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"headTitle": "‘Five Days’ Chronicles the Baltimore Uprising After Freddie Gray’s Death | KQED",
"content": "\u003cp>The killing of \u003ca href=\"https://www.npr.org/2020/06/01/867219130/george-floyd-independent-autopsy-homicide-by-asphyxia\" target=\"_blank\" rel=\"noopener noreferrer\">George Floyd\u003c/a> has inspired protests \u003ca href=\"https://www.npr.org/2020/05/31/866279321/la-county-under-state-of-emergency-amid-saturdays-george-floyd-protests\" target=\"_blank\" rel=\"noopener noreferrer\">across the U.S.\u003c/a> and \u003ca href=\"https://www.npr.org/2020/05/31/866428272/george-floyd-reverberates-globally-thousands-protest-in-germany-u-k-canada\" target=\"_blank\" rel=\"noopener noreferrer\">around the world\u003c/a>, with crowds evoking the names of other black men and women who have died in police custody — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/01/403629104/baltimore-protests-what-we-know-about-the-freddie-gray-arrest\" target=\"_blank\" rel=\"noopener noreferrer\">Freddie Gray\u003c/a>.\u003c/p>\n\u003cp>In 2015, Gray was arrested in Baltimore, and put in a police van—shackled but with no seatbelt. At the end of what was later termed a “rough ride,” Gray was unconscious and his neck was broken. He died a week later.\u003c/p>\n\u003cp>Author \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126370229\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Moore\u003c/a> chronicles the uprising that occurred in Baltimore following Gray’s death in his new book, \u003cem>Five Days: The Fiery Reckoning of an American City. \u003c/em>He says that in addition to addressing inequitable policing that occurs in poor and black neighborhoods, “we also have to deal with the underlying conditions that our citizens, and oftentimes our citizens of color, are repeatedly being … forced to endure.”\u003c/p>\n\u003cp>The author says that Gray’s life and death illustrate the ways in which people of color are constrained by poverty, racism and systemic injustice.\u003c/p>\n\u003cp>“Freddie Gray was born months premature, born underweight, born addicted to heroin,” Moore says. He notes that Gray was exposed to unsafe levels of lead as a child while living in public housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore says the deaths of Freddie Gray and George Floyd highlight injustices that go beyond police brutality.\u003c/p>\n\u003cp>“The justice that’s also being sought must be an economic justice. It must be health justice. It must be housing justice,” Moore says. “If we permit these tragedies to recede from our memory, we will risk the opportunity to change the systems that are ultimately responsible for all of these injustices.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what lessons today’s protestors can take from what happened to Freddie Gray in Baltimore\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881375\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png\" alt=\"Wes Moore was born in Baltimore. He's now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City.\" width=\"303\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM-160x103.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Wes Moore was born in Baltimore. He’s now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City. \u003ccite>(Amun Ankhra /Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s important for the country to understand the lessons of Baltimore, understand the lessons of what happened to Freddie Gray, understand the aftermath of what happened to Freddie Gray. … Because we’re basically reliving history right now. What we’re seeing and these are lessons that could have and should have been learned prior, because I think it’s very indicative as to both where we are now, but frankly, very indicative so as to where we’re going.\u003c/p>\n\u003cp>I also think that when you’re coming on the heels of what we’re seeing in COVID-19, when you’re coming on the heels of what we’re seeing in terms of this massive and, frankly, this exacerbated level of disparity that the first part of this year has really shown us, you see and you understand how this frustration on so many levels continues to boil over. So while I share the calls for peace, I do think it’s important for people to wonder and to ask: … Where’s our collective pain supposed to go when there still is no justice? That’s the tension that we’re seeing right now on the streets.\u003c/p>\n\u003cp>\u003cstrong>On the physical and psychological damage of the 2015 protests in Baltimore\u003c/strong>\u003c/p>\n\u003cp>You saw places and buildings and historic landmarks up in flames. Churches that were up in flames. You also saw a level of psychological damage … that I think in many ways the city of Baltimore has still yet to heal from. … In just these past five years, there’s just been a level of violence where the [annual] homicide rate has been over 300 in the city of Baltimore. When you look at the size of Baltimore, it’s making it literally the most violent city in America right now. … We have had a level of mistrust that is then taking place amongst elected officials. And so you’ve seen how this has shown itself, not just in the initial damage, but in terms of the quantifiable, measurable financial damage, but really how this has damaged the psyche of Baltimore for really a generation that has now felt the impact of this.\u003c/p>\n\u003cp>\u003cstrong>On the poverty and neglect that has plagued Baltimore for generations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881376\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png\" alt=\"'Five Days: The Fiery Reckoning of an American City,' by Wes Moore and Erica L. Green.\" width=\"303\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM-160x242.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘Five Days: The Fiery Reckoning of an American City,’ by Wes Moore and Erica L. Green.\u003c/figcaption>\u003c/figure>\n\u003cp>When … we can’t tell the difference between a building that was burned after the unrest of Freddie Gray or a building that was burned after the unrest after the riots that took place after Dr. King’s murder, versus a building that’s just been vacant because it’s dilapidated and it’s been completely ignored—what does that say about our larger society? And what does that say about our ability to be able to address human pain versus pacify it? And so I think it really does go back and highlights this bigger point, and this bigger conversation, about how we have to think bigger and holistically about what is being demanded and what is being asked, and then what exactly we have to do individually and collectively to be able to address that.\u003c/p>\n\u003cp>\u003cstrong>On the “good apples and bad apples” conversation about police officers\u003c/strong>\u003c/p>\n\u003cp>The thing I think we saw in Baltimore—and I think it’s a complete correlation between what we’re seeing in Minnesota—is it’s impossible to have a conversation about “good apples and bad apples” if we’re not talking about systems. It’s systems that continue to be put in place that allow measures of inequitable policing. It’s systems that are in place that don’t allow for measures of accountability, and where we can put things like civilian review boards in place. … And so this is not just about “good apples” versus “bad apples.” All of us completely acknowledge that there are some absolutely remarkable officers that we have on the force, people who are committing their lives and dedicating their lives and risking their lives for the idea of public safety. We also know that we want good people to be able to perform in good systems—and that’s where the adjustment needs to happen.\u003c/p>\n\u003cp>\u003cstrong>On the decision of whether or not to charge the police officers who were with Officer Chauvin when he killed George Floyd\u003c/strong>\u003c/p>\n\u003cp>The way felony murder works … [is] when a murder happens, that the people who were accomplices in it, regardless of what your role was, even if [you] were not the person that actually took the life of somebody else, you can be held not just accountable, but actually end up receiving a similar type of sentence. We have to really think hard about this idea of toleration that then takes place. For nine minutes that officer [in George Floyd’s case] had his knee on a grown man’s neck while he was screaming for his life, while he was saying that he couldn’t breathe, to the point that some of the last moments that he had on this earth was a 46-year-old man calling for his mother who died two years ago. And at no point did any of the officers go and say to that one officer, “That’s enough,” or “Ease up,” or, “Hey, I got from here. Go take a walk. I got it.”\u003c/p>\n\u003cp>And so there needs to be a level of accountability that people have for each other. There needs to be a level of accountability that individuals have for the people who they are working with, particularly when these types of actions are taking place. Because if there is a level of accountability that people have and they know that I will be held responsible for the actions of the people around me, then my actions are going to be different. And so we’re thinking about the type of reforms that are going to and need to and should take place, we know that when it comes to research specifically on the policing side, these are some of the actions and some of the things that we have to really think hard and really think critically about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amy Salit and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Freddie+Gray+To+George+Floyd%3A+Wes+Moore+Says+It%27s+Time+To+%27Change+The+Systems%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The killing of \u003ca href=\"https://www.npr.org/2020/06/01/867219130/george-floyd-independent-autopsy-homicide-by-asphyxia\" target=\"_blank\" rel=\"noopener noreferrer\">George Floyd\u003c/a> has inspired protests \u003ca href=\"https://www.npr.org/2020/05/31/866279321/la-county-under-state-of-emergency-amid-saturdays-george-floyd-protests\" target=\"_blank\" rel=\"noopener noreferrer\">across the U.S.\u003c/a> and \u003ca href=\"https://www.npr.org/2020/05/31/866428272/george-floyd-reverberates-globally-thousands-protest-in-germany-u-k-canada\" target=\"_blank\" rel=\"noopener noreferrer\">around the world\u003c/a>, with crowds evoking the names of other black men and women who have died in police custody — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/01/403629104/baltimore-protests-what-we-know-about-the-freddie-gray-arrest\" target=\"_blank\" rel=\"noopener noreferrer\">Freddie Gray\u003c/a>.\u003c/p>\n\u003cp>In 2015, Gray was arrested in Baltimore, and put in a police van—shackled but with no seatbelt. At the end of what was later termed a “rough ride,” Gray was unconscious and his neck was broken. He died a week later.\u003c/p>\n\u003cp>Author \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126370229\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Moore\u003c/a> chronicles the uprising that occurred in Baltimore following Gray’s death in his new book, \u003cem>Five Days: The Fiery Reckoning of an American City. \u003c/em>He says that in addition to addressing inequitable policing that occurs in poor and black neighborhoods, “we also have to deal with the underlying conditions that our citizens, and oftentimes our citizens of color, are repeatedly being … forced to endure.”\u003c/p>\n\u003cp>The author says that Gray’s life and death illustrate the ways in which people of color are constrained by poverty, racism and systemic injustice.\u003c/p>\n\u003cp>“Freddie Gray was born months premature, born underweight, born addicted to heroin,” Moore says. He notes that Gray was exposed to unsafe levels of lead as a child while living in public housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore says the deaths of Freddie Gray and George Floyd highlight injustices that go beyond police brutality.\u003c/p>\n\u003cp>“The justice that’s also being sought must be an economic justice. It must be health justice. It must be housing justice,” Moore says. “If we permit these tragedies to recede from our memory, we will risk the opportunity to change the systems that are ultimately responsible for all of these injustices.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what lessons today’s protestors can take from what happened to Freddie Gray in Baltimore\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881375\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png\" alt=\"Wes Moore was born in Baltimore. He's now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City.\" width=\"303\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM-160x103.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Wes Moore was born in Baltimore. He’s now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City. \u003ccite>(Amun Ankhra /Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s important for the country to understand the lessons of Baltimore, understand the lessons of what happened to Freddie Gray, understand the aftermath of what happened to Freddie Gray. … Because we’re basically reliving history right now. What we’re seeing and these are lessons that could have and should have been learned prior, because I think it’s very indicative as to both where we are now, but frankly, very indicative so as to where we’re going.\u003c/p>\n\u003cp>I also think that when you’re coming on the heels of what we’re seeing in COVID-19, when you’re coming on the heels of what we’re seeing in terms of this massive and, frankly, this exacerbated level of disparity that the first part of this year has really shown us, you see and you understand how this frustration on so many levels continues to boil over. So while I share the calls for peace, I do think it’s important for people to wonder and to ask: … Where’s our collective pain supposed to go when there still is no justice? That’s the tension that we’re seeing right now on the streets.\u003c/p>\n\u003cp>\u003cstrong>On the physical and psychological damage of the 2015 protests in Baltimore\u003c/strong>\u003c/p>\n\u003cp>You saw places and buildings and historic landmarks up in flames. Churches that were up in flames. You also saw a level of psychological damage … that I think in many ways the city of Baltimore has still yet to heal from. … In just these past five years, there’s just been a level of violence where the [annual] homicide rate has been over 300 in the city of Baltimore. When you look at the size of Baltimore, it’s making it literally the most violent city in America right now. … We have had a level of mistrust that is then taking place amongst elected officials. And so you’ve seen how this has shown itself, not just in the initial damage, but in terms of the quantifiable, measurable financial damage, but really how this has damaged the psyche of Baltimore for really a generation that has now felt the impact of this.\u003c/p>\n\u003cp>\u003cstrong>On the poverty and neglect that has plagued Baltimore for generations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881376\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png\" alt=\"'Five Days: The Fiery Reckoning of an American City,' by Wes Moore and Erica L. Green.\" width=\"303\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM-160x242.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘Five Days: The Fiery Reckoning of an American City,’ by Wes Moore and Erica L. Green.\u003c/figcaption>\u003c/figure>\n\u003cp>When … we can’t tell the difference between a building that was burned after the unrest of Freddie Gray or a building that was burned after the unrest after the riots that took place after Dr. King’s murder, versus a building that’s just been vacant because it’s dilapidated and it’s been completely ignored—what does that say about our larger society? And what does that say about our ability to be able to address human pain versus pacify it? And so I think it really does go back and highlights this bigger point, and this bigger conversation, about how we have to think bigger and holistically about what is being demanded and what is being asked, and then what exactly we have to do individually and collectively to be able to address that.\u003c/p>\n\u003cp>\u003cstrong>On the “good apples and bad apples” conversation about police officers\u003c/strong>\u003c/p>\n\u003cp>The thing I think we saw in Baltimore—and I think it’s a complete correlation between what we’re seeing in Minnesota—is it’s impossible to have a conversation about “good apples and bad apples” if we’re not talking about systems. It’s systems that continue to be put in place that allow measures of inequitable policing. It’s systems that are in place that don’t allow for measures of accountability, and where we can put things like civilian review boards in place. … And so this is not just about “good apples” versus “bad apples.” All of us completely acknowledge that there are some absolutely remarkable officers that we have on the force, people who are committing their lives and dedicating their lives and risking their lives for the idea of public safety. We also know that we want good people to be able to perform in good systems—and that’s where the adjustment needs to happen.\u003c/p>\n\u003cp>\u003cstrong>On the decision of whether or not to charge the police officers who were with Officer Chauvin when he killed George Floyd\u003c/strong>\u003c/p>\n\u003cp>The way felony murder works … [is] when a murder happens, that the people who were accomplices in it, regardless of what your role was, even if [you] were not the person that actually took the life of somebody else, you can be held not just accountable, but actually end up receiving a similar type of sentence. We have to really think hard about this idea of toleration that then takes place. For nine minutes that officer [in George Floyd’s case] had his knee on a grown man’s neck while he was screaming for his life, while he was saying that he couldn’t breathe, to the point that some of the last moments that he had on this earth was a 46-year-old man calling for his mother who died two years ago. And at no point did any of the officers go and say to that one officer, “That’s enough,” or “Ease up,” or, “Hey, I got from here. Go take a walk. I got it.”