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"title": "Aibileen and Skeeter and Mookie and Sal: Love, Work and Watching 'The Help'",
"headTitle": "Aibileen and Skeeter and Mookie and Sal: Love, Work and Watching ‘The Help’ | KQED",
"content": "\u003cp>\u003cem>The Help \u003c/em>shot up the Netflix charts over the last week after Netflix added it on June 1, and I’ve been trying to wrap my head around it ever since. What, I wondered, other than the most general aspiration to engage with the idea of racism, could make this the the time to watch \u003cem>The Help\u003c/em>, a 2011 film (based on a 2009 novel) about a white journalist who gets her big break passing along stories told to her by black maids in 1963? A movie Viola Davis regrets appearing in, because the maids’ voices weren’t placed at the center of the story? Based on a book that \u003ca href=\"https://www.washingtonpost.com/blogs/celebritology/post/the-help-lawsuit-against-kathryn-stockett-dismissed/2011/08/16/gIQAiCWqJJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">got its author sued\u003c/a>? Sure, Netflix added it, Netflix promoted it—but an awful lot of people decided to watch it.\u003c/p>\n\u003cp>But let’s put a pin in that for a minute, and let’s talk about Mookie and Sal.\u003c/p>\n\u003cp>It’s been hard not to think about Spike Lee’s 1989 classic \u003cem>Do The Right Thing\u003c/em> over the last two weeks, let alone the last ten years. The images are stark: the police officer killing Radio Raheem with a chokehold as the kid’s feet twitch above the pavement, Mookie throwing a trash can through the window of Sal’s Famous Pizzeria, the searing heat that’s present in the images of a blisteringly hot day, and later in the crackle of a fire. That fire, those fire hoses, that police car speeding off with Radio Raheem’s body stuffed in the back. And, of course, a block full of people in grief and anger from whom the police flee, leaving behind a situation where they have no idea what’s about to happen, but what matters is that they won’t be there for it.\u003c/p>\n\u003cp>Watching it again, though, I was struck by something else that seemed just as important: its ambivalence—really, its deep \u003cem>skepticism—\u003c/em>about the relationship between Mookie (Lee) and Sal (Danny Aiello), who runs the place where Mookie works delivering pizzas. Because it’s a skepticism that doesn’t start with a broken window.\u003c/p>\n\u003cp>\u003cstrong>Mookie and Sal\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BT2al2t2jnU\u003c/p>\n\u003cp>There is a kind of love Sal would likely say he has for Mookie—that he would say he has for the whole Bed-Stuy neighborhood where he’s been in business for 25 years. He sits down by his front window and gives a speech to his vocally bigoted son Pino (John Turturro) about why he will not relocate, despite Pino’s hatred of the clientele. In it, Sal speaks with convincing warmth, as the camera gently approaches the table and the window and the people outside, about how much it means to him that the black kids on the block have grown up eating his pizza. He will later tell Mookie that even after Pino and Vito take over the business, Mookie always have “a place” there, because he’s “like a son” to him. It’s not true: Mookie is nothing like a son to him. Sal’s fondness for Mookie, like his fondness for the rest of his customers may be real, but it’s also brittle, prone to shattering. His love for his sons, on the other hand, would survive anything.\u003c/p>\n\u003cp>Whether, and how, this affection is returned is just as complicated. Sal’s is an institution, enough that when Buggin’ Out (Giancarlo Esposito) tries to organize a boycott of Sal’s over the lack of black faces on his Wall of Fame, there are initially no takers. The people in the neighborhood like Sal, they feel at home in his place, and they like the pizza. Buggin’ Out is treated like something of a radical even by his friends, who just aren’t up for a boycott on a miserably hot summer day. What’s boycotting Sal going to do for anyone?\u003c/p>\n\u003cp>At the same time, Mookie receives Sal’s words with a sort of aggravated impatience. He’s working. They can share a laugh, but he’s working.\u003c/p>\n\u003cp>To summarize the agonizing ending of the film: When four of those same neighborhood customers arrive just after closing that night, Sal has a reluctant Mookie, who just wants to go home, let them in for a slice. Buggin’ Out, now accompanied by Radio Raheem, comes in behind them. Earlier in the day, Radio Raheem and Sal had a confrontation over Sal’s insistence that there be no music in the pizzeria. Now, the music is back, blasting from the radio, even louder. The yelling starts. Sal picks up his bat and destroys the radio that’s both an expensive piece of personal property and a key to Raheem’s identity. So despite the broken window, the looting and the fire that so troubled some of the early commentators on the film, the first person who takes it upon himself to break someone else’s stuff out of anger is Sal. And he does it for no better reason than that two guys who grew up on his pizza won’t stop blasting, as he puts it, “jungle music.” [aside postid='arts_13881854']\u003c/p>\n\u003cp>Now Radio Raheem grabs Sal, pulls him across the counter, and gets the better of their physical fight. The police arrive, and they kill Radio Raheem with a chokehold as onlookers beg them to stop. The police grab Radio Raheem’s body and speed away. The block pulses with grief and frustration. Mookie walks across the street to a trashcan, takes off the lid, removes the bag, kicks the lid away, carries the trashcan across the street and puts it through the window. The place is looted and burned.\u003c/p>\n\u003cp>Before all this, there’s a kind of love, a \u003cem>kind\u003c/em>, that connects Sal with these customers he thinks of as kids, like a spider web with only a few threads. It’s part of why they came for pizza after closing, and it’s part of why Sal let them in. But if you can call it love, it’s the companionable love that comes from a shared history, not the more durable love that can come from a shared fate.\u003c/p>\n\u003cp>It’s possible to read \u003cem>Do The Right Thing\u003c/em> as a story in which everyone loses, where that’s the bedrock tragedy of racism: relationships are shattered, Sal sees his business burn, Radio Raheem dies. Bad for everyone, the end. This is the way Sal tries to tell the story to Mookie the next morning—it’s Buggin’ Out’s fault, because he started a fight when he didn’t have to, and now everyone suffered. Danny Aiello speaks from the chest as he points out that he built his business with his own hands—every light socket, he says, and every tile—and now it’s all gone.\u003c/p>\n\u003cp>But, in fact, Sal and the customers in the neighborhood have never had the same things at stake. There are elements of back and forth: Sal can break Radio Raheem’s radio; Mookie can break Sal’s window. Radio Raheem and Sal can fight, scrap on the ground, scream at each other. Buggin’ Out throws slurs at Sal; Sal throws slurs at Radio Raheem, infuriating the four who came in for those closing-bell slices.\u003c/p>\n\u003cp>Nevertheless, Sal and Mookie (like Sal and Radio Raheem) lack a fully shared fate. For Sal, this block is where people work for him and buy things from him. For Mookie, it’s where he lives, a largely black neighborhood where he works for a white-owned business. And also, of course, their odds are different in any confrontation because the police have an official monopoly on legal violence (to paraphrase Jill Leovy’s excellent book \u003cem>Ghettoside\u003c/em>, about murders that are and are not solved). “Can we all get along?”, after all, is a sentiment best remembered alongside the fact that the man who uttered it did so after his own beating. [aside postid='arts_13881731']\u003c/p>\n\u003cp>People have written for years about what makes \u003cem>Do The Right Thing “\u003c/em>provocative,” and in 1989, \u003ca href=\"https://www.complex.com/pop-culture/2014/07/critics-reviews-do-the-right-thing/david-denby-do-the-right-thing-review\" target=\"_blank\" rel=\"noopener noreferrer\">there were critics who seem to have been aghast\u003c/a> at their suspicion that Lee sympathized with the people burning down Sal’s pizzeria. (Some of the response was more appalling than this; Murray Kempton in the \u003cem>New York Review Of Books \u003c/em>\u003ca href=\"https://www.nybooks.com/articles/1989/09/28/the-pizza-is-burning/\" target=\"_blank\" rel=\"noopener noreferrer\">somewhat [in]famously wrote\u003c/a> that Sal was the protagonist of the piece, Mookie such an “inferior specimen of a great race” that he couldn’t even serve as a decent antagonist, and the film best understood as the story of Sal’s sad realization that he was a dreamer and his grotesquely racist son who peppered his speech with slurs was merely the “realist.”)\u003c/p>\n\u003cp>But I wonder whether one thing that made the film feel radical—and unsettling—was revealing the limits of Sal’s relationship with Mookie. In fact, Sal’s line, “You’ve always been like a son to me,” is the last thing you hear before the four friends show up outside wanting their four slices and Sal lets them in—the first in the chain of events that leads to a young man’s death.\u003c/p>\n\u003cp>Viewers have interpreted Mookie throwing the trashcan in a variety of ways; there are critical journal articles about it. Maybe he’s acting on impulse, maybe he’s acting out of longstanding anger, maybe he’s an avatar for Lee himself hurling a trashcan at established filmmaking, or maybe he’s encouraging the rage to be directed at the pizzeria rather than have people turn it against Sal and his sons, which saves their lives. But whatever else it does, throwing that trashcan is the end of any relationship in which Sal would ever say, “You’ve always been like a son to me.” Maybe it’s not just the trashcan itself that turns a segment of white viewers against Mookie and the crowd in the street; maybe it’s that he doesn’t appreciate what Sal considers to be genuine love that, to paraphrase Kempton, Mookie doesn’t even remotely deserve.\u003c/p>\n\u003cp>\u003cstrong>Aibileen and Skeeter\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aT9eWGjLv6s\u003c/p>\n\u003cp>All the skepticism about love that’s present in \u003cem>Do The Right Thing \u003c/em>is absent from \u003cem>The Help\u003c/em>.\u003c/p>\n\u003cp>Admittedly, finding the parallels between these films is like finding the parallels between a wetsuit and a jumpsuit: You can kind of understand how they’d be in the same conversation, but you’d have to have both eyes closed to mistake one for the other. Nevertheless, when you see the quasi-familial parent-child bond that breaks apart in \u003cem>Do The Right Thing\u003c/em>, it draws out what \u003cem>The Help\u003c/em> has elided that makes it a bizarre but predictable comfort watch for a lot of—and this is speculation, given the opacity of Netflix numbers, but I stand by it—white people who sent it flying up the charts. [aside postid='arts_13881748']\u003c/p>\n\u003cp>\u003cem>The Help \u003c/em>is about race, yes; it even has a handful of superficial narrative parallels with \u003cem>Do The Right Thing\u003c/em>. (Again, jumpsuit/wetsuit. Maybe even spacesuit.) After all, \u003cem>The Help \u003c/em>also shows close personal relationships between black people and white people, growing out of employment, built over years, that end in cathartic responses that offend, or wound, or mortify white employers. A black maid in \u003cem>The Help\u003c/em> literally feeds her own [excrement] to her hateful, bigoted boss. And contrary to the frustrated reminder Mookie issues Sal after the fire about the fact that he’ll be compensated for his losses, there is no insurance check to compensate for eating [excrement].\u003c/p>\n\u003cp>But \u003cem>The Help\u003c/em> presents itself as warm, funny, “uplifting.” It is not, to say the least, “provocative.” Some of its trailers present it as half wacky comedy, half go-get-’em underdog movie, where it’s the good guys (the maids plus Emma Stone) versus the bad guys (the mean white employers in town, particularly the wicked Hilly, played by Bryce Dallas Howard). The trailer promises that the relationship between Skeeter (Stone) and Aibileen is “an unexpected friendship [that] will change everything.”\u003c/p>\n\u003cp>In analytical terms: “Yyyyyyikes.”