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"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": "\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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"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>\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'",
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"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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"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. 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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. 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"content": "\u003cp>If there is one emotion that hangs over our world these days—other than fear and anger, perhaps—it is grief.\u003c/p>\n\u003cp>There’s the grief that comes from watching the death of George Floyd captured on a bystander’s video, pleading for his mother and his breath, while a police officer kneels with a knee on his neck.\u003c/p>\n\u003cp>There’s grief over what that moment said about police and the policing of black people, along with grief over the protests and violence in some American cities as people demand answers.\u003c/p>\n\u003cp>And there’s the grief of Coronavirus, as we mourn lives cut short, and shoulder the loss of jobs, business opportunities, weddings, vacations, graduations, senior proms …\u003c/p>\n\u003cp>In this difficult time, television shows have emerged as a surprising resource, with important examples of how people process grief and handle journeys of loss. An increasing number of fictional dramas and comedy series center on characters struggling with grief in raw and emotional ways, which some experts say can actually help all of us learn how to process those feelings better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I do think there’s a lot of power in the media starting to embrace grief as a conversation,” says Joanne Weingarten, the Senior Clinical Coordinator of adult programs at the \u003ca href=\"https://www.ourhouse-grief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Our House Grief Support Center \u003c/a>in Los Angeles. “The thing I find really powerful about these shows, is that they don’t solve grief in one episode. When you live in a culture that says after three days when someone you love dies, you should be back in the workforce, that can be really confusing.”\u003c/p>\n\u003cp>Some have used the term “traumedies” to describe comedies about pain and loss. But there’s a wide range of shows mining the subject, featuring grief and grieving characters centrally.\u003c/p>\n\u003cp>In a way, it’s counterintuitive to typical TV development, which focuses on likable characters viewers want inside their homes—grieving characters can be unlikable and difficult to watch.\u003c/p>\n\u003cp>Holly Daniels, a former actress (\u003cem>House\u003c/em> and \u003cem>Castle)\u003c/em>, now has a doctorate in psychology and serves as Managing Director of Clinical Affairs for the \u003ca href=\"https://www.camft.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Association of Marriage and Family Therapists\u003c/a> in Los Angeles. She says TV shows that treat grief as a momentary state often miss the mark, feeding into a culture that tells viewers major life problems can have simple solutions rooted in consumerism, like purchasing the right car or the right house.\u003c/p>\n\u003cp>“Being in the rat race of our consumer culture, [the lockdowns sparked by the pandemic] forced us to kind of take a step back and figure out what is meaningful to us,” Daniels says. “Consumer culture disengages us. … We almost needed something this global to make us step back from that and look at our lives. … That’s what I see in these shows.”\u003c/p>\n\u003cp>It may sound odd to highlight fictional stories about grief at a time when so much of the real thing is around. But experts say there is also a catharsis in watching someone struggle with feelings you are having—it’s also one of the most powerful dynamics that binds us to television—and there is a lot about grief and grieving that today’s TV shows get right.\u003c/p>\n\u003cp>Here’s my list of the best TV shows that depict grief these days, along with a little analysis from the experts.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbo.com/i-know-this-much-is-true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Know This Much Is True\u003c/strong>\u003c/a>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U4KBGydqlVk\u003c/p>\n\u003cp>In this miniseries, based on a Wally Lamb novel, Mark Ruffalo gives anguished, emotional performances as two people; twin brothers, Dominick and Thomas. Though the first episode features Thomas committing a horrific act while struggling with mental illness, it is Dominick we see constantly suffering from grief—pushing away friends and family members after the loss of his mother, his baby, his marriage and more.\u003c/p>\n\u003cp>At times, Dominick seems the brother most in need of help, as his twin’s commitment to an institution sends him into a spiral of anger, self-loathing, guilt and anxiety that lasts years. In the miniseries, Dominick’s ex-wife, girlfriend, best friend and stepfather all step back in the wake of his blistering anger; for viewers, it makes watching the middle episodes of the miniseries a challenge as we plunge deeper into his dark world.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “Grief is really messy; it can be a lot of tangled emotions, positive and negative, over many months or many years,” says Dr. Shoshana Ungerleider, a physician who also was an executive producer of \u003ca href=\"https://www.netflix.com/title/80210691\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End Game\u003c/em>,\u003c/a> a Netflix documentary short about end of life issues. “Anxiety is the missing stage of grief that nobody talks about, but so many people are feeling right now. Giving ourselves permission to feel that can be really therapeutic.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80998491\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>After Life \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eIGGKSHMQOM\u003c/p>\n\u003cp>Ricky Gervais plays a more depressed and suicidal version of himself as Tony Johnson, features editor for a small community newspaper, who is drowning in grief after his beloved wife dies of breast cancer. At first, he plans to kill himself, then copes by doing whatever he wants—often lobbing insults at those around him, as only Gervais can—as a way of punishing the world. But when others try to help him, his attitude changes.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “This show does a really good job of not sugarcoating his grief,” says Weingarten of the Our House Center. “It shows that he is angry, sad, and at moments wants to end his life. But, slowly, he tries to put one foot in front of the other, [though] there are setbacks.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80219707\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Dead to Me \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BwYBw1raC2o\u003c/p>\n\u003cp>In one of the oddest buddy comedies on TV, Christina Applegate plays Jen Harding, a realtor struggling to handle grief after her husband is killed by a hit-and-run driver. Her life improves when she meets Judy Hale, played by Linda Cardellini, another widow at a grief support group who becomes a fast and close friend. But (spoiler alert!) when Jen learns that Judy isn’t exactly who she says she is, their relationship changes. In the second season, which debuted recently, Jen is still struggling to control her anger as their roles switch and she is forced to hide a terrible secret from Judy.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “You want to make sure you’re not putting pressure on yourself in the early stages of grief to see silver linings or find meaning or do work to make yourself a better person,” says Daniels, noting the pressure on Applegate’s character to improve during support group meetings. “If you’re in the angry phase or you’re in the ‘Everybody leave me alone, I need some space’ phase, that’s okay too. Just by showing us how these characters are feeling and letting us see that, without someone jumping in to fix it right away, is a huge help to a lot of people. … It really can be a comfort.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.nbc.com/this-is-us\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>This Is Us\u003c/strong>\u003c/a>\u003cstrong> (NBC)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RxORiOOrE8I\u003c/p>\n\u003cp>NBC’s super-successful family drama centers on three grown siblings—two biological and one adopted—born on the same day. But the show depicts them at different times in their lives—as tweens, teens and adults—slowly revealing that much of the series’ storylines are centered on how the siblings have been affected across the breadth of their lives by the death of their father.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “That’s a show people at the [Our House Grief] Center talk about a lot … [because] we grieve not just for the current moment, we grieve for the future we planned with the person who died,” says Weingarten. “Every time there’s an event that you expected that person to [attend], there will be some grief involved.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sorryforyourloss/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sorry For Your Loss \u003c/strong>\u003c/a>\u003cstrong>(Facebook Watch)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ajPHIp-ZgfA\u003c/p>\n\u003cp>This under-the-radar series is probably the best original show Facebook has produced yet for its Watch platform. \u003cem>Avengers\u003c/em> franchise star Elizabeth Olsen plays Leigh Shaw, a young widow who left her job writing an advice column to move in with her mother and sister after her husband dies. As a widow, Leigh feels the most entitled to show her grief, but the series reveals that everyone in her family is struggling with the loss of her husband in different ways, including her husband’s brother.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “When someone in our life dies … everyone else [in our life] is grieving the same person, but they have a different relationship with that person,” says Weingarten. “Even though we’re grieving the same individual, what we’re missing about that person might be radically different. So engaging in conversations with others and talking about what you miss about that person can be really powerful, because we can learn about the people we loved after they are gone.”