>. The Munich-based dance music label Public Possession will direct its money towards \u003ca href=\"https://www.helpdirect.org/spenden-organisationen/details/initiative-schwarze-menschen-in-deutschland-e-v/\" target=\"_blank\" rel=\"noopener noreferrer\">Die Initiative Schwarze Menschen\u003c/a>, a German-focused black rights organization. The Chicago-based Numero Group, a label known for reissuing lost gems, has said it is forming an employee-led fund to support equality initiatives. [aside postid='arts_13877139']\u003c/p>\n\u003cp>Bandcamp has promoted similar campaigns as far back as 2017, spurred on by President Trump’s executive order \u003ca href=\"https://www.npr.org/sections/therecord/2017/01/31/512685625/bandcamp-joins-artists-and-tech-companies-in-aclu-funding-drive\" target=\"_blank\" rel=\"noopener noreferrer\">around immigration\u003c/a> that January. This March, after the global lockdown had decimated many musicians’ bottom lines due to the lack of live performances, the company announced a \u003ca href=\"https://www.npr.org/2020/03/18/817740137/bandcamp-will-forfeit-its-share-of-sales-this-friday\" target=\"_blank\" rel=\"noopener noreferrer\">similar campaign\u003c/a> directed instead towards financial relief for those artists, which it has repeated on the first Fridays of May and June, with another planned for July 3. The company reported that on the first of those “Bandcamp Fridays,” $4.3 million in revenue (of which roughly $516,000 would ordinarily have gone to the company) was paid directly to the artists and labels whose work was purchased.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bandcamp%2C+Much-Loved+Indie+Music+Marketplace%2C+Launches+A+Juneteenth+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bandcamp, the online music marketplace used by tens of thousands of independent artists and labels, has once again announced plans to donate its cut of one day’s sales to a progressive cause, this time adding an annual commitment. On this and every subsequent Juneteenth—the June 19 holiday commemorating the end of African American slavery—the platform intends to direct its usual revenue share to the NAACP Legal Defense Fund.\u003c/p>\n\u003cp>\u003ca href=\"https://daily.bandcamp.com/features/bandcamp-naacp-ldf-fundraiser\" target=\"_blank\" rel=\"noopener noreferrer\">In a statement\u003c/a>, Bandcamp CEO Ethan Diamond described that fund as “a national organization that has a long history of effectively enacting racial justice and change through litigation, advocacy, and public education.” Diamond added, “We’re also allocating an additional $30,000 per year to partner with organizations that fight for racial justice and create opportunities for people of color.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bandcamp has promoted similar campaigns as far back as 2017, spurred on by President Trump’s executive order \u003ca href=\"https://www.npr.org/sections/therecord/2017/01/31/512685625/bandcamp-joins-artists-and-tech-companies-in-aclu-funding-drive\" target=\"_blank\" rel=\"noopener noreferrer\">around immigration\u003c/a> that January. This March, after the global lockdown had decimated many musicians’ bottom lines due to the lack of live performances, the company announced a \u003ca href=\"https://www.npr.org/2020/03/18/817740137/bandcamp-will-forfeit-its-share-of-sales-this-friday\" target=\"_blank\" rel=\"noopener noreferrer\">similar campaign\u003c/a> directed instead towards financial relief for those artists, which it has repeated on the first Fridays of May and June, with another planned for July 3. The company reported that on the first of those “Bandcamp Fridays,” $4.3 million in revenue (of which roughly $516,000 would ordinarily have gone to the company) was paid directly to the artists and labels whose work was purchased.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bandcamp%2C+Much-Loved+Indie+Music+Marketplace%2C+Launches+A+Juneteenth+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>The Last of Us Part II\u003c/em> is a game that punches you in the gut right from the start, and never stops punching.\u003c/p>\n\u003cp>During a time like this, I honestly didn’t know if I could handle a game like \u003cem>The Last of Us\u003c/em>, either part of it. As a journalist in 2020, a lot of my waking thoughts go to the news (which is usually upsetting). I wasn’t really tempted to escape into an apocalyptic hellscape where 60% of the world’s population is killed by a parasitic fungus that turns you into a zombie.