\u003c/p>\n\u003cp>Perhaps “unlikely” is right, but “friendship” is awfully curious. Because here’s how they meet: Skeeter gets a job writing a happy-homemaker column that she’s not qualified to write, so she asks Aibileen, her friend’s maid, to be her entirely unpaid ghostwriter. It’s while benefiting from this unpaid labor (that she herself is being paid to do!) that Skeeter decides she wants to write a book about maids. And she wants Aibileen to stick her neck way, way out by sharing her experiences working for white families. So, yes, I’ll say it’s “unlikely,” in that it’s a rare friendship that begins with the party of the first part persuading the party of the second part to risk life and limb by excavating her history of being traumatized for free. (Skeeter will eventually share the money for the book with the maids, but this is not negotiated, transforming it into a magnanimous and unexpected act by Skeeter rather than literally the least she could do for women placing themselves at such risk.)\u003c/p>\n\u003cp>It’s probably overly nitpicky to add that given that this all takes place in 1963, an awful lot of people would doubtless be surprised to hear that it “changed everything.”\u003c/p>\n\u003cp>\u003cstrong>Money Can’t Buy You Love\u003c/strong>\u003c/p>\n\u003cp>Skeeter, oh, Skeeter. One much-discussed element of \u003cem>The Help\u003c/em>‘s racial politics is the role of the white savior. Take it away, \u003ca href=\"http://archive.boston.com/ae/movies/articles/2011/08/10/race_class_and_hollywood_gloss_in_the_help/?page=2\" target=\"_blank\" rel=\"noopener noreferrer\">critic Wesley Morris\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Skeeter’s exposé is meant to empower both the subjects and the author, but \u003cem>The Help\u003c/em> joins everything from \u003cem>To Kill a Mockingbird\u003c/em> to \u003cem>The Blind Side\u003c/em> as another Hollywood movie that sees racial progress as the province of white do-gooderism. Skeeter enjoys all the self-discovery and all the credit. She cracks the mystery of her missing childhood maid (Cicely Tyson). She finds a career at a moment in which women rarely had them. And she changes the lives of a couple of dozen black women whose change is refracted primarily through her. Skeeter’s awakening is a seemingly risk-free reassurance, just as Hilly’s Hanna-Barbera villainy is a kind of delight. [Hilly is the monstrous, most overtly racist woman played by Bryce Dallas Howard.]\u003c/p>\u003c/blockquote>\n\u003cp>For sure, Skeeter is a classic film/television white savior. She couldn’t be more so if she had an S on her chest. But there’s something else that’s profoundly amiss at the center of \u003cem>The Help\u003c/em>, and it’s the privileging of personal feelings and the utter failure to reckon with any of the realities of the power relationships between employees and employers—whether those employers are personally benevolent or not—that are so painfully evident in the relationship between Sal and Mookie. \u003c/p>\n\u003cp>In \u003cem>The Help\u003c/em>, the love between maids and the children they raised, and in some cases the love between maids and adults they work for, exists outside structural inequalities and is affected by little other than personal cruelty or kindness. Far from being made of those fragile threads between Sal and the Bed-Stuy customers, the love between those with less power and those with more is the film’s spine. Like Mookie, Aibileen can tell you exactly how much she makes in her economic exchange with her employer—she makes $182 a month; Mookie makes $250 a week—but for her, that’s separate from the love that has connected her to the 17 white children she’s raised. In fact, one of the things that marks Skeeter’s mother (Allison Janney) as a villain is that she tells Skeeter that the maids are just employees—”We were just a job to her. With them, it’s all about money.” Obviously, this is racist, the way she says “them,” and so forth. But what is so awful, in principle, about the idea that the heart of your relationship with someone you employ is economic? Why must Skeeter prove to her terrible mother that no, being a maid is about \u003cem>love\u003c/em>?\u003c/p>\n\u003cp>Minny (Octavia Spencer) actually explains at one point that maids always love the kids they raise, until those kids grow up to be like their parents. And this is the betrayal we are led to believe hurts the most: the personal betrayal, not the systemic. Not the fact that Minny has to teach her \u003cem>own\u003c/em> daughter how to step carefully around racist employers (don’t let your hand touch theirs, don’t mingle your dishes with theirs), but the fracturing of the bond between maids and other people’s daughters. This conceptual muddle is evident when Minny starts talking about how difficult the job is and mentions not getting minimum wage or Social Security. Skeeter says maybe things can change. “What law’s gonna say you got to be nice to your maid?” Minny snaps. And of course, no law is going to regulate niceness. But I can think of some that might address whether you get minimum wage and Social Security. Paying minimum wage isn’t important because it’s \u003cem>nice;\u003c/em> it’s important because it’s \u003cem>just\u003c/em>. The film’s porous boundary between issues of economic justice and personal affection reappears over and over.\u003c/p>\n\u003cp>Skeeter has this fixation on love as well, particularly as regards the maid who raised her, Constantine. (Constantine is played by towering legend Cicely Tyson, making this as good a time as any to acknowledge that for all its narrative weaknesses, \u003cem>The Help \u003c/em>is full of brilliant actors.) Skeeter’s original framing of the issue of the maids, as she explains it to her putative editor (Mary Steenburgen), is that the situation with the maids needs to be talked about more, because, as she puts it: “We love them and they love us, but they can’t even use the toilets in our houses.” [aside postid='arts_13881229']\u003c/p>\n\u003cp>Skeeter fails to consider the following explanation for this seeming contradiction: Maybe if they can’t use the toilets in your house, you don’t love them. And maybe some of the way they treat you is for money. \u003cem>Maybe they don’t love you.\u003c/em> If that’s the case, then maybe it’s not a matter of mistreating people you love; maybe it’s a matter of paying people for work, treating them miserably, and being so toweringly presumptuous as to assume the natural state of things is for them to love you.\u003c/p>\n\u003cp>Let’s be clear: This is not to say, by any means, that it’s unlikely, let alone impossible, for a person who works for someone to also love them, or to cast aspersions on the genuine love that maids and nannies and teachers and other people paid to care for children can feel for them. Far from it. But for love to be meaningful and aspirational, doesn’t it have to be given in circumstances allowing both dignity and agency? Otherwise, it is brittle. It shatters under pressure. In this version of 1963 Mississippi, when some maids are “inherited” such that the right to employ them is “owned” by one family, and when a maid can be ruined by an accusation of theft whether true or false, how can Skeeter assert of those maids, “We love them and they love us”? What kind of a fantasy, and whose fantasy, is that? And why does the film seemingly assert that \u003cem>as long as the employer is nice\u003c/em>, Skeeter is right?\u003c/p>\n\u003cp>Get this, if you’ve forgotten: After Skeeter has blown up a bunch of maids’ lives by publishing their stories, she gets a job offer in New York and tells Minny and Aibileen that she isn’t taking it, because she doesn’t feel like she can just create all this chaos and danger for them and then pop off to New York. (One of her few good instincts.) The maids, in perhaps the movie’s weirdest scene, assure her that she must go. She’s right to go. They have gone through so much, after all, and “If bad things happen, ain’t nothin’ you can do about it,” Aibileen says. “And now it’s for a reason we can be proud of.” This, after they’ve endured the assassination of Medgar Evers and worried that they’d be killed for telling their stories, is a reason for any “bad things” that they can be proud of: Skeeter’s career. So little change, so much love.\u003c/p>\n\u003cp>Where there’s anything remedied in \u003cem>The Help\u003c/em> at all, it’s racism seen as an accumulation of intimate cruelties that can—that could—be remedied without white employers giving up anything except their viciousness. You can go through the movie and separate every white woman in it into one of two categories: “is mean” and “is nice.” And moving those women along that continuum (like Skeeter’s mother) or punishing them for where they lie along it (like Hilly) is the focus of the film’s emotional attention.\u003c/p>\n\u003cp>This is particularly painful because the ability to have and sustain personal and intimate feelings of love—whether platonic, romantic or familial—has long been presented in popular culture as justice in miniature, such that equality is defined as a hug heard ’round the world. In fact, there’s an entire genre of film in which white people have the transformative experience of loving and being loved by Black people, and they are treated as movies that speak in some way to race. These stories arrive and arrive, and they have for decades. Some are better than others, but they are often (though not always) rewarded with audience enthusiasm, awards or both: \u003cem>The Help\u003c/em>, \u003cem>The Green Mile\u003c/em>, \u003cem>The Blind Side\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Guess Who’s Coming To Dinner?\u003c/em> They’ve resulted in awards for a goodly number of white directors and white writers, serving as a ticket to a kind of respectability.\u003c/p>\n\u003cp>It calls to mind a tweet from Dan Hauge in 2017 that’s been shared a couple of times since by the writer and NPR \u003cem>Code Switch \u003c/em>host Gene Demby. Hauge \u003ca href=\"https://twitter.com/danhauge/status/897097773727797248\" target=\"_blank\" rel=\"noopener noreferrer\">made the point\u003c/a> that white people often “imagine the endgame of anti-racism as harmonious relationships rather than equal power to shape society.” \u003cem>The Help\u003c/em> has precisely this focus on emotional reconciliations—on combating injustice by letting people talk about their feelings and tell you what it’s like to be them, and then leaving it at that.\u003c/p>\n\u003cp>It makes sense that in the world of camera phones, this phenomenon within studio filmmaking would have a mobile counterpart. And it does: the fixation, during any time in which discussions of systemic racism are prominent, on photos of individual black people and white people hugging or clasping hands, particularly if the white person is a police officer. Perhaps there is an audience for \u003cem>The Help \u003c/em>for the same reason there is an audience for multiracial police hugs: when that audience tries to envision uprooting systemic injustice, they begin (and often end) at the level of the personal relationship. They envision a one-by-one transformation in which they are, for more and more and more people, the white person who is the beloved friend and not the person who fully deserves the pie full of [excrement]. And after long enough, the changes in government or media or human rights follow naturally.\u003c/p>\n\u003cp>But the transition from more loving personal relationships to more just structural ones is uphill, not down. Focusing on your personal relationships to the exclusion of considering bigger issues can bend your perspective; it’s part of what the reviled cliché “some of my best friends are Black” is all about. It’s easy to dream of being a Skeeter and easy to emerge as a Sal: at your best, a companion. At your worst, a danger. [aside postid='arts_13880973']\u003c/p>\n\u003cp>There’s no hug at the end of \u003cem>Do The Right Thing\u003c/em>. Mookie shows up to get his pay from Sal while Sal is sitting on the front step of his burned pizzeria. Mookie may have been like a son to Sal, but Mookie is not there to offer comfort; he wants his money. Sal doesn’t get any buy-in whatsoever from Mookie on his theory that a kid who just watched his friend choked to death should sympathize with his lost power outlets and burned tile. If anything, Sal and Mookie both are clear at the end of the movie on the fact that fondness, history and amiable companionship are ultimately unable to sustain individual personal connections in the absence of a shared fate.