\u003c/p>\n\u003cp>There are many more great TV shows centered on this subject, from HBO’s \u003ca href=\"https://www.hbo.com/six-feet-under\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Six Feet Under\u003c/em>\u003c/a> and ABC’s \u003ca href=\"https://abc.com/shows/a-million-little-things\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Million Little Things\u003c/em>\u003c/a> to Amazon’s\u003ca href=\"https://www.amazon.com/Undone-Season-1/dp/B07SQB8LQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Undone\u003c/em>\u003c/a> and Netflix’s \u003ca href=\"https://www.netflix.com/title/80179190\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Never Have I Ever\u003c/em>. \u003c/a>Even classic good guys like Harry Potter, Batman and Superman were forged into heroes by the crucible of grief, rebounding from the deaths of their parents to become forces for justice. [aside postid='pop_105551']\u003c/p>\n\u003cp>Daniels says such fictional work can provide lasting lessons, as trauma from the pandemic and world events remains with us all, even after the immediate crisis ends.\u003c/p>\n\u003cp>“We’re always going to carry this time with us,” she says. “But maybe struggling together can bring us closer to each other. Maybe we’ll find more connection. And TV shows which [depict] that arc of healing and reconnection … that’s a really important storyline for people to see.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=If+You%27re+Grieving+Right+Now%2C+Here+Are+5+Shows+That+Get+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there is one emotion that hangs over our world these days—other than fear and anger, perhaps—it is grief.\u003c/p>\n\u003cp>There’s the grief that comes from watching the death of George Floyd captured on a bystander’s video, pleading for his mother and his breath, while a police officer kneels with a knee on his neck.\u003c/p>\n\u003cp>There’s grief over what that moment said about police and the policing of black people, along with grief over the protests and violence in some American cities as people demand answers.\u003c/p>\n\u003cp>And there’s the grief of Coronavirus, as we mourn lives cut short, and shoulder the loss of jobs, business opportunities, weddings, vacations, graduations, senior proms …\u003c/p>\n\u003cp>In this difficult time, television shows have emerged as a surprising resource, with important examples of how people process grief and handle journeys of loss. An increasing number of fictional dramas and comedy series center on characters struggling with grief in raw and emotional ways, which some experts say can actually help all of us learn how to process those feelings better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do think there’s a lot of power in the media starting to embrace grief as a conversation,” says Joanne Weingarten, the Senior Clinical Coordinator of adult programs at the \u003ca href=\"https://www.ourhouse-grief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Our House Grief Support Center \u003c/a>in Los Angeles. “The thing I find really powerful about these shows, is that they don’t solve grief in one episode. When you live in a culture that says after three days when someone you love dies, you should be back in the workforce, that can be really confusing.”\u003c/p>\n\u003cp>Some have used the term “traumedies” to describe comedies about pain and loss. But there’s a wide range of shows mining the subject, featuring grief and grieving characters centrally.\u003c/p>\n\u003cp>In a way, it’s counterintuitive to typical TV development, which focuses on likable characters viewers want inside their homes—grieving characters can be unlikable and difficult to watch.\u003c/p>\n\u003cp>Holly Daniels, a former actress (\u003cem>House\u003c/em> and \u003cem>Castle)\u003c/em>, now has a doctorate in psychology and serves as Managing Director of Clinical Affairs for the \u003ca href=\"https://www.camft.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Association of Marriage and Family Therapists\u003c/a> in Los Angeles. She says TV shows that treat grief as a momentary state often miss the mark, feeding into a culture that tells viewers major life problems can have simple solutions rooted in consumerism, like purchasing the right car or the right house.\u003c/p>\n\u003cp>“Being in the rat race of our consumer culture, [the lockdowns sparked by the pandemic] forced us to kind of take a step back and figure out what is meaningful to us,” Daniels says. “Consumer culture disengages us. … We almost needed something this global to make us step back from that and look at our lives. … That’s what I see in these shows.”\u003c/p>\n\u003cp>It may sound odd to highlight fictional stories about grief at a time when so much of the real thing is around. But experts say there is also a catharsis in watching someone struggle with feelings you are having—it’s also one of the most powerful dynamics that binds us to television—and there is a lot about grief and grieving that today’s TV shows get right.\u003c/p>\n\u003cp>Here’s my list of the best TV shows that depict grief these days, along with a little analysis from the experts.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbo.com/i-know-this-much-is-true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Know This Much Is True\u003c/strong>\u003c/a>\u003cstrong> (HBO)\u003c/strong>\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/U4KBGydqlVk'\n title='//www.youtube.com/embed/U4KBGydqlVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this miniseries, based on a Wally Lamb novel, Mark Ruffalo gives anguished, emotional performances as two people; twin brothers, Dominick and Thomas. Though the first episode features Thomas committing a horrific act while struggling with mental illness, it is Dominick we see constantly suffering from grief—pushing away friends and family members after the loss of his mother, his baby, his marriage and more.\u003c/p>\n\u003cp>At times, Dominick seems the brother most in need of help, as his twin’s commitment to an institution sends him into a spiral of anger, self-loathing, guilt and anxiety that lasts years. In the miniseries, Dominick’s ex-wife, girlfriend, best friend and stepfather all step back in the wake of his blistering anger; for viewers, it makes watching the middle episodes of the miniseries a challenge as we plunge deeper into his dark world.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “Grief is really messy; it can be a lot of tangled emotions, positive and negative, over many months or many years,” says Dr. Shoshana Ungerleider, a physician who also was an executive producer of \u003ca href=\"https://www.netflix.com/title/80210691\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End Game\u003c/em>,\u003c/a> a Netflix documentary short about end of life issues. “Anxiety is the missing stage of grief that nobody talks about, but so many people are feeling right now. Giving ourselves permission to feel that can be really therapeutic.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80998491\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>After Life \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\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/eIGGKSHMQOM'\n title='//www.youtube.com/embed/eIGGKSHMQOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ricky Gervais plays a more depressed and suicidal version of himself as Tony Johnson, features editor for a small community newspaper, who is drowning in grief after his beloved wife dies of breast cancer. At first, he plans to kill himself, then copes by doing whatever he wants—often lobbing insults at those around him, as only Gervais can—as a way of punishing the world. But when others try to help him, his attitude changes.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “This show does a really good job of not sugarcoating his grief,” says Weingarten of the Our House Center. “It shows that he is angry, sad, and at moments wants to end his life. But, slowly, he tries to put one foot in front of the other, [though] there are setbacks.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80219707\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Dead to Me \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\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/BwYBw1raC2o'\n title='//www.youtube.com/embed/BwYBw1raC2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the oddest buddy comedies on TV, Christina Applegate plays Jen Harding, a realtor struggling to handle grief after her husband is killed by a hit-and-run driver. Her life improves when she meets Judy Hale, played by Linda Cardellini, another widow at a grief support group who becomes a fast and close friend. But (spoiler alert!) when Jen learns that Judy isn’t exactly who she says she is, their relationship changes. In the second season, which debuted recently, Jen is still struggling to control her anger as their roles switch and she is forced to hide a terrible secret from Judy.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “You want to make sure you’re not putting pressure on yourself in the early stages of grief to see silver linings or find meaning or do work to make yourself a better person,” says Daniels, noting the pressure on Applegate’s character to improve during support group meetings. “If you’re in the angry phase or you’re in the ‘Everybody leave me alone, I need some space’ phase, that’s okay too. Just by showing us how these characters are feeling and letting us see that, without someone jumping in to fix it right away, is a huge help to a lot of people. … It really can be a comfort.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.nbc.com/this-is-us\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>This Is Us\u003c/strong>\u003c/a>\u003cstrong> (NBC)\u003c/strong>\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/RxORiOOrE8I'\n title='//www.youtube.com/embed/RxORiOOrE8I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NBC’s super-successful family drama centers on three grown siblings—two biological and one adopted—born on the same day. But the show depicts them at different times in their lives—as tweens, teens and adults—slowly revealing that much of the series’ storylines are centered on how the siblings have been affected across the breadth of their lives by the death of their father.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “That’s a show people at the [Our House Grief] Center talk about a lot … [because] we grieve not just for the current moment, we grieve for the future we planned with the person who died,” says Weingarten. “Every time there’s an event that you expected that person to [attend], there will be some grief involved.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sorryforyourloss/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sorry For Your Loss \u003c/strong>\u003c/a>\u003cstrong>(Facebook Watch)\u003c/strong>\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/ajPHIp-ZgfA'\n title='//www.youtube.com/embed/ajPHIp-ZgfA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This under-the-radar series is probably the best original show Facebook has produced yet for its Watch platform. \u003cem>Avengers\u003c/em> franchise star Elizabeth Olsen plays Leigh Shaw, a young widow who left her job writing an advice column to move in with her mother and sister after her husband dies. As a widow, Leigh feels the most entitled to show her grief, but the series reveals that everyone in her family is struggling with the loss of her husband in different ways, including her husband’s brother.