\u003c/p>\n\u003cp>And so there needs to be a level of accountability that people have for each other. There needs to be a level of accountability that individuals have for the people who they are working with, particularly when these types of actions are taking place. Because if there is a level of accountability that people have and they know that I will be held responsible for the actions of the people around me, then my actions are going to be different. And so we’re thinking about the type of reforms that are going to and need to and should take place, we know that when it comes to research specifically on the policing side, these are some of the actions and some of the things that we have to really think hard and really think critically about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amy Salit and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Freddie+Gray+To+George+Floyd%3A+Wes+Moore+Says+It%27s+Time+To+%27Change+The+Systems%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kimmel and Colbert, Bee and Fallon et al., pay attention: Elmo did not come to play. For the inaugural episode of \u003cem>The Not-Too-Late Show With Elmo\u003c/em>, made available Wednesday through HBO Max, Elmo brought some serious wattage, inviting both \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener noreferrer\">Kacey Musgraves\u003c/a> to perform two signature songs from \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>No artist finds more creative and consistent ways to remix, reconfigure and reimagine the same song over and over again than Lil Nas X, so the country-rap star was a perfect choice for helping to put a new spin on the well-tread “Elmo’s Song.”\u003c/p>\n\u003cp>In the clip, Elmo introduces Nas, who comes out in a typically bright outfit and launches into a hip-hop-infused remix of the beloved puppet’s signature tune, supported by the show’s house band (composed entirely of other \u003cem>Sesame Street \u003c/em>puppets).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4BS8BXEB_k&feature=emb_logo\u003c/p>\n\u003cp>Elmo knows Lil Nas X is for the children—his \u003cem>Not-Too-Late Show\u003c/em> appearance comes almost exactly a year after he \u003ca href=\"https://twitter.com/complex/status/1133796630942113793?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">transformed an elementary school gym\u003c/a> into the world’s rowdiest concert venue, with just the opening chorus of “Old Town Road.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musgraves, meanwhile, took a more straightforward, but no less endearing, approach. For her appearance, she went to the microphone with just her acoustic guitar and performed a joyful rendition of “Rubber Duckie” with the same level of earnestness that she brought to her \u003ca href=\"https://www.npr.org/2019/12/21/789753458/the-kacey-musgraves-christmas-show-revives-a-classic-holiday-tradition\" target=\"_blank\" rel=\"noopener noreferrer\">recent Christmas special\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=pJcZoYCEhG0&feature=emb_logo\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=Watch+Lil+Nas+X+And+Kacey+Musgraves+Help+Elmo+Debut+A+New+Talk+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kimmel and Colbert, Bee and Fallon et al., pay attention: Elmo did not come to play. For the inaugural episode of \u003cem>The Not-Too-Late Show With Elmo\u003c/em>, made available Wednesday through HBO Max, Elmo brought some serious wattage, inviting both \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener noreferrer\">Kacey Musgraves\u003c/a> to perform two signature songs from \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>No artist finds more creative and consistent ways to remix, reconfigure and reimagine the same song over and over again than Lil Nas X, so the country-rap star was a perfect choice for helping to put a new spin on the well-tread “Elmo’s Song.”\u003c/p>\n\u003cp>In the clip, Elmo introduces Nas, who comes out in a typically bright outfit and launches into a hip-hop-infused remix of the beloved puppet’s signature tune, supported by the show’s house band (composed entirely of other \u003cem>Sesame Street \u003c/em>puppets).\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/J4BS8BXEB_k'\n title='//www.youtube.com/embed/J4BS8BXEB_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elmo knows Lil Nas X is for the children—his \u003cem>Not-Too-Late Show\u003c/em> appearance comes almost exactly a year after he \u003ca href=\"https://twitter.com/complex/status/1133796630942113793?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">transformed an elementary school gym\u003c/a> into the world’s rowdiest concert venue, with just the opening chorus of “Old Town Road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musgraves, meanwhile, took a more straightforward, but no less endearing, approach. For her appearance, she went to the microphone with just her acoustic guitar and performed a joyful rendition of “Rubber Duckie” with the same level of earnestness that she brought to her \u003ca href=\"https://www.npr.org/2019/12/21/789753458/the-kacey-musgraves-christmas-show-revives-a-classic-holiday-tradition\" target=\"_blank\" rel=\"noopener noreferrer\">recent Christmas special\u003c/a>.\u003c/p>\n\u003cp>\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/pJcZoYCEhG0'\n title='//www.youtube.com/embed/pJcZoYCEhG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Watch+Lil+Nas+X+And+Kacey+Musgraves+Help+Elmo+Debut+A+New+Talk+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "HBO Max's Original Series: A Guide For the Perplexed",
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"content": "\u003cp>HBO Max, WarnerMedia’s new streaming service launching Wednesday, grants subscribers access to all HBO series and hundreds of movies, as well as some shows in the Warners stable that were originally broadcast on other networks—like \u003cem>The Fresh Prince of Bel-Air\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>.\u003c/p>\n\u003cp>The service also launches with a handful of original series. We’ve got a quick preview of those that were made available to media early.\u003c/p>\n\u003cp>\u003cstrong>Craftopia\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vXzRha-pKLw\u003c/p>\n\u003cp>A number of reality-show formats, including \u003cem>MasterChef \u003c/em>and \u003cem>Project Runway\u003c/em>, have created kid versions in recent years with varying degrees of success. It makes sense to try a crafting show where kids work under the watchful eyes of various YouTube and other crafting types. The drawback is the production style, which calls to mind a half-hour toy ad, where you constantly expect someone to pop out and say “Oh, boy!” But the kids are still really talented (it’s worth checking out the first episode just for the boy whose speed-crochet skills are very social-media-friendly), and it might be that with the eye of a kid rather than an adult, the relentlessly cheerful “Time For The Bedazzling Adventures Of Unicorn Planet!!” feel of it might be more appealing. — \u003cem>LH\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Legendary\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UYepGZuRLhA\u003c/p>\n\u003cp>At last, a televised ballroom competition without a single foxtrot, quickstep, Paso Doble or D-list celebrity in sight. That’s because this exuberant, compelling series is all about ballrooms as in \u003cem>Paris is Burning\u003c/em> and \u003cem>Pose\u003c/em>, wherein teams from eight Houses compete against each other in a series of nine themed Balls with routines that combine intricate choreography, joyous freestyle and precise vogueing. The show nails the mix of personal backstories and barn-burning performances, and the teams are insanely charismatic. — \u003cem>GW\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Looney Tunes Cartoons\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nalw1XRAiMI\u003c/p>\n\u003cp>Each episode consists of a roughly 7-minute short, a 30-second interstitial gag, and a second 4-to-5-minute short. The cast is familiar—Bugs, Porky, Daffy, Elmer, Yosemite Sam—but viewers expecting the watered-down, conflict-averse, Won’t-Somebody-Think-Of-The-Children? ‘toons of the ’70s will be surprised. There’s a decided commitment to delivering old-school Looney Tunes action and gags—that means lots of slapstick violence, wisecracks, a reversion to character designs from the early 1940s, and good old-fashioned cross-dressing. — \u003cem>GW\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Love Life\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uZp_g271jpo\u003c/p>\n\u003cp>It’s hard to know what to make of this ten-part anthology series about the series of loves in the life (get it?) of one woman named Darby (Anna Kendrick). On the one hand, a lot of it is charming and extremely relatable to anyone who’s lost a lot of time to regrettable pursuits of unpromising relationships. It has a very fine supporting turn from Zoë Chao (who, happily, is all over the place right now, also delightfully playing a lighter take on the best friend in the film \u003cem>The High Note\u003c/em>), and Kendrick has a real gift for this kind of knockabout chatty comedy. Unfortunately, it seems like the whole thing is supposed to be heading toward a circular, lessons-learned ending that will be revealed in the two final episodes that weren’t given to press for early viewing. If it goes where it seems to be going, it might wrap up really well. If it goes in the other way that’s easy to imagine (sorry to be vague; it’s the best available option), it might be hugely frustrating. But the performances from Kendrick and Chao (and a mega-charming Jin Ha as practically the only decent dude in Darby’s life) make it a pretty pleasant eight episodes to watch. Those last two: Who knows? — \u003cem>LH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On The Record\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9bgVmjX86bQ\u003c/p>\n\u003cp>This one wasn’t offered to press for review, but it’s a documentary tracing the claims of women who have accused music megaproducer Russell Simmons of sexual assault. It premiered at Sundance this year, and it comes from Kirby Dick and Amy Ziering, who also made \u003cem>The Hunting Ground \u003c/em>and \u003cem>The Invisible War\u003c/em>, both of which are also about sexual assault. — \u003cem>LH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Search Party\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oZQ8wJXPZvI\u003c/p>\n\u003cp>The service launches with the first two seasons of the scabrously funny series \u003cem>Search Party\u003c/em> (late of TBS). The story of four self-involved New York millennials who take it upon themselves to investigate the disappearance of a young woman started off as a mystery in season one, and became a thriller in season two. The throughline: sharp dialogue; hilariously repellent characters; and standout performances from its leads, which include Alia Shawkat and John Early. Season three will premiere on Thursday, June 25. — \u003cem>GW\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Not-Too-Late Show With Elmo\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OpsiesXLp14\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We could talk about the idea of the \u003cem>Sesame Street \u003c/em>family sending up late-night talk shows, and I could point out that the 15-minute running time makes it a better choice for an actual settling-down routine for a small child than it would be if it were longer. I could point out that John Mulaney makes a better guest than Jimmy Fallon because Mulaney introduces an element of weirdness, of dry humor almost reminiscent of the Playhouse once owned by a certain Pee-wee. But in the end … it’s Elmo. Elmo is the cilantro of children’s television: either you are extremely in or you are extremely out. It’s unlikely that this relatively breezy little bauble will either turn you against Elmo, if you are among his fans, or turn you on to Elmo, if you are among his detractors. But the idea of Kacey Musgraves singing “Rubber Duckie” or Mulaney greeting sidekick Cookie Monster is not without its charms, even if it’s a little unsettling to look this much at Cookie Monster’s legs. — \u003cem>LH\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=HBO+Max%27s+Original+Series%3A+A+Guide+For+The+Perplexed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>HBO Max, WarnerMedia’s new streaming service launching Wednesday, grants subscribers access to all HBO series and hundreds of movies, as well as some shows in the Warners stable that were originally broadcast on other networks—like \u003cem>The Fresh Prince of Bel-Air\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>.\u003c/p>\n\u003cp>The service also launches with a handful of original series. We’ve got a quick preview of those that were made available to media early.\u003c/p>\n\u003cp>\u003cstrong>Craftopia\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/vXzRha-pKLw'\n title='//www.youtube.com/embed/vXzRha-pKLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A number of reality-show formats, including \u003cem>MasterChef \u003c/em>and \u003cem>Project Runway\u003c/em>, have created kid versions in recent years with varying degrees of success. It makes sense to try a crafting show where kids work under the watchful eyes of various YouTube and other crafting types. The drawback is the production style, which calls to mind a half-hour toy ad, where you constantly expect someone to pop out and say “Oh, boy!” But the kids are still really talented (it’s worth checking out the first episode just for the boy whose speed-crochet skills are very social-media-friendly), and it might be that with the eye of a kid rather than an adult, the relentlessly cheerful “Time For The Bedazzling Adventures Of Unicorn Planet!!” feel of it might be more appealing. — \u003cem>LH\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Legendary\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/UYepGZuRLhA'\n title='//www.youtube.com/embed/UYepGZuRLhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At last, a televised ballroom competition without a single foxtrot, quickstep, Paso Doble or D-list celebrity in sight. 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The show nails the mix of personal backstories and barn-burning performances, and the teams are insanely charismatic. — \u003cem>GW\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Looney Tunes Cartoons\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/nalw1XRAiMI'\n title='//www.youtube.com/embed/nalw1XRAiMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Each episode consists of a roughly 7-minute short, a 30-second interstitial gag, and a second 4-to-5-minute short. The cast is familiar—Bugs, Porky, Daffy, Elmer, Yosemite Sam—but viewers expecting the watered-down, conflict-averse, Won’t-Somebody-Think-Of-The-Children? ‘toons of the ’70s will be surprised. There’s a decided commitment to delivering old-school Looney Tunes action and gags—that means lots of slapstick violence, wisecracks, a reversion to character designs from the early 1940s, and good old-fashioned cross-dressing. — \u003cem>GW\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Love Life\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/uZp_g271jpo'\n title='//www.youtube.com/embed/uZp_g271jpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s hard to know what to make of this ten-part anthology series about the series of loves in the life (get it?) of one woman named Darby (Anna Kendrick). On the one hand, a lot of it is charming and extremely relatable to anyone who’s lost a lot of time to regrettable pursuits of unpromising relationships. It has a very fine supporting turn from Zoë Chao (who, happily, is all over the place right now, also delightfully playing a lighter take on the best friend in the film \u003cem>The High Note\u003c/em>), and Kendrick has a real gift for this kind of knockabout chatty comedy. Unfortunately, it seems like the whole thing is supposed to be heading toward a circular, lessons-learned ending that will be revealed in the two final episodes that weren’t given to press for early viewing. If it goes where it seems to be going, it might wrap up really well. If it goes in the other way that’s easy to imagine (sorry to be vague; it’s the best available option), it might be hugely frustrating. But the performances from Kendrick and Chao (and a mega-charming Jin Ha as practically the only decent dude in Darby’s life) make it a pretty pleasant eight episodes to watch. Those last two: Who knows? — \u003cem>LH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On The Record\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/9bgVmjX86bQ'\n title='//www.youtube.com/embed/9bgVmjX86bQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This one wasn’t offered to press for review, but it’s a documentary tracing the claims of women who have accused music megaproducer Russell Simmons of sexual assault. It premiered at Sundance this year, and it comes from Kirby Dick and Amy Ziering, who also made \u003cem>The Hunting Ground \u003c/em>and \u003cem>The Invisible War\u003c/em>, both of which are also about sexual assault. — \u003cem>LH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Search Party\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/oZQ8wJXPZvI'\n title='//www.youtube.com/embed/oZQ8wJXPZvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The service launches with the first two seasons of the scabrously funny series \u003cem>Search Party\u003c/em> (late of TBS). The story of four self-involved New York millennials who take it upon themselves to investigate the disappearance of a young woman started off as a mystery in season one, and became a thriller in season two. The throughline: sharp dialogue; hilariously repellent characters; and standout performances from its leads, which include Alia Shawkat and John Early. Season three will premiere on Thursday, June 25. — \u003cem>GW\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Not-Too-Late Show With Elmo\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/OpsiesXLp14'\n title='//www.youtube.com/embed/OpsiesXLp14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>We could talk about the idea of the \u003cem>Sesame Street \u003c/em>family sending up late-night talk shows, and I could point out that the 15-minute running time makes it a better choice for an actual settling-down routine for a small child than it would be if it were longer. I could point out that John Mulaney makes a better guest than Jimmy Fallon because Mulaney introduces an element of weirdness, of dry humor almost reminiscent of the Playhouse once owned by a certain Pee-wee. But in the end … it’s Elmo. Elmo is the cilantro of children’s television: either you are extremely in or you are extremely out. It’s unlikely that this relatively breezy little bauble will either turn you against Elmo, if you are among his fans, or turn you on to Elmo, if you are among his detractors. But the idea of Kacey Musgraves singing “Rubber Duckie” or Mulaney greeting sidekick Cookie Monster is not without its charms, even if it’s a little unsettling to look this much at Cookie Monster’s legs. — \u003cem>LH\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"title": "'Running For Your Life': A Community Poem For Ahmaud Arbery",