\u003c/p>\n\u003cp>What should you aspire to if you are on the side of a system that gives you power and makes you the person more likely to be believed, less likely to be killed, more likely to own property and be the boss, less likely to bite your tongue over your low wages? Should you aspire to personal connection? Or should you aspire to a world in which your maid is free to love you or not? Maybe it’s not about justice for the person who raises you, raises your daughter, is like a son to you, or tells you you’re kind and smart and important. Maybe it’s about justice for the person you walk by, who walks by you, who can take or leave you.\u003c/p>\n\u003cp>In a society that’s fair, the right to move through the world on equal footing is not contingent on a network of personal bonds. It belongs to the extrovert, the introvert, the hugger, the stranger, and honestly, the complete jerk. Broader matters of justice are not addressed by the presence of kindness within broken systems. Obviously, kindness is always better than unkindness, and love better than no love, all other things being equal.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s that last part that so many stories—including \u003cem>The Help\u003c/em>—leave out.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aibileen+And+Skeeter+And+Mookie+And+Sal%3A+Love%2C+Work+And+Watching+%27The+Help%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "'The Help' has enjoyed a surge of popularity on Netflix, perhaps owing to its commitment to the idea that the personal matters most. But where injustices persist, that's a flawed idea at best. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Help \u003c/em>shot up the Netflix charts over the last week after Netflix added it on June 1, and I’ve been trying to wrap my head around it ever since. What, I wondered, other than the most general aspiration to engage with the idea of racism, could make this the the time to watch \u003cem>The Help\u003c/em>, a 2011 film (based on a 2009 novel) about a white journalist who gets her big break passing along stories told to her by black maids in 1963? A movie Viola Davis regrets appearing in, because the maids’ voices weren’t placed at the center of the story? Based on a book that \u003ca href=\"https://www.washingtonpost.com/blogs/celebritology/post/the-help-lawsuit-against-kathryn-stockett-dismissed/2011/08/16/gIQAiCWqJJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">got its author sued\u003c/a>? Sure, Netflix added it, Netflix promoted it—but an awful lot of people decided to watch it.\u003c/p>\n\u003cp>But let’s put a pin in that for a minute, and let’s talk about Mookie and Sal.\u003c/p>\n\u003cp>It’s been hard not to think about Spike Lee’s 1989 classic \u003cem>Do The Right Thing\u003c/em> over the last two weeks, let alone the last ten years. The images are stark: the police officer killing Radio Raheem with a chokehold as the kid’s feet twitch above the pavement, Mookie throwing a trash can through the window of Sal’s Famous Pizzeria, the searing heat that’s present in the images of a blisteringly hot day, and later in the crackle of a fire. That fire, those fire hoses, that police car speeding off with Radio Raheem’s body stuffed in the back. And, of course, a block full of people in grief and anger from whom the police flee, leaving behind a situation where they have no idea what’s about to happen, but what matters is that they won’t be there for it.\u003c/p>\n\u003cp>Watching it again, though, I was struck by something else that seemed just as important: its ambivalence—really, its deep \u003cem>skepticism—\u003c/em>about the relationship between Mookie (Lee) and Sal (Danny Aiello), who runs the place where Mookie works delivering pizzas. Because it’s a skepticism that doesn’t start with a broken window.\u003c/p>\n\u003cp>\u003cstrong>Mookie and Sal\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/BT2al2t2jnU'\n title='//www.youtube.com/embed/BT2al2t2jnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is a kind of love Sal would likely say he has for Mookie—that he would say he has for the whole Bed-Stuy neighborhood where he’s been in business for 25 years. He sits down by his front window and gives a speech to his vocally bigoted son Pino (John Turturro) about why he will not relocate, despite Pino’s hatred of the clientele. In it, Sal speaks with convincing warmth, as the camera gently approaches the table and the window and the people outside, about how much it means to him that the black kids on the block have grown up eating his pizza. He will later tell Mookie that even after Pino and Vito take over the business, Mookie always have “a place” there, because he’s “like a son” to him. It’s not true: Mookie is nothing like a son to him. Sal’s fondness for Mookie, like his fondness for the rest of his customers may be real, but it’s also brittle, prone to shattering. His love for his sons, on the other hand, would survive anything.\u003c/p>\n\u003cp>Whether, and how, this affection is returned is just as complicated. Sal’s is an institution, enough that when Buggin’ Out (Giancarlo Esposito) tries to organize a boycott of Sal’s over the lack of black faces on his Wall of Fame, there are initially no takers. The people in the neighborhood like Sal, they feel at home in his place, and they like the pizza. Buggin’ Out is treated like something of a radical even by his friends, who just aren’t up for a boycott on a miserably hot summer day. What’s boycotting Sal going to do for anyone?\u003c/p>\n\u003cp>At the same time, Mookie receives Sal’s words with a sort of aggravated impatience. He’s working. They can share a laugh, but he’s working.\u003c/p>\n\u003cp>To summarize the agonizing ending of the film: When four of those same neighborhood customers arrive just after closing that night, Sal has a reluctant Mookie, who just wants to go home, let them in for a slice. Buggin’ Out, now accompanied by Radio Raheem, comes in behind them. Earlier in the day, Radio Raheem and Sal had a confrontation over Sal’s insistence that there be no music in the pizzeria. Now, the music is back, blasting from the radio, even louder. The yelling starts. Sal picks up his bat and destroys the radio that’s both an expensive piece of personal property and a key to Raheem’s identity. So despite the broken window, the looting and the fire that so troubled some of the early commentators on the film, the first person who takes it upon himself to break someone else’s stuff out of anger is Sal. And he does it for no better reason than that two guys who grew up on his pizza won’t stop blasting, as he puts it, “jungle music.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now Radio Raheem grabs Sal, pulls him across the counter, and gets the better of their physical fight. The police arrive, and they kill Radio Raheem with a chokehold as onlookers beg them to stop. The police grab Radio Raheem’s body and speed away. The block pulses with grief and frustration. Mookie walks across the street to a trashcan, takes off the lid, removes the bag, kicks the lid away, carries the trashcan across the street and puts it through the window. The place is looted and burned.\u003c/p>\n\u003cp>Before all this, there’s a kind of love, a \u003cem>kind\u003c/em>, that connects Sal with these customers he thinks of as kids, like a spider web with only a few threads. It’s part of why they came for pizza after closing, and it’s part of why Sal let them in. But if you can call it love, it’s the companionable love that comes from a shared history, not the more durable love that can come from a shared fate.\u003c/p>\n\u003cp>It’s possible to read \u003cem>Do The Right Thing\u003c/em> as a story in which everyone loses, where that’s the bedrock tragedy of racism: relationships are shattered, Sal sees his business burn, Radio Raheem dies. Bad for everyone, the end. This is the way Sal tries to tell the story to Mookie the next morning—it’s Buggin’ Out’s fault, because he started a fight when he didn’t have to, and now everyone suffered. Danny Aiello speaks from the chest as he points out that he built his business with his own hands—every light socket, he says, and every tile—and now it’s all gone.\u003c/p>\n\u003cp>But, in fact, Sal and the customers in the neighborhood have never had the same things at stake. There are elements of back and forth: Sal can break Radio Raheem’s radio; Mookie can break Sal’s window. Radio Raheem and Sal can fight, scrap on the ground, scream at each other. Buggin’ Out throws slurs at Sal; Sal throws slurs at Radio Raheem, infuriating the four who came in for those closing-bell slices.\u003c/p>\n\u003cp>Nevertheless, Sal and Mookie (like Sal and Radio Raheem) lack a fully shared fate. For Sal, this block is where people work for him and buy things from him. For Mookie, it’s where he lives, a largely black neighborhood where he works for a white-owned business. And also, of course, their odds are different in any confrontation because the police have an official monopoly on legal violence (to paraphrase Jill Leovy’s excellent book \u003cem>Ghettoside\u003c/em>, about murders that are and are not solved). “Can we all get along?”, after all, is a sentiment best remembered alongside the fact that the man who uttered it did so after his own beating. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People have written for years about what makes \u003cem>Do The Right Thing “\u003c/em>provocative,” and in 1989, \u003ca href=\"https://www.complex.com/pop-culture/2014/07/critics-reviews-do-the-right-thing/david-denby-do-the-right-thing-review\" target=\"_blank\" rel=\"noopener noreferrer\">there were critics who seem to have been aghast\u003c/a> at their suspicion that Lee sympathized with the people burning down Sal’s pizzeria. (Some of the response was more appalling than this; Murray Kempton in the \u003cem>New York Review Of Books \u003c/em>\u003ca href=\"https://www.nybooks.com/articles/1989/09/28/the-pizza-is-burning/\" target=\"_blank\" rel=\"noopener noreferrer\">somewhat [in]famously wrote\u003c/a> that Sal was the protagonist of the piece, Mookie such an “inferior specimen of a great race” that he couldn’t even serve as a decent antagonist, and the film best understood as the story of Sal’s sad realization that he was a dreamer and his grotesquely racist son who peppered his speech with slurs was merely the “realist.”)\u003c/p>\n\u003cp>But I wonder whether one thing that made the film feel radical—and unsettling—was revealing the limits of Sal’s relationship with Mookie. In fact, Sal’s line, “You’ve always been like a son to me,” is the last thing you hear before the four friends show up outside wanting their four slices and Sal lets them in—the first in the chain of events that leads to a young man’s death.\u003c/p>\n\u003cp>Viewers have interpreted Mookie throwing the trashcan in a variety of ways; there are critical journal articles about it. Maybe he’s acting on impulse, maybe he’s acting out of longstanding anger, maybe he’s an avatar for Lee himself hurling a trashcan at established filmmaking, or maybe he’s encouraging the rage to be directed at the pizzeria rather than have people turn it against Sal and his sons, which saves their lives. But whatever else it does, throwing that trashcan is the end of any relationship in which Sal would ever say, “You’ve always been like a son to me.” Maybe it’s not just the trashcan itself that turns a segment of white viewers against Mookie and the crowd in the street; maybe it’s that he doesn’t appreciate what Sal considers to be genuine love that, to paraphrase Kempton, Mookie doesn’t even remotely deserve.\u003c/p>\n\u003cp>\u003cstrong>Aibileen and Skeeter\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/aT9eWGjLv6s'\n title='//www.youtube.com/embed/aT9eWGjLv6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the skepticism about love that’s present in \u003cem>Do The Right Thing \u003c/em>is absent from \u003cem>The Help\u003c/em>.\u003c/p>\n\u003cp>Admittedly, finding the parallels between these films is like finding the parallels between a wetsuit and a jumpsuit: You can kind of understand how they’d be in the same conversation, but you’d have to have both eyes closed to mistake one for the other. Nevertheless, when you see the quasi-familial parent-child bond that breaks apart in \u003cem>Do The Right Thing\u003c/em>, it draws out what \u003cem>The Help\u003c/em> has elided that makes it a bizarre but predictable comfort watch for a lot of—and this is speculation, given the opacity of Netflix numbers, but I stand by it—white people who sent it flying up the charts. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Help \u003c/em>is about race, yes; it even has a handful of superficial narrative parallels with \u003cem>Do The Right Thing\u003c/em>. (Again, jumpsuit/wetsuit. Maybe even spacesuit.) After all, \u003cem>The Help \u003c/em>also shows close personal relationships between black people and white people, growing out of employment, built over years, that end in cathartic responses that offend, or wound, or mortify white employers. A black maid in \u003cem>The Help\u003c/em> literally feeds her own [excrement] to her hateful, bigoted boss. And contrary to the frustrated reminder Mookie issues Sal after the fire about the fact that he’ll be compensated for his losses, there is no insurance check to compensate for eating [excrement].\u003c/p>\n\u003cp>But \u003cem>The Help\u003c/em> presents itself as warm, funny, “uplifting.” It is not, to say the least, “provocative.” Some of its trailers present it as half wacky comedy, half go-get-’em underdog movie, where it’s the good guys (the maids plus Emma Stone) versus the bad guys (the mean white employers in town, particularly the wicked Hilly, played by Bryce Dallas Howard). The trailer promises that the relationship between Skeeter (Stone) and Aibileen is “an unexpected friendship [that] will change everything.”\u003c/p>\n\u003cp>In analytical terms: “Yyyyyyikes.”\u003c/p>\n\u003cp>Perhaps “unlikely” is right, but “friendship” is awfully curious. Because here’s how they meet: Skeeter gets a job writing a happy-homemaker column that she’s not qualified to write, so she asks Aibileen, her friend’s maid, to be her entirely unpaid ghostwriter. It’s while benefiting from this unpaid labor (that she herself is being paid to do!) that Skeeter decides she wants to write a book about maids. And she wants Aibileen to stick her neck way, way out by sharing her experiences working for white families. So, yes, I’ll say it’s “unlikely,” in that it’s a rare friendship that begins with the party of the first part persuading the party of the second part to risk life and limb by excavating her history of being traumatized for free. (Skeeter will eventually share the money for the book with the maids, but this is not negotiated, transforming it into a magnanimous and unexpected act by Skeeter rather than literally the least she could do for women placing themselves at such risk.)\u003c/p>\n\u003cp>It’s probably overly nitpicky to add that given that this all takes place in 1963, an awful lot of people would doubtless be surprised to hear that it “changed everything.”\u003c/p>\n\u003cp>\u003cstrong>Money Can’t Buy You Love\u003c/strong>\u003c/p>\n\u003cp>Skeeter, oh, Skeeter. One much-discussed element of \u003cem>The Help\u003c/em>‘s racial politics is the role of the white savior. Take it away, \u003ca href=\"http://archive.boston.com/ae/movies/articles/2011/08/10/race_class_and_hollywood_gloss_in_the_help/?page=2\" target=\"_blank\" rel=\"noopener noreferrer\">critic Wesley Morris\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Skeeter’s exposé is meant to empower both the subjects and the author, but \u003cem>The Help\u003c/em> joins everything from \u003cem>To Kill a Mockingbird\u003c/em> to \u003cem>The Blind Side\u003c/em> as another Hollywood movie that sees racial progress as the province of white do-gooderism. Skeeter enjoys all the self-discovery and all the credit. She cracks the mystery of her missing childhood maid (Cicely Tyson). She finds a career at a moment in which women rarely had them. And she changes the lives of a couple of dozen black women whose change is refracted primarily through her. Skeeter’s awakening is a seemingly risk-free reassurance, just as Hilly’s Hanna-Barbera villainy is a kind of delight. [Hilly is the monstrous, most overtly racist woman played by Bryce Dallas Howard.]\u003c/p>\u003c/blockquote>\n\u003cp>For sure, Skeeter is a classic film/television white savior. She couldn’t be more so if she had an S on her chest. But there’s something else that’s profoundly amiss at the center of \u003cem>The Help\u003c/em>, and it’s the privileging of personal feelings and the utter failure to reckon with any of the realities of the power relationships between employees and employers—whether those employers are personally benevolent or not—that are so painfully evident in the relationship between Sal and Mookie. \u003c/p>\n\u003cp>In \u003cem>The Help\u003c/em>, the love between maids and the children they raised, and in some cases the love between maids and adults they work for, exists outside structural inequalities and is affected by little other than personal cruelty or kindness. Far from being made of those fragile threads between Sal and the Bed-Stuy customers, the love between those with less power and those with more is the film’s spine. Like Mookie, Aibileen can tell you exactly how much she makes in her economic exchange with her employer—she makes $182 a month; Mookie makes $250 a week—but for her, that’s separate from the love that has connected her to the 17 white children she’s raised. In fact, one of the things that marks Skeeter’s mother (Allison Janney) as a villain is that she tells Skeeter that the maids are just employees—”We were just a job to her. With them, it’s all about money.” Obviously, this is racist, the way she says “them,” and so forth. But what is so awful, in principle, about the idea that the heart of your relationship with someone you employ is economic? Why must Skeeter prove to her terrible mother that no, being a maid is about \u003cem>love\u003c/em>?\u003c/p>\n\u003cp>Minny (Octavia Spencer) actually explains at one point that maids always love the kids they raise, until those kids grow up to be like their parents. And this is the betrayal we are led to believe hurts the most: the personal betrayal, not the systemic. Not the fact that Minny has to teach her \u003cem>own\u003c/em> daughter how to step carefully around racist employers (don’t let your hand touch theirs, don’t mingle your dishes with theirs), but the fracturing of the bond between maids and other people’s daughters. This conceptual muddle is evident when Minny starts talking about how difficult the job is and mentions not getting minimum wage or Social Security. Skeeter says maybe things can change. “What law’s gonna say you got to be nice to your maid?” Minny snaps. And of course, no law is going to regulate niceness. But I can think of some that might address whether you get minimum wage and Social Security. Paying minimum wage isn’t important because it’s \u003cem>nice;\u003c/em> it’s important because it’s \u003cem>just\u003c/em>. The film’s porous boundary between issues of economic justice and personal affection reappears over and over.\u003c/p>\n\u003cp>Skeeter has this fixation on love as well, particularly as regards the maid who raised her, Constantine. (Constantine is played by towering legend Cicely Tyson, making this as good a time as any to acknowledge that for all its narrative weaknesses, \u003cem>The Help \u003c/em>is full of brilliant actors.) Skeeter’s original framing of the issue of the maids, as she explains it to her putative editor (Mary Steenburgen), is that the situation with the maids needs to be talked about more, because, as she puts it: “We love them and they love us, but they can’t even use the toilets in our houses.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Skeeter fails to consider the following explanation for this seeming contradiction: Maybe if they can’t use the toilets in your house, you don’t love them. And maybe some of the way they treat you is for money. \u003cem>Maybe they don’t love you.\u003c/em> If that’s the case, then maybe it’s not a matter of mistreating people you love; maybe it’s a matter of paying people for work, treating them miserably, and being so toweringly presumptuous as to assume the natural state of things is for them to love you.\u003c/p>\n\u003cp>Let’s be clear: This is not to say, by any means, that it’s unlikely, let alone impossible, for a person who works for someone to also love them, or to cast aspersions on the genuine love that maids and nannies and teachers and other people paid to care for children can feel for them. Far from it. But for love to be meaningful and aspirational, doesn’t it have to be given in circumstances allowing both dignity and agency? Otherwise, it is brittle. It shatters under pressure. In this version of 1963 Mississippi, when some maids are “inherited” such that the right to employ them is “owned” by one family, and when a maid can be ruined by an accusation of theft whether true or false, how can Skeeter assert of those maids, “We love them and they love us”? What kind of a fantasy, and whose fantasy, is that? And why does the film seemingly assert that \u003cem>as long as the employer is nice\u003c/em>, Skeeter is right?\u003c/p>\n\u003cp>Get this, if you’ve forgotten: After Skeeter has blown up a bunch of maids’ lives by publishing their stories, she gets a job offer in New York and tells Minny and Aibileen that she isn’t taking it, because she doesn’t feel like she can just create all this chaos and danger for them and then pop off to New York. (One of her few good instincts.) The maids, in perhaps the movie’s weirdest scene, assure her that she must go. She’s right to go. They have gone through so much, after all, and “If bad things happen, ain’t nothin’ you can do about it,” Aibileen says. “And now it’s for a reason we can be proud of.” This, after they’ve endured the assassination of Medgar Evers and worried that they’d be killed for telling their stories, is a reason for any “bad things” that they can be proud of: Skeeter’s career. So little change, so much love.\u003c/p>\n\u003cp>Where there’s anything remedied in \u003cem>The Help\u003c/em> at all, it’s racism seen as an accumulation of intimate cruelties that can—that could—be remedied without white employers giving up anything except their viciousness. You can go through the movie and separate every white woman in it into one of two categories: “is mean” and “is nice.” And moving those women along that continuum (like Skeeter’s mother) or punishing them for where they lie along it (like Hilly) is the focus of the film’s emotional attention.\u003c/p>\n\u003cp>This is particularly painful because the ability to have and sustain personal and intimate feelings of love—whether platonic, romantic or familial—has long been presented in popular culture as justice in miniature, such that equality is defined as a hug heard ’round the world. In fact, there’s an entire genre of film in which white people have the transformative experience of loving and being loved by Black people, and they are treated as movies that speak in some way to race. These stories arrive and arrive, and they have for decades. Some are better than others, but they are often (though not always) rewarded with audience enthusiasm, awards or both: \u003cem>The Help\u003c/em>, \u003cem>The Green Mile\u003c/em>, \u003cem>The Blind Side\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Guess Who’s Coming To Dinner?\u003c/em> They’ve resulted in awards for a goodly number of white directors and white writers, serving as a ticket to a kind of respectability.\u003c/p>\n\u003cp>It calls to mind a tweet from Dan Hauge in 2017 that’s been shared a couple of times since by the writer and NPR \u003cem>Code Switch \u003c/em>host Gene Demby. Hauge \u003ca href=\"https://twitter.com/danhauge/status/897097773727797248\" target=\"_blank\" rel=\"noopener noreferrer\">made the point\u003c/a> that white people often “imagine the endgame of anti-racism as harmonious relationships rather than equal power to shape society.” \u003cem>The Help\u003c/em> has precisely this focus on emotional reconciliations—on combating injustice by letting people talk about their feelings and tell you what it’s like to be them, and then leaving it at that.\u003c/p>\n\u003cp>It makes sense that in the world of camera phones, this phenomenon within studio filmmaking would have a mobile counterpart. And it does: the fixation, during any time in which discussions of systemic racism are prominent, on photos of individual black people and white people hugging or clasping hands, particularly if the white person is a police officer. Perhaps there is an audience for \u003cem>The Help \u003c/em>for the same reason there is an audience for multiracial police hugs: when that audience tries to envision uprooting systemic injustice, they begin (and often end) at the level of the personal relationship. They envision a one-by-one transformation in which they are, for more and more and more people, the white person who is the beloved friend and not the person who fully deserves the pie full of [excrement]. And after long enough, the changes in government or media or human rights follow naturally.