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “When someone in our life dies … everyone else [in our life] is grieving the same person, but they have a different relationship with that person,” says Weingarten. “Even though we’re grieving the same individual, what we’re missing about that person might be radically different. So engaging in conversations with others and talking about what you miss about that person can be really powerful, because we can learn about the people we loved after they are gone.”\u003c/p>\n\u003cp>There are many more great TV shows centered on this subject, from HBO’s \u003ca href=\"https://www.hbo.com/six-feet-under\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Six Feet Under\u003c/em>\u003c/a> and ABC’s \u003ca href=\"https://abc.com/shows/a-million-little-things\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Million Little Things\u003c/em>\u003c/a> to Amazon’s\u003ca href=\"https://www.amazon.com/Undone-Season-1/dp/B07SQB8LQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Undone\u003c/em>\u003c/a> and Netflix’s \u003ca href=\"https://www.netflix.com/title/80179190\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Never Have I Ever\u003c/em>. \u003c/a>Even classic good guys like Harry Potter, Batman and Superman were forged into heroes by the crucible of grief, rebounding from the deaths of their parents to become forces for justice. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniels says such fictional work can provide lasting lessons, as trauma from the pandemic and world events remains with us all, even after the immediate crisis ends.\u003c/p>\n\u003cp>“We’re always going to carry this time with us,” she says. “But maybe struggling together can bring us closer to each other. Maybe we’ll find more connection. And TV shows which [depict] that arc of healing and reconnection … that’s a really important storyline for people to see.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=If+You%27re+Grieving+Right+Now%2C+Here+Are+5+Shows+That+Get+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Long Summer Ahead: What Writers Are Reading As The Pandemic Goes On",
"headTitle": "A Long Summer Ahead: What Writers Are Reading As The Pandemic Goes On | KQED",
"content": "\u003cp>What are you reading during the pandemic? We’ve been asking that question to a range of writers and they’ve responded with suggestions for fantasy, poetry, new fiction, old fiction, web comics, fairy tales and more. You can find recommendations below from Ben Philippe, Jade Chang, Raina Telgemeier, Tess Taylor and Thomas Pierce—and we’ll add more as the summer goes on.\u003c/p>\n\u003ch3>Ben Philippe Recommends The ‘Animorphs’ Series\u003c/h3>\n\u003cfigure id=\"attachment_13882055\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.01.40-PM.png\" alt=\"'The Invasion' by Katherine Applegate.\" width=\"302\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.01.40-PM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.01.40-PM-160x235.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invasion’ by Katherine Applegate.\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Ben Phillipe, author of \u003ca href=\"https://www.npr.org/2019/01/21/687255684/field-guide-to-the-north-american-teenager-taps-into-the-raw-anxiety-of-adolesce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Field Guide to the North American Teenager\u003c/em>\u003c/a>\u003cem>,\u003c/em> has realized that all of his previous desert island lists (you know, the lists of books you’d take with you if you were stranded on a desert island) were “complete BS.” Turns out, he’s not rereading \u003cem>The Virgin Suicides\u003c/em> or Dostoevsky, but rather the children’s fantasy \u003cem>Animorphs\u003c/em> series by K. A. Applegate—in its entirety.\u003c/p>\n\u003cp>“The \u003cem>Animorphs\u003c/em> are actually an incredibly dark dystopia,” he explains. An alien invasion of Earth is underway, and five kids must fight for their doomed planet as best they can. “Underneath it all, there is such a looming sense of despair,” Phillipe says. “I don’t think I ever sort of latched onto that darkness when I was, you know, 14, 15. But now I’m like: Oh, God, this is so bad.”\u003c/p>\n\u003cp>Phillipe finds the kids’ tenacity soothing right now. “Even though the world is so dark, these kids keep going on,” he says. “They still have crushes. They still go to dances. They have family gatherings. … They just have to keep pretending everything’s fine. … I think that that sort of element of pretending and going on is very appealing to me right now.”\u003c/p>\n\u003ch3>Tess Taylor Recommends The Poem ‘The Lake Isle of Innisfree’\u003c/h3>\n\u003cp>Poetry critic Tess Taylor says she and her family are doing their best to keep busy and stay positive but “every so often, something will happen and one of us will burst into tears.” There’s a sense that the family is all in it together—but that they are fragile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What I think is really important right now is to remember that poems and literature can give us a chance to reroute ourselves,” says Taylor. And at a time when most of our real-world journeys are canceled, we can still escape in our own minds.\u003c/p>\n\u003cp>Taylor has found that \u003ca href=\"https://www.poetryfoundation.org/poems/43281/the-lake-isle-of-innisfree\" target=\"_blank\" rel=\"noopener noreferrer\">“The Lake Isle of Innisfree” by William Butler Yeats\u003c/a> is “a very convincing imaginary journey.” Yeats describes a small cabin, honey bees and cricket song. “I hear lake water lapping with low sounds by the shore,” he writes.\u003c/p>\n\u003cp>“What I love about that poem is that we go with him,” Taylor explains. At the end, readers find he’s still standing on the gray pavement.\u003c/p>\n\u003cp>“He reminds us that he hasn’t actually gone anywhere,” she says. “But he’s just taken this beautiful imaginative journey, and he’s made this beautiful sound in language. And he’s calmed us down. He’s calmed himself down.”\u003c/p>\n\u003cp>One of the powerful roles of literature, she says, is to “let us have some space to imagine.”\u003c/p>\n\u003ch3>Jade Chang Recommends, ‘Minor Feelings,’ ‘New Waves’ and ‘A Tree Grows in Brooklyn’\u003c/h3>\n\u003cfigure id=\"attachment_13882057\" class=\"wp-caption alignright\" style=\"max-width: 285px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.06.59-PM.png\" alt=\"'A Tree Grows in Brooklyn' by Betty Smith.\" width=\"285\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.06.59-PM.png 285w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.06.59-PM-160x240.png 160w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003cfigcaption class=\"wp-caption-text\">‘A Tree Grows in Brooklyn’ by Betty Smith.\u003c/figcaption>\u003c/figure>\n\u003cp>Jade Chang, author of \u003ca href=\"https://www.npr.org/2016/10/05/496446345/the-wangs-is-sparkling-family-travelogue-with-teeth\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wangs vs. The World\u003c/em>\u003c/a>\u003cem>, \u003c/em>has found herself thinking a lot about authors trying to launch their books this spring and summer. “It’s so hard in any climate, but it’s especially hard right now,” she says.\u003c/p>\n\u003cp>Chang is excited to dig into \u003ca href=\"https://www.npr.org/2020/02/27/802298200/in-minor-feelings-asian-american-racial-trauma-is-laid-bare\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Minor Feelings: An Asian American Reckoning\u003c/em>\u003c/a> by Cathy Park Hong. “It’s part memoir, part cultural criticism,” Chang explains, “And at a time when we have a president who is introducing a term like ‘Chinese virus,’ it feels like really essential reading.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2020/03/10/814164937/new-waves-asks-how-can-we-form-true-friendships-in-an-online-world\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New Waves\u003c/em>\u003c/a> by Kevin Nguyen is also on her nightstand. “It is kind of a heist story in the tech world, so I think it should be pretty fun,” Chang says.\u003c/p>\n\u003cp>As for an older story, she recommends one of her “true loves”—\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=138257002\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Tree Grows in Brooklyn\u003c/em>\u003c/a> by Betty Smith. This is “a true comfort read that still won’t feel completely frivolous right now …” Chang says. “It really is about this girl kind of figuring out how to be a person in the world, how to make her way in the world, how to love the world. And … I think it’s important for us in any time, but especially in a time like this.”\u003c/p>\n\u003ch3>Raina Telgemeier Recommends Julia Kaye Comics, ‘Hot Comb’ And ‘Almost American Girl’\u003c/h3>\n\u003cp>Raina Telgemeier, author of \u003ca href=\"https://www.npr.org/books/titles/437620370/smile\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Smile,\u003c/em>\u003c/a> \u003ca href=\"https://www.npr.org/books/titles/359420787/sisters\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sisters\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/books/titles/753513015/guts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Guts, \u003c/em>\u003c/a>says the coronavirus pandemic hasn’t really changed her work habits—she’s used to working from home with her two cats—and it hasn’t really changed her reading habits much either.\u003c/p>\n\u003cp>“My work has always dealt with anxiety and sort of the inner condition of the mind,” she explains, “so I’ve always been drawn to realistic fiction and to memoir and to people’s kind of daily lives.”\u003c/p>\n\u003cp>Telgemeier reads a lot of web comics, and she’s been enjoying the work of trans cartoonist Julia Kaye. Her Instagram handle is \u003ca href=\"https://www.instagram.com/upandoutcomic/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@upandoutcomic\u003c/a> and “her more recent comics are about having transitioned and just, you know, what comes next?” Telgemeier says.\u003c/p>\n\u003cp>https://www.instagram.com/p/B7q-tVbBYJh/\u003c/p>\n\u003cp>During the pandemic, Telgemeier says she’s found herself gravitating to “regular stories about regular people and the regular relationships they have with their regular families.” And there are two graphic novels that have really done that for her as of late.\u003c/p>\n\u003cp>First, \u003ca href=\"https://www.npr.org/books/titles/777038341/hot-comb\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hot Comb\u003c/em> \u003c/a>by Ebony Flowers, is about black hair and “about the relationships that develop when women and girls sit down in a beauty shop to put in braids or to take them out,” Telgemeier says.