"headTitle": "‘Running For Your Life’: A Community Poem For Ahmaud Arbery | KQED",
"content": "\u003cp>After the\u003ca href=\"https://www.npr.org/2020/05/10/853581211/georgia-attorney-general-asks-for-doj-probe-into-handling-of-ahmaud-arbery-case\"> death of Ahmaud Arbery\u003c/a>, \u003cem>Morning Edition \u003c/em>asked for your reactions to the killing in the shape of a poem. The 25-year-old black man was shot and killed by two white men while he was out for a jog in February in Glynn County, Ga.\u003c/p>\n\u003cp>When video of the incident was released, it was met with public outcry and protest. In the weeks since, we’ve seen more outrage accompany new headlines about African Americans killed by police. Dreasjon “Sean” Reed \u003ca href=\"https://www.npr.org/2020/05/12/854725445/feds-to-monitor-investigation-of-fatal-police-shootings-in-indianapolis\">was shot and killed \u003c/a>in Indianapolis. Breonna Taylor, an emergency medical technician in Louisville, Ky., was shot eight times in her bed. And Monday night Minneapolis, another black man died in police custody; a video shows George Floyd pleading with an officer whose shoe is on his neck.\u003c/p>\n\u003cp>The art that comes from hurt and pain is compelling and formidable. We received over 1,000 entries — an emotional outpouring of poems and reflections what it means to be black and safe in America today.\u003c/p>\n\u003cp>[aside postID='aside postID=arts_13880973,arts_13837639' label='Read Pendarvis Harshaw's Weekly Column']\u003c/p>\n\u003cp>NPR’s poet-in-residence Kwame Alexander took lines from the many submissions to create a community poem. Contributors are credited at the bottom.\u003c/p>\n\u003cp>\u003cem>Running For Your Life\u003c/em>\u003c/p>\n\u003cp>What is the color of air?\u003cbr>\nWho owns the right to breathe?\u003cbr>\nWhy are we so afraid of each other?\u003cbr>\nWhen will they come for the brown men I know and love?\u003cbr>\nWhat was his crime?\u003c/p>\n\u003cp>Is there justice for all In the land of the free?\u003cbr>\nOr only those who are\u003cbr>\nWhite like me?\u003c/p>\n\u003cp>What is the vaccine for this “pandemic”?\u003cbr>\nI wonder where my baby is?\u003c/p>\n\u003cp>Another\u003cbr>\nBlack\u003cbr>\nBody\u003cbr>\nShot.\u003c/p>\n\u003cp>White-hot hate\u003cbr>\nleft its stain\u003cbr>\non a blackened\u003cbr>\nGeorgia road.\u003c/p>\n\u003cp>My country, ’tis of thee … we must raise the skeletons\u003cbr>\nburied deep in our past,\u003c/p>\n\u003cp>1880\u003cbr>\n1890\u003cbr>\n1920\u003cbr>\n1990\u003cbr>\n2020\u003cbr>\n“Give it time,” White Fragility says.\u003cbr>\nNothing moves forward\u003cbr>\nuntil this hunting stops\u003cbr>\na knife on our collective tongues\u003c/p>\n\u003cp>Please stop running\u003cbr>\nfrom the truth\u003cbr>\nand listen:\u003c/p>\n\u003cp>This death was everyone’s fault.\u003cbr>\nThis is on you, young America\u003c/p>\n\u003cp>We must accept the lingering shame and guilt,\u003cbr>\nthe anger and mistrust inequality have instilled,\u003cbr>\napologize for the damage commit to sow a future with humility.\u003c/p>\n\u003cp>While we await such a day,\u003cbr>\nLet us say your name:\u003cbr>\nAhmaud Arbery,\u003cbr>\nAhmaud Arbery,\u003cbr>\nAhmaud Arbery.\u003c/p>\n\u003cp>I am sorry that we all know your name now;\u003cbr>\nThat we will forget it far too soon.\u003c/p>\n\u003cp>I am sorry that the only song they know to sing for you is tragedy.\u003cbr>\nI am sorry that all I can do is write this poem\u003c/p>\n\u003cp>I am sorry that your life has become a metaphor:\u003c/p>\n\u003cp>a house being built, down the road,\u003cbr>\nHe liked to mark its progress,\u003cbr>\ndream of building one himself,\u003c/p>\n\u003cp>Eyes shine through windows,\u003cbr>\nLike raccoons in the woods at night,\u003cbr>\nTheir faces twisted, pink, and hot,\u003c/p>\n\u003cp>He knows these trees, and their strange fruit,\u003c/p>\n\u003cp>Of thee I sing.\u003c/p>\n\u003cp>after hatred’s song is spilled\u003cbr>\nout into the streets\u003cbr>\nand across soft green lawns\u003cbr>\nit cannot be unsung\u003c/p>\n\u003cp>After bullet leaves chamber\u003cbr>\nit cannot be recalled\u003c/p>\n\u003cp>My heart rages for another mother’s loss of her son\u003cbr>\nfor the blindness\u003c/p>\n\u003cp>for the cover up\u003cbr>\nfor the tears not enough to wet the graves\u003c/p>\n\u003cp>of so many lost for the sake of insanity:\u003c/p>\n\u003cp>a black babysitter caring for white children\u003cbr>\na black professor opening his own front door\u003cbr>\na young black woman sleeping in her own college lounge\u003cbr>\na black teen knocking on a door to ask directions\u003c/p>\n\u003cp>his first words: Don’t Be Afraid\u003cbr>\na black boy jogging in the morning\u003c/p>\n\u003cp>There is an essential difference between running\u003c/p>\n\u003cp>and running for your life.\u003c/p>\n\u003cp>I remember my mother, the night\u003cbr>\nshe got down on her hands and knees\u003cbr>\non the frayed rug,\u003c/p>\n\u003cp>Tired of the facade of racial progress\u003c/p>\n\u003cp>Pain too hard to bear,\u003cbr>\nfists pumping out the beat,\u003cbr>\n“I can’t take it anymore.”\u003c/p>\n\u003cp>I don’t fear the pick-up trucks\u003cbr>\nIt’s only the dogs sometimes, when there are two or more, and mean,\u003cbr>\nWho charge out onto the road, hair raised along their backs, barking and growling.\u003cbr>\nComing up behind me.\u003cbr>\nLooking for a chance to bite.\u003cbr>\nMy deepest fear is that I am black and that I will be murdered for it.\u003c/p>\n\u003cp>They are young men\u003cbr>\nsimply going about their lives\u003c/p>\n\u003cp>Never, ever again, should a dream be deferred,\u003cbr>\nshould a parent have to explain\u003c/p>\n\u003cp>Jim Crow still lives in the hearts and minds\u003cbr>\nof white men,\u003cbr>\nshould a young man look over his shoulder\u003cbr>\nat a gun and run only to lose this race.\u003c/p>\n\u003cp>Never, ever AGAIN.\u003cbr>\nWe do have a choice\u003cbr>\nand it is an easy choice.\u003cbr>\nWe fight to rise above this sin\u003c/p>\n\u003cp>We fight to be a world of one\u003c/p>\n\u003cp>We fight for our humanity\u003cbr>\nbecause after leaves fall they cannot be reattached\u003cbr>\nto the tree\u003c/p>\n\u003cp>because broken hearts still beat\u003c/p>\n\u003cp>because Justice peeks her head\u003cbr>\naround the corner.\u003cbr>\nAnd hope the door doesn’t slam.\u003c/p>\n\u003chr>\n\u003cp>This community poem was created using submissions by:\u003c/p>\n\u003cp>Ameera Pearsall, Milwaukee\u003c/p>\n\u003cp>Catherine King, Omaha, Neb.\u003c/p>\n\u003cp>Chelsey Brunelle, Glendora, Calif.\u003c/p>\n\u003cp>Kathryn Ing, Los Angeles\u003c/p>\n\u003cp>David Calvin, Charlotte, N.C.\u003c/p>\n\u003cp>Angela Snyder, Borden, Ind.\u003c/p>\n\u003cp>Mary Battle, Augusta, Ga.\u003c/p>\n\u003cp>Kim Klugh, Lancaster, Pa.\u003c/p>\n\u003cp>Jade G, Concord, Calif.\u003c/p>\n\u003cp>Laura Tate, Cortland, N.Y.\u003c/p>\n\u003cp>Natalie Wilkinson, Newburgh, N.Y.\u003c/p>\n\u003cp>Marilyn Johnston, Salen, Ore.\u003c/p>\n\u003cp>Mary Donahue Brown, Pittsford, N.Y.\u003c/p>\n\u003cp>Mary Carter, Nashville, Tenn.\u003c/p>\n\u003cp>Skooter Fein, San Francisco\u003c/p>\n\u003cp>Isabelle Hart, Naples, Fla.\u003c/p>\n\u003cp>Tony Miller, Wellman, Iowa\u003c/p>\n\u003cp>Barbara McCarley, Chapel Hill, N.C.\u003c/p>\n\u003cp>Jennifer Greenow, Scotia, N.Y.\u003c/p>\n\u003cp>Jessica Bartley, Portland, Ore.\u003c/p>\n\u003cp>Laura Vinton, Estero, Fla.\u003c/p>\n\u003cp>Jose Salabarria, Houston\u003c/p>\n\u003cp>Kara Kral, Twin Falls, Idaho\u003c/p>\n\u003cp>Lisa Stolar, Trenton, N.C.\u003c/p>\n\u003cp>Bambi Vargo, Kirtland Hills, Ohio\u003c/p>\n\u003cp>Meriel Martinez, Tampa, Fla.\u003c/p>\n\u003cp>Clare Cranford, Paso Robles, Calif.\u003c/p>\n\u003cp>Rhiannon Schmidt, Houghton, Mich.\u003c/p>\n\u003cp>Rachel Olatunji, Wilmette, Ill.\u003c/p>\n\u003cp>Diana Torres-Guillén, Madera, Calif.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Running+For+Your+Life%27%3A+A+Community+Poem+For+Ahmaud+Arbery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NPR’s poet-in-residence Kwame Alexander took lines from the many submissions to create a community poem. Contributors are credited at the bottom.\u003c/p>\n\u003cp>\u003cem>Running For Your Life\u003c/em>\u003c/p>\n\u003cp>What is the color of air?\u003cbr>\nWho owns the right to breathe?\u003cbr>\nWhy are we so afraid of each other?\u003cbr>\nWhen will they come for the brown men I know and love?\u003cbr>\nWhat was his crime?\u003c/p>\n\u003cp>Is there justice for all In the land of the free?\u003cbr>\nOr only those who are\u003cbr>\nWhite like me?\u003c/p>\n\u003cp>What is the vaccine for this “pandemic”?\u003cbr>\nI wonder where my baby is?\u003c/p>\n\u003cp>Another\u003cbr>\nBlack\u003cbr>\nBody\u003cbr>\nShot.\u003c/p>\n\u003cp>White-hot hate\u003cbr>\nleft its stain\u003cbr>\non a blackened\u003cbr>\nGeorgia road.\u003c/p>\n\u003cp>My country, ’tis of thee … we must raise the skeletons\u003cbr>\nburied deep in our past,\u003c/p>\n\u003cp>1880\u003cbr>\n1890\u003cbr>\n1920\u003cbr>\n1990\u003cbr>\n2020\u003cbr>\n“Give it time,” White Fragility says.\u003cbr>\nNothing moves forward\u003cbr>\nuntil this hunting stops\u003cbr>\na knife on our collective tongues\u003c/p>\n\u003cp>Please stop running\u003cbr>\nfrom the truth\u003cbr>\nand listen:\u003c/p>\n\u003cp>This death was everyone’s fault.\u003cbr>\nThis is on you, young America\u003c/p>\n\u003cp>We must accept the lingering shame and guilt,\u003cbr>\nthe anger and mistrust inequality have instilled,\u003cbr>\napologize for the damage commit to sow a future with humility.\u003c/p>\n\u003cp>While we await such a day,\u003cbr>\nLet us say your name:\u003cbr>\nAhmaud Arbery,\u003cbr>\nAhmaud Arbery,\u003cbr>\nAhmaud Arbery.\u003c/p>\n\u003cp>I am sorry that we all know your name now;\u003cbr>\nThat we will forget it far too soon.\u003c/p>\n\u003cp>I am sorry that the only song they know to sing for you is tragedy.\u003cbr>\nI am sorry that all I can do is write this poem\u003c/p>\n\u003cp>I am sorry that your life has become a metaphor:\u003c/p>\n\u003cp>a house being built, down the road,\u003cbr>\nHe liked to mark its progress,\u003cbr>\ndream of building one himself,\u003c/p>\n\u003cp>Eyes shine through windows,\u003cbr>\nLike raccoons in the woods at night,\u003cbr>\nTheir faces twisted, pink, and hot,\u003c/p>\n\u003cp>He knows these trees, and their strange fruit,\u003c/p>\n\u003cp>Of thee I sing.\u003c/p>\n\u003cp>after hatred’s song is spilled\u003cbr>\nout into the streets\u003cbr>\nand across soft green lawns\u003cbr>\nit cannot be unsung\u003c/p>\n\u003cp>After bullet leaves chamber\u003cbr>\nit cannot be recalled\u003c/p>\n\u003cp>My heart rages for another mother’s loss of her son\u003cbr>\nfor the blindness\u003c/p>\n\u003cp>for the cover up\u003cbr>\nfor the tears not enough to wet the graves\u003c/p>\n\u003cp>of so many lost for the sake of insanity:\u003c/p>\n\u003cp>a black babysitter caring for white children\u003cbr>\na black professor opening his own front door\u003cbr>\na young black woman sleeping in her own college lounge\u003cbr>\na black teen knocking on a door to ask directions\u003c/p>\n\u003cp>his first words: Don’t Be Afraid\u003cbr>\na black boy jogging in the morning\u003c/p>\n\u003cp>There is an essential difference between running\u003c/p>\n\u003cp>and running for your life.\u003c/p>\n\u003cp>I remember my mother, the night\u003cbr>\nshe got down on her hands and knees\u003cbr>\non the frayed rug,\u003c/p>\n\u003cp>Tired of the facade of racial progress\u003c/p>\n\u003cp>Pain too hard to bear,\u003cbr>\nfists pumping out the beat,\u003cbr>\n“I can’t take it anymore.”\u003c/p>\n\u003cp>I don’t fear the pick-up trucks\u003cbr>\nIt’s only the dogs sometimes, when there are two or more, and mean,\u003cbr>\nWho charge out onto the road, hair raised along their backs, barking and growling.\u003cbr>\nComing up behind me.\u003cbr>\nLooking for a chance to bite.\u003cbr>\nMy deepest fear is that I am black and that I will be murdered for it.\u003c/p>\n\u003cp>They are young men\u003cbr>\nsimply going about their lives\u003c/p>\n\u003cp>Never, ever again, should a dream be deferred,\u003cbr>\nshould a parent have to explain\u003c/p>\n\u003cp>Jim Crow still lives in the hearts and minds\u003cbr>\nof white men,\u003cbr>\nshould a young man look over his shoulder\u003cbr>\nat a gun and run only to lose this race.\u003c/p>\n\u003cp>Never, ever AGAIN.\u003cbr>\nWe do have a choice\u003cbr>\nand it is an easy choice.\u003cbr>\nWe fight to rise above this sin\u003c/p>\n\u003cp>We fight to be a world of one\u003c/p>\n\u003cp>We fight for our humanity\u003cbr>\nbecause after leaves fall they cannot be reattached\u003cbr>\nto the tree\u003c/p>\n\u003cp>because broken hearts still beat\u003c/p>\n\u003cp>because Justice peeks her head\u003cbr>\naround the corner.\u003cbr>\nAnd hope the door doesn’t slam.\u003c/p>\n\u003chr>\n\u003cp>This community poem was created using submissions by:\u003c/p>\n\u003cp>Ameera Pearsall, Milwaukee\u003c/p>\n\u003cp>Catherine King, Omaha, Neb.\u003c/p>\n\u003cp>Chelsey Brunelle, Glendora, Calif.\u003c/p>\n\u003cp>Kathryn Ing, Los Angeles\u003c/p>\n\u003cp>David Calvin, Charlotte, N.C.\u003c/p>\n\u003cp>Angela Snyder, Borden, Ind.\u003c/p>\n\u003cp>Mary Battle, Augusta, Ga.\u003c/p>\n\u003cp>Kim Klugh, Lancaster, Pa.\u003c/p>\n\u003cp>Jade G, Concord, Calif.\u003c/p>\n\u003cp>Laura Tate, Cortland, N.Y.\u003c/p>\n\u003cp>Natalie Wilkinson, Newburgh, N.Y.\u003c/p>\n\u003cp>Marilyn Johnston, Salen, Ore.\u003c/p>\n\u003cp>Mary Donahue Brown, Pittsford, N.Y.\u003c/p>\n\u003cp>Mary Carter, Nashville, Tenn.\u003c/p>\n\u003cp>Skooter Fein, San Francisco\u003c/p>\n\u003cp>Isabelle Hart, Naples, Fla.\u003c/p>\n\u003cp>Tony Miller, Wellman, Iowa\u003c/p>\n\u003cp>Barbara McCarley, Chapel Hill, N.C.\u003c/p>\n\u003cp>Jennifer Greenow, Scotia, N.Y.\u003c/p>\n\u003cp>Jessica Bartley, Portland, Ore.\u003c/p>\n\u003cp>Laura Vinton, Estero, Fla.\u003c/p>\n\u003cp>Jose Salabarria, Houston\u003c/p>\n\u003cp>Kara Kral, Twin Falls, Idaho\u003c/p>\n\u003cp>Lisa Stolar, Trenton, N.C.\u003c/p>\n\u003cp>Bambi Vargo, Kirtland Hills, Ohio\u003c/p>\n\u003cp>Meriel Martinez, Tampa, Fla.\u003c/p>\n\u003cp>Clare Cranford, Paso Robles, Calif.\u003c/p>\n\u003cp>Rhiannon Schmidt, Houghton, Mich.\u003c/p>\n\u003cp>Rachel Olatunji, Wilmette, Ill.\u003c/p>\n\u003cp>Diana Torres-Guillén, Madera, Calif.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Running+For+Your+Life%27%3A+A+Community+Poem+For+Ahmaud+Arbery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Muslim Comics Gather Over Zoom to Celebrate Eid With Jokes and Joy",
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"content": "\u003cp>Performing on a Facebook livestream, \u003ca href=\"https://salmahindy.com/#bookings\" target=\"_blank\" rel=\"noopener noreferrer\">Salma Hindy\u003c/a> began her stand-up routine by giving a shout-out to everyone in the audience who was following the guidelines to keep the coronavirus at bay, such as washing hands regularly, covering one’s face and keeping a respectful distance from others. Though, as a Muslim, she found these habits a tad familiar.\u003c/p>\n\u003cp>“You call it coronavirus, I call it sharia law!” said Hindy, referring to the set of principles Muslims abide by.\u003c/p>\n\u003cp>The Canadian Muslim comedian was one of 40 performers taking part in The Socially Distant Eid Comedy Night, an event hosted by the \u003ca href=\"https://www.concordiaforum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum\u003c/a>, a networking organization for Muslim influencers and changemakers. The goal was to give Muslims around the world some comic relief as they do the unprecedented: celebrate Ramadan and Eid in isolation at home, with fewer family members and friends than usual because of the coronavirus pandemic.\u003c/p>\n\u003cp>A holy month typically observed by attending daily prayers at the mosque and dinner parties to break the dawn-to-dusk fast, Ramadan was indeed a different sight to behold this year, as was Eid al-Fitr, the holiday that marks the end of Ramadan.\u003c/p>\n\u003cp>The stand-up comedians come from different occupations and backgrounds, including award-winning performers based in South Africa and the U.K. Their show was livestreamed on May 24, Eid day for many countries. The event is available to watch on the \u003ca href=\"https://www.facebook.com/concordiaforum/?__tn__=%2CdkC-R&eid=ARCqt3KEHGEKaw7FRo-sqPzKj3QfNTfMoUHQ6Hkg-P1cLWt65CNB5nH3I56zn9IUYL3rZSAjwTRigrUR&hc_ref=ARRl52J61Hm2bDDO4NhoPXSkGbdTE0R419Cft1BhE39ijf6TLF0qAwyMNaUCi-jQsUA\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum’s Facebook page\u003c/a> until Wednesday at 5 p.m. ET.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Muddassar Ahmed, organizer of the event and chair of the Concordia Forum, put together the comedy special during the week leading up to the holiday.\u003c/p>\n\u003cp>“For the hour or two that people tune in I hope it lifts people’s spirits and helps them take their mind off things,” says Ahmed.\u003c/p>\n\u003cp>Each comedian did a 3-minute set, poking fun at themselves and making jokes about Muslim stereotypes.\u003c/p>\n\u003cp>Hindy’s act revolved around dealing with the coronavirus as a Muslim daughter of immigrants. She mentioned the new degree a lot of parents seem to have gained during the pandemic—a PhD from WhatsApp University.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3t5Vk87bckY&feature=emb_logo\u003c/p>\n\u003cp>“In WhatsApp University, absolutely no fact-checking is allowed,” said Hindy, referring to the habit of some Muslim parents to forward myths and unproven coronavirus cures on WhatsApp, a social messaging app especially popular among immigrants as well as in many countries around the world.\u003c/p>\n\u003cp>Yaaseen Barnes, a South African \u003ca href=\"http://yaaseenbarnes.co.za/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">stand-up comedian\u003c/a> and one of several hosts for the evening, found some pros in celebrating Eid under quarantine. He joked that he no longer had to deal with the issue of praying next to someone who occasionally releases smelly burps of the food they just ate at \u003cem>iftar\u003c/em>, the meal to break the daily fast.\u003c/p>\n\u003cp>“This is why [Zoom] is great, because you don’t need to be in the burp,” said Barnes, who is known as the “king of one-liners” by the stand-up community in South Africa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mvnC08ozOg4&feature=emb_logo\u003c/p>\n\u003cp>Barnes was delighted to take part in the event and described it as a combination of what he loves: making others laugh and helping people. He hoped he could create a sense of community for those celebrating without family.