\u003c/p>\n\u003cp>It wasn’t from a lack of interest. I’ve been looking forward to this game for years. The original \u003cem>Last of Us\u003c/em>, released in 2013, is considered one of the best games of all time. People had extraordinarily high expectations for this new installment—and it’s another masterpiece just like the first.\u003c/p>\n\u003cp>If you’re unfamiliar with the story: The main character, Joel, is a smuggler who lost his daughter during the initial outbreak. He was hired by a group called the Fireflies to transport a 14-year-old girl named Ellie from the Boston quarantine zone to a hospital in Salt Lake City. She is immune to the virus, and the Fireflies want to use that to create a vaccine.\u003c/p>\n\u003cp>\u003cem>Warning: Spoilers ahead for the original game … which you really should have played by now!\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite initially being ice-cold to Ellie, Joel starts seeing her as a daughter during their journey—so when they get to Salt Lake City and he finds out creating the vaccine will kill Ellie, Joel chooses to rescue her, killing everybody in his path.\u003c/p>\n\u003cp>Players of the first game rationalized Joel’s actions—he had gotten to know and love Ellie, and so did we. Some people (not me) say saving her was the right thing to do! But what about everybody else in the world, who has to live with the effects of decisions like that?\u003c/p>\n\u003cp>In \u003cem>The Last of Us Part II\u003c/em>, we see what happens when the need for revenge and justice overtakes everything else. We see how the world makes people do desperate things for understandable reasons. The game doesn’t glorify violence—instead, it shows you the awful effects of violence on survivors. But that isn’t apparent until the top-secret second half of the game, when the waterworks really start flowing.\u003c/p>\n\u003cp>Ellie is now one of the main playable characters. She’s 19, and noticeably different from the bubbly 14-year-old she was in the previous game. Like everybody else in this universe, Ellie has been traumatized by her experiences, and they have hardened her.\u003c/p>\n\u003cfigure id=\"attachment_13882214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/screen_tlou2_teaser_05_1480799632_wide-63166899ac03afdd0ccb96305053d3c09849def6-800x450.png\" alt=\"At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn't last.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn’t last. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Right at the beginning, there’s a glimmer of hope: Joel and Ellie have achieved a new normal, living at a compound in Jackson, Wyo., owned by Joel’s brother Tommy. And at this point, everybody can handle zombies so easily that to Ellie, getting rid of them can be like going on a casual hunting trip.\u003c/p>\n\u003cp>But she loves playing guitar, comics, and movies. She thinks corny jokes are hilarious and collects trading cards hiding around the map. Her diary is filled with entries about girls she is dating. And she really loves her friends, her crush Dina, and Joel, despite their newly tense relationship.\u003c/p>\n\u003cp>She also thinks it’s odd to be in a quarantine zone without hearing constant gunfire and explosions—and talks about the first time she killed somebody like she’s talking about the first time she drank a beer.\u003c/p>\n\u003cp>Since this is still \u003cem>The Last of Us\u003c/em>, you know the new normal will be ripped away pretty fast. And when that happens, Ellie heads for Seattle to get revenge. That’s right: Revenge. Ellie started as a person willing to sacrifice her life to save the world. But loss has turned her into kind of a heartless monster, willing to sacrifice others for her own goals.\u003c/p>\n\u003cp>And since this is still \u003cem>The Last of Us\u003c/em>, you’ll be admiring the gorgeous, expansive world—full of puzzles, challenges and things to explore—as Ellie travels through it on her awful mission.\u003c/p>\n\u003cfigure id=\"attachment_13882215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/2510225ee9c2f1317175.94897258-tloupii_review_screenshot_06_wide-2899990ac0c81d3e4230507e729537d56c8fd114-800x450.jpg\" alt=\"The world of 'Part II' is even bigger, lusher and more engaging than the first game.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The world of ‘Part II’ is even bigger, lusher and more engaging than the first game. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Part II \u003c/em>makes you deeply aware of the consequences of your actions. In most video games, you don’t question why you’re killing people, you just assume that everybody in a specific faction is bad. In this game, it’s not so black and white.\u003c/p>\n\u003cp>And Naughty Dog does a great job of getting players to connect with every character, not just the main characters. You truly feel like you’re experiencing this disturbing journey with Ellie—you feel her fall in love, you feel her grief, her anger, her fears.\u003c/p>\n\u003cp>But you also feel for your enemies. It’s crushing to hear Ellie’s targets talk about their own hopes, fears, and futures when she may soon have to kill them. I started avoiding combat whenever possible, and spent a lot of time trying to sneak around dangerous humans instead of confronting them.\u003c/p>\n\u003cp>By the time I finished this emotional rollercoaster, I was a weeping mess. I did nothing but sob \u003cem>hard\u003c/em> for about an hour. I thought I’d gotten it out of my system. But afterward, I kept bursting into tears every now and then, when my mind wandered to little moments in the game.\u003c/p>\n\u003cp>It’s not easy to understand why I felt like that until you play the second half of the game, the part I can’t tell you about.\u003c/p>\n\u003cp>I think \u003cem>The Last of Us Part II \u003c/em>has changed me a bit as a person. It made me very aware of the little things in my life that I take for granted, the kinds of things you don’t appreciate until they’re ripped away forever. It’s easy to get lost in the darkness of the world, but it’s necessary to look at the things that bring you light.\u003c/p>\n\u003cp>I wasn’t expecting it to be a happy game by any means, but I could have never predicted just how intense an emotional experience it was. I don’t think I’m going to be able to look at the original game the same way ever again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Of+Us+Part+II%27+Is+A+Gut+Punch+That+Just+Keeps+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Last of Us Part II\u003c/em> is a game that punches you in the gut right from the start, and never stops punching.\u003c/p>\n\u003cp>During a time like this, I honestly didn’t know if I could handle a game like \u003cem>The Last of Us\u003c/em>, either part of it. As a journalist in 2020, a lot of my waking thoughts go to the news (which is usually upsetting). I wasn’t really tempted to escape into an apocalyptic hellscape where 60% of the world’s population is killed by a parasitic fungus that turns you into a zombie.\u003c/p>\n\u003cp>It wasn’t from a lack of interest. I’ve been looking forward to this game for years. The original \u003cem>Last of Us\u003c/em>, released in 2013, is considered one of the best games of all time. People had extraordinarily high expectations for this new installment—and it’s another masterpiece just like the first.\u003c/p>\n\u003cp>If you’re unfamiliar with the story: The main character, Joel, is a smuggler who lost his daughter during the initial outbreak. He was hired by a group called the Fireflies to transport a 14-year-old girl named Ellie from the Boston quarantine zone to a hospital in Salt Lake City. She is immune to the virus, and the Fireflies want to use that to create a vaccine.\u003c/p>\n\u003cp>\u003cem>Warning: Spoilers ahead for the original game … which you really should have played by now!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite initially being ice-cold to Ellie, Joel starts seeing her as a daughter during their journey—so when they get to Salt Lake City and he finds out creating the vaccine will kill Ellie, Joel chooses to rescue her, killing everybody in his path.\u003c/p>\n\u003cp>Players of the first game rationalized Joel’s actions—he had gotten to know and love Ellie, and so did we. Some people (not me) say saving her was the right thing to do! But what about everybody else in the world, who has to live with the effects of decisions like that?\u003c/p>\n\u003cp>In \u003cem>The Last of Us Part II\u003c/em>, we see what happens when the need for revenge and justice overtakes everything else. We see how the world makes people do desperate things for understandable reasons. The game doesn’t glorify violence—instead, it shows you the awful effects of violence on survivors. But that isn’t apparent until the top-secret second half of the game, when the waterworks really start flowing.\u003c/p>\n\u003cp>Ellie is now one of the main playable characters. She’s 19, and noticeably different from the bubbly 14-year-old she was in the previous game. Like everybody else in this universe, Ellie has been traumatized by her experiences, and they have hardened her.