\u003c/p>\n\u003cp>But the transition from more loving personal relationships to more just structural ones is uphill, not down. Focusing on your personal relationships to the exclusion of considering bigger issues can bend your perspective; it’s part of what the reviled cliché “some of my best friends are Black” is all about. It’s easy to dream of being a Skeeter and easy to emerge as a Sal: at your best, a companion. At your worst, a danger. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no hug at the end of \u003cem>Do The Right Thing\u003c/em>. Mookie shows up to get his pay from Sal while Sal is sitting on the front step of his burned pizzeria. Mookie may have been like a son to Sal, but Mookie is not there to offer comfort; he wants his money. Sal doesn’t get any buy-in whatsoever from Mookie on his theory that a kid who just watched his friend choked to death should sympathize with his lost power outlets and burned tile. If anything, Sal and Mookie both are clear at the end of the movie on the fact that fondness, history and amiable companionship are ultimately unable to sustain individual personal connections in the absence of a shared fate.\u003c/p>\n\u003cp>What should you aspire to if you are on the side of a system that gives you power and makes you the person more likely to be believed, less likely to be killed, more likely to own property and be the boss, less likely to bite your tongue over your low wages? Should you aspire to personal connection? Or should you aspire to a world in which your maid is free to love you or not? Maybe it’s not about justice for the person who raises you, raises your daughter, is like a son to you, or tells you you’re kind and smart and important. Maybe it’s about justice for the person you walk by, who walks by you, who can take or leave you.\u003c/p>\n\u003cp>In a society that’s fair, the right to move through the world on equal footing is not contingent on a network of personal bonds. It belongs to the extrovert, the introvert, the hugger, the stranger, and honestly, the complete jerk. Broader matters of justice are not addressed by the presence of kindness within broken systems. Obviously, kindness is always better than unkindness, and love better than no love, all other things being equal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s that last part that so many stories—including \u003cem>The Help\u003c/em>—leave out.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aibileen+And+Skeeter+And+Mookie+And+Sal%3A+Love%2C+Work+And+Watching+%27The+Help%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Da 5 Bloods' is a Platoon Picture, Heist Thriller and History Lesson",
"headTitle": "‘Da 5 Bloods’ is a Platoon Picture, Heist Thriller and History Lesson | KQED",
"content": "\u003cp>Spike Lee’s \u003cem>Da 5 Bloods\u003c/em> was supposed to open in select theaters, until the COVID-19 pandemic hit and forced Netflix to change its plans. You could call that unfortunate timing, except that amid \u003ca href=\"https://www.npr.org/sections/pictureshow/2020/05/31/866345845/photos-protests-in-response-to-the-death-of-george-floyd-shake-the-nation\" target=\"_blank\" rel=\"noopener noreferrer\">nationwide protests\u003c/a> against racism and police violence, the movie could hardly be timelier.\u003c/p>\n\u003cp>Lee has never been shy about confronting these subjects in films like \u003cem>Do the Right Thing\u003c/em>, \u003cem>Malcolm X\u003c/em> and the recent \u003ca href=\"https://www.npr.org/2018/08/09/636856957/spike-lee-checks-under-the-hood-in-the-blistering-blackkklansman\">\u003cem>BlacKkKlansman\u003c/em>\u003c/a>\u003cem>. \u003c/em>His latest—even though it takes place in present-day Vietnam—is no exception.\u003c/p>\n\u003cp>\u003cem>Da 5 Bloods\u003c/em> follows a group of black war veterans who fought together in Vietnam in 1971. Now four of them have returned to that country decades later. Their reunion in Ho Chi Minh City begins on a funny, celebratory note. Clarke Peters plays Otis, the cool-headed planner behind their trip. Isiah Whitlock Jr. and Norm Lewis are Melvin and Eddie, on hand to provide warm vibes and comic relief.\u003c/p>\n\u003cp>And then there’s Paul, played in a stand-out performance by Delroy Lindo, a fixture of Lee’s ’90s films like \u003cem>Crooklyn\u003c/em>. Paul’s post-war life has been full of loss and disappointment, and he emerges as the movie’s most complicated and emotionally ravaged character.\u003c/p>\n\u003cp>The fifth Blood is their squad leader, affectionately known as “Stormin’ Norman,” who was killed in combat in ’71. His death still haunts all of them, especially Paul, who is consumed with guilt for not having saved his comrade’s life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stormin’ Norman is played by the charismatic \u003ca href=\"https://www.npr.org/2018/05/13/610826196/black-panther-star-chadwick-boseman-lauds-student-activism-in-howard-commencemen\" target=\"_blank\" rel=\"noopener noreferrer\">Chadwick Boseman\u003c/a> of \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> in several exciting, combat-heavy flashbacks. We see Norman and the other four Bloods being sent into the Vietnamese jungle to recover a stash of gold bars from a downed U.S. plane. The gold is meant to buy the allegiance of local fighters against the Viet Cong, but the Bloods, upon finding it, make other plans.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D5RDTPfsLAI\u003c/p>\n\u003cp>The screenplay is credited to Lee, Kevin Willmott, Danny Bilson and Paul De Meo, and it lays out the Bloods’ rationale with unsurprising bluntness, sometimes cutting away from the story to provide historical context, and sometimes injecting that context into the characters’ own dialogue. They talk about the horrors of slavery, the struggles of the civil rights movement and the grossly disproportionate number of black soldiers who were sent to fight and die in Vietnam. And so the Bloods, making their own case for reparations, decide to bury the gold and return for it at a later date, vowing to use it to benefit their communities.\u003c/p>\n\u003cp>Lee loves his polemics, but he also loves classic Hollywood, and for all its urgency, \u003cem>Da 5 Bloods \u003c/em>plays like an old-fashioned action-adventure saga, complete with references to films like \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Treasure of the Sierra Madre\u003c/em>. Personally, it reminded me of \u003ca href=\"https://www.npr.org/2014/07/10/330291891/filmed-over-12-years-boyhood-follows-a-kids-coming-of-age\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a>‘s Vietnam-vet drama \u003ca href=\"https://www.npr.org/2017/11/02/560377446/in-last-flag-flying-the-horror-of-war-is-brought-home-literally\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Flag Flying\u003c/em>\u003c/a>, with a bit of \u003cem>Rambo-\u003c/em>esque carnage sprinkled in. It’s also a companion piece to Lee’s World War II drama \u003cem>Miracle at St. Anna\u003c/em>, another critique of the U.S.’ long, shameful history of devaluing its black soldiers.\u003c/p>\n\u003cp>At 2 hours and 35 minutes, \u003cem>Da 5 Bloods\u003c/em> is an unwieldy sprawl: It’s like a platoon picture, a heist thriller, a history lesson and a grumpy-old-men comedy rolled into one, spliced together with documentary footage and a Marvin Gaye-heavy soundtrack.\u003c/p>\n\u003cp>There are a lot of supporting characters, too, including a Vietnamese businesswoman whom Otis knew during the war and three humanitarian workers who specialize in clearing old land mines. One key subplot involves Paul’s son, played by Jonathan Majors from last year’s \u003ca href=\"https://www.npr.org/2019/06/06/729778759/the-last-black-man-in-san-francisco-is-a-ravishing-achingly-heartfelt-elegy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>. He tags along for the trip, and his strained relationship with his dad adds a dose of melodrama to a picture that’s already bursting at the seams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even at its most unwieldy, I found it easy to forgive \u003cem>Da 5 Bloods \u003c/em>its excesses, and to simply go along with these characters on their wildly unpredictable and ultimately devastating journey. You could accuse Spike Lee of trying to do and say too much, and you wouldn’t be the first one to do so: He can be a maddeningly undisciplined storyteller, but also a generous and thoughtful one. There’s something both moving and essential about his attempt to reclaim the Vietnam War film from a black perspective. He’s made a loving throwback to the Hollywood war movies of yesteryear that can’t help but make you think about all the stories those movies never got around to telling.\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=Spike+Lee%27s+%27Da+5+Bloods%27+Is+A+Platoon+Picture%2C+Heist+Thriller+And+History+Lesson+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spike Lee’s \u003cem>Da 5 Bloods\u003c/em> was supposed to open in select theaters, until the COVID-19 pandemic hit and forced Netflix to change its plans. You could call that unfortunate timing, except that amid \u003ca href=\"https://www.npr.org/sections/pictureshow/2020/05/31/866345845/photos-protests-in-response-to-the-death-of-george-floyd-shake-the-nation\" target=\"_blank\" rel=\"noopener noreferrer\">nationwide protests\u003c/a> against racism and police violence, the movie could hardly be timelier.\u003c/p>\n\u003cp>Lee has never been shy about confronting these subjects in films like \u003cem>Do the Right Thing\u003c/em>, \u003cem>Malcolm X\u003c/em> and the recent \u003ca href=\"https://www.npr.org/2018/08/09/636856957/spike-lee-checks-under-the-hood-in-the-blistering-blackkklansman\">\u003cem>BlacKkKlansman\u003c/em>\u003c/a>\u003cem>. \u003c/em>His latest—even though it takes place in present-day Vietnam—is no exception.\u003c/p>\n\u003cp>\u003cem>Da 5 Bloods\u003c/em> follows a group of black war veterans who fought together in Vietnam in 1971. Now four of them have returned to that country decades later. Their reunion in Ho Chi Minh City begins on a funny, celebratory note. Clarke Peters plays Otis, the cool-headed planner behind their trip. Isiah Whitlock Jr. and Norm Lewis are Melvin and Eddie, on hand to provide warm vibes and comic relief.\u003c/p>\n\u003cp>And then there’s Paul, played in a stand-out performance by Delroy Lindo, a fixture of Lee’s ’90s films like \u003cem>Crooklyn\u003c/em>. Paul’s post-war life has been full of loss and disappointment, and he emerges as the movie’s most complicated and emotionally ravaged character.\u003c/p>\n\u003cp>The fifth Blood is their squad leader, affectionately known as “Stormin’ Norman,” who was killed in combat in ’71. His death still haunts all of them, especially Paul, who is consumed with guilt for not having saved his comrade’s life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stormin’ Norman is played by the charismatic \u003ca href=\"https://www.npr.org/2018/05/13/610826196/black-panther-star-chadwick-boseman-lauds-student-activism-in-howard-commencemen\" target=\"_blank\" rel=\"noopener noreferrer\">Chadwick Boseman\u003c/a> of \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> in several exciting, combat-heavy flashbacks. We see Norman and the other four Bloods being sent into the Vietnamese jungle to recover a stash of gold bars from a downed U.S. plane. The gold is meant to buy the allegiance of local fighters against the Viet Cong, but the Bloods, upon finding it, make other plans.\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/D5RDTPfsLAI'\n title='//www.youtube.com/embed/D5RDTPfsLAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The screenplay is credited to Lee, Kevin Willmott, Danny Bilson and Paul De Meo, and it lays out the Bloods’ rationale with unsurprising bluntness, sometimes cutting away from the story to provide historical context, and sometimes injecting that context into the characters’ own dialogue. They talk about the horrors of slavery, the struggles of the civil rights movement and the grossly disproportionate number of black soldiers who were sent to fight and die in Vietnam. And so the Bloods, making their own case for reparations, decide to bury the gold and return for it at a later date, vowing to use it to benefit their communities.