\u003c/p>\n\u003cp>“Maybe we can give you something to laugh about and make everyone feel a little bit at home,” said Barnes.\u003c/p>\n\u003cp>And it wasn’t the only virtual event on the holy month calendar. Imam \u003ca href=\"https://wagner.nyu.edu/community/faculty/suhaib-webb\" target=\"_blank\" rel=\"noopener noreferrer\">Suhaib Webb\u003c/a>, a resident scholar at the Islamic Center at New York University, says that throughout Ramadan, the internet was chock-full of more spiritual-oriented events and gatherings than anyone could attend—a way of keeping the communal spirit alive.\u003c/p>\n\u003cp>ICNYU held virtual events for both \u003cem>iftar\u003c/em> and \u003cem>suhoor\u003c/em>, the meal before the fast, as well as online lectures about the blessings of Ramadan. Webb believes that, despite the lack of in-person interaction, the online events actually gave people more options to participate in the community aspect of Ramadan and Eid.\u003c/p>\n\u003cp>“It’s ironic because, though we’re limited in our physical engagement due to the pandemic, we are unlimited in the [virtual] events and things we can participate in,” says Webb, referring to the countries that restricted physical gatherings.\u003c/p>\n\u003cp>The virtual comedy show indeed brought many people across nations together, with an estimated 5,000 people tuning in, according to Ahmed, throughout the two-hour event. The social media responses were overwhelming positive, with one writer calling the show “top-tier comedy.”\u003c/p>\n\u003cp>And even though I was covering this event as a reporter for NPR, I couldn’t help but agree. I’m a Muslim American, and the jokes and online community generated by the comedy special—while no match for the traditional in-person events—gave us back a little bit of the Eid feeling we were missing this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/hafsaquraishi_\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hafsa Quraishi\u003c/em>\u003c/a>\u003cem> is a Muslim American reporter who focuses on business, politics and issues affecting Muslim Americans.\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=Muslim+Comics+Gather+Over+Zoom+To+Celebrate+Eid+With+Jokes+And+Joy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Performing on a Facebook livestream, \u003ca href=\"https://salmahindy.com/#bookings\" target=\"_blank\" rel=\"noopener noreferrer\">Salma Hindy\u003c/a> began her stand-up routine by giving a shout-out to everyone in the audience who was following the guidelines to keep the coronavirus at bay, such as washing hands regularly, covering one’s face and keeping a respectful distance from others. Though, as a Muslim, she found these habits a tad familiar.\u003c/p>\n\u003cp>“You call it coronavirus, I call it sharia law!” said Hindy, referring to the set of principles Muslims abide by.\u003c/p>\n\u003cp>The Canadian Muslim comedian was one of 40 performers taking part in The Socially Distant Eid Comedy Night, an event hosted by the \u003ca href=\"https://www.concordiaforum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum\u003c/a>, a networking organization for Muslim influencers and changemakers. The goal was to give Muslims around the world some comic relief as they do the unprecedented: celebrate Ramadan and Eid in isolation at home, with fewer family members and friends than usual because of the coronavirus pandemic.\u003c/p>\n\u003cp>A holy month typically observed by attending daily prayers at the mosque and dinner parties to break the dawn-to-dusk fast, Ramadan was indeed a different sight to behold this year, as was Eid al-Fitr, the holiday that marks the end of Ramadan.\u003c/p>\n\u003cp>The stand-up comedians come from different occupations and backgrounds, including award-winning performers based in South Africa and the U.K. Their show was livestreamed on May 24, Eid day for many countries. The event is available to watch on the \u003ca href=\"https://www.facebook.com/concordiaforum/?__tn__=%2CdkC-R&eid=ARCqt3KEHGEKaw7FRo-sqPzKj3QfNTfMoUHQ6Hkg-P1cLWt65CNB5nH3I56zn9IUYL3rZSAjwTRigrUR&hc_ref=ARRl52J61Hm2bDDO4NhoPXSkGbdTE0R419Cft1BhE39ijf6TLF0qAwyMNaUCi-jQsUA\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum’s Facebook page\u003c/a> until Wednesday at 5 p.m. ET.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muddassar Ahmed, organizer of the event and chair of the Concordia Forum, put together the comedy special during the week leading up to the holiday.\u003c/p>\n\u003cp>“For the hour or two that people tune in I hope it lifts people’s spirits and helps them take their mind off things,” says Ahmed.\u003c/p>\n\u003cp>Each comedian did a 3-minute set, poking fun at themselves and making jokes about Muslim stereotypes.\u003c/p>\n\u003cp>Hindy’s act revolved around dealing with the coronavirus as a Muslim daughter of immigrants. She mentioned the new degree a lot of parents seem to have gained during the pandemic—a PhD from WhatsApp University.\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/3t5Vk87bckY'\n title='//www.youtube.com/embed/3t5Vk87bckY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In WhatsApp University, absolutely no fact-checking is allowed,” said Hindy, referring to the habit of some Muslim parents to forward myths and unproven coronavirus cures on WhatsApp, a social messaging app especially popular among immigrants as well as in many countries around the world.\u003c/p>\n\u003cp>Yaaseen Barnes, a South African \u003ca href=\"http://yaaseenbarnes.co.za/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">stand-up comedian\u003c/a> and one of several hosts for the evening, found some pros in celebrating Eid under quarantine. He joked that he no longer had to deal with the issue of praying next to someone who occasionally releases smelly burps of the food they just ate at \u003cem>iftar\u003c/em>, the meal to break the daily fast.\u003c/p>\n\u003cp>“This is why [Zoom] is great, because you don’t need to be in the burp,” said Barnes, who is known as the “king of one-liners” by the stand-up community in South Africa.\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/mvnC08ozOg4'\n title='//www.youtube.com/embed/mvnC08ozOg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barnes was delighted to take part in the event and described it as a combination of what he loves: making others laugh and helping people. He hoped he could create a sense of community for those celebrating without family.\u003c/p>\n\u003cp>“Maybe we can give you something to laugh about and make everyone feel a little bit at home,” said Barnes.\u003c/p>\n\u003cp>And it wasn’t the only virtual event on the holy month calendar. Imam \u003ca href=\"https://wagner.nyu.edu/community/faculty/suhaib-webb\" target=\"_blank\" rel=\"noopener noreferrer\">Suhaib Webb\u003c/a>, a resident scholar at the Islamic Center at New York University, says that throughout Ramadan, the internet was chock-full of more spiritual-oriented events and gatherings than anyone could attend—a way of keeping the communal spirit alive.\u003c/p>\n\u003cp>ICNYU held virtual events for both \u003cem>iftar\u003c/em> and \u003cem>suhoor\u003c/em>, the meal before the fast, as well as online lectures about the blessings of Ramadan. Webb believes that, despite the lack of in-person interaction, the online events actually gave people more options to participate in the community aspect of Ramadan and Eid.\u003c/p>\n\u003cp>“It’s ironic because, though we’re limited in our physical engagement due to the pandemic, we are unlimited in the [virtual] events and things we can participate in,” says Webb, referring to the countries that restricted physical gatherings.\u003c/p>\n\u003cp>The virtual comedy show indeed brought many people across nations together, with an estimated 5,000 people tuning in, according to Ahmed, throughout the two-hour event. The social media responses were overwhelming positive, with one writer calling the show “top-tier comedy.”\u003c/p>\n\u003cp>And even though I was covering this event as a reporter for NPR, I couldn’t help but agree. I’m a Muslim American, and the jokes and online community generated by the comedy special—while no match for the traditional in-person events—gave us back a little bit of the Eid feeling we were missing this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/hafsaquraishi_\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hafsa Quraishi\u003c/em>\u003c/a>\u003cem> is a Muslim American reporter who focuses on business, politics and issues affecting Muslim Americans.\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=Muslim+Comics+Gather+Over+Zoom+To+Celebrate+Eid+With+Jokes+And+Joy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lady Gaga released “Rain On Me,” the second single ahead of her upcoming album \u003cem>Chromatica\u003c/em> midnight Friday morning, followed by a music video Friday afternoon.\u003c/p>\n\u003cp>Featuring guest vocals from Ariana Grande, “Rain On Me” is Gaga at her electronic-dance-pop \u003cem>most\u003c/em>, with those signature booming vocals and even some dramatic spoken lyrics just before the drop, another Germanotta staple. Few can belt the way that Gaga can and Grande is one of them, giving this the kind of grand-event feel that makes this kind of pop superstar team-up hum.\u003c/p>\n\u003cp>Fitting in with the sort-of-cyberpunk aesthetic around \u003cem>Chromatica \u003c/em>as a whole, the video features Gaga and Grande clad in sci-fi-inspired plastic-and-leather-wear, dancing amidst a rainstorm in a morose, futuristic city. At one point, Gaga becomes a giant, \u003cem>Blade Runner\u003c/em>-style projection and—underscoring the song’s message of making the best of a bad situation—by the end turns the dystopia into a dance floor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoAm4om0wTs&feature=emb_logo\u003c/p>\n\u003cp>(All of that said, only time will tell if it can topple Natasha Bedingfield’s “Unwritten” as the world’s foremost rain-based pop anthem.)\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lady Gaga’s new album, \u003c/em>Chromatica\u003cem>, will be released May 29 on Interscope Records. \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=In+Their+First+Collaboration%2C+Lady+Gaga+And+Ariana+Grande+Get+Exuberantly+Dystopic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>“Honey, I’m going out for an adventure!”\u003c/p>\n\u003cp>E. closes the door behind him and steps out into the world. I stay put, cooking up ideas for home improvement.\u003c/p>\n\u003cp>We’ve only known each other for a few months, but once the pandemic threw our lives off balance, we decided to move in together. In a house we built. In \u003cem>Minecraft\u003c/em>.\u003c/p>\n\u003cp>The house is modest—a pixelated, underground starter home made of dirt and cobblestone. In one corner is a large chest for storing our inventory. Nearby, a crafting table and a stove convert raw materials into something useful. There’s a bed for our re-spawn location, which means I won’t get lost the next time I drown or get blown up by a creeper—a recurring issue early on. And on the opposite wall, there’s a pen of clucking chickens. On second thought, not the best place for the chickens.\u003c/p>\n\u003cp>Later, we’ll upgrade to a multi-story castle atop a mountain—but for now, it’s home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Downloading\u003cem> Minecraft\u003c/em> wasn’t my first instinct when I stopped going to my office and everywhere else. I’ve never self-identified as a gamer in my adult life, and I certainly didn’t think the antidote to screen fatigue could be more screen time. Plus, video games always struck me as chaotic, and I was maxed out on chaos.\u003c/p>\n\u003cp>As kids, my older brother and I would settle into an afternoon of \u003cem>Tekken 4\u003c/em> or \u003cem>James Bond 007: Nightfire\u003c/em>, battling enemies and each other on an otherwise calm day. It was thrilling, and I’d ride that anxious buzz of trying to survive until it was time for something else. It’s strange how much you can learn about yourself as a child when your avatar is a buxom woman named Pussy Galore. I discovered I only really had fun when my brother and I were on the same team, and friendly fire was turned off. I noticed that random civilian casualties made me feel sick. I questioned why lady avatars were scantily clad while dude avatars often weren’t. And I loved getting to sight-see. [aside postid='arts_13879036']\u003c/p>\n\u003cp>Sightseeing is why \u003cem>Minecraft\u003c/em> has had such an impact. Right now, my life’s parameters are my bedroom, my ambitions are the size of 80 bedrooms, and my \u003cem>Minecraft\u003c/em> realm is the size of a zillion bedrooms. The game offers endless virtual space to roam when real-life space feels like a rare commodity. And relocation is the literal click of a button. When I tire of the mines, I try the mountains. When I’m done with the mountains, I go to the jungle. And when I’ve had it with the jungle, I hop in a boat that I made with oak from the jungle and find a new island to inhabit. Then I can do it all over again. The game’s natural world is artificial, but there’s something kind of enchanting about that block-shaped moon overhead.\u003c/p>\n\u003cp>Offline, my weeks have been punctuated with worry about the strain I’m putting on my household’s resources. But \u003cem>Minecraft\u003c/em> promises a retreat where raw materials are always plentiful and useful—water for putting out lava, iron for swords and pickaxes, cobwebs for string, animals for food. Neither climate change nor a pandemic can threaten this virtual cornucopia. Lately, I’ve discovered an affinity for running through open fields and punching grass. The satisfying crunching sound leads me to five-minute punching sprees from time to time, but this isn’t nihilism. It’s practical. Every few squares of freshly punched grass unearth little seeds that keep my chickens procreating and my farm plentiful. It’s a blissed-out vision of sustainability.\u003c/p>\n\u003cp>Let’s be clear, though: \u003cem>Minecraft\u003c/em> is not a utopia. Days whiz by, and when that 32-bit block of sun starts to set, monsters are coming for me. In the mines, too. Exploding creepers, arrow-toting skeletons, mumbling zombies, nimble spiders, and mystifying enderman you can’t make eye contact with. I’m not very good at fighting these yet, but at least I can count on the game’s sonic and visual cues to let me know danger is afoot. Plus, I’m armed for battle. There are rules and boundaries within which I can almost guarantee safety. And if all else fails, I’ll come back to life in the same place I started: My bed, in my simple underground house, out of harm’s way.\u003c/p>\n\u003cp>I can’t say the same of the coronavirus.\u003c/p>\n\u003cp>These days, I’m clinging to structure. Time is passing quickly, and if I’m honest, I don’t always yearn to make days feel longer or fuller. But when I close my bedroom door and open up a virtual world, I can feel the therapy of making things up as I go. Of itching for daylight so I can return to feeding chickens and building a castle on a mountain. Of experiencing something—making actual memories—when togetherness feels out of reach.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kathryn Fink is a producer for\u003c/em> 1A. \u003cem>She’s a native of Virginia, a new gamer, and an unapologetic lit nerd. She tweets at\u003c/em> @\u003ca href=\"https://twitter.com/finkcommakath\">finkcommakath\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=Neither+Flood%2C+Nor+Fire%2C+Nor+Virus+Shakes+The+Virtual+Calm+Of+%27Minecraft%27&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>Sightseeing is why \u003cem>Minecraft\u003c/em> has had such an impact. Right now, my life’s parameters are my bedroom, my ambitions are the size of 80 bedrooms, and my \u003cem>Minecraft\u003c/em> realm is the size of a zillion bedrooms. The game offers endless virtual space to roam when real-life space feels like a rare commodity. And relocation is the literal click of a button. When I tire of the mines, I try the mountains. When I’m done with the mountains, I go to the jungle. And when I’ve had it with the jungle, I hop in a boat that I made with oak from the jungle and find a new island to inhabit. Then I can do it all over again. The game’s natural world is artificial, but there’s something kind of enchanting about that block-shaped moon overhead.\u003c/p>\n\u003cp>Offline, my weeks have been punctuated with worry about the strain I’m putting on my household’s resources. But \u003cem>Minecraft\u003c/em> promises a retreat where raw materials are always plentiful and useful—water for putting out lava, iron for swords and pickaxes, cobwebs for string, animals for food. Neither climate change nor a pandemic can threaten this virtual cornucopia. Lately, I’ve discovered an affinity for running through open fields and punching grass. The satisfying crunching sound leads me to five-minute punching sprees from time to time, but this isn’t nihilism. It’s practical. Every few squares of freshly punched grass unearth little seeds that keep my chickens procreating and my farm plentiful. It’s a blissed-out vision of sustainability.\u003c/p>\n\u003cp>Let’s be clear, though: \u003cem>Minecraft\u003c/em> is not a utopia. Days whiz by, and when that 32-bit block of sun starts to set, monsters are coming for me. In the mines, too. Exploding creepers, arrow-toting skeletons, mumbling zombies, nimble spiders, and mystifying enderman you can’t make eye contact with. I’m not very good at fighting these yet, but at least I can count on the game’s sonic and visual cues to let me know danger is afoot. Plus, I’m armed for battle. There are rules and boundaries within which I can almost guarantee safety. And if all else fails, I’ll come back to life in the same place I started: My bed, in my simple underground house, out of harm’s way.\u003c/p>\n\u003cp>I can’t say the same of the coronavirus.\u003c/p>\n\u003cp>These days, I’m clinging to structure. Time is passing quickly, and if I’m honest, I don’t always yearn to make days feel longer or fuller. But when I close my bedroom door and open up a virtual world, I can feel the therapy of making things up as I go. Of itching for daylight so I can return to feeding chickens and building a castle on a mountain. Of experiencing something—making actual memories—when togetherness feels out of reach.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kathryn Fink is a producer for\u003c/em> 1A. \u003cem>She’s a native of Virginia, a new gamer, and an unapologetic lit nerd. She tweets at\u003c/em> @\u003ca href=\"https://twitter.com/finkcommakath\">finkcommakath\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=Neither+Flood%2C+Nor+Fire%2C+Nor+Virus+Shakes+The+Virtual+Calm+Of+%27Minecraft%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "She Gets Calls And Texts Meant For Elon Musk. Some Are Pretty Weird",