\u003c/p>\n\u003cfigure id=\"attachment_13882214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/screen_tlou2_teaser_05_1480799632_wide-63166899ac03afdd0ccb96305053d3c09849def6-800x450.png\" alt=\"At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn't last.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">At the start of Part II, Ellie has found a kind of peace—she enjoys playing guitar, corny jokes and crushing on girls. Naturally it doesn’t last. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Right at the beginning, there’s a glimmer of hope: Joel and Ellie have achieved a new normal, living at a compound in Jackson, Wyo., owned by Joel’s brother Tommy. And at this point, everybody can handle zombies so easily that to Ellie, getting rid of them can be like going on a casual hunting trip.\u003c/p>\n\u003cp>But she loves playing guitar, comics, and movies. She thinks corny jokes are hilarious and collects trading cards hiding around the map. Her diary is filled with entries about girls she is dating. And she really loves her friends, her crush Dina, and Joel, despite their newly tense relationship.\u003c/p>\n\u003cp>She also thinks it’s odd to be in a quarantine zone without hearing constant gunfire and explosions—and talks about the first time she killed somebody like she’s talking about the first time she drank a beer.\u003c/p>\n\u003cp>Since this is still \u003cem>The Last of Us\u003c/em>, you know the new normal will be ripped away pretty fast. And when that happens, Ellie heads for Seattle to get revenge. That’s right: Revenge. Ellie started as a person willing to sacrifice her life to save the world. But loss has turned her into kind of a heartless monster, willing to sacrifice others for her own goals.\u003c/p>\n\u003cp>And since this is still \u003cem>The Last of Us\u003c/em>, you’ll be admiring the gorgeous, expansive world—full of puzzles, challenges and things to explore—as Ellie travels through it on her awful mission.\u003c/p>\n\u003cfigure id=\"attachment_13882215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/2510225ee9c2f1317175.94897258-tloupii_review_screenshot_06_wide-2899990ac0c81d3e4230507e729537d56c8fd114-800x450.jpg\" alt=\"The world of 'Part II' is even bigger, lusher and more engaging than the first game.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The world of ‘Part II’ is even bigger, lusher and more engaging than the first game. \u003ccite>(Sony Entertainment/Naughty Dog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Part II \u003c/em>makes you deeply aware of the consequences of your actions. In most video games, you don’t question why you’re killing people, you just assume that everybody in a specific faction is bad. In this game, it’s not so black and white.\u003c/p>\n\u003cp>And Naughty Dog does a great job of getting players to connect with every character, not just the main characters. You truly feel like you’re experiencing this disturbing journey with Ellie—you feel her fall in love, you feel her grief, her anger, her fears.\u003c/p>\n\u003cp>But you also feel for your enemies. It’s crushing to hear Ellie’s targets talk about their own hopes, fears, and futures when she may soon have to kill them. I started avoiding combat whenever possible, and spent a lot of time trying to sneak around dangerous humans instead of confronting them.\u003c/p>\n\u003cp>By the time I finished this emotional rollercoaster, I was a weeping mess. I did nothing but sob \u003cem>hard\u003c/em> for about an hour. I thought I’d gotten it out of my system. But afterward, I kept bursting into tears every now and then, when my mind wandered to little moments in the game.\u003c/p>\n\u003cp>It’s not easy to understand why I felt like that until you play the second half of the game, the part I can’t tell you about.\u003c/p>\n\u003cp>I think \u003cem>The Last of Us Part II \u003c/em>has changed me a bit as a person. It made me very aware of the little things in my life that I take for granted, the kinds of things you don’t appreciate until they’re ripped away forever. It’s easy to get lost in the darkness of the world, but it’s necessary to look at the things that bring you light.\u003c/p>\n\u003cp>I wasn’t expecting it to be a happy game by any means, but I could have never predicted just how intense an emotional experience it was. I don’t think I’m going to be able to look at the original game the same way ever again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Of+Us+Part+II%27+Is+A+Gut+Punch+That+Just+Keeps+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hovering in the Closet Doorway: 'Love, Victor'",