\u003c/p>\n\u003cp>Lee loves his polemics, but he also loves classic Hollywood, and for all its urgency, \u003cem>Da 5 Bloods \u003c/em>plays like an old-fashioned action-adventure saga, complete with references to films like \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Treasure of the Sierra Madre\u003c/em>. Personally, it reminded me of \u003ca href=\"https://www.npr.org/2014/07/10/330291891/filmed-over-12-years-boyhood-follows-a-kids-coming-of-age\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a>‘s Vietnam-vet drama \u003ca href=\"https://www.npr.org/2017/11/02/560377446/in-last-flag-flying-the-horror-of-war-is-brought-home-literally\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Flag Flying\u003c/em>\u003c/a>, with a bit of \u003cem>Rambo-\u003c/em>esque carnage sprinkled in. It’s also a companion piece to Lee’s World War II drama \u003cem>Miracle at St. Anna\u003c/em>, another critique of the U.S.’ long, shameful history of devaluing its black soldiers.\u003c/p>\n\u003cp>At 2 hours and 35 minutes, \u003cem>Da 5 Bloods\u003c/em> is an unwieldy sprawl: It’s like a platoon picture, a heist thriller, a history lesson and a grumpy-old-men comedy rolled into one, spliced together with documentary footage and a Marvin Gaye-heavy soundtrack.\u003c/p>\n\u003cp>There are a lot of supporting characters, too, including a Vietnamese businesswoman whom Otis knew during the war and three humanitarian workers who specialize in clearing old land mines. One key subplot involves Paul’s son, played by Jonathan Majors from last year’s \u003ca href=\"https://www.npr.org/2019/06/06/729778759/the-last-black-man-in-san-francisco-is-a-ravishing-achingly-heartfelt-elegy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>. He tags along for the trip, and his strained relationship with his dad adds a dose of melodrama to a picture that’s already bursting at the seams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even at its most unwieldy, I found it easy to forgive \u003cem>Da 5 Bloods \u003c/em>its excesses, and to simply go along with these characters on their wildly unpredictable and ultimately devastating journey. You could accuse Spike Lee of trying to do and say too much, and you wouldn’t be the first one to do so: He can be a maddeningly undisciplined storyteller, but also a generous and thoughtful one. There’s something both moving and essential about his attempt to reclaim the Vietnam War film from a black perspective. He’s made a loving throwback to the Hollywood war movies of yesteryear that can’t help but make you think about all the stories those movies never got around to telling.\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=Spike+Lee%27s+%27Da+5+Bloods%27+Is+A+Platoon+Picture%2C+Heist+Thriller+And+History+Lesson+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Opinion: Harry Potter's Magic Fades When His Creator Tweets",
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"content": "\u003cp>This past weekend, Harry Potter author J.K. Rowling brought a lot of criticism on herself with a series of tweets that many read as transphobic. She seemed to have been set off by an article on access to menstrual hygiene supplies during a global pandemic that referenced “people who menstruate.”\u003c/p>\n\u003cp>“People who menstruate,” she \u003ca href=\"https://twitter.com/jk_rowling/status/1269382518362509313?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> alongside a \u003ca href=\"https://www.devex.com/news/sponsored/opinion-creating-a-more-equal-post-covid-19-world-for-people-who-menstruate-97312#.XtwLnv0aEeR.twitter\" target=\"_blank\" rel=\"noopener noreferrer\">link to the article\u003c/a>, “I’m sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?”\u003c/p>\n\u003cp>She followed up \u003ca href=\"https://twitter.com/jk_rowling/status/1269389298664701952?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a few minutes later\u003c/a>: “If sex isn’t real, there’s no same-sex attraction. If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth.”\u003c/p>\n\u003cp>https://twitter.com/jk_rowling/status/1269406094595588096\u003c/p>\n\u003cp>Let me get this out of the way: It feels odd for me to be writing this essay right now. Not only are we in the middle of a global pandemic that has killed more than 100,000 people in the United States alone, disproportionately affecting black and brown communities, but black people in the United States—and all over the world—are protesting for basic equality in the face of police brutality after the killing of George Floyd. But here we are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And here I am, a person who once revered Rowling, a person who is also in the community that she invalidated with a few careless tweets. I’m nonbinary, meaning that my gender identity doesn’t categorize neatly as man or woman. Trans men also don’t fit into the woman category. We are, quite literally, people who menstruate, and it’s more than a little disappointing that the woman who created a wizarding world that meant everything to me doesn’t care to include me or my community.\u003c/p>\n\u003cp>I’m of the generation that grew up with Harry Potter and his friends. I can chart my adolescence through the series—I was 8 when I read \u003cem>Sorcerer’s Stone\u003c/em>, 17 and a fresh high school graduate when \u003cem>Deathly Hallows \u003c/em>published. My friends and I dressed up to attend midnight release parties at our local bookstores, midnight premieres at the movie theater. At my loneliest, Hogwarts was my refuge. I identified with Harry’s unease in the Muggle world, identified with the idea of needing to wear Muggle clothes in order to blend in, identified with Harry’s relief at finally finding his people. Maybe the reason I don’t fit in anywhere is that I’m a wizard, I’d think at night. Maybe I just haven’t discovered my magic yet, but when I do, I’ll find \u003cem>my\u003c/em> people. [aside postid='arts_13858877']\u003c/p>\n\u003cp>Turns out, there was something I hadn’t discovered back then: My queer self. I was unable or unwilling to examine that queer self, the way Muggles either couldn’t or didn’t want to see Diagon Alley, hidden in plain sight. Once I had the language to describe myself, it was as if a new world revealed itself to me. Discovering the queer community and queer culture felt, to me, a lot like Harry felt walking into Diagon Alley for the first time: A riot of color and noise and wonder. Finally, a place I belonged. Finally, magic.\u003c/p>\n\u003cp>So you’ll excuse me if it hurts personally, maybe a little too personally, that Rowling so casually mocks language that seeks to include me and other trans people. But I’m not shocked. This isn’t the first time that Rowling has expressed views like this. As recently as December of 2019, she was tweeting support for Maya Forstater, \u003ca href=\"https://www.theguardian.com/society/2019/dec/18/judge-rules-against-charity-worker-who-lost-job-over-transgender-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">a researcher who lost her job\u003c/a> over “offensive and exclusionary” \u003ca href=\"https://twitter.com/MForstater/status/1209914794347835392\" target=\"_blank\" rel=\"noopener noreferrer\">tweets in which she repeatedly misgendered a genderfluid person\u003c/a> as “a part-time cross dresser” and stated that “men cannot change into women.”\u003c/p>\n\u003cp>“Dress however you please,” \u003ca href=\"https://twitter.com/jk_rowling/status/1207646162813100033\" target=\"_blank\" rel=\"noopener noreferrer\">Rowling tweeted\u003c/a>, “but force women out of their jobs for stating that sex is real? #IStandWithMaya” This view, that biological sex—simply the way your body is built—makes you immutably one thing or the other and, therefore, trans women aren’t “real” women, is a basic tenet of trans-exclusionary radical feminists, or TERFs. As trans people and issues have gained more visibility in recent years, so has the backlash.\u003c/p>\n\u003cp>In the same series of tweets, Rowling \u003ca href=\"https://twitter.com/jk_rowling/status/1269407862234775552?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>, “I respect every trans person’s right to live any way that feels authentic and comfortable to them. I’d march with you if you were discriminated against on the basis of being trans.”\u003c/p>\n\u003cp>If. This tiny, two-letter word has stuck in my brain. If. [aside postid='arts_13845330']\u003c/p>\n\u003cp>Studies have shown that LGBTQ people face \u003ca href=\"http://avp.org/wp-content/uploads/2019/01/NCAVP-HV-IPV-2017-report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately high rates\u003c/a> of intimate partner and sexual violence; the Human Rights Campaign has tracked at least 12 violent deaths of a transgender or gender nonconforming individual in 2020 alone. In addition, according to the National Center for Transgender Equality, \u003ca href=\"https://transequality.org/issues/housing-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">more than 1 in 10 transgender people\u003c/a> have been evicted because of their gender identity. The group’s \u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015 U.S. Transgender Survey (USTS)\u003c/a> found that in the year prior to completing the survey, 30% of respondents who had a job reported being fired or experiencing some other form of discrimination because of their gender identity or expression. Only \u003ca href=\"https://www.hud.gov/program_offices/fair_housing_equal_opp/housing_discrimination_and_persons_identifying_lgbtq#_State%20and%20Local%20Laws\" target=\"_blank\" rel=\"noopener noreferrer\">20 states and the District of Columbia\u003c/a> have laws that prohibit housing discrimination specifically on the basis of both sexual orientation and gender identity; in recent years, \u003ca href=\"https://www.nytimes.com/2019/07/23/us/north-carolina-transgender-bathrooms.html\" target=\"_blank\" rel=\"noopener noreferrer\">bathroom bills\u003c/a> that sought to limit access to public restrooms on the basis of sex have been proposed and debated in some states. And in Rowling’s U.K., British newspapers run \u003ca href=\"https://www.theguardian.com/society/commentisfree/2020/mar/02/women-must-have-the-right-to-organise-we-will-not-be-silenced\" target=\"_blank\" rel=\"noopener noreferrer\">editorials\u003c/a> warning of the menace of “\u003ca href=\"https://www.economist.com/open-future/2018/07/03/a-system-of-gender-self-identification-would-put-women-at-risk\" target=\"_blank\" rel=\"noopener noreferrer\">gender ideology\u003c/a>.”\u003c/p>\n\u003cp>So it’s less a question of if a trans person has been discriminated against, and more a question of how, especially for black trans people. Living the way that feels authentic and comfortable for any trans or gender-nonconforming person has historically been, and continues to be, dangerous.\u003c/p>\n\u003cp>Making room for trans women or nonbinary people doesn’t crowd women out. My gender identity should have no bearing on another person’s. Rowling is right that saying or examining the ways her “life has been shaped by being female” isn’t hateful on its own. What \u003cem>is \u003c/em>hateful and unwelcome, however, is her assertion that “sex is real” and that someone’s gender identity can—and should—be boiled down to their sexual organs. What is hateful is the erasure of trans and nonbinary relationships. What is hateful is the insistence upon acknowledging “the lived reality of women globally” as if it’s a zero-sum game, and all women have the same reality and the same understanding of their womanhood.\u003c/p>\n\u003cp>Daniel Radcliffe, Harry Potter himself, \u003ca href=\"https://www.thetrevorproject.org/2020/06/08/daniel-radcliffe-responds-to-j-k-rowlings-tweets-on-gender-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">released a response\u003c/a> to Rowling’s tweets through the Trevor Project, an organization that provides crisis intervention and suicide prevention services to LGBTQ youth. In it, he asserts trans women’s womanhood, points to trans-centric educational resources and writes: “To all the people who now feel that their experience of the books has been tarnished or diminished, I am deeply sorry for the pain these comments have caused you. I really hope that you don’t entirely lose what was valuable in these stories to you.” [aside postid='arts_13879063']\u003c/p>\n\u003cp>What I valued in these stories was what a lot of fans valued: The depictions of fierce loyalty among friends, the idea that love is stronger (and more mysterious) than any magic, that strength comes not just from inside yourself but from the people beside you, that evil isn’t limited to genocide but also to prejudice and oppression. Voldemort wasn’t the only villain Harry faced; The Ministry of Magic, which upheld and refused to change a system rooted on prejudice, was an enemy too. I valued the idea that a person isn’t defined by the circumstances of their lives—Lupin isn’t just a werewolf to Harry, and Hagrid isn’t just a half-giant, despite how badly others might perceive them.