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"content": "\u003cp>There are a lot of people trying to reach celebrity entrepreneur Elon Musk. Sometimes, though, they get Lyndsay Tucker, a 25-year-old skin care consultant.\u003c/p>\n\u003cp>Tucker, who works at a Sephora beauty store in San Jose, California, had never heard of the Tesla and SpaceX founder and CEO until a couple years ago, when she began fielding a steady stream of calls and text messages intended for him.\u003c/p>\n\u003cp>“I asked my mom, ‘Hey, I keep getting these text messages’—and I was also now starting to get phone calls—‘for this guy Elon Musk. I don’t know who this is,’” Tucker said. “And my mom’s jaw just dropped.”\u003c/p>\n\u003cp>Turns out, Tucker’s cellphone number used to be registered to Musk. On any given day, she receives at least three calls or texts intended for Musk, whom she has never met.\u003c/p>\n\u003cfigure id=\"attachment_13880862\" class=\"wp-caption aligncenter\" style=\"max-width: 3521px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee.jpg\" alt=\"\" width=\"3521\" height=\"2347\" class=\"size-full wp-image-13880862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee.jpg 3521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-1920x1280.jpg 1920w\" sizes=\"(max-width: 3521px) 100vw, 3521px\">\u003cfigcaption class=\"wp-caption-text\">When told of the traffic to his former number, Elon Musk, founder of SpaceX, said: “That number is so old! I’m surprised it’s still out there somewhere.” \u003ccite>(Brendan Smialowski/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the maverick billionaire provokes a scandal, as \u003ca href=\"https://www.npr.org/2020/04/29/848093173/teslas-elon-musk-rants-again-calls-lockdowns-forcible-imprisonment-and-fascist\" target=\"_blank\" rel=\"noopener noreferrer\">he is wont to do\u003c/a>, her phone blows up with a torrent of messages. (Full disclosure: I reached out to Musk during one of those controversies, when he \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/05/09/853313775/elon-musk-says-tesla-suing-california-county-moving-headquarters-out-of-state\" target=\"_blank\" rel=\"noopener noreferrer\">threatened to sue the California county that is home to Tesla’s \u003c/a>manufacturing plant over its coronavirus-related restrictions. Instead, I got Tucker.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She has accidentally intercepted far more interesting calls than mine, however. One woman volunteered to go to space with SpaceX. Another person sent a blueprint for a bionic limb. “Which is, No. 1, really cool,” Tucker said. “But I have no idea how it’s built.”\u003c/p>\n\u003cp>A South African businessman asked about buying 1,000 trucks. The Internal Revenue Service called about a complicated tax issue.\u003c/p>\n\u003cp>“I assumed I had messed something up,” Tucker said about that call. “It was a huge relief they weren’t looking for me.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://apps.npr.org/documents/document.html?embed=true&id=6895882-Text-Messages-to-Elon-Musk\" width=\"100%\" height=\"555\" scrolling=\"no\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Former Walt Disney executive John Lasseter texted about the Tesla he bought, calling it a “magnificent car!!!” and adding, “The self driving is a trip!”\u003c/p>\n\u003cp>“I actually ended up going to the same college as his son,” Tucker said of Lasseter.\u003c/p>\n\u003cp>“I got to talk to him and apologized for never messaging his father back,” she said. “We ended up laughing about it.”\u003c/p>\n\u003cp>Recently, Jeff Gold, an Atlanta-area inventor, who did business with Musk in the 1990s, sent a text about some coronavirus research.\u003c/p>\n\u003cp>“He gave me his number a long time ago,” Gold said. “I just went on and tracked down the correct number and resent my text.”\u003c/p>\n\u003cp>Public records show that Tucker’s number was once associated with a condo Musk bought and sold years ago in Palo Alto, Calif. After Musk got rid of the number, AT&T randomly reassigned it to Tucker. But online, the number took on a life of its own. It was replicated on dozens of listing websites as Musk’s current digits.\u003c/p>\n\u003cfigure id=\"attachment_13880866\" class=\"wp-caption aligncenter\" style=\"max-width: 2514px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953.jpg\" alt=\"\" width=\"2514\" height=\"1676\" class=\"size-full wp-image-13880866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953.jpg 2514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-1920x1280.jpg 1920w\" sizes=\"(max-width: 2514px) 100vw, 2514px\">\u003cfigcaption class=\"wp-caption-text\">Tucker, who is also an aspiring actress and has listed her contact information on dozens of résumés, is keeping the phone number. \u003ccite>(Jessica Chou for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NPR reached out to Musk to see whether he knew about his long-lost number. He replied with a short email.\u003c/p>\n\u003cp>“Wow,” Musk said. “That number is so old! I’m surprised it’s still out there somewhere.”\u003c/p>\n\u003cp>Some of those who texted Tucker said Musk himself provided the number to them. When NPR asked Musk whether he gave out that number to people he was trying to dodge, he did not respond.\u003c/p>\n\u003cp>However people obtain the number, it is often up to Tucker to convince them she is not Musk.\u003c/p>\n\u003cp>“They say, ‘Oh, how do I know you’re not Elon?’” she said. “And they suddenly want proof that I’m not him even though they’re obviously talking to a woman on the phone.”\u003c/p>\n\u003cp>[aside postID='news_11818938']The incessant calls and texts offer Tucker a rare window into the life of the flamboyant tech CEO, a glimpse she finds “amusing.” Yet sometimes it can feel like a full-time job.\u003c/p>\n\u003cp>“Whenever I see his name pop up in the news, I’m like, ‘OK, I have to actually learn what he said because, chances are, someone is going to message me about it or call me about it,’” Tucker said. “Even though I find it funny most of the time, it does get irritating sometimes when it’s like call after call after call.”\u003c/p>\n\u003cp>Though she intends to keep the number, her ability to respond to all the Musk calls and texts changes by the day. To those who think it is Musk ignoring their calls and texts, Tucker has a message:\u003c/p>\n\u003cp>“I’m sorry. Sometimes I don’t respond if I’m having a rough day. So if you didn’t get a response, it’s probably me, not him,” she said. “Don’t feel too let down.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of people trying to reach celebrity entrepreneur Elon Musk. Sometimes, though, they get Lyndsay Tucker, a 25-year-old skin care consultant.\u003c/p>\n\u003cp>Tucker, who works at a Sephora beauty store in San Jose, California, had never heard of the Tesla and SpaceX founder and CEO until a couple years ago, when she began fielding a steady stream of calls and text messages intended for him.\u003c/p>\n\u003cp>“I asked my mom, ‘Hey, I keep getting these text messages’—and I was also now starting to get phone calls—‘for this guy Elon Musk. I don’t know who this is,’” Tucker said. “And my mom’s jaw just dropped.”\u003c/p>\n\u003cp>Turns out, Tucker’s cellphone number used to be registered to Musk. On any given day, she receives at least three calls or texts intended for Musk, whom she has never met.\u003c/p>\n\u003cfigure id=\"attachment_13880862\" class=\"wp-caption aligncenter\" style=\"max-width: 3521px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee.jpg\" alt=\"\" width=\"3521\" height=\"2347\" class=\"size-full wp-image-13880862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee.jpg 3521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gettyimages-1206290121_slide-d49c59c1e26499d8dc57973f14da465a19edddee-1920x1280.jpg 1920w\" sizes=\"(max-width: 3521px) 100vw, 3521px\">\u003cfigcaption class=\"wp-caption-text\">When told of the traffic to his former number, Elon Musk, founder of SpaceX, said: “That number is so old! I’m surprised it’s still out there somewhere.” \u003ccite>(Brendan Smialowski/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the maverick billionaire provokes a scandal, as \u003ca href=\"https://www.npr.org/2020/04/29/848093173/teslas-elon-musk-rants-again-calls-lockdowns-forcible-imprisonment-and-fascist\" target=\"_blank\" rel=\"noopener noreferrer\">he is wont to do\u003c/a>, her phone blows up with a torrent of messages. (Full disclosure: I reached out to Musk during one of those controversies, when he \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/05/09/853313775/elon-musk-says-tesla-suing-california-county-moving-headquarters-out-of-state\" target=\"_blank\" rel=\"noopener noreferrer\">threatened to sue the California county that is home to Tesla’s \u003c/a>manufacturing plant over its coronavirus-related restrictions. Instead, I got Tucker.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She has accidentally intercepted far more interesting calls than mine, however. One woman volunteered to go to space with SpaceX. Another person sent a blueprint for a bionic limb. “Which is, No. 1, really cool,” Tucker said. “But I have no idea how it’s built.”\u003c/p>\n\u003cp>A South African businessman asked about buying 1,000 trucks. The Internal Revenue Service called about a complicated tax issue.\u003c/p>\n\u003cp>“I assumed I had messed something up,” Tucker said about that call. “It was a huge relief they weren’t looking for me.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://apps.npr.org/documents/document.html?embed=true&id=6895882-Text-Messages-to-Elon-Musk\" width=\"100%\" height=\"555\" scrolling=\"no\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Former Walt Disney executive John Lasseter texted about the Tesla he bought, calling it a “magnificent car!!!” and adding, “The self driving is a trip!”\u003c/p>\n\u003cp>“I actually ended up going to the same college as his son,” Tucker said of Lasseter.\u003c/p>\n\u003cp>“I got to talk to him and apologized for never messaging his father back,” she said. “We ended up laughing about it.”\u003c/p>\n\u003cp>Recently, Jeff Gold, an Atlanta-area inventor, who did business with Musk in the 1990s, sent a text about some coronavirus research.\u003c/p>\n\u003cp>“He gave me his number a long time ago,” Gold said. “I just went on and tracked down the correct number and resent my text.”\u003c/p>\n\u003cp>Public records show that Tucker’s number was once associated with a condo Musk bought and sold years ago in Palo Alto, Calif. After Musk got rid of the number, AT&T randomly reassigned it to Tucker. But online, the number took on a life of its own. It was replicated on dozens of listing websites as Musk’s current digits.\u003c/p>\n\u003cfigure id=\"attachment_13880866\" class=\"wp-caption aligncenter\" style=\"max-width: 2514px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953.jpg\" alt=\"\" width=\"2514\" height=\"1676\" class=\"size-full wp-image-13880866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953.jpg 2514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/200515_jchou_npr_elonphone_7474-edit_slide-aba9bb7369fbf751f80df437100a79a3ccf36953-1920x1280.jpg 1920w\" sizes=\"(max-width: 2514px) 100vw, 2514px\">\u003cfigcaption class=\"wp-caption-text\">Tucker, who is also an aspiring actress and has listed her contact information on dozens of résumés, is keeping the phone number. \u003ccite>(Jessica Chou for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NPR reached out to Musk to see whether he knew about his long-lost number. He replied with a short email.\u003c/p>\n\u003cp>“Wow,” Musk said. “That number is so old! I’m surprised it’s still out there somewhere.”\u003c/p>\n\u003cp>Some of those who texted Tucker said Musk himself provided the number to them. When NPR asked Musk whether he gave out that number to people he was trying to dodge, he did not respond.\u003c/p>\n\u003cp>However people obtain the number, it is often up to Tucker to convince them she is not Musk.\u003c/p>\n\u003cp>“They say, ‘Oh, how do I know you’re not Elon?’” she said. “And they suddenly want proof that I’m not him even though they’re obviously talking to a woman on the phone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The incessant calls and texts offer Tucker a rare window into the life of the flamboyant tech CEO, a glimpse she finds “amusing.” Yet sometimes it can feel like a full-time job.\u003c/p>\n\u003cp>“Whenever I see his name pop up in the news, I’m like, ‘OK, I have to actually learn what he said because, chances are, someone is going to message me about it or call me about it,’” Tucker said. “Even though I find it funny most of the time, it does get irritating sometimes when it’s like call after call after call.”\u003c/p>\n\u003cp>Though she intends to keep the number, her ability to respond to all the Musk calls and texts changes by the day. To those who think it is Musk ignoring their calls and texts, Tucker has a message:\u003c/p>\n\u003cp>“I’m sorry. Sometimes I don’t respond if I’m having a rough day. So if you didn’t get a response, it’s probably me, not him,” she said. “Don’t feel too let down.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Journalist Who Helped Break Snowden's Story Reflects on His High-Stakes Reporting",
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"content": "\u003cp>In 2013, \u003ca href=\"https://www.npr.org/books/authors/760121931/edward-snowden\" target=\"_blank\" rel=\"noopener noreferrer\">Edward Snowden\u003c/a>, a contractor with the National Security Agency, rocked the world when he \u003ca href=\"https://www.npr.org/2013/09/18/223523622/officials-edward-snowdens-leaks-were-masked-by-job-duties\" target=\"_blank\" rel=\"noopener noreferrer\">leaked\u003c/a> thousands of classified documents about U.S. surveillance programs.\u003c/p>\n\u003cp>Barton Gellman, a former \u003cem>The Washington Post \u003c/em>reporter\u003cem>,\u003c/em> was one of three journalists—including filmmaker \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127238681\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Poitras\u003c/a>, and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/06/11/190670954/he-broke-the-nsa-leaks-story-but-just-who-is-glenn-greenwald\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Greenwald\u003c/a> of \u003cem>The Guardian—\u003c/em>with whom Snowden chose to share the documents. Gellman says initially Snowden was skeptical of him.\u003c/p>\n\u003cp>“He thought that \u003cem>The Washington Post\u003c/em> would be afraid to publish or would bow down to government pressure,” Gellman says. “It took a lot of convincing for him, just as it took a lot of convincing for me that he was for real.”\u003c/p>\n\u003cp>Snowden shared information about surveillance programs previously unknown to the American public, including the fact that the government was keeping records of private citizens’ phone calls, and that the NSA was harvesting data from big internet companies, including Google, Facebook and Microsoft.\u003c/p>\n\u003cp>Gellman reached out to \u003cem>The Washington Post, \u003c/em>the paper he’d left three years earlier, which went on to publish a series of articles based on Snowden’s classified information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a new book, \u003cem>Dark Mirror, \u003c/em>Gellman writes about his relationship with Snowden and the high-stakes reporting that ultimately garnered him, Poitras and Greenwald a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/04/14/303002434/pulitzer-prizes-are-out-washington-post-the-guardian-win-for-nsa-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Pulitzer Prize\u003c/a>.\u003c/p>\n\u003cp>The U.S. government charged Snowden with \u003ca href=\"https://www.npr.org/sections/parallels/2017/06/28/534682231/once-reserved-for-spies-espionage-act-now-used-against-suspected-leakers\" target=\"_blank\" rel=\"noopener noreferrer\">espionage\u003c/a>, but Snowden, who is living in exile in Russia, maintains that he acted as a whistleblower in sharing the classified documents.\u003c/p>\n\u003cp>Gellman says that no matter your opinion about Snowden, one things is clear: “Ed Snowden succeeded beyond the wildest ambitions that he could plausibly have had. … Even the biggest critics of Snowden—not all of them, but some of them—… all say he started a debate that the public needed to have about the limits of surveillance in a democratic society.”\u003c/p>\n\u003cp>“At the same time,” Gellman adds, “most of the programs that he exposed continue.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the terms Snowden agreed upon with Gellman, Poitras and Greenwald \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880753 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png\" alt=\"\" width=\"305\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM-160x244.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">I told Snowden that … I would make my own judgment about the news value and that I would give the government an opportunity to tell me about damage they foresaw, if the story was published. And so I had that conversation with the government every time. Snowden at first seemed a little skeptical about this and worried that it simply meant I was going to give the government veto power over an article. And in fact, he saw it as potential evidence of a cowardly approach by \u003cem>The Washington Post\u003c/em>. Later, he came to see the value and the importance of trying to avoid avoidable harm in the publication of these stories. And he began to insist that that was what he wanted all along. …\u003c/p>\n\u003cp>Snowden absolutely wanted us to make our own judgments about newsworthiness. He absolutely did not want us to dump the entire archive online. If he wanted that, he could have done it himself. I mean, the guy knows how to work the Internet. He wanted the credibility of journalists behind the disclosures. He wanted us to check the facts and set the context. And he wanted us to decide what was newsworthy and what was harmful. So he essentially relinquished all the close judgment calls to me and my fellow journalists.\u003c/p>\n\u003cp>\u003cstrong>On the importance of checks and balances on the government’s surveillance power \u003c/strong>\u003c/p>\n\u003cp>There were people in 2013 and ’14 and ’15 who told me they didn’t worry about the enormous power of this surveillance machinery because they trusted the people who were running it. They trusted themselves. They trusted the inspector general to call out and prevent bad behavior. They trusted supervisors. They trusted, fundamentally, the president and the presidency. And they trusted Democrats and Republicans. They trusted George W. Bush and Barack Obama equally to use this stuff with the right motives and with the right kinds of limits.