\u003c/p>\n\u003cp>And next, in \u003ca href=\"https://www.npr.org/books/titles/868723064/almost-american-girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Almost American Girl\u003c/em>\u003c/a>, Robin Ha tells her story of moving from Seoul, Korea to Alabama in the 1990s. “It’s so, so hard to see Robin struggle with the culture clash and with feeling isolated, but then it’s wonderful to see her find her people,” Telgemeier says.\u003c/p>\n\u003cp>Personal comics and memoirs allow readers to “really get to see what people’s lives looks like,” Telgemeier says—and that’s exactly what she needs during this time.\u003c/p>\n\u003ch3>Thomas Pierce Recommends ‘The Fairy Tales Of Herman Hesse’\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13882058\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.10.52-PM.png\" alt=\"'The Fairy Tales of Hermann Hesse' by Hermann Hesse.\" width=\"302\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.10.52-PM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.10.52-PM-160x247.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">‘The Fairy Tales of Hermann Hesse’ by Hermann Hesse.\u003c/figcaption>\u003c/figure>\n\u003cp>Thomas Pierce, author of \u003ca href=\"https://www.npr.org/2018/01/11/575488659/the-afterlives-explores-what-well-do-for-another-glimpse-of-the-departed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Afterlives\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2015/01/07/374034287/confident-tales-of-small-mammals-funny-videos-and-childhood-ghosts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hall of Small Mammals, \u003c/em>\u003c/a>is recommending a book of fairy tales, but says he’s tempted to call them anti-fairy tales instead. “They are lots of fragments and allegories, and they flow like dreams,” he says.\u003c/p>\n\u003cp>One story, about a quaint city called Faldum, is what brought Pierce back to the book after many years. A fair is happening in town, and a mysterious stranger appears and grants wishes to the townspeople. Two men—who had been up in an attic all day playing and listening to the violin—are the last two to make their wishes.\u003c/p>\n\u003cp>“The violinist wishes he could play so beautifully that no one would ever disturb him again—and he gets his wish … ” Pierce says. “He disappears into the heavens and he’s never heard from again.”\u003c/p>\n\u003cp>The man who had been listening to the violin music wishes to become a mountain—so that he can continue to hear the beautiful violinist play—and his wish is granted as well.\u003c/p>\n\u003cp>“Time just lunges forward in this really interesting way,” Pierce says. “Generations just come and go in this city, and the mountain’s there throughout it all. … I find it to be very comforting. It’s about cycles of time, and the seasons, and the ebbs and flows, and the fact that we all exist within these cycles.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This series is produced by Mallory Yu and edited by Justine Kenin. Beth Novey adapted it for the Web. \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=A+Long+Summer+Ahead%3A+What+Writers+Are+Reading+As+The+Pandemic+Goes+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What are you reading during the pandemic? We’ve been asking that question to a range of writers and they’ve responded with suggestions for fantasy, poetry, new fiction, old fiction, web comics, fairy tales and more. You can find recommendations below from Ben Philippe, Jade Chang, Raina Telgemeier, Tess Taylor and Thomas Pierce—and we’ll add more as the summer goes on.\u003c/p>\n\u003ch3>Ben Philippe Recommends The ‘Animorphs’ Series\u003c/h3>\n\u003cfigure id=\"attachment_13882055\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.01.40-PM.png\" alt=\"'The Invasion' by Katherine Applegate.\" width=\"302\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.01.40-PM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.01.40-PM-160x235.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invasion’ by Katherine Applegate.\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic, Ben Phillipe, author of \u003ca href=\"https://www.npr.org/2019/01/21/687255684/field-guide-to-the-north-american-teenager-taps-into-the-raw-anxiety-of-adolesce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Field Guide to the North American Teenager\u003c/em>\u003c/a>\u003cem>,\u003c/em> has realized that all of his previous desert island lists (you know, the lists of books you’d take with you if you were stranded on a desert island) were “complete BS.” Turns out, he’s not rereading \u003cem>The Virgin Suicides\u003c/em> or Dostoevsky, but rather the children’s fantasy \u003cem>Animorphs\u003c/em> series by K. A. Applegate—in its entirety.\u003c/p>\n\u003cp>“The \u003cem>Animorphs\u003c/em> are actually an incredibly dark dystopia,” he explains. An alien invasion of Earth is underway, and five kids must fight for their doomed planet as best they can. “Underneath it all, there is such a looming sense of despair,” Phillipe says. “I don’t think I ever sort of latched onto that darkness when I was, you know, 14, 15. But now I’m like: Oh, God, this is so bad.”\u003c/p>\n\u003cp>Phillipe finds the kids’ tenacity soothing right now. “Even though the world is so dark, these kids keep going on,” he says. “They still have crushes. They still go to dances. They have family gatherings. … They just have to keep pretending everything’s fine. … I think that that sort of element of pretending and going on is very appealing to me right now.”\u003c/p>\n\u003ch3>Tess Taylor Recommends The Poem ‘The Lake Isle of Innisfree’\u003c/h3>\n\u003cp>Poetry critic Tess Taylor says she and her family are doing their best to keep busy and stay positive but “every so often, something will happen and one of us will burst into tears.” There’s a sense that the family is all in it together—but that they are fragile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I think is really important right now is to remember that poems and literature can give us a chance to reroute ourselves,” says Taylor. And at a time when most of our real-world journeys are canceled, we can still escape in our own minds.\u003c/p>\n\u003cp>Taylor has found that \u003ca href=\"https://www.poetryfoundation.org/poems/43281/the-lake-isle-of-innisfree\" target=\"_blank\" rel=\"noopener noreferrer\">“The Lake Isle of Innisfree” by William Butler Yeats\u003c/a> is “a very convincing imaginary journey.” Yeats describes a small cabin, honey bees and cricket song. “I hear lake water lapping with low sounds by the shore,” he writes.\u003c/p>\n\u003cp>“What I love about that poem is that we go with him,” Taylor explains. At the end, readers find he’s still standing on the gray pavement.\u003c/p>\n\u003cp>“He reminds us that he hasn’t actually gone anywhere,” she says. “But he’s just taken this beautiful imaginative journey, and he’s made this beautiful sound in language. And he’s calmed us down. He’s calmed himself down.”\u003c/p>\n\u003cp>One of the powerful roles of literature, she says, is to “let us have some space to imagine.”\u003c/p>\n\u003ch3>Jade Chang Recommends, ‘Minor Feelings,’ ‘New Waves’ and ‘A Tree Grows in Brooklyn’\u003c/h3>\n\u003cfigure id=\"attachment_13882057\" class=\"wp-caption alignright\" style=\"max-width: 285px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.06.59-PM.png\" alt=\"'A Tree Grows in Brooklyn' by Betty Smith.\" width=\"285\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.06.59-PM.png 285w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.06.59-PM-160x240.png 160w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003cfigcaption class=\"wp-caption-text\">‘A Tree Grows in Brooklyn’ by Betty Smith.\u003c/figcaption>\u003c/figure>\n\u003cp>Jade Chang, author of \u003ca href=\"https://www.npr.org/2016/10/05/496446345/the-wangs-is-sparkling-family-travelogue-with-teeth\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wangs vs. The World\u003c/em>\u003c/a>\u003cem>, \u003c/em>has found herself thinking a lot about authors trying to launch their books this spring and summer. “It’s so hard in any climate, but it’s especially hard right now,” she says.\u003c/p>\n\u003cp>Chang is excited to dig into \u003ca href=\"https://www.npr.org/2020/02/27/802298200/in-minor-feelings-asian-american-racial-trauma-is-laid-bare\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Minor Feelings: An Asian American Reckoning\u003c/em>\u003c/a> by Cathy Park Hong. “It’s part memoir, part cultural criticism,” Chang explains, “And at a time when we have a president who is introducing a term like ‘Chinese virus,’ it feels like really essential reading.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2020/03/10/814164937/new-waves-asks-how-can-we-form-true-friendships-in-an-online-world\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New Waves\u003c/em>\u003c/a> by Kevin Nguyen is also on her nightstand. “It is kind of a heist story in the tech world, so I think it should be pretty fun,” Chang says.\u003c/p>\n\u003cp>As for an older story, she recommends one of her “true loves”—\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=138257002\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Tree Grows in Brooklyn\u003c/em>\u003c/a> by Betty Smith. This is “a true comfort read that still won’t feel completely frivolous right now …” Chang says. “It really is about this girl kind of figuring out how to be a person in the world, how to make her way in the world, how to love the world. And … I think it’s important for us in any time, but especially in a time like this.”\u003c/p>\n\u003ch3>Raina Telgemeier Recommends Julia Kaye Comics, ‘Hot Comb’ And ‘Almost American Girl’\u003c/h3>\n\u003cp>Raina Telgemeier, author of \u003ca href=\"https://www.npr.org/books/titles/437620370/smile\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Smile,\u003c/em>\u003c/a> \u003ca href=\"https://www.npr.org/books/titles/359420787/sisters\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sisters\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/books/titles/753513015/guts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Guts, \u003c/em>\u003c/a>says the coronavirus pandemic hasn’t really changed her work habits—she’s used to working from home with her two cats—and it hasn’t really changed her reading habits much either.\u003c/p>\n\u003cp>“My work has always dealt with anxiety and sort of the inner condition of the mind,” she explains, “so I’ve always been drawn to realistic fiction and to memoir and to people’s kind of daily lives.”\u003c/p>\n\u003cp>Telgemeier reads a lot of web comics, and she’s been enjoying the work of trans cartoonist Julia Kaye. Her Instagram handle is \u003ca href=\"https://www.instagram.com/upandoutcomic/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@upandoutcomic\u003c/a> and “her more recent comics are about having transitioned and just, you know, what comes next?” Telgemeier says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the pandemic, Telgemeier says she’s found herself gravitating to “regular stories about regular people and the regular relationships they have with their regular families.” And there are two graphic novels that have really done that for her as of late.