"headTitle": "Hovering in the Closet Doorway: ‘Love, Victor’ | KQED",
"content": "\u003cp>The main impression left by 2018’s pat, polished and inoffensive gay-teen rom-com \u003cem>Love, Simon \u003c/em>was how consummately unqueer it presented. Sure, its protagonist, Simon, struggled with his sexual identity, but he did so from inside thick layers of privilege that kept him safe, like a suit of bougie, masc-for-masc chain mail. He was white, he lived in a tony Atlanta suburb with his liberal, warm, wet-eyed parents—he could and did easily pass for straight.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ykHeGtN4m94\u003c/p>\n\u003cp>At least the film acknowledged, indirectly, that Simon’s life in his roomy, well-appointed closet was a luxury unavailable to many queer teens. Simon confessed to us that his decision not to come out was rooted in fear—but not, as it is for millions of queer kids, out of fear for his physical, emotional or financial safety, or even fear that he’d be rejected by friends and family. No, he was simply worried that his cushy suburban idyll would, in some way, change.\u003c/p>\n\u003cp>That’s why, though it was packaged as a chance for LGBTQ+ kids to finally see themselves on screen in a mainstream love story, the film’s low-stakes, normcore sensibility, to say nothing of its tendency to patiently explain aspects of gay life that wouldn’t need explaining to any gay kid with a laptop, felt as if they were pitched squarely (heh) at straights.\u003c/p>\n\u003cp>Enter: \u003cem>Love, Victor\u003c/em>, Hulu’s follow-up series, in which the film’s writers get a chance to course-correct. And in the pilot’s opening minutes, the series espouses a mission statement that engages with the film’s limitations in a way that seems promising.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fifteen-year-old Victor Salazar (Michael Cimino) has just moved from Texas to the same Atlanta suburb featured in the film, to attend the same high school Simon did. But Victor and his family are Colombian American. His parents have to work harder than Simon’s—both to make ends meet and to make their marriage work. They are conservative and religious.\u003c/p>\n\u003cp>All of this signals an opportunity to grapple with thornier, more substantive conflicts related to coming out than Simon ever faced. And the series’s framing device—a series of texts between Victor and Simon (voiced by the film’s Nick Robinson)—kicks off promisingly, with Victor angrily calling Simon out on his privilege.\u003c/p>\n\u003cp>But while the specifics of Victor’s family life continue to imbue the series with a more lived-in texture than the film managed to achieve, the writing soon—too soon—adopts the restrained tone of the movie. Victor’s high school friends slot neatly into types—the eccentric pal (Anthony Turpel), the popular rich girl (Rachel Hilson), her friend who speaks in a stream of just-past-their-sell-by-date pop-culture references (Bebe Wood), the arrogant jock (Mason Gooding). All are given room to deepen/complicate, which they do by hitting all the familiar stations of the teen rom-com cross: house party, love triangle, school dance, etc.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uh-IaEaEdE0\u003c/p>\n\u003cp>Like Simon before him, Victor seems woefully naive in ways that allow him to serve as a proxy for straight viewers.\u003c/p>\n\u003cp>But just … \u003cem>deeply \u003c/em>sheltered straight viewers.\u003c/p>\n\u003cp>How else to explain, in this the year of our Lord 2020, his shocked disbelief in a late-season episode that \u003cem>Wait, there are gay … athletes?\u003c/em>\u003c/p>\n\u003cp>It’s a moment that, had \u003cem>Love, Victor\u003c/em> retained the convictions evinced in the pilot, might allow the series to address something real, in a spiky way: Victor’s very evident internalized homophobia. To queer kids like Victor who can pass for straight, the guardedness they carry isn’t quickly or easily dropped. It curdles all too readily into toxic behavior—disdaining, or performatively lashing out at, kids whose queerness can’t be as conveniently hidden; paranoia that their secret will come out before they can; a festering self-hatred that fuels thoughts of self-harm.