\u003c/p>\n\u003cp>But so much of what is done under authority of the NSA is done based on norms and traditional understandings of what terms mean and on legal interpretations. When Trump came to power—a guy who is allergic to norms, a guy who is at war with every institution of accountability, whether it’s the press, whether it’s inspectors general, whether it’s courts—when that kind of person has his hands on the enormous power that is granted by the ability to look into [and] see into anything that travels across the Internet, then they’re worried.\u003c/p>\n\u003cp>So people who surprise me—people like \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Comey\u003c/a>, and people like Gen. [James] Clapper, who had been the director of national intelligence, these were people who had ardently defended the surveillance powers and the checks and balances held on them—they were no longer so confident about those checks and balances.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Snowden\u003c/strong>\u003c/p>\n\u003cp>Snowden wanted advocates on his side. He wanted a pure and clear message of dissent against the way the NSA was behaving. And he wanted nothing that would raise any doubts or questions about him or get into his personal life or anything like that. I continued to ask questions the way a journalist should ask questions. And so we would have these tense exchanges in which he would say, for example, “Are you purposely asking me things you know I won’t answer just to piss me off?”\u003c/p>\n\u003cp>The first time he got angry at me he was right to be angry. In an early profile of him, I inadvertently exposed an online handle—an anonymous handle—that he was still using for communications. And that caused him some trouble as he tried to change handles and encryption keys on the fly. …\u003c/p>\n\u003cp>He quit talking to me for several months after that. And we started up again because he believed I was handling these stories seriously, that I was diving into the subject in a way that was exposing truths that weren’t being exposed anywhere else, because this wasn’t just a question of opening the documents, reading and writing your story. The documents were incomplete, pieces of a jigsaw puzzle, very hard to understand. They required external reporting with sources in the government and out of the government. They required interpretation and discovery. And I was putting things together in a way that he thought was important. And so he got over his personal anger at the way I behaved.\u003c/p>\n\u003cp>\u003cstrong>On the cybersecurity precautions he took when he visited Snowden in Moscow in Dec.2013\u003c/strong>\u003c/p>\n\u003cp>I don’t like to be dramatic or self-important, but I thought, yeah, there’s a pretty good chance that if an American journalist who is writing about secret American intelligence programs comes over to interview a former intelligence officer, Ed Snowden, that that would probably be worth their diversion of a little bit of surveillance to themselves.\u003c/p>\n\u003cp>I assumed that my devices and my telephone calls would be monitored, and so to begin with, I didn’t bring any data over with me. I wasn’t gonna bring classified U.S. documents to a country where they could possibly read them and directly expose American secrets to a foreign power.\u003c/p>\n\u003cp>So I didn’t log onto any of my accounts, I didn’t bring my actual computer or my usual telephone, I brought empty ones. But I still had the puzzle of how I was going to interview Snowden, take notes, take photographs, make recordings, and then bring those back to the United States while crossing an international border and not hand over those documents, those recordings and so on to either government. I didn’t want the U.S. government to hear everything I’d said with Snowden. I didn’t want the Russian government to have access to all that information either.\u003c/p>\n\u003cp>\u003cstrong>On the House Intelligence Committee report, which was very critical of Snowden\u003c/strong>\u003c/p>\n\u003cp>If there were particular harms done by particular disclosures, that fact itself would be classified. … And so I can’t argue with an assertion that’s made in the dark, and there may be legitimate reasons to keep that classified. On the other hand, I would have to say that, not to put a fine point on it, that House Intelligence Committee report was garbage. It was a political document. It was basically a long screed about Ed Snowden, and it was filled with facts or assertions of fact that were plainly rebuttable, that they were simply wrong.\u003c/p>\n\u003cp>Just the simple question of calling Ed Snowden, “a high school dropout.” He had earned his GED at the same time that his class graduated with top, top scores. They knew that he had advanced computer security and computer science credentials. Or, for example, they said there’s no evidence that Ed Snowden actually was injured in the Army. And so he was lying about the reasons for the end of his Army service. Well, Army records made it very clear. I’ve seen the records. He broke both legs in training and for the House Intelligence Committee, which had privileged access to government records, to say things like that gives you a decent flavor of the more complicated untruths in the report.\u003c/p>\n\u003cp>\u003cstrong>On being a target for international hackers \u003c/strong>\u003c/p>\n\u003cp>It’s not paranoid if people are really trying to get you. I knew from the first time I saw the documents before I published a story that this was going to paint a big target on my back. It’s advertising that you have something special and secret and advertising pretty quickly that I was not going to publish all of it. So I knew that I would be a subject of interest to hackers, to the U.S. government and to foreign intelligence agencies. And I gradually accumulated considerable evidence that this was true.\u003c/p>\n\u003cp>Someone tried to break into my Gmail accounts, where I did not store sensitive documents. But nevertheless, Google warned me, a big flashing pink bar on my screen said, “Warning! We believe that state-sponsored attackers are trying to break into your device or your account.” I found out later that that was the government of Turkey. Turkey was unexpected and bad news for me, because I thought there were a substantial number of likely candidates and more capable candidates coming after me. So if Turkey also was joining the party, that suggested the threat landscape was broader than I would have liked to think.\u003c/p>\n\u003cp>My iPad was hacked right in front of my eyes as I was holding it. The screen gutted out of the static and then white letters started marching across the screen with technical commands in a language called Unix. If that had worked as expected, as intended, it would have happened while I slept or wasn’t looking at the machine. And after a couple of minutes of fooling around like that, the hacker would have complete control of the device. And what worried me about that was that remotely hacking an iPad is not a beginners’ hack. It’s quite difficult and quite expensive to break through Apple’s considerable security remotely without physically connecting to the device. It’s a million-dollar hack, that is, say that data brokers or surveillance brokers pay million-dollar bounties for what’s called an untethered hack of the iPad operating system. I did not want to be worth that kind of effort. I did not want to be worth that kind of expense. But I was.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Joel Wolfram\u003c/em> \u003cem>produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+Who+Helped+Break+Snowden%27s+Story+Reflects+On+His+High-Stakes+Reporting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2013, \u003ca href=\"https://www.npr.org/books/authors/760121931/edward-snowden\" target=\"_blank\" rel=\"noopener noreferrer\">Edward Snowden\u003c/a>, a contractor with the National Security Agency, rocked the world when he \u003ca href=\"https://www.npr.org/2013/09/18/223523622/officials-edward-snowdens-leaks-were-masked-by-job-duties\" target=\"_blank\" rel=\"noopener noreferrer\">leaked\u003c/a> thousands of classified documents about U.S. surveillance programs.\u003c/p>\n\u003cp>Barton Gellman, a former \u003cem>The Washington Post \u003c/em>reporter\u003cem>,\u003c/em> was one of three journalists—including filmmaker \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127238681\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Poitras\u003c/a>, and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/06/11/190670954/he-broke-the-nsa-leaks-story-but-just-who-is-glenn-greenwald\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Greenwald\u003c/a> of \u003cem>The Guardian—\u003c/em>with whom Snowden chose to share the documents. Gellman says initially Snowden was skeptical of him.\u003c/p>\n\u003cp>“He thought that \u003cem>The Washington Post\u003c/em> would be afraid to publish or would bow down to government pressure,” Gellman says. “It took a lot of convincing for him, just as it took a lot of convincing for me that he was for real.”\u003c/p>\n\u003cp>Snowden shared information about surveillance programs previously unknown to the American public, including the fact that the government was keeping records of private citizens’ phone calls, and that the NSA was harvesting data from big internet companies, including Google, Facebook and Microsoft.\u003c/p>\n\u003cp>Gellman reached out to \u003cem>The Washington Post, \u003c/em>the paper he’d left three years earlier, which went on to publish a series of articles based on Snowden’s classified information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a new book, \u003cem>Dark Mirror, \u003c/em>Gellman writes about his relationship with Snowden and the high-stakes reporting that ultimately garnered him, Poitras and Greenwald a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/04/14/303002434/pulitzer-prizes-are-out-washington-post-the-guardian-win-for-nsa-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Pulitzer Prize\u003c/a>.\u003c/p>\n\u003cp>The U.S. government charged Snowden with \u003ca href=\"https://www.npr.org/sections/parallels/2017/06/28/534682231/once-reserved-for-spies-espionage-act-now-used-against-suspected-leakers\" target=\"_blank\" rel=\"noopener noreferrer\">espionage\u003c/a>, but Snowden, who is living in exile in Russia, maintains that he acted as a whistleblower in sharing the classified documents.\u003c/p>\n\u003cp>Gellman says that no matter your opinion about Snowden, one things is clear: “Ed Snowden succeeded beyond the wildest ambitions that he could plausibly have had. … Even the biggest critics of Snowden—not all of them, but some of them—… all say he started a debate that the public needed to have about the limits of surveillance in a democratic society.”\u003c/p>\n\u003cp>“At the same time,” Gellman adds, “most of the programs that he exposed continue.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the terms Snowden agreed upon with Gellman, Poitras and Greenwald \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880753 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png\" alt=\"\" width=\"305\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM-160x244.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">I told Snowden that … I would make my own judgment about the news value and that I would give the government an opportunity to tell me about damage they foresaw, if the story was published. And so I had that conversation with the government every time. Snowden at first seemed a little skeptical about this and worried that it simply meant I was going to give the government veto power over an article. And in fact, he saw it as potential evidence of a cowardly approach by \u003cem>The Washington Post\u003c/em>. Later, he came to see the value and the importance of trying to avoid avoidable harm in the publication of these stories. And he began to insist that that was what he wanted all along. …\u003c/p>\n\u003cp>Snowden absolutely wanted us to make our own judgments about newsworthiness. He absolutely did not want us to dump the entire archive online. If he wanted that, he could have done it himself. I mean, the guy knows how to work the Internet. He wanted the credibility of journalists behind the disclosures. He wanted us to check the facts and set the context. And he wanted us to decide what was newsworthy and what was harmful. So he essentially relinquished all the close judgment calls to me and my fellow journalists.\u003c/p>\n\u003cp>\u003cstrong>On the importance of checks and balances on the government’s surveillance power \u003c/strong>\u003c/p>\n\u003cp>There were people in 2013 and ’14 and ’15 who told me they didn’t worry about the enormous power of this surveillance machinery because they trusted the people who were running it. They trusted themselves. They trusted the inspector general to call out and prevent bad behavior. They trusted supervisors. They trusted, fundamentally, the president and the presidency. And they trusted Democrats and Republicans. They trusted George W. Bush and Barack Obama equally to use this stuff with the right motives and with the right kinds of limits.\u003c/p>\n\u003cp>But so much of what is done under authority of the NSA is done based on norms and traditional understandings of what terms mean and on legal interpretations. When Trump came to power—a guy who is allergic to norms, a guy who is at war with every institution of accountability, whether it’s the press, whether it’s inspectors general, whether it’s courts—when that kind of person has his hands on the enormous power that is granted by the ability to look into [and] see into anything that travels across the Internet, then they’re worried.\u003c/p>\n\u003cp>So people who surprise me—people like \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Comey\u003c/a>, and people like Gen. [James] Clapper, who had been the director of national intelligence, these were people who had ardently defended the surveillance powers and the checks and balances held on them—they were no longer so confident about those checks and balances.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Snowden\u003c/strong>\u003c/p>\n\u003cp>Snowden wanted advocates on his side. He wanted a pure and clear message of dissent against the way the NSA was behaving. And he wanted nothing that would raise any doubts or questions about him or get into his personal life or anything like that. I continued to ask questions the way a journalist should ask questions. And so we would have these tense exchanges in which he would say, for example, “Are you purposely asking me things you know I won’t answer just to piss me off?”\u003c/p>\n\u003cp>The first time he got angry at me he was right to be angry. In an early profile of him, I inadvertently exposed an online handle—an anonymous handle—that he was still using for communications. And that caused him some trouble as he tried to change handles and encryption keys on the fly. …\u003c/p>\n\u003cp>He quit talking to me for several months after that. And we started up again because he believed I was handling these stories seriously, that I was diving into the subject in a way that was exposing truths that weren’t being exposed anywhere else, because this wasn’t just a question of opening the documents, reading and writing your story. The documents were incomplete, pieces of a jigsaw puzzle, very hard to understand. They required external reporting with sources in the government and out of the government. They required interpretation and discovery. And I was putting things together in a way that he thought was important. And so he got over his personal anger at the way I behaved.\u003c/p>\n\u003cp>\u003cstrong>On the cybersecurity precautions he took when he visited Snowden in Moscow in Dec.2013\u003c/strong>\u003c/p>\n\u003cp>I don’t like to be dramatic or self-important, but I thought, yeah, there’s a pretty good chance that if an American journalist who is writing about secret American intelligence programs comes over to interview a former intelligence officer, Ed Snowden, that that would probably be worth their diversion of a little bit of surveillance to themselves.\u003c/p>\n\u003cp>I assumed that my devices and my telephone calls would be monitored, and so to begin with, I didn’t bring any data over with me. I wasn’t gonna bring classified U.S. documents to a country where they could possibly read them and directly expose American secrets to a foreign power.\u003c/p>\n\u003cp>So I didn’t log onto any of my accounts, I didn’t bring my actual computer or my usual telephone, I brought empty ones. But I still had the puzzle of how I was going to interview Snowden, take notes, take photographs, make recordings, and then bring those back to the United States while crossing an international border and not hand over those documents, those recordings and so on to either government. I didn’t want the U.S. government to hear everything I’d said with Snowden. I didn’t want the Russian government to have access to all that information either.\u003c/p>\n\u003cp>\u003cstrong>On the House Intelligence Committee report, which was very critical of Snowden\u003c/strong>\u003c/p>\n\u003cp>If there were particular harms done by particular disclosures, that fact itself would be classified. … And so I can’t argue with an assertion that’s made in the dark, and there may be legitimate reasons to keep that classified. On the other hand, I would have to say that, not to put a fine point on it, that House Intelligence Committee report was garbage. It was a political document. It was basically a long screed about Ed Snowden, and it was filled with facts or assertions of fact that were plainly rebuttable, that they were simply wrong.\u003c/p>\n\u003cp>Just the simple question of calling Ed Snowden, “a high school dropout.” He had earned his GED at the same time that his class graduated with top, top scores. They knew that he had advanced computer security and computer science credentials. Or, for example, they said there’s no evidence that Ed Snowden actually was injured in the Army. And so he was lying about the reasons for the end of his Army service. Well, Army records made it very clear. I’ve seen the records. He broke both legs in training and for the House Intelligence Committee, which had privileged access to government records, to say things like that gives you a decent flavor of the more complicated untruths in the report.\u003c/p>\n\u003cp>\u003cstrong>On being a target for international hackers \u003c/strong>\u003c/p>\n\u003cp>It’s not paranoid if people are really trying to get you. I knew from the first time I saw the documents before I published a story that this was going to paint a big target on my back. It’s advertising that you have something special and secret and advertising pretty quickly that I was not going to publish all of it. So I knew that I would be a subject of interest to hackers, to the U.S. government and to foreign intelligence agencies. And I gradually accumulated considerable evidence that this was true.\u003c/p>\n\u003cp>Someone tried to break into my Gmail accounts, where I did not store sensitive documents. But nevertheless, Google warned me, a big flashing pink bar on my screen said, “Warning! We believe that state-sponsored attackers are trying to break into your device or your account.” I found out later that that was the government of Turkey. Turkey was unexpected and bad news for me, because I thought there were a substantial number of likely candidates and more capable candidates coming after me. So if Turkey also was joining the party, that suggested the threat landscape was broader than I would have liked to think.\u003c/p>\n\u003cp>My iPad was hacked right in front of my eyes as I was holding it. The screen gutted out of the static and then white letters started marching across the screen with technical commands in a language called Unix. If that had worked as expected, as intended, it would have happened while I slept or wasn’t looking at the machine. And after a couple of minutes of fooling around like that, the hacker would have complete control of the device. And what worried me about that was that remotely hacking an iPad is not a beginners’ hack. It’s quite difficult and quite expensive to break through Apple’s considerable security remotely without physically connecting to the device. It’s a million-dollar hack, that is, say that data brokers or surveillance brokers pay million-dollar bounties for what’s called an untethered hack of the iPad operating system. I did not want to be worth that kind of effort. I did not want to be worth that kind of expense. But I was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Joel Wolfram\u003c/em> \u003cem>produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+Who+Helped+Break+Snowden%27s+Story+Reflects+On+His+High-Stakes+Reporting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Ballad of Songbirds and Snakes' is a Lackluster Prequel to 'The Hunger Games'",