\u003c/p>\n\u003cp>First, \u003ca href=\"https://www.npr.org/books/titles/777038341/hot-comb\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hot Comb\u003c/em> \u003c/a>by Ebony Flowers, is about black hair and “about the relationships that develop when women and girls sit down in a beauty shop to put in braids or to take them out,” Telgemeier says.\u003c/p>\n\u003cp>And next, in \u003ca href=\"https://www.npr.org/books/titles/868723064/almost-american-girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Almost American Girl\u003c/em>\u003c/a>, Robin Ha tells her story of moving from Seoul, Korea to Alabama in the 1990s. “It’s so, so hard to see Robin struggle with the culture clash and with feeling isolated, but then it’s wonderful to see her find her people,” Telgemeier says.\u003c/p>\n\u003cp>Personal comics and memoirs allow readers to “really get to see what people’s lives looks like,” Telgemeier says—and that’s exactly what she needs during this time.\u003c/p>\n\u003ch3>Thomas Pierce Recommends ‘The Fairy Tales Of Herman Hesse’\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13882058\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.10.52-PM.png\" alt=\"'The Fairy Tales of Hermann Hesse' by Hermann Hesse.\" width=\"302\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.10.52-PM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-16-at-2.10.52-PM-160x247.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">‘The Fairy Tales of Hermann Hesse’ by Hermann Hesse.\u003c/figcaption>\u003c/figure>\n\u003cp>Thomas Pierce, author of \u003ca href=\"https://www.npr.org/2018/01/11/575488659/the-afterlives-explores-what-well-do-for-another-glimpse-of-the-departed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Afterlives\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2015/01/07/374034287/confident-tales-of-small-mammals-funny-videos-and-childhood-ghosts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hall of Small Mammals, \u003c/em>\u003c/a>is recommending a book of fairy tales, but says he’s tempted to call them anti-fairy tales instead. “They are lots of fragments and allegories, and they flow like dreams,” he says.\u003c/p>\n\u003cp>One story, about a quaint city called Faldum, is what brought Pierce back to the book after many years. A fair is happening in town, and a mysterious stranger appears and grants wishes to the townspeople. Two men—who had been up in an attic all day playing and listening to the violin—are the last two to make their wishes.\u003c/p>\n\u003cp>“The violinist wishes he could play so beautifully that no one would ever disturb him again—and he gets his wish … ” Pierce says. “He disappears into the heavens and he’s never heard from again.”\u003c/p>\n\u003cp>The man who had been listening to the violin music wishes to become a mountain—so that he can continue to hear the beautiful violinist play—and his wish is granted as well.\u003c/p>\n\u003cp>“Time just lunges forward in this really interesting way,” Pierce says. “Generations just come and go in this city, and the mountain’s there throughout it all. … I find it to be very comforting. It’s about cycles of time, and the seasons, and the ebbs and flows, and the fact that we all exist within these cycles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This series is produced by Mallory Yu and edited by Justine Kenin. Beth Novey adapted it for the Web. \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=A+Long+Summer+Ahead%3A+What+Writers+Are+Reading+As+The+Pandemic+Goes+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Art of Her Deal' Presents Melania Trump as an Influential Collaborator",
"headTitle": "‘The Art of Her Deal’ Presents Melania Trump as an Influential Collaborator | KQED",
"content": "\u003cp>From the outside, Melania Trump looks like a woman in over her tastefully balayaged head. At public events, she rarely speaks, but assumes the rictus smolder—like a model who has just spotted a lion over the photographer’s shoulder—that inspired a thousand #freemelania signs.\u003c/p>\n\u003cp>A new, scrupulously reported biography by \u003cem>Washington Post\u003c/em> reporter Mary Jordan counters this perception, arguing that the first lady is not a pawn but a player, an accessory in the second as much as the first sense, and a woman able to get what she wants from one of the most powerful and transparently vain men in the world. The book is called \u003cem>The Art of Her Deal. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881974\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881974\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-15-at-12.20.49-PM.png\" alt=\"'The Art of Her Deal: The Untold Story of Melania Trump,' by Mary Jordan.\" width=\"303\" height=\"477\">\u003cfigcaption class=\"wp-caption-text\">‘The Art of Her Deal: The Untold Story of Melania Trump,’ by Mary Jordan.\u003c/figcaption>\u003c/figure>\n\u003cp>For this book, Jordan interviewed more than a hundred people, including Melania’s Slovenian childhood acquaintances, staff members at Donald Trump’s properties, players in the New York and Paris modeling world, and one-time Trump insiders like Chris Christie, Roger Stone and Anthony Scaramucci. She also spoke briefly to the first lady herself in the course of her reporting on the 2016 election. The result is a convincing case that those “who dismiss her as nothing more than an accessory do not understand her or her influence.”\u003c/p>\n\u003cp>Make no mistake: Beauty is the first line in the job description. As \u003cem>Women’s Wear Daily\u003c/em> reported, Melania was asked in 2005 whether she would be with Donald Trump if he were not rich. “If I weren’t beautiful,” she replied, “do you think he’d be with me?” That stinging, cynical answer seemed to capture the essence of their exchange: money for beauty, beauty for money.\u003c/p>\n\u003cp>But in the years since, Melania has had to offer much more than her looks: She has endured a presidential campaign, the humiliations of Stormy Daniels and the Access Hollywood tape, and the daily demands of life in the White House.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout these trials, Jordan characterizes Melania as a canny operator who believed “she had more to gain by standing by her husband than walking away.” Jordan writes that after Trump was accused of infidelity and assault, Melania used the fact that he needed her public loyalty and presence in Washington to negotiate a better prenuptial agreement. Melania referred to this process as “taking care of Barron.” Jordan reports that she was worried that their son Barron would not be treated as well as Trump’s other children. (As Jordan points out, this was perhaps for good reason—Trump has at least once seemed to forget Barron was his, saying of Melania at a 2019 press briefing, “She’s got a son.”)\u003c/p>\n\u003cp>Melania has also influenced key policy decisions, mostly having to do with children: She pushed back against child separation at the border and advocated for harsher rules about marketing e-cigarettes to minors.\u003c/p>\n\u003cp>In the course of her reporting, Jordan finds that Donald Trump is not the only mythmaker in the family. She investigates, for instance, Melania’s suggestion that she speaks—in addition to English and Slovenian—French, Italian and German. Jordan concludes that, like Melania’s claim to have graduated from university in Slovenia, that section of her CV is likely fabricated or at least seriously exaggerated.\u003c/p>\n\u003cp>But \u003cem>The Art of Her Deal \u003c/em>offers few scoops in the conventional sense; its major contribution is merely the insistence that Melania is a real person with complicated motivations. This point should be obvious: Isn’t everybody, in and out of the White House, complex, striving, conflicted, out for something? The flattening effect of political discourse, the special insipidity of the first lady role, and Melania’s own particular remoteness have allowed us either to forget that she has an inner life, or to imagine her as an elegant prisoner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Women in public life, from Hillary Clinton to Princess Diana, have a way of crystallizing attitudes about women more broadly. Melania speaks rarely and haltingly, and her face expresses emotion only through the narrowing and widening of flame-blue eyes. When she speaks, the planes of her face remain utterly undisturbed. Because of this ruthless blankness, she is better suited than almost any other woman in public to be a projecting screen. Which makes it worth asking: What is it in us that prefers a captive to a collaborator?\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+Art+Of+Her+Deal%27+Aims+To+Show+Melania+Trump+As+An+Influential+Collaborator&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, Melania Trump looks like a woman in over her tastefully balayaged head. At public events, she rarely speaks, but assumes the rictus smolder—like a model who has just spotted a lion over the photographer’s shoulder—that inspired a thousand #freemelania signs.\u003c/p>\n\u003cp>A new, scrupulously reported biography by \u003cem>Washington Post\u003c/em> reporter Mary Jordan counters this perception, arguing that the first lady is not a pawn but a player, an accessory in the second as much as the first sense, and a woman able to get what she wants from one of the most powerful and transparently vain men in the world. The book is called \u003cem>The Art of Her Deal. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881974\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881974\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-15-at-12.20.49-PM.png\" alt=\"'The Art of Her Deal: The Untold Story of Melania Trump,' by Mary Jordan.\" width=\"303\" height=\"477\">\u003cfigcaption class=\"wp-caption-text\">‘The Art of Her Deal: The Untold Story of Melania Trump,’ by Mary Jordan.\u003c/figcaption>\u003c/figure>\n\u003cp>For this book, Jordan interviewed more than a hundred people, including Melania’s Slovenian childhood acquaintances, staff members at Donald Trump’s properties, players in the New York and Paris modeling world, and one-time Trump insiders like Chris Christie, Roger Stone and Anthony Scaramucci. She also spoke briefly to the first lady herself in the course of her reporting on the 2016 election. The result is a convincing case that those “who dismiss her as nothing more than an accessory do not understand her or her influence.”\u003c/p>\n\u003cp>Make no mistake: Beauty is the first line in the job description. As \u003cem>Women’s Wear Daily\u003c/em> reported, Melania was asked in 2005 whether she would be with Donald Trump if he were not rich. “If I weren’t beautiful,” she replied, “do you think he’d be with me?” That stinging, cynical answer seemed to capture the essence of their exchange: money for beauty, beauty for money.