\u003c/p>\n\u003cp>Instead, we just see Victor get a bit rattled around the queer people he meets. There’s a nugget of truth, there—just as there’s something intriguing about Victor’s romantic relationship with popular girl Mia. The show pays lip service to the notion that Victor may be bisexual or nonbinary without ever truly engaging with it, because the story it seeks to tell is a more familiar one altogether.\u003c/p>\n\u003cp>There’s a winsome, pillow-lipped hottie for Simon to moon over (George Sear), you see, and awkward passes to be made and rebuffed. There’s a revelation that must be revealed—first to his weird best friend, intentionally, and then to other interested parties, along the accidental-yet-wildly-convenient routes that are the stuff of rom-coms (always check for feet under the bathroom stalls before baring your dang soul, people; come on, we’ve been over this).\u003c/p>\n\u003cp>Which is to say: Despite the differences between their leads, \u003cem>Love, Victor\u003c/em> conforms exactly to the narrative shape and modest, crowd-pleasing ambitions of the film that preceded it. And if that’s where the show’s intentions lie, and it manages to tell its conventional tale with charming performances from Cimino et al., why begrudge it not doing more? Especially given that the season ends on a note that suggests a desire to tell a different, more difficult story, should it get a second season—a story with real stakes, insurmountable conflicts and lasting repercussions?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, given everything that leads up to that moment, a second season of \u003cem>Love, Victor\u003c/em> probably won’t choose to tell \u003cem>that \u003c/em>story. But there’s some hope it might. After all, this first season was produced for Disney+, which ultimately balked at airing the show on its service. Now that the series has found a home at Hulu, it’s intriguing to imagine a second season conceived and executed without catering to the House of Mouse’s all-ages audience—a \u003cem>Love, Victor\u003c/em> that allows Victor to love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hovering+In+The+Closet+Doorway%3A+%27Love%2C+Victor%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The makers of 2018's 'Love, Simon' center this follow-up series on a Latinx teen from a conservative, working-class family.",
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"headline": "Hovering in the Closet Doorway: 'Love, Victor'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The main impression left by 2018’s pat, polished and inoffensive gay-teen rom-com \u003cem>Love, Simon \u003c/em>was how consummately unqueer it presented. Sure, its protagonist, Simon, struggled with his sexual identity, but he did so from inside thick layers of privilege that kept him safe, like a suit of bougie, masc-for-masc chain mail. He was white, he lived in a tony Atlanta suburb with his liberal, warm, wet-eyed parents—he could and did easily pass for straight.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ykHeGtN4m94'\n title='//www.youtube.com/embed/ykHeGtN4m94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least the film acknowledged, indirectly, that Simon’s life in his roomy, well-appointed closet was a luxury unavailable to many queer teens. Simon confessed to us that his decision not to come out was rooted in fear—but not, as it is for millions of queer kids, out of fear for his physical, emotional or financial safety, or even fear that he’d be rejected by friends and family. No, he was simply worried that his cushy suburban idyll would, in some way, change.\u003c/p>\n\u003cp>That’s why, though it was packaged as a chance for LGBTQ+ kids to finally see themselves on screen in a mainstream love story, the film’s low-stakes, normcore sensibility, to say nothing of its tendency to patiently explain aspects of gay life that wouldn’t need explaining to any gay kid with a laptop, felt as if they were pitched squarely (heh) at straights.\u003c/p>\n\u003cp>Enter: \u003cem>Love, Victor\u003c/em>, Hulu’s follow-up series, in which the film’s writers get a chance to course-correct. And in the pilot’s opening minutes, the series espouses a mission statement that engages with the film’s limitations in a way that seems promising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fifteen-year-old Victor Salazar (Michael Cimino) has just moved from Texas to the same Atlanta suburb featured in the film, to attend the same high school Simon did. But Victor and his family are Colombian American. His parents have to work harder than Simon’s—both to make ends meet and to make their marriage work. They are conservative and religious.