\u003c/p>\n\u003cp>I’ll end with one of my favorite exchanges in the series, which takes place in \u003cem>Harry Potter and the Chamber of Secrets\u003c/em>. Harry emerges from his second battle with Voldemort worried over the similarities he seems to share with the evil wizard. Professor Dumbledore tells him: “It is our choices, Harry, that show what we truly are, far more than our abilities.” It’s unfortunate what Rowling’s choices have revealed about her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mallory Yu is an associate producer for \u003c/em>All Things Considered.\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=Opinion%3A+Harry+Potter%27s+Magic+Fades+When+His+Creator+Tweets&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past weekend, Harry Potter author J.K. Rowling brought a lot of criticism on herself with a series of tweets that many read as transphobic. She seemed to have been set off by an article on access to menstrual hygiene supplies during a global pandemic that referenced “people who menstruate.”\u003c/p>\n\u003cp>“People who menstruate,” she \u003ca href=\"https://twitter.com/jk_rowling/status/1269382518362509313?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> alongside a \u003ca href=\"https://www.devex.com/news/sponsored/opinion-creating-a-more-equal-post-covid-19-world-for-people-who-menstruate-97312#.XtwLnv0aEeR.twitter\" target=\"_blank\" rel=\"noopener noreferrer\">link to the article\u003c/a>, “I’m sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?”\u003c/p>\n\u003cp>She followed up \u003ca href=\"https://twitter.com/jk_rowling/status/1269389298664701952?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a few minutes later\u003c/a>: “If sex isn’t real, there’s no same-sex attraction. If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let me get this out of the way: It feels odd for me to be writing this essay right now. Not only are we in the middle of a global pandemic that has killed more than 100,000 people in the United States alone, disproportionately affecting black and brown communities, but black people in the United States—and all over the world—are protesting for basic equality in the face of police brutality after the killing of George Floyd. But here we are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And here I am, a person who once revered Rowling, a person who is also in the community that she invalidated with a few careless tweets. I’m nonbinary, meaning that my gender identity doesn’t categorize neatly as man or woman. Trans men also don’t fit into the woman category. We are, quite literally, people who menstruate, and it’s more than a little disappointing that the woman who created a wizarding world that meant everything to me doesn’t care to include me or my community.\u003c/p>\n\u003cp>I’m of the generation that grew up with Harry Potter and his friends. I can chart my adolescence through the series—I was 8 when I read \u003cem>Sorcerer’s Stone\u003c/em>, 17 and a fresh high school graduate when \u003cem>Deathly Hallows \u003c/em>published. My friends and I dressed up to attend midnight release parties at our local bookstores, midnight premieres at the movie theater. At my loneliest, Hogwarts was my refuge. I identified with Harry’s unease in the Muggle world, identified with the idea of needing to wear Muggle clothes in order to blend in, identified with Harry’s relief at finally finding his people. Maybe the reason I don’t fit in anywhere is that I’m a wizard, I’d think at night. Maybe I just haven’t discovered my magic yet, but when I do, I’ll find \u003cem>my\u003c/em> people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, there was something I hadn’t discovered back then: My queer self. I was unable or unwilling to examine that queer self, the way Muggles either couldn’t or didn’t want to see Diagon Alley, hidden in plain sight. Once I had the language to describe myself, it was as if a new world revealed itself to me. Discovering the queer community and queer culture felt, to me, a lot like Harry felt walking into Diagon Alley for the first time: A riot of color and noise and wonder. Finally, a place I belonged. Finally, magic.\u003c/p>\n\u003cp>So you’ll excuse me if it hurts personally, maybe a little too personally, that Rowling so casually mocks language that seeks to include me and other trans people. But I’m not shocked. This isn’t the first time that Rowling has expressed views like this. As recently as December of 2019, she was tweeting support for Maya Forstater, \u003ca href=\"https://www.theguardian.com/society/2019/dec/18/judge-rules-against-charity-worker-who-lost-job-over-transgender-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">a researcher who lost her job\u003c/a> over “offensive and exclusionary” \u003ca href=\"https://twitter.com/MForstater/status/1209914794347835392\" target=\"_blank\" rel=\"noopener noreferrer\">tweets in which she repeatedly misgendered a genderfluid person\u003c/a> as “a part-time cross dresser” and stated that “men cannot change into women.”\u003c/p>\n\u003cp>“Dress however you please,” \u003ca href=\"https://twitter.com/jk_rowling/status/1207646162813100033\" target=\"_blank\" rel=\"noopener noreferrer\">Rowling tweeted\u003c/a>, “but force women out of their jobs for stating that sex is real? #IStandWithMaya” This view, that biological sex—simply the way your body is built—makes you immutably one thing or the other and, therefore, trans women aren’t “real” women, is a basic tenet of trans-exclusionary radical feminists, or TERFs. As trans people and issues have gained more visibility in recent years, so has the backlash.\u003c/p>\n\u003cp>In the same series of tweets, Rowling \u003ca href=\"https://twitter.com/jk_rowling/status/1269407862234775552?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>, “I respect every trans person’s right to live any way that feels authentic and comfortable to them. I’d march with you if you were discriminated against on the basis of being trans.”\u003c/p>\n\u003cp>If. This tiny, two-letter word has stuck in my brain. If. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Studies have shown that LGBTQ people face \u003ca href=\"http://avp.org/wp-content/uploads/2019/01/NCAVP-HV-IPV-2017-report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately high rates\u003c/a> of intimate partner and sexual violence; the Human Rights Campaign has tracked at least 12 violent deaths of a transgender or gender nonconforming individual in 2020 alone. In addition, according to the National Center for Transgender Equality, \u003ca href=\"https://transequality.org/issues/housing-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">more than 1 in 10 transgender people\u003c/a> have been evicted because of their gender identity. The group’s \u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015 U.S. Transgender Survey (USTS)\u003c/a> found that in the year prior to completing the survey, 30% of respondents who had a job reported being fired or experiencing some other form of discrimination because of their gender identity or expression. Only \u003ca href=\"https://www.hud.gov/program_offices/fair_housing_equal_opp/housing_discrimination_and_persons_identifying_lgbtq#_State%20and%20Local%20Laws\" target=\"_blank\" rel=\"noopener noreferrer\">20 states and the District of Columbia\u003c/a> have laws that prohibit housing discrimination specifically on the basis of both sexual orientation and gender identity; in recent years, \u003ca href=\"https://www.nytimes.com/2019/07/23/us/north-carolina-transgender-bathrooms.html\" target=\"_blank\" rel=\"noopener noreferrer\">bathroom bills\u003c/a> that sought to limit access to public restrooms on the basis of sex have been proposed and debated in some states. And in Rowling’s U.K., British newspapers run \u003ca href=\"https://www.theguardian.com/society/commentisfree/2020/mar/02/women-must-have-the-right-to-organise-we-will-not-be-silenced\" target=\"_blank\" rel=\"noopener noreferrer\">editorials\u003c/a> warning of the menace of “\u003ca href=\"https://www.economist.com/open-future/2018/07/03/a-system-of-gender-self-identification-would-put-women-at-risk\" target=\"_blank\" rel=\"noopener noreferrer\">gender ideology\u003c/a>.”\u003c/p>\n\u003cp>So it’s less a question of if a trans person has been discriminated against, and more a question of how, especially for black trans people. Living the way that feels authentic and comfortable for any trans or gender-nonconforming person has historically been, and continues to be, dangerous.\u003c/p>\n\u003cp>Making room for trans women or nonbinary people doesn’t crowd women out. My gender identity should have no bearing on another person’s. Rowling is right that saying or examining the ways her “life has been shaped by being female” isn’t hateful on its own. What \u003cem>is \u003c/em>hateful and unwelcome, however, is her assertion that “sex is real” and that someone’s gender identity can—and should—be boiled down to their sexual organs. What is hateful is the erasure of trans and nonbinary relationships. What is hateful is the insistence upon acknowledging “the lived reality of women globally” as if it’s a zero-sum game, and all women have the same reality and the same understanding of their womanhood.\u003c/p>\n\u003cp>Daniel Radcliffe, Harry Potter himself, \u003ca href=\"https://www.thetrevorproject.org/2020/06/08/daniel-radcliffe-responds-to-j-k-rowlings-tweets-on-gender-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">released a response\u003c/a> to Rowling’s tweets through the Trevor Project, an organization that provides crisis intervention and suicide prevention services to LGBTQ youth. In it, he asserts trans women’s womanhood, points to trans-centric educational resources and writes: “To all the people who now feel that their experience of the books has been tarnished or diminished, I am deeply sorry for the pain these comments have caused you. I really hope that you don’t entirely lose what was valuable in these stories to you.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I valued in these stories was what a lot of fans valued: The depictions of fierce loyalty among friends, the idea that love is stronger (and more mysterious) than any magic, that strength comes not just from inside yourself but from the people beside you, that evil isn’t limited to genocide but also to prejudice and oppression. Voldemort wasn’t the only villain Harry faced; The Ministry of Magic, which upheld and refused to change a system rooted on prejudice, was an enemy too. I valued the idea that a person isn’t defined by the circumstances of their lives—Lupin isn’t just a werewolf to Harry, and Hagrid isn’t just a half-giant, despite how badly others might perceive them.\u003c/p>\n\u003cp>I’ll end with one of my favorite exchanges in the series, which takes place in \u003cem>Harry Potter and the Chamber of Secrets\u003c/em>. Harry emerges from his second battle with Voldemort worried over the similarities he seems to share with the evil wizard. Professor Dumbledore tells him: “It is our choices, Harry, that show what we truly are, far more than our abilities.” It’s unfortunate what Rowling’s choices have revealed about her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Across the country, music venues remain closed due to the pandemic—and according to a new survey, 90 percent of independent venue owners, promoters and bookers say that they will have to close permanently within the next few months, if they can’t get an infusion of targeted government funding.\u003c/p>\n\u003cp>The \u003ca href=\"https://static1.squarespace.com/static/5e91157c96fe495a4baf48f2/t/5edef4ab8d0d2c0d8e9fb8cb/1591669933173/NIVA-+Policy+and+Fact+Sheet.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">survey\u003c/a> of nearly 2,000 music professionals was conducted by the National Independent Venue Association (\u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA\u003c/a>), a recently established advocacy group for music venue owners and promoters. Its members include The Bowery Ballroom in New York City, Troubador in Los Angeles, 9:30 Club in Washington, D.C. and Ryman Auditorium in Nashville.