\u003c/p>\n\u003cp>But in the years since, Melania has had to offer much more than her looks: She has endured a presidential campaign, the humiliations of Stormy Daniels and the Access Hollywood tape, and the daily demands of life in the White House.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout these trials, Jordan characterizes Melania as a canny operator who believed “she had more to gain by standing by her husband than walking away.” Jordan writes that after Trump was accused of infidelity and assault, Melania used the fact that he needed her public loyalty and presence in Washington to negotiate a better prenuptial agreement. Melania referred to this process as “taking care of Barron.” Jordan reports that she was worried that their son Barron would not be treated as well as Trump’s other children. (As Jordan points out, this was perhaps for good reason—Trump has at least once seemed to forget Barron was his, saying of Melania at a 2019 press briefing, “She’s got a son.”)\u003c/p>\n\u003cp>Melania has also influenced key policy decisions, mostly having to do with children: She pushed back against child separation at the border and advocated for harsher rules about marketing e-cigarettes to minors.\u003c/p>\n\u003cp>In the course of her reporting, Jordan finds that Donald Trump is not the only mythmaker in the family. She investigates, for instance, Melania’s suggestion that she speaks—in addition to English and Slovenian—French, Italian and German. Jordan concludes that, like Melania’s claim to have graduated from university in Slovenia, that section of her CV is likely fabricated or at least seriously exaggerated.\u003c/p>\n\u003cp>But \u003cem>The Art of Her Deal \u003c/em>offers few scoops in the conventional sense; its major contribution is merely the insistence that Melania is a real person with complicated motivations. This point should be obvious: Isn’t everybody, in and out of the White House, complex, striving, conflicted, out for something? The flattening effect of political discourse, the special insipidity of the first lady role, and Melania’s own particular remoteness have allowed us either to forget that she has an inner life, or to imagine her as an elegant prisoner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Women in public life, from Hillary Clinton to Princess Diana, have a way of crystallizing attitudes about women more broadly. Melania speaks rarely and haltingly, and her face expresses emotion only through the narrowing and widening of flame-blue eyes. When she speaks, the planes of her face remain utterly undisturbed. Because of this ruthless blankness, she is better suited than almost any other woman in public to be a projecting screen. Which makes it worth asking: What is it in us that prefers a captive to a collaborator?\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+Art+Of+Her+Deal%27+Aims+To+Show+Melania+Trump+As+An+Influential+Collaborator&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dismantling 'The Bachelor's' Racist and Sexist Elements Has Only Just Begun",
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"content": "\u003cp>ABC may believe it has faced down some criticism by naming Matt James as the first black man to star in its dating “reality TV” franchise \u003cem>The Bachelor\u003c/em>. But its challenge in dismantling the show’s racist and sexist elements has only begun.\u003c/p>\n\u003cp>My longtime criticism of the \u003cem>Bachelor\u003c/em> franchise speaks to the heart of the show’s design. It is a princess fantasy, built around the idea of a woman finding fulfillment by landing the perfect man, filtered through an upper-middle class, predominantly white lens. [aside postid='pop_104953']\u003c/p>\n\u003cp>That’s why this announcement, \u003ca href=\"https://www.goodmorningamerica.com/culture/story/bachelor-names-matt-james-franchises-1st-black-bachelor-71212543\" target=\"_blank\" rel=\"noopener noreferrer\">delivered with fanfare\u003c/a> on ABC’s breakfast-time news show \u003cem>Good Morning America\u003c/em>, hit like a thunderclap at a crucial time for the franchise. \u003ca href=\"https://www.change.org/p/abc-a-campaign-for-anti-racism-in-the-bachelor-franchise\" target=\"_blank\" rel=\"noopener noreferrer\">A petition\u003c/a> on Change.org started last week—asking for a black bachelor, for 35 percent of the show’s contestants to be people of color, and for participants to be screened for past racist behavior, among other things—has more than 85,000 signatures and counting.\u003c/p>\n\u003cp>Rachel Lindsay, cast as \u003cem>The Bachelorette\u003c/em>‘s first black female lead back in 2017, has criticized the show for its lack of diversity and \u003ca href=\"https://www.rachellindsayofficial.com/post/honestly-rach-june-8-2020\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a column\u003c/a> with suggestions for making it better. Given how other highly criticized \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">shows like \u003cem>Cops\u003c/em>\u003c/a> and \u003cem>Live PD\u003c/em> were vaporized in the wake of current debates about police brutality and racism, it feels a bit convenient that ABC and \u003cem>Bachelor/Bachelorette\u003c/em> executive producer Mike Fleiss is taking this step now.\u003c/p>\n\u003cp>The biggest question hanging over this moment is simple: Why did it take so long?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em>, featuring a single man choosing a mate from about two dozen aspiring women, debuted in 2002. \u003cem>The Bachelorette\u003c/em>, a spin-off which puts a woman in the choosing position, debuted in 2003. But the show didn’t cast a non-white Bachelor until 2014; Juan Pablo Galavis, a soccer star of Venezuelan heritage who looked an awful lot like the well-scrubbed white guys often featured on the show and had been eliminated early as a choice on \u003cem>The Bachelorette \u003c/em>in 2013.\u003c/p>\n\u003cp>Galavis was named just two years after two black men who had tried out for \u003cem>The Bachelor\u003c/em> and failed to make the cast sued the show for racial discrimination. Their contention was that the show deliberately excluded and diminished potential contestants of color; \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">a judge ruled\u003c/a> that, even if they were right, the show had a First Amendment right to cast who they wanted. [aside postid='arts_13881748']\u003c/p>\n\u003cp>Now, as the show faces renewed pressure to improve its diversity track record, it names as its new star, James—a 28-year-old real estate broker who was part of this season of \u003cem>The Bachelorette\u003c/em>, which paused production due to the coronavirus pandemic.\u003c/p>\n\u003cp>(I guess we know who isn’t winning this season of \u003cem>The Bachelorette\u003c/em>. Still, since the\u003cem> Bachelor/Bachelorette\u003c/em> franchise often recycles stars from contestants on previous shows, sometimes almost winning is better for someone’s reality TV career than actually getting picked as a mate.)\u003c/p>\n\u003cp>“We know we have a responsibility to make sure the love stories we’re seeing onscreen are representative of the world we live in, and we are proudly in service to our audience,” said ABC entertainment president Karey Burke in a statement. “This is just the beginning, and we will continue to take action with regard to diversity issues on this franchise.”\u003c/p>\n\u003cp>Beyond the obvious stuff like “don’t stereotype the star as an angry black man” and “hire more non-white producers behind the scenes with power,” here are my recommendations to ABC and Fleiss on what still needs to happen for \u003cem>The Bachelor\u003c/em> to address its problems with race:\u003c/p>\n\u003cp>\u003cstrong>The show can’t be centered on white, upper-middle-class sensibilities anymore.\u003c/strong>\u003c/p>\n\u003cp>This goes beyond casting more non-white people on the show. Casting a wider diversity of people won’t make much difference if they’re expected to act just like the white people who have dominated the show for so many years. Dates set in opulent, lily-white environments like luxury resorts have got to end, along with the materialism that makes so many adventures on the show feel like a journey through the world of upper-middle class white folks.\u003c/p>\n\u003cp>\u003cstrong>Racism and racists can’t be used as sources of attention-getting conflict.\u003c/strong>\u003c/p>\n\u003cp>One strategy used by reality TV producers with black contestants on white-centered shows, is to generate controversy with a racist castmember. In Rachel Lindsay’s season, that contestant was self-described “country boy” Lee Garrett, who was cast despite a trail of racist Twitter posts, resulting in a headline-generating confrontation over his racism during the season’s “Men Tell All” episode. This needs to end. The pain of non-white people confronting racism shouldn’t be reduced to reality TV entertainment when avoidable. I’m also steeling myself for a clunky scene where James has to confront a white woman who only wants to date him because of his race.\u003c/p>\n\u003cp>\u003cstrong>We need to see black love and interracial love treated fairly.\u003c/strong>\u003c/p>\n\u003cp>I’m convinced one reason we haven’t seen a black bachelor before now isn’t just because producers were afraid the show’s white audience wasn’t ready to see a black man who might choose a white woman as his bride. There may also be black viewers who aren’t ready for it, either. TV has always struggled to present authentic, healthy images of two black people in love. And black men who are romantically involved with white women have sometimes faced accusations of bowing to America’s elevation of white, female beauty. For James, threading that needle in the spotlight of a major network TV show with a terrible track record on race won’t be easy.\u003c/p>\n\u003cp>\u003cstrong>The show’s hypocritical stances on sex, stereotypes and physical beauty need to end.\u003c/strong>\u003c/p>\n\u003cp>Past seasons in which women seem pressured by the show to become physically intimate with bachelors to stay in contention have always bothered me. Likewise, with the show’s habit of quickly slotting contestants into easy-to-identify stereotypes, like “the overconfident one,” or “the unstable provocateur.” And every season’s bachelor is often built up as an idealized vision of masculinity—a big part of the show’s diversity problem isn’t just that it has downplayed people of color for so long, but that all the contestants fit a narrow range of physical types and definitions of beauty. Sometimes cast pictures look like everyone was recruited from the same Abercrombie & Fitch catalog photo shoot; time to shake up more than just the race of those who appear on the show.\u003c/p>\n\u003cp>As a longtime critic of \u003cem>The Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em>, I remain skeptical the show will improve much. And given the way the pandemic has curtailed TV production, it’s tough to know exactly when this season will see daylight (ABC has said sometime in 2021). [aside postid='arts_13881907']\u003c/p>\n\u003cp>But what I really hope is that producers of the show stop seeing criticisms as something to resist and pay attention. Because, just like in the debate about systemic racism in policing, people have been calling out \u003cem>The Bachelor\u003c/em>‘s shortcomings for a very long while.