"headTitle": "‘The Ballad of Songbirds and Snakes’ is a Lackluster Prequel to ‘The Hunger Games’ | KQED",
"content": "\u003cp>With her \u003cem>Hunger Games\u003c/em> novels, Suzanne Collins harnessed a combination of twisty plots, teen romance, dystopian worldbuilding and subtle intimations of cannibalism to sell more than 100 million books around the world.\u003c/p>\n\u003cp>The premise was unbeatable: Authoritarian regime forces children to fight to the death on live TV; rebellion ensues. But much of the series’ appeal came from the spiky charisma of protagonist Katniss Everdeen, the sharpshooting teenager who wins the games and starts a revolution while choosing between two boys who are as alike in cuteness as they are different in \u003cem>Weltanschauung\u003c/em>.\u003c/p>\n\u003cp>The series has a distinct Roman imperial vibe—far-flung districts sending their harvests to the glorious and corrupted Capitol, feasts complete with vomitoria, gladiatorial contests to the death (but for kids!). The country is called Panem, after the Latin phrase “panem et circenses,” or bread and circuses—what the Roman satirist Juvenal identified as the formula for quieting a restive population. (In \u003cem>1984\u003c/em>, George Orwell calls this substance “prolefeed.”) The hunger games, of course, are the circenses, the Capitol’s way of controlling the proles through the twin mechanisms of entertainment and terror.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880727 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-19-at-4.12.40-PM.png\" alt=\"\" width=\"304\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-19-at-4.12.40-PM.png 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-19-at-4.12.40-PM-160x243.png 160w\" sizes=\"(max-width: 304px) 100vw, 304px\">Collins’ new novel, \u003cem>The Ballad of Songbirds and Snakes, \u003c/em>is a baggy, meandering prequel to the events of \u003cem>The Hunger Games\u003c/em> that tells the story of Katniss’ nemesis and Panem’s authoritarian ruler, Coriolanus Snow. With his Roman tyrant’s name, surgically altered face and breath smelling of blood and roses, Coriolanus appeared as a distant villain throughout most of \u003cem>The\u003c/em> \u003cem>Hunger Games\u003c/em> series. It’s only the last installment that gives him a touch of mystery—in its final pages, sentenced to public execution, he instead dies laughing, choked on his own blood. \u003c/p>\n\u003cp>So, how did he get there? Why was he laughing? What’s with the blood? \u003cem>The Ballad of Songbirds and Snakes \u003c/em>opens on teenage Coriolanus at home, making a cabbage soup that fills “the kitchen with the smell of poverty.” Once prosperous, the Snows have fallen on hard times. Coriolanus has been chosen to mentor one of the tributes for the hunger games, a charming waif named Lucy Gray, after William Wordsworth’s ballad. In helping her to victory, he sees a chance at social redemption and a coveted scholarship to the university.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inevitably, he falls for her. But the love story is tinged with self-interest from the start. At first, saving her means helping himself, but eventually, he has to choose between her and his glorious political future.\u003c/p>\n\u003cp>One of Collins’ persistent questions in the first three books is: To what extent is character warped and corrupted by circumstances? Is anyone, to quote Corionalus’ Shakespearean namesake, really “author of himself”? Characters throughout the series find themselves altered by drugs (“morphling” is the opiate of choice) and poison (tracker jacker wasp venom, which drives humans insane with fear and bloodlust), along with the more quotidian influences of poverty, deprivation and war. No one comes out of the games with clean hands. It’s just about, as one of the contestants says, keeping as much of yourself intact as you can. [aside postid='arts_13873545']\u003c/p>\n\u003cp>The question of how much of character is innate, how much formed, becomes a more explicit—okay, painfully obvious—theme in \u003cem>The Ballad of Songbirds and Snakes\u003c/em>. The novel is a plinth for two opposing worldviews. The cruel Hobbesian Gamemaster tells Coriolanus that the hunger games are a reminder that people are monsters kept only in check by strong rule: “What happened in the arena? That’s humanity undressed. … That’s mankind in its natural state.” Meanwhile, in spite of the cruelty she suffers in the arena, Lucy Gray believes that there is “a natural goodness built into human beings.” The debate matters, the Gamemaster says, “[b]ecause who we are determines the type of governing we need”—a republic or a tyranny.\u003c/p>\n\u003cp>Readers who loved the moral ambiguity, crisp writing and ruthless pacing of the first three books might be less interested in an overworked parable about the value of Enlightenment thinking. That’s not to say Collins can’t or shouldn’t work serious moral and political questions into her novels: It’s the sheer obviousness that drags, the way that we know what the right answer is supposed to be.\u003c/p>\n\u003cp>Coriolanus is just a flat, wily sociopath. In contrast, Katniss was allowed contradictions: She was a wounded, vicious, plotting, independent, ferocious rebel—willing, at various points, to murder, steal and betray her loved ones for a larger goal. As a protagonist, there was something gloriously undidactic about her. She was a monster, she was a killer, and she was also a principled and intractable author of herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, are we selfish animals or rational beings, capable of altruism and self-governance? \u003cem>The Ballad of Songbirds and Snakes\u003c/em> tells us what we should think. But \u003cem>The Hunger Games\u003c/em> allowed for both.\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+Ballad+Of+Songbirds+And+Snakes%27+Is+A+Lackluster+Prequel+To+%27The+Hunger+Games%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With her \u003cem>Hunger Games\u003c/em> novels, Suzanne Collins harnessed a combination of twisty plots, teen romance, dystopian worldbuilding and subtle intimations of cannibalism to sell more than 100 million books around the world.\u003c/p>\n\u003cp>The premise was unbeatable: Authoritarian regime forces children to fight to the death on live TV; rebellion ensues. But much of the series’ appeal came from the spiky charisma of protagonist Katniss Everdeen, the sharpshooting teenager who wins the games and starts a revolution while choosing between two boys who are as alike in cuteness as they are different in \u003cem>Weltanschauung\u003c/em>.\u003c/p>\n\u003cp>The series has a distinct Roman imperial vibe—far-flung districts sending their harvests to the glorious and corrupted Capitol, feasts complete with vomitoria, gladiatorial contests to the death (but for kids!). The country is called Panem, after the Latin phrase “panem et circenses,” or bread and circuses—what the Roman satirist Juvenal identified as the formula for quieting a restive population. (In \u003cem>1984\u003c/em>, George Orwell calls this substance “prolefeed.”) The hunger games, of course, are the circenses, the Capitol’s way of controlling the proles through the twin mechanisms of entertainment and terror.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880727 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-19-at-4.12.40-PM.png\" alt=\"\" width=\"304\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-19-at-4.12.40-PM.png 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-19-at-4.12.40-PM-160x243.png 160w\" sizes=\"(max-width: 304px) 100vw, 304px\">Collins’ new novel, \u003cem>The Ballad of Songbirds and Snakes, \u003c/em>is a baggy, meandering prequel to the events of \u003cem>The Hunger Games\u003c/em> that tells the story of Katniss’ nemesis and Panem’s authoritarian ruler, Coriolanus Snow. With his Roman tyrant’s name, surgically altered face and breath smelling of blood and roses, Coriolanus appeared as a distant villain throughout most of \u003cem>The\u003c/em> \u003cem>Hunger Games\u003c/em> series. It’s only the last installment that gives him a touch of mystery—in its final pages, sentenced to public execution, he instead dies laughing, choked on his own blood. \u003c/p>\n\u003cp>So, how did he get there? Why was he laughing? What’s with the blood? \u003cem>The Ballad of Songbirds and Snakes \u003c/em>opens on teenage Coriolanus at home, making a cabbage soup that fills “the kitchen with the smell of poverty.” Once prosperous, the Snows have fallen on hard times. Coriolanus has been chosen to mentor one of the tributes for the hunger games, a charming waif named Lucy Gray, after William Wordsworth’s ballad. In helping her to victory, he sees a chance at social redemption and a coveted scholarship to the university.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inevitably, he falls for her. But the love story is tinged with self-interest from the start. At first, saving her means helping himself, but eventually, he has to choose between her and his glorious political future.\u003c/p>\n\u003cp>One of Collins’ persistent questions in the first three books is: To what extent is character warped and corrupted by circumstances? Is anyone, to quote Corionalus’ Shakespearean namesake, really “author of himself”? Characters throughout the series find themselves altered by drugs (“morphling” is the opiate of choice) and poison (tracker jacker wasp venom, which drives humans insane with fear and bloodlust), along with the more quotidian influences of poverty, deprivation and war. No one comes out of the games with clean hands. It’s just about, as one of the contestants says, keeping as much of yourself intact as you can. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The question of how much of character is innate, how much formed, becomes a more explicit—okay, painfully obvious—theme in \u003cem>The Ballad of Songbirds and Snakes\u003c/em>. The novel is a plinth for two opposing worldviews. The cruel Hobbesian Gamemaster tells Coriolanus that the hunger games are a reminder that people are monsters kept only in check by strong rule: “What happened in the arena? That’s humanity undressed. … That’s mankind in its natural state.” Meanwhile, in spite of the cruelty she suffers in the arena, Lucy Gray believes that there is “a natural goodness built into human beings.” The debate matters, the Gamemaster says, “[b]ecause who we are determines the type of governing we need”—a republic or a tyranny.\u003c/p>\n\u003cp>Readers who loved the moral ambiguity, crisp writing and ruthless pacing of the first three books might be less interested in an overworked parable about the value of Enlightenment thinking. That’s not to say Collins can’t or shouldn’t work serious moral and political questions into her novels: It’s the sheer obviousness that drags, the way that we know what the right answer is supposed to be.\u003c/p>\n\u003cp>Coriolanus is just a flat, wily sociopath. In contrast, Katniss was allowed contradictions: She was a wounded, vicious, plotting, independent, ferocious rebel—willing, at various points, to murder, steal and betray her loved ones for a larger goal. As a protagonist, there was something gloriously undidactic about her. She was a monster, she was a killer, and she was also a principled and intractable author of herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, are we selfish animals or rational beings, capable of altruism and self-governance? \u003cem>The Ballad of Songbirds and Snakes\u003c/em> tells us what we should think. But \u003cem>The Hunger Games\u003c/em> allowed for both.\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+Ballad+Of+Songbirds+And+Snakes%27+Is+A+Lackluster+Prequel+To+%27The+Hunger+Games%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Greg Daniels Moves His Comedy Spotlight to the Afterlife in 'Upload'",
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"content": "\u003cp>For more than 30 years, Emmy Award-winning television writer, director and producer Greg Daniels has spun comedy from the threads of ordinary life, turning its frustrations and awkward moments into such hit shows as \u003cem>The Office\u003c/em>, \u003cem>Parks And Recreation, \u003c/em>and\u003cem> King of the Hill\u003c/em>.\u003c/p>\n\u003cp>Now he’s reflecting on these notions again in \u003cem>Upload\u003c/em>, a futuristic comedy on Amazon Prime—but this time they play out in the afterlife too. He’s also behind the upcoming Netflix satire \u003cem>Space Force,\u003c/em> launching May 29\u003cem>,\u003c/em> starring Steve Carell.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0ZfZj2bn_xg\u003c/p>\n\u003cp>Greg Daniels’ humor has all the makings of the British comedies he reveres, including \u003cem>Fawlty Towers\u003c/em> and the original, British version of \u003cem>The Office\u003c/em>.\u003c/p>\n\u003cp>“There’s something wonderful about the awkwardness of it and their kind of enjoyment of a pathetic situation that always appealed to me,” Daniels says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a little Greg Daniels trivia: He never expected to make an American version of \u003cem>The Office\u003c/em>. Back in 2003, while he was an executive producer on the show \u003cem>King of the Hill\u003c/em>, he was dying to meet the series’ creators Ricky Gervais and Stephen Merchant. He says he just wanted “to talk to them about it as a fan,” Daniels says. “But I couldn’t meet them as a fan without pretending I wanted to adapt the show. So I had to do that.” Turns out, Daniels, Gervais and Merchant hit it off. They were also fans of \u003cem>The Simpsons\u003c/em>. “Ricky’s favorite Simpsons episode was ‘Homer Badman,’ which I had written,” Daniels recounts.\u003c/p>\n\u003cp>That scheme of meeting these Brits he admired is pure Greg Daniels, says his friend and \u003cem>King of the Hill\u003c/em> co-creator Mike Judge: “Yeah, he’ll do stuff like that. He gets it from his dad. You know the story about his dad and the Olympics, right?”\u003c/p>\n\u003cp>We do now! In 1968, Greg Daniels’ father competed in the Olympics even though he was not a professional athlete. He worked in commercial radio in New York. When \u003ca href=\"https://www.americanradiohistory.com/hd2/IDX-Business/Magazines/Archive-BC-IDX/88-OCR/BC-1988-10-24-OCR-Page-0085.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Daniels\u003c/a> learned the United States did not a have team to compete in the little-known racquet event fronton, he asked for time off, joined some fellow squash players, practiced like crazy, and ended up in the 1968 Olympics in Mexico City.\u003c/p>\n\u003cp>Greg Daniels says he “owes a lot” to his father: “Definitely my dad is a very funny storyteller. He tells self-deprecating, involved, funny stories.” Daniels adapted one such story for an episode of Seinfeld called \u003ca href=\"https://www.youtube.com/watch?v=4RMQEBWo1aQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Parking Space\u003c/a>. In a moment that’s all too familiar to anyone who’s competed with another driver for that hard-to-find spot, George squares off with an equally feisty man. Daniels says this really happened to his dad. Daniels tells the story:\u003c/p>\n\u003cblockquote>\u003cp>“He had a car when we grew up in New York City, but he didn’t have a garage. So he had to repark it every two nights and he would drive the car around for 40 minutes. One night he found an empty parking space. He started to back into it and the guy behind him tried to steal it and nose into it. And they just sat there for hours because none of them would give. And he saw a friend walk by and he had the friend call my mom. And my mom made him dinner and brought it to him at the parking space.”\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=egsdc7tZ_xc\u003c/p>\n\u003cp>For characters to work in a comedy, Daniels says they need “some kind of foible or blindness.” In the case of Hank Hill, the protagonist in \u003cem>King of the Hill\u003c/em>, Mike Judge says he and Daniels were on the same page: Hill is “just a guy” trying to “deal with the modern world.”\u003c/p>\n\u003cp>“Greg had a line which I thought was pretty great,” Judge says. “Something like ‘Andy Griffith is back and he’s pissed off.'” Take the \u003ca href=\"https://www.youtube.com/watch?v=MLEOdqiylC0\" target=\"_blank\" rel=\"noopener noreferrer\">time\u003c/a> Hank tries to get help in one of those big box stores. Been there?