\u003c/p>\n\u003cp>All of this signals an opportunity to grapple with thornier, more substantive conflicts related to coming out than Simon ever faced. And the series’s framing device—a series of texts between Victor and Simon (voiced by the film’s Nick Robinson)—kicks off promisingly, with Victor angrily calling Simon out on his privilege.\u003c/p>\n\u003cp>But while the specifics of Victor’s family life continue to imbue the series with a more lived-in texture than the film managed to achieve, the writing soon—too soon—adopts the restrained tone of the movie. Victor’s high school friends slot neatly into types—the eccentric pal (Anthony Turpel), the popular rich girl (Rachel Hilson), her friend who speaks in a stream of just-past-their-sell-by-date pop-culture references (Bebe Wood), the arrogant jock (Mason Gooding). All are given room to deepen/complicate, which they do by hitting all the familiar stations of the teen rom-com cross: house party, love triangle, school dance, etc.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uh-IaEaEdE0'\n title='//www.youtube.com/embed/uh-IaEaEdE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Simon before him, Victor seems woefully naive in ways that allow him to serve as a proxy for straight viewers.\u003c/p>\n\u003cp>But just … \u003cem>deeply \u003c/em>sheltered straight viewers.\u003c/p>\n\u003cp>How else to explain, in this the year of our Lord 2020, his shocked disbelief in a late-season episode that \u003cem>Wait, there are gay … athletes?\u003c/em>\u003c/p>\n\u003cp>It’s a moment that, had \u003cem>Love, Victor\u003c/em> retained the convictions evinced in the pilot, might allow the series to address something real, in a spiky way: Victor’s very evident internalized homophobia. To queer kids like Victor who can pass for straight, the guardedness they carry isn’t quickly or easily dropped. It curdles all too readily into toxic behavior—disdaining, or performatively lashing out at, kids whose queerness can’t be as conveniently hidden; paranoia that their secret will come out before they can; a festering self-hatred that fuels thoughts of self-harm.\u003c/p>\n\u003cp>Instead, we just see Victor get a bit rattled around the queer people he meets. There’s a nugget of truth, there—just as there’s something intriguing about Victor’s romantic relationship with popular girl Mia. The show pays lip service to the notion that Victor may be bisexual or nonbinary without ever truly engaging with it, because the story it seeks to tell is a more familiar one altogether.\u003c/p>\n\u003cp>There’s a winsome, pillow-lipped hottie for Simon to moon over (George Sear), you see, and awkward passes to be made and rebuffed. There’s a revelation that must be revealed—first to his weird best friend, intentionally, and then to other interested parties, along the accidental-yet-wildly-convenient routes that are the stuff of rom-coms (always check for feet under the bathroom stalls before baring your dang soul, people; come on, we’ve been over this).\u003c/p>\n\u003cp>Which is to say: Despite the differences between their leads, \u003cem>Love, Victor\u003c/em> conforms exactly to the narrative shape and modest, crowd-pleasing ambitions of the film that preceded it. And if that’s where the show’s intentions lie, and it manages to tell its conventional tale with charming performances from Cimino et al., why begrudge it not doing more? Especially given that the season ends on a note that suggests a desire to tell a different, more difficult story, should it get a second season—a story with real stakes, insurmountable conflicts and lasting repercussions?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, given everything that leads up to that moment, a second season of \u003cem>Love, Victor\u003c/em> probably won’t choose to tell \u003cem>that \u003c/em>story. But there’s some hope it might. After all, this first season was produced for Disney+, which ultimately balked at airing the show on its service. Now that the series has found a home at Hulu, it’s intriguing to imagine a second season conceived and executed without catering to the House of Mouse’s all-ages audience—a \u003cem>Love, Victor\u003c/em> that allows Victor to love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hovering+In+The+Closet+Doorway%3A+%27Love%2C+Victor%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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