\u003c/p>\n\u003cp>NIVA members were asked seven weeks ago if their businesses could remain open for six months without governmental assistance that went beyond the \u003ca href=\"https://www.npr.org/2020/05/28/863387203/why-the-small-business-rescue-program-has-slowed-way-down\" target=\"_blank\" rel=\"noopener noreferrer\">Payment Protection Program\u003c/a>.\u003c/p>\n\u003cp>The association points out that at this point, most musicians make the bulk of their income through live performances and touring—which they can’t do for the foreseeable future. The entertainment business is scheduled to be among the very last industries to reopen across the country, and many experts and industry leaders are now assuming that they won’t be able to reopen before \u003ca href=\"https://www.nytimes.com/2020/05/24/arts/reopening-dance-music-theater-virus.html\" target=\"_blank\" rel=\"noopener noreferrer\">2021\u003c/a>.\u003c/p>\n\u003cp>Even if venues were allowed to reopen sooner, public health restrictions like severely limited audience capacity would make their businesses economically unviable, the venue owners and promoters say. As a result, NIVA is looking to Congress to pass specific relief funding that would address their members’ needs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In early April, the concert industry trade publication \u003ca href=\"https://www.pollstar.com/article/pollstar-projects-2020-total-box-office-would-have-hit-122-billion-144197\" target=\"_blank\" rel=\"noopener noreferrer\">Pollstar\u003c/a> estimated nearly $9 billion in industry losses due to coronavirus cancellations for 2020; on Monday, the advocacy group Americans for the Arts released its most recent impact findings, saying that \u003ca href=\"https://www.americansforthearts.org/node/103614\" target=\"_blank\" rel=\"noopener noreferrer\">62 percent\u003c/a> of American artists (across all disciplines) are now unemployed.\u003c/p>\n\u003cp>Whenever people eventually do go back out to hear live music, smaller clubs, festivals and niche artists may already be gone. Within the music community, performers and industry advocates have been expressing fear that the remaining music venues will be those owned and controlled by massive entities like Live Nation and AEG Presents. (On Monday, AEG Presents \u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2020-06-08/aeg-layoffs-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that it was taking significant steps to cut costs, including layoffs, furloughs and salary reductions.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A number of prominent musicians are publicly supporting the association’s quest for federal relief, including Billy Joel, Lady Gaga, Kacey Musgraves and Willie Nelson.\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=America%27s+Independent+Music+Venues+Could+Close+Soon+Due+To+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Across the country, music venues remain closed due to the pandemic—and according to a new survey, 90 percent of independent venue owners, promoters and bookers say that they will have to close permanently within the next few months, if they can’t get an infusion of targeted government funding.\u003c/p>\n\u003cp>The \u003ca href=\"https://static1.squarespace.com/static/5e91157c96fe495a4baf48f2/t/5edef4ab8d0d2c0d8e9fb8cb/1591669933173/NIVA-+Policy+and+Fact+Sheet.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">survey\u003c/a> of nearly 2,000 music professionals was conducted by the National Independent Venue Association (\u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA\u003c/a>), a recently established advocacy group for music venue owners and promoters. Its members include The Bowery Ballroom in New York City, Troubador in Los Angeles, 9:30 Club in Washington, D.C. and Ryman Auditorium in Nashville.\u003c/p>\n\u003cp>NIVA members were asked seven weeks ago if their businesses could remain open for six months without governmental assistance that went beyond the \u003ca href=\"https://www.npr.org/2020/05/28/863387203/why-the-small-business-rescue-program-has-slowed-way-down\" target=\"_blank\" rel=\"noopener noreferrer\">Payment Protection Program\u003c/a>.\u003c/p>\n\u003cp>The association points out that at this point, most musicians make the bulk of their income through live performances and touring—which they can’t do for the foreseeable future. The entertainment business is scheduled to be among the very last industries to reopen across the country, and many experts and industry leaders are now assuming that they won’t be able to reopen before \u003ca href=\"https://www.nytimes.com/2020/05/24/arts/reopening-dance-music-theater-virus.html\" target=\"_blank\" rel=\"noopener noreferrer\">2021\u003c/a>.\u003c/p>\n\u003cp>Even if venues were allowed to reopen sooner, public health restrictions like severely limited audience capacity would make their businesses economically unviable, the venue owners and promoters say. As a result, NIVA is looking to Congress to pass specific relief funding that would address their members’ needs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In early April, the concert industry trade publication \u003ca href=\"https://www.pollstar.com/article/pollstar-projects-2020-total-box-office-would-have-hit-122-billion-144197\" target=\"_blank\" rel=\"noopener noreferrer\">Pollstar\u003c/a> estimated nearly $9 billion in industry losses due to coronavirus cancellations for 2020; on Monday, the advocacy group Americans for the Arts released its most recent impact findings, saying that \u003ca href=\"https://www.americansforthearts.org/node/103614\" target=\"_blank\" rel=\"noopener noreferrer\">62 percent\u003c/a> of American artists (across all disciplines) are now unemployed.\u003c/p>\n\u003cp>Whenever people eventually do go back out to hear live music, smaller clubs, festivals and niche artists may already be gone. Within the music community, performers and industry advocates have been expressing fear that the remaining music venues will be those owned and controlled by massive entities like Live Nation and AEG Presents. (On Monday, AEG Presents \u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2020-06-08/aeg-layoffs-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that it was taking significant steps to cut costs, including layoffs, furloughs and salary reductions.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A number of prominent musicians are publicly supporting the association’s quest for federal relief, including Billy Joel, Lady Gaga, Kacey Musgraves and Willie Nelson.\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=America%27s+Independent+Music+Venues+Could+Close+Soon+Due+To+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Even in a Pandemic, WHO Believes That Public Protests Are Important",
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"content": "\u003cp>In the midst of the coronavirus pandemic, the World Health Organization took time at its daily press conference to address another pressing issue: the wave of protests against police violence and racial injustice. The demonstrations began in the U.S. when George Floyd died on May 25 after a police officer had pressed a knee into his neck for 8 minutes and 46 seconds while detaining him in Minneapolis.\u003c/p>\n\u003cp>The protests are now spreading around the world to Europe, Africa and other regions.\u003c/p>\n\u003cp>“WHO fully supports equality and the global movement against racism. We reject discrimination of all kinds,” said WHO director-general Tedros Adhanom Ghebreyesus on \u003ca href=\"https://twitter.com/WHO/status/1270013794366812160\" target=\"_blank\" rel=\"noopener noreferrer\">June 8\u003c/a>.\u003c/p>\n\u003cp>The demonstrations have prompted fear that the close contact of thousands of marchers could lead to a spike in case counts—which hit a new high on Sunday, with 136,000 cases reported that day.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/trvrb/status/1269786159032397824\" target=\"_blank\" rel=\"noopener noreferrer\">Modelers say\u003c/a> it’s difficult to assess how the protests will influence COVID-19 infections. Because COVID-19 generally has an incubation time of up to two weeks, public health officials think it will take a \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/06/01/867200259/protests-over-racism-versus-risk-of-covid-i-wouldn-t-weigh-these-crises-separate\" target=\"_blank\" rel=\"noopener noreferrer\">couple of weeks\u003c/a> before they see the impact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s clear that a key ingredient for transmission is present at many of these rallies: close contact. The images of protesters standing shoulder to shoulder—some wearing face masks, others not—raise concerns, especially in cities with higher rates of infection.\u003c/p>\n\u003cp>To that end, Tedros recommends that protesters follow the guidance of local health officials and take precautions to protect themselves from the novel coronavirus. “We encourage all those protesting around the world to do so safely,” he said, “Clean your hands, cover your cough and wear a mask if you attend a protest.” He also advised people to maintain a safe distance from others—and to stay home if they are sick.\u003c/p>\n\u003cp>“The riskiest situation to be in is to be in close proximity to a case, particularly a symptomatic case, of COVID-19,” said Michael Ryan, director of WHO’s health emergencies program at the \u003ca href=\"https://twitter.com/WHO/status/1270013794366812160\" target=\"_blank\" rel=\"noopener noreferrer\">Monday\u003c/a> press conference, so healthy people protesting next to one another may not meet the definition of coming in contact with the disease.\u003c/p>\n\u003cp>However, it’s become clear to researchers that the new coronavirus \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/13/831883560/can-a-coronavirus-patient-who-isnt-showing-symptoms-infect-others\" target=\"_blank\" rel=\"noopener noreferrer\">can be spread\u003c/a> by people who aren’t showing symptoms of it. “Local public health official[s], on the basis of abundance of caution, could advise people either to quarantine or to get tested [after attending a mass gathering],” Ryan said.\u003c/p>\n\u003cp>Local officials have expressed similar worries about the interplay of the protests and the pandemic. Last week Washington, D.C., Mayor Muriel Bowser said she was concerned about what mass gatherings in the streets “could mean for spikes in our coronavirus cases later.” She urged protesters to consider their exposure and consider being tested.\u003c/p>\n\u003cp>Denver Mayor Michael Hancock announced free tests for demonstrators. Officials in Atlanta and New York have suggested testing as well.\u003c/p>\n\u003cp>“Testing everyone that participated in demonstrations would be useful in communities where many new cases are being reported every day. These new cases indicate that transmission is occurring at a high rate in the communities,” said Bill Miller, an epidemiologist and physician at Ohio State University.\u003c/p>\n\u003cp>He said an alternative to testing everyone would be active contact tracing. “With new cases, the tracers could ask about demonstration participation, including days and times,” Miller said. Then, if cases are linked to a demonstration, a call could go out to get everyone who participated in that event to be tested.\u003c/p>\n\u003cp>Being outdoors seems to reduce the risk of exposure because the virus can’t survive long in sunlight and there’s better air circulation, but it’s no guarantee against infection. Health experts warn that some activities linked with the protests—such as riding public transportation to attend rallies or getting arrested and jailed indoors with others—could increase a person’s risk of getting exposed to the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, protests are expected to continue in the days ahead. George Floyd’s burial service will take place on Tuesday at a private service in Houston.\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=Even+In+A+Pandemic%2C+WHO+Believes+That+Public+Protests+Are+Important&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the midst of the coronavirus pandemic, the World Health Organization took time at its daily press conference to address another pressing issue: the wave of protests against police violence and racial injustice. The demonstrations began in the U.S. when George Floyd died on May 25 after a police officer had pressed