\u003c/p>\n\u003cp>Before \u003cem>King of the Hill\u003c/em>, Mike Judge had huge success with \u003cem>Beavis and Butt-Head\u003c/em>, animation that he says didn’t originally have much of a story arc. Judge says it was Daniels who helped him learn to write stories for an episodic TV series with tips on how to “structure a story” and how “not to get hung up on a joke at the expense of a story.”\u003c/p>\n\u003cp>Judge says Daniels is also good at streamlining a story: “When you think it’s all so complicated, reducing it down to very simply what the problem is and how to resolve it and do it in a funny way.”\u003c/p>\n\u003cp>The problems in Daniels’ upcoming Netflix show \u003cem>Space Force\u003c/em> include a military leader who doesn’t listen to the scientists around him. His new sci-fi comedy \u003cem>Upload\u003c/em> explores the inequalities—and inhumanity—that emerges as advanced, expensive, digital technologies hit the market.\u003c/p>\n\u003cp>“These technologies are introduced and they all seem great. And then, you know, the law of unintended consequences kicks in and they are kind of flawed or sometimes outright evil when they’re actually executed,” Daniels says.\u003c/p>\n\u003cp>In \u003cem>Upload\u003c/em>, only the wealthy get to experience an idyllic afterlife in the expensive, leafy resort called “Lakeview.” Even the \u003ca href=\"https://www.youtube.com/watch?v=ybVN4LhFmVQ\" target=\"_blank\" rel=\"noopener noreferrer\">commercial\u003c/a> for Lakeview feels eerily familiar.\u003c/p>\n\u003cp>The world of this comedy is strange and unsettling, not unlike the world we’re living in now. Daniels admits he’s just as preoccupied with the pandemic as everyone else.\u003c/p>\n\u003cp>“It’s very weird to be out trying to get people to watch comedy shows now. So I guess the hope is that it’s a helpful distraction,” he reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=io6Mqho-asM\u003c/p>\n\u003cp>People have been finding comfort in Greg Daniels’ past “distractions.” \u003cem>The Office\u003c/em> is one of Netflix’s most popular shows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this piece for radio; Meghan Sullivan edited 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=Greg+Daniels+Moves+His+Comedic+Spotlight+To+Absurdity+In+The+Afterlife&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than 30 years, Emmy Award-winning television writer, director and producer Greg Daniels has spun comedy from the threads of ordinary life, turning its frustrations and awkward moments into such hit shows as \u003cem>The Office\u003c/em>, \u003cem>Parks And Recreation, \u003c/em>and\u003cem> King of the Hill\u003c/em>.\u003c/p>\n\u003cp>Now he’s reflecting on these notions again in \u003cem>Upload\u003c/em>, a futuristic comedy on Amazon Prime—but this time they play out in the afterlife too. He’s also behind the upcoming Netflix satire \u003cem>Space Force,\u003c/em> launching May 29\u003cem>,\u003c/em> starring Steve Carell.\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/0ZfZj2bn_xg'\n title='//www.youtube.com/embed/0ZfZj2bn_xg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Greg Daniels’ humor has all the makings of the British comedies he reveres, including \u003cem>Fawlty Towers\u003c/em> and the original, British version of \u003cem>The Office\u003c/em>.\u003c/p>\n\u003cp>“There’s something wonderful about the awkwardness of it and their kind of enjoyment of a pathetic situation that always appealed to me,” Daniels says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a little Greg Daniels trivia: He never expected to make an American version of \u003cem>The Office\u003c/em>. Back in 2003, while he was an executive producer on the show \u003cem>King of the Hill\u003c/em>, he was dying to meet the series’ creators Ricky Gervais and Stephen Merchant. He says he just wanted “to talk to them about it as a fan,” Daniels says. “But I couldn’t meet them as a fan without pretending I wanted to adapt the show. So I had to do that.” Turns out, Daniels, Gervais and Merchant hit it off. They were also fans of \u003cem>The Simpsons\u003c/em>. “Ricky’s favorite Simpsons episode was ‘Homer Badman,’ which I had written,” Daniels recounts.\u003c/p>\n\u003cp>That scheme of meeting these Brits he admired is pure Greg Daniels, says his friend and \u003cem>King of the Hill\u003c/em> co-creator Mike Judge: “Yeah, he’ll do stuff like that. He gets it from his dad. You know the story about his dad and the Olympics, right?”\u003c/p>\n\u003cp>We do now! In 1968, Greg Daniels’ father competed in the Olympics even though he was not a professional athlete. He worked in commercial radio in New York. When \u003ca href=\"https://www.americanradiohistory.com/hd2/IDX-Business/Magazines/Archive-BC-IDX/88-OCR/BC-1988-10-24-OCR-Page-0085.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Daniels\u003c/a> learned the United States did not a have team to compete in the little-known racquet event fronton, he asked for time off, joined some fellow squash players, practiced like crazy, and ended up in the 1968 Olympics in Mexico City.\u003c/p>\n\u003cp>Greg Daniels says he “owes a lot” to his father: “Definitely my dad is a very funny storyteller. He tells self-deprecating, involved, funny stories.” Daniels adapted one such story for an episode of Seinfeld called \u003ca href=\"https://www.youtube.com/watch?v=4RMQEBWo1aQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Parking Space\u003c/a>. In a moment that’s all too familiar to anyone who’s competed with another driver for that hard-to-find spot, George squares off with an equally feisty man. Daniels says this really happened to his dad. Daniels tells the story:\u003c/p>\n\u003cblockquote>\u003cp>“He had a car when we grew up in New York City, but he didn’t have a garage. So he had to repark it every two nights and he would drive the car around for 40 minutes. One night he found an empty parking space. He started to back into it and the guy behind him tried to steal it and nose into it. And they just sat there for hours because none of them would give. And he saw a friend walk by and he had the friend call my mom. And my mom made him dinner and brought it to him at the parking space.”\u003c/p>\u003c/blockquote>\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/egsdc7tZ_xc'\n title='//www.youtube.com/embed/egsdc7tZ_xc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For characters to work in a comedy, Daniels says they need “some kind of foible or blindness.” In the case of Hank Hill, the protagonist in \u003cem>King of the Hill\u003c/em>, Mike Judge says he and Daniels were on the same page: Hill is “just a guy” trying to “deal with the modern world.”\u003c/p>\n\u003cp>“Greg had a line which I thought was pretty great,” Judge says. “Something like ‘Andy Griffith is back and he’s pissed off.'” Take the \u003ca href=\"https://www.youtube.com/watch?v=MLEOdqiylC0\" target=\"_blank\" rel=\"noopener noreferrer\">time\u003c/a> Hank tries to get help in one of those big box stores. Been there?\u003c/p>\n\u003cp>Before \u003cem>King of the Hill\u003c/em>, Mike Judge had huge success with \u003cem>Beavis and Butt-Head\u003c/em>, animation that he says didn’t originally have much of a story arc. Judge says it was Daniels who helped him learn to write stories for an episodic TV series with tips on how to “structure a story” and how “not to get hung up on a joke at the expense of a story.”\u003c/p>\n\u003cp>Judge says Daniels is also good at streamlining a story: “When you think it’s all so complicated, reducing it down to very simply what the problem is and how to resolve it and do it in a funny way.”\u003c/p>\n\u003cp>The problems in Daniels’ upcoming Netflix show \u003cem>Space Force\u003c/em> include a military leader who doesn’t listen to the scientists around him. His new sci-fi comedy \u003cem>Upload\u003c/em> explores the inequalities—and inhumanity—that emerges as advanced, expensive, digital technologies hit the market.\u003c/p>\n\u003cp>“These technologies are introduced and they all seem great. And then, you know, the law of unintended consequences kicks in and they are kind of flawed or sometimes outright evil when they’re actually executed,” Daniels says.\u003c/p>\n\u003cp>In \u003cem>Upload\u003c/em>, only the wealthy get to experience an idyllic afterlife in the expensive, leafy resort called “Lakeview.” Even the \u003ca href=\"https://www.youtube.com/watch?v=ybVN4LhFmVQ\" target=\"_blank\" rel=\"noopener noreferrer\">commercial\u003c/a> for Lakeview feels eerily familiar.\u003c/p>\n\u003cp>The world of this comedy is strange and unsettling, not unlike the world we’re living in now. Daniels admits he’s just as preoccupied with the pandemic as everyone else.\u003c/p>\n\u003cp>“It’s very weird to be out trying to get people to watch comedy shows now. So I guess the hope is that it’s a helpful distraction,” he reasons.\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/io6Mqho-asM'\n title='//www.youtube.com/embed/io6Mqho-asM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>People have been finding comfort in Greg Daniels’ past “distractions.” \u003cem>The Office\u003c/em> is one of Netflix’s most popular shows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this piece for radio; Meghan Sullivan edited 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=Greg+Daniels+Moves+His+Comedic+Spotlight+To+Absurdity+In+The+Afterlife&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "DIY During Quarantine. What Could Possibly Go Wrong? Plenty",
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"content": "\u003cp>Maybe your garbage disposal is broken or the fridge is slowly dying. Because of the coronavirus lockdown, you can’t easily call a professional. But you have a hammer and you have YouTube, so what could go wrong?\u003c/p>\n\u003cp>We asked listeners that question, and they said plenty!\u003c/p>\n\u003cp>Vicki Novikoff Barnhart of Galveston, Texas, had a problem that was driving her to the point of madness. Her microwave oven was beeping loudly nonstop, 24 hours a day. Because it was built in, it wasn’t possible to just unplug it.\u003c/p>\n\u003cp>A friend suggested she turn off the circuit breaker to the microwave. But it was mounted outside up high and would require taking the back off, which she figured was too dangerous. A different friend said to hit the microwave with a hammer. That just seemed like a great way to get electrocuted.\u003c/p>\n\u003cp>So the beeping went on. 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Hsu ran downstairs to find her husband standing next to the sink, now dangling off the wall.\u003c/p>\n\u003cp>Her husband, who’s over 6 feet tall and says he has trouble turning around in small spaces, had “hip-checked” (ran into) the sink.\u003c/p>\n\u003cp>Hsu says he “wrecked the sink, the underlying pipes and my good weekend mood.”\u003c/p>\n\u003cp>Hsu, the handy one in the family, opened up her toolbox. She lacked the right wrench, but using common sense and lessons from her father, she reattached the sink and all the pipes, and now it drains perfectly.\u003c/p>\n\u003cp>Theirs is a perfect quarantine match.\u003c/p>\n\u003cp>“He breaks things,” Hsu says. “I fix them.”\u003c/p>\n\u003cp>\u003cstrong>Water everywhere\u003c/strong>\u003c/p>\n\u003cp>For Megan Glasscock of Pensacola, Fla., the recent national toilet paper shortage inspired her to install a bidet with her mother.\u003c/p>\n\u003cp>“I read the instructions,” Glasscock says. “I said, ‘Aah, 20 minutes—this will be a breeze.’ ”\u003c/p>\n\u003cp>“Mind you, Megan knows nothing about plumbing,” says her mother, Cheryl Glasscock.\u003c/p>\n\u003cp>The pair knew enough, though, to turn the water to the toilet off before getting started. 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They pumped out the yard and replaced the water meter that Cheryl had destroyed when she somehow disconnected the water meter from the water line.\u003c/p>\n\u003cp>After the mess was cleaned up and tears were dried, mother and daughter installed the bidet, this time following instructions on YouTube. That’s key, the Glasscocks say.\u003c/p>\n\u003cp>They are now the proud owners of a bidet, just as toilet paper is back on the shelves!\u003c/p>\n\u003cp>\u003cstrong>Good walls make good neighbors\u003c/strong>\u003c/p>\n\u003cp>Kenneth McNay of Morrisville, N.C., also decided to use the shutdown to take on a DIY project. “I noticed that the retaining wall between my and my neighbor’s townhomes was sagging in the center.”\u003c/p>\n\u003cp>He removed all the stones, leveled the ground with paving stones, rock and sand and then put everything back straight. He felt rather proud of the finished job.\u003c/p>\n\u003cp>McNay’s neighbor, however, was not happy. She wanted a professional to do it. The neighbor was also worried about the safety warnings on the bags of stone and sand, which McNay found really puzzling.\u003c/p>\n\u003cp>“During the next weekend, she completely reversed my work, taking away all the stones, taking all the sand and gravel out and then putting it all back with a sag in the middle,” McNay says.\u003c/p>\n\u003cp>What did McNay’s neighbor do with the paving, gravel and sand that he had so carefully installed during the pandemic, when we are all supposed to be practicing social distancing and keeping surfaces clean?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She returned them all to his porch in zip-lock bags.\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=DIY+During+Quarantine.+What+Could+Possibly+Go+Wrong%3F+Plenty&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe your garbage disposal is broken or the fridge is slowly dying. Because of the coronavirus lockdown, you can’t easily call a professional. But you have a hammer and you have YouTube, so what could go wrong?\u003c/p>\n\u003cp>We asked listeners that question, and they said plenty!\u003c/p>\n\u003cp>Vicki Novikoff Barnhart of Galveston, Texas, had a problem that was driving her to the point of madness. Her microwave oven was beeping loudly nonstop, 24 hours a day. Because it was built in, it wasn’t possible to just unplug it.\u003c/p>\n\u003cp>A friend suggested she turn off the circuit breaker to the microwave. But it was mounted outside up high and would require taking the back off, which she figured was too dangerous. A different friend said to hit the microwave with a hammer. That just seemed like a great way to get electrocuted.\u003c/p>\n\u003cp>So the beeping went on. Day after day after day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to get a gun and shoot it,” she says, “but I didn’t have a gun.”\u003c/p>\n\u003cp>After living like this for six weeks, Barnhart finally got a repairman to come to the house to install a new microwave. He put the old one out on the curb, promising that someone would happily take it away.\u003c/p>\n\u003cp>He was right. A few days later, Barnhart was outside and heard a familiar sound. “I knew it was my microwave and it was at a neighbor’s house,” she says. “And then a full day later, I was out there and it was still on and it was still beeping!”\u003c/p>\n\u003cp>Barnhart recently was on her neighborhood posting site and saw these words: “Does anybody hear that beeping and do you know what it is?”\u003c/p>\n\u003cp>\u003cstrong>A perfect quarantine match\u003c/strong>\u003c/p>\n\u003cp>It was a quiet Sunday night in lockdown when Sophia Hsu of Brooklyn, N.Y., heard a crash and expletives coming from the bathroom. Hsu ran downstairs to find her husband standing next to the sink, now dangling off the wall.\u003c/p>\n\u003cp>Her husband, who’s over 6 feet tall and says he has trouble turning around in small spaces, had “hip-checked” (ran into) the sink.\u003c/p>\n\u003cp>Hsu says he “wrecked the sink, the underlying pipes and my good weekend mood.”\u003c/p>\n\u003cp>Hsu, the handy one in the family, opened up her toolbox. She lacked the right wrench, but using common sense and lessons from her father, she reattached the sink and all the pipes, and now it drains perfectly.\u003c/p>\n\u003cp>Theirs is a perfect quarantine match.\u003c/p>\n\u003cp>“He breaks things,” Hsu says. “I fix them.”\u003c/p>\n\u003cp>\u003cstrong>Water everywhere\u003c/strong>\u003c/p>\n\u003cp>For Megan Glasscock of Pensacola, Fla., the recent national toilet paper shortage inspired her to install a bidet with her mother.\u003c/p>\n\u003cp>“I read the instructions,” Glasscock says. “I said, ‘Aah, 20 minutes—this will be a breeze.’ ”\u003c/p>\n\u003cp>“Mind you, Megan knows nothing about plumbing,” says her mother, Cheryl Glasscock.\u003c/p>\n\u003cp>The pair knew enough, though, to turn the water to the toilet off before getting started. After hours of struggling to install the bidet, which included a trip to the hardware store for a part, they called it quits for the night.\u003c/p>\n\u003cp>They turned the water back on.\u003c/p>\n\u003cp>“That’s when the nightmare began,” Megan says. The bathroom started flooding, and now this time the water wouldn’t turn off.\u003c/p>\n\u003cp>Cheryl rushed outside to cut off the main water supply to the house. But in the dark, she couldn’t find the valve. She reached down and started turning a wheel. That’s when water began bubbling up from the ground.\u003c/p>\n\u003cp>Now both the bathroom and the yard were flooding. Water was everywhere. Buckets were no match.\u003c/p>\n\u003cp>Eventually the local water company arrived. They were dumbstruck at the destruction they found. 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"id": "code-switch-life-kit",
"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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"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": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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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"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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"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
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
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},
"link": "/radio/program/latino-usa",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"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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},
"link": "/radio/program/masters-of-scale",
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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"
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},
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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