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a shame that it may have taken a seismic debate over racism in America to finally get the show’s attention.\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=Dismantling+%27The+Bachelor%27s%27+Racist+And+Sexist+Elements+Has+Only+Just+Begun&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ABC may believe it has faced down some criticism by naming Matt James as the first black man to star in its dating “reality TV” franchise \u003cem>The Bachelor\u003c/em>. But its challenge in dismantling the show’s racist and sexist elements has only begun.\u003c/p>\n\u003cp>My longtime criticism of the \u003cem>Bachelor\u003c/em> franchise speaks to the heart of the show’s design. It is a princess fantasy, built around the idea of a woman finding fulfillment by landing the perfect man, filtered through an upper-middle class, predominantly white lens. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s why this announcement, \u003ca href=\"https://www.goodmorningamerica.com/culture/story/bachelor-names-matt-james-franchises-1st-black-bachelor-71212543\" target=\"_blank\" rel=\"noopener noreferrer\">delivered with fanfare\u003c/a> on ABC’s breakfast-time news show \u003cem>Good Morning America\u003c/em>, hit like a thunderclap at a crucial time for the franchise. \u003ca href=\"https://www.change.org/p/abc-a-campaign-for-anti-racism-in-the-bachelor-franchise\" target=\"_blank\" rel=\"noopener noreferrer\">A petition\u003c/a> on Change.org started last week—asking for a black bachelor, for 35 percent of the show’s contestants to be people of color, and for participants to be screened for past racist behavior, among other things—has more than 85,000 signatures and counting.\u003c/p>\n\u003cp>Rachel Lindsay, cast as \u003cem>The Bachelorette\u003c/em>‘s first black female lead back in 2017, has criticized the show for its lack of diversity and \u003ca href=\"https://www.rachellindsayofficial.com/post/honestly-rach-june-8-2020\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a column\u003c/a> with suggestions for making it better. Given how other highly criticized \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">shows like \u003cem>Cops\u003c/em>\u003c/a> and \u003cem>Live PD\u003c/em> were vaporized in the wake of current debates about police brutality and racism, it feels a bit convenient that ABC and \u003cem>Bachelor/Bachelorette\u003c/em> executive producer Mike Fleiss is taking this step now.\u003c/p>\n\u003cp>The biggest question hanging over this moment is simple: Why did it take so long?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em>, featuring a single man choosing a mate from about two dozen aspiring women, debuted in 2002. \u003cem>The Bachelorette\u003c/em>, a spin-off which puts a woman in the choosing position, debuted in 2003. But the show didn’t cast a non-white Bachelor until 2014; Juan Pablo Galavis, a soccer star of Venezuelan heritage who looked an awful lot like the well-scrubbed white guys often featured on the show and had been eliminated early as a choice on \u003cem>The Bachelorette \u003c/em>in 2013.\u003c/p>\n\u003cp>Galavis was named just two years after two black men who had tried out for \u003cem>The Bachelor\u003c/em> and failed to make the cast sued the show for racial discrimination. Their contention was that the show deliberately excluded and diminished potential contestants of color; \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">a judge ruled\u003c/a> that, even if they were right, the show had a First Amendment right to cast who they wanted. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, as the show faces renewed pressure to improve its diversity track record, it names as its new star, James—a 28-year-old real estate broker who was part of this season of \u003cem>The Bachelorette\u003c/em>, which paused production due to the coronavirus pandemic.\u003c/p>\n\u003cp>(I guess we know who isn’t winning this season of \u003cem>The Bachelorette\u003c/em>. Still, since the\u003cem> Bachelor/Bachelorette\u003c/em> franchise often recycles stars from contestants on previous shows, sometimes almost winning is better for someone’s reality TV career than actually getting picked as a mate.)\u003c/p>\n\u003cp>“We know we have a responsibility to make sure the love stories we’re seeing onscreen are representative of the world we live in, and we are proudly in service to our audience,” said ABC entertainment president Karey Burke in a statement. “This is just the beginning, and we will continue to take action with regard to diversity issues on this franchise.”\u003c/p>\n\u003cp>Beyond the obvious stuff like “don’t stereotype the star as an angry black man” and “hire more non-white producers behind the scenes with power,” here are my recommendations to ABC and Fleiss on what still needs to happen for \u003cem>The Bachelor\u003c/em> to address its problems with race:\u003c/p>\n\u003cp>\u003cstrong>The show can’t be centered on white, upper-middle-class sensibilities anymore.\u003c/strong>\u003c/p>\n\u003cp>This goes beyond casting more non-white people on the show. Casting a wider diversity of people won’t make much difference if they’re expected to act just like the white people who have dominated the show for so many years. Dates set in opulent, lily-white environments like luxury resorts have got to end, along with the materialism that makes so many adventures on the show feel like a journey through the world of upper-middle class white folks.\u003c/p>\n\u003cp>\u003cstrong>Racism and racists can’t be used as sources of attention-getting conflict.\u003c/strong>\u003c/p>\n\u003cp>One strategy used by reality TV producers with black contestants on white-centered shows, is to generate controversy with a racist castmember. In Rachel Lindsay’s season, that contestant was self-described “country boy” Lee Garrett, who was cast despite a trail of racist Twitter posts, resulting in a headline-generating confrontation over his racism during the season’s “Men Tell All” episode. This needs to end. The pain of non-white people confronting racism shouldn’t be reduced to reality TV entertainment when avoidable. I’m also steeling myself for a clunky scene where James has to confront a white woman who only wants to date him because of his race.\u003c/p>\n\u003cp>\u003cstrong>We need to see black love and interracial love treated fairly.\u003c/strong>\u003c/p>\n\u003cp>I’m convinced one reason we haven’t seen a black bachelor before now isn’t just because producers were afraid the show’s white audience wasn’t ready to see a black man who might choose a white woman as his bride. There may also be black viewers who aren’t ready for it, either. TV has always struggled to present authentic, healthy images of two black people in love. And black men who are romantically involved with white women have sometimes faced accusations of bowing to America’s elevation of white, female beauty. For James, threading that needle in the spotlight of a major network TV show with a terrible track record on race won’t be easy.\u003c/p>\n\u003cp>\u003cstrong>The show’s hypocritical stances on sex, stereotypes and physical beauty need to end.\u003c/strong>\u003c/p>\n\u003cp>Past seasons in which women seem pressured by the show to become physically intimate with bachelors to stay in contention have always bothered me. Likewise, with the show’s habit of quickly slotting contestants into easy-to-identify stereotypes, like “the overconfident one,” or “the unstable provocateur.” And every season’s bachelor is often built up as an idealized vision of masculinity—a big part of the show’s diversity problem isn’t just that it has downplayed people of color for so long, but that all the contestants fit a narrow range of physical types and definitions of beauty. Sometimes cast pictures look like everyone was recruited from the same Abercrombie & Fitch catalog photo shoot; time to shake up more than just the race of those who appear on the show.\u003c/p>\n\u003cp>As a longtime critic of \u003cem>The Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em>, I remain skeptical the show will improve much. And given the way the pandemic has curtailed TV production, it’s tough to know exactly when this season will see daylight (ABC has said sometime in 2021). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what I really hope is that producers of the show stop seeing criticisms as something to resist and pay attention. Because, just like in the debate about systemic racism in policing, people have been calling out \u003cem>The Bachelor\u003c/em>‘s shortcomings for a very long while.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a shame that it may have taken a seismic debate over racism in America to finally get the show’s attention.\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=Dismantling+%27The+Bachelor%27s%27+Racist+And+Sexist+Elements+Has+Only+Just+Begun&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The shutdown due to the coronavirus pandemic hit musicians hard, with concert halls and rehearsal spaces shuttered and silent. But a new music initiative from the Library of Congress embraces the constraints of COVID-19. The series is a collection of 10 videos of 10 different original compositions that will premiere online starting Monday, June 15. It’s called the \u003ca href=\"https://loc.gov/item/prn-20-038/\" target=\"_blank\" rel=\"noopener noreferrer\">Boccaccio Project\u003c/a>.\u003c/p>\n\u003cp>David Plylar is a senior music specialist at the Library of Congress and the person who spearheaded the project; it’s named after the Italian writer Giovanni Boccaccio, who saw the Black Death devastate Europe during the 14th century. Boccaccio’s \u003cem>The Decameron \u003c/em>follows 10 people who flee the plague in Florence and tell each other stories in a remote refuge. Pylar says that story feels very modern.\u003c/p>\n\u003cp>“You can take people out of what they know about society and they still have this compulsion to tell a story,” he says. “And I felt that Boccaccio exemplifies that. And while we are much more connected now than they were in his time, we are isolated and we still have this desire to reach out to each other.”\u003c/p>\n\u003cp>Luciano Chessa, one of the composers commissioned by the Library of Congress, meant to stay only a week in San Francisco. Chessa flew out from New York for a concert in March. From there he had events scheduled in Colorado, in Ohio and around the country. But then, like so many other musicians, the coronavirus pandemic changed his plans.\u003c/p>\n\u003cp>“The world changed,” he says. “So I ended up staying in San Francisco for two months instead of just a week.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He worried about his parents in Italy as that country felt the worst of COVID-19.\u003c/p>\n\u003cp>“I think the most vivid images were basically caskets in piles outside of hospitals or retirement homes,” Chessa says. “And my aunt died in March. We don’t know whether exactly [if] it was COVID-19 or not because at the time, there were no tests.”\u003c/p>\n\u003cfigure id=\"attachment_13881930\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-12-at-12.03.52-PM.png\" alt=\"The composer Luciano Chessa.\" width=\"248\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-12-at-12.03.52-PM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-12-at-12.03.52-PM-160x145.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">The composer Luciano Chessa. \u003ccite>(Melesio Núñez/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, he got a commission from the Library of Congress for the Boccaccio project. The instructions were simple: Write a work responding to the pandemic—just a couple minutes long—for a single performer to videotape at home. Chessa says the commission was more than welcome.\u003c/p>\n\u003cp>“After two months making fresh pasta and wearing the same shirt you probably kind of are ready for a change,” he says.\u003c/p>\n\u003cp>Chessa wrote a piece called “1462 Willard Street,” named after the address where he spent the early months of the pandemic, uprooted and uncertain. The video opens on a length of twine looped around the lower strings of a viola. It scrapes the instrument and obscures a melody. The violist is Charlton Lee of the Del Sol Quartet, and as he plays he glides through the room. Eventually, the twine falls away and the melody becomes clearer\u003c/p>\n\u003cp>“I find it to be nostalgic,” Lee says. “Somehow there’s hope and sadness and joy all wrapped together.”\u003c/p>\n\u003cp>Chessa says the video captures the feeling of composing while isolated during a pandemic.\u003c/p>\n\u003cp>“The player is set free halfway through the piece,” he says. “In my opinion it was supposed to be a way of staging this process between constraint and freedom.”\u003c/p>\n\u003cp>Damien Sneed, another composer commissioned by the Boccaccio Project, wrote a piece called “Sequestered Thoughts.” Jeremy Jordan, who performed it, says that the limitations of the project forced composers to test their creativity.\u003c/p>\n\u003cp>“Talented composers sometimes have the ability to create wonderful works with great creative restraints placed upon them,” he says. “You have to not only write a piece between one and three minutes, but then it has to be meaningful.”\u003c/p>\n\u003cp>Jordan learned the piece in a day or two.\u003c/p>\n\u003cp>“In some ways it was kind of a pure experience because I just received the music and learned it and played it,” he says.\u003c/p>\n\u003cp>Jordan’s attention to detail impressed the composer.\u003c/p>\n\u003cp>“I was mesmerized and amazed by how he personally interpreted what was on the page and brought it to life,” Sneed says.\u003c/p>\n\u003cp>The pandemic was a jolt for Sneed. He had just finished a 40-city tour when he began sheltering in place, alone. He means for his piece to evoke confinement, hope, the will to survive—and says all that resonates now with protests against police violence.\u003c/p>\n\u003cp>“At the end of ‘Sequestered Thoughts,’ it moves up the scale of the piano, so to speak,” he says. “And it ends up looking upward and that’s really the object of protest and reconciliation. Music allows us, these protests allow us, to hopefully get to a place where we are elevated.”\u003c/p>\n\u003cp>Another piece comes from Flutronix—composed of flautists and composers Allison Loggins-Hull and Nathalie Joachim. In response to COVID-19, Loggins-Hull wrote “Have and Hold.”\u003c/p>\n\u003cp>“I was really craving just the feeling of having companionship and being near people and just physical contact,” she says.\u003c/p>\n\u003cp>Loggins-Hull says her craving only intensified as news of police killings arrived.\u003c/p>\n\u003cp>“Whenever these shootings happen, I still have that desire to hold people that I love, even to hold people that I don’t know who share this common experience we all share as black people in this country,” she says.\u003c/p>\n\u003cp>Nathalie Joachim says that when she recorded the piece, it felt less like a performance and more like mourning.\u003c/p>\n\u003cp>“It’s not these killings happening in abstraction, or all of these bodies that are having to take to the streets to fight for what we deserve, which is humanity,” she says. “I claim each of these people as my own family.”\u003c/p>\n\u003cp>David Plylar, at the Library of Congress, says composers and performers are reacting to this moment, and as listeners we need to grab on to what they’re saying.\u003c/p>\n\u003cp>“I think that these artists were already doing this and that this is just another outlet for them,” he says. “But it’s a way of documenting what is happening, taking an artistic stance and then trying to preserve that so that other people can benefit from it down the road.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Boccaccio Project premieres Monday on the Library of Congress’ \u003c/em>\u003ca href=\"https://loc.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>website\u003c/em>\u003c/a>\u003cem>.\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=A+New+Library+Of+Congress+Project+Commissions+Music+Of+The+Coronavirus+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The shutdown due to the coronavirus pandemic hit musicians hard, with concert halls and rehearsal spaces shuttered and silent. But a new music initiative from the Library of Congress embraces the constraints of COVID-19. The series is a collection of 10 videos of 10 different original compositions that will premiere online starting Monday, June 15. It’s called the \u003ca href=\"https://loc.gov/item/prn-20-038/\" target=\"_blank\" rel=\"noopener noreferrer\">Boccaccio Project\u003c/a>.\u003c/p>\n\u003cp>David Plylar is a senior music specialist at the Library of Congress and the person who spearheaded the project; it’s named after the Italian writer Giovanni Boccaccio, who saw the Black Death devastate Europe during the 14th century. Boccaccio’s \u003cem>The Decameron \u003c/em>follows 10 people who flee the plague in Florence and tell each other stories in a remote refuge. Pylar says that story feels very modern.\u003c/p>\n\u003cp>“You can take people out of what they know about society and they still have this compulsion to tell a story,” he says. “And I felt that Boccaccio exemplifies that. And while we are much more connected now than they were in his time, we are isolated and we still have this desire to reach out to each other.”\u003c/p>\n\u003cp>Luciano Chessa, one of the composers commissioned by the Library of Congress, meant to stay only a week in San Francisco. Chessa flew out from New York for a concert in March. From there he had events scheduled in Colorado, in Ohio and around the country. But then, like so many other musicians, the coronavirus pandemic changed his plans.\u003c/p>\n\u003cp>“The world changed,” he says. “So I ended up staying in San Francisco for two months instead of just a week.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He worried about his parents in Italy as that country felt the worst of COVID-19.\u003c/p>\n\u003cp>“I think the most vivid images were basically caskets in piles outside of hospitals or retirement homes,” Chessa says. “And my aunt died in March. We don’t know whether exactly [if] it was COVID-19 or not because at the time, there were no tests.”\u003c/p>\n\u003cfigure id=\"attachment_13881930\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-12-at-12.03.52-PM.png\" alt=\"The composer Luciano Chessa.\" width=\"248\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-12-at-12.03.52-PM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-12-at-12.03.52-PM-160x145.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">The composer Luciano Chessa. \u003ccite>(Melesio Núñez/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, he got a commission from the Library of Congress for the Boccaccio project. The instructions were simple: Write a work responding to the pandemic—just a couple minutes long—for a single performer to videotape at home. Chessa says the commission was more than welcome.\u003c/p>\n\u003cp>“After two months making fresh pasta and wearing the same shirt you probably kind of are ready for a change,” he says.\u003c/p>\n\u003cp>Chessa wrote a piece called “1462 Willard Street,” named after the address where he spent the early months of the pandemic, uprooted and uncertain. The video opens on a length of twine looped around the lower strings of a viola. It scrapes the instrument and obscures a melody. The violist is Charlton Lee of the Del Sol Quartet, and as he plays he glides through the room. Eventually, the twine falls away and the melody becomes clearer\u003c/p>\n\u003cp>“I find it to be nostalgic,” Lee says. “Somehow there’s hope and sadness and joy all wrapped together.”\u003c/p>\n\u003cp>Chessa says the video captures the feeling of composing while isolated during a pandemic.\u003c/p>\n\u003cp>“The player is set free halfway through the piece,” he says. “In my opinion it was supposed to be a way of staging this process between constraint and freedom.”\u003c/p>\n\u003cp>Damien Sneed, another composer commissioned by the Boccaccio Project, wrote a piece called “Sequestered Thoughts.” Jeremy Jordan, who performed it, says that the limitations of the project forced composers to test their creativity.\u003c/p>\n\u003cp>“Talented composers sometimes have the ability to create wonderful works with great creative restraints placed upon them,” he says. “You have to not only write a piece between one and three minutes, but then it has to be meaningful.”\u003c/p>\n\u003cp>Jordan learned the piece in a day or two.\u003c/p>\n\u003cp>“In some ways it was kind of a pure experience because I just received the music and learned it and played it,” he says.\u003c/p>\n\u003cp>Jordan’s attention to detail impressed the composer.\u003c/p>\n\u003cp>“I was mesmerized and amazed by how he personally interpreted what was on the page and brought it to life,” Sneed says.\u003c/p>\n\u003cp>The pandemic was a jolt for Sneed. He had just finished a 40-city tour when he began sheltering in place, alone. He means for his piece to evoke confinement, hope, the will to survive—and says all that resonates now with protests against police violence.\u003c/p>\n\u003cp>“At the end of ‘Sequestered Thoughts,’ it moves up the scale of the piano, so to speak,” he says. “And it ends up looking upward and that’s really the object of protest and reconciliation. Music allows us, these protests allow us, to hopefully get to a place where we are elevated.”\u003c/p>\n\u003cp>Another piece comes from Flutronix—composed of flautists and composers Allison Loggins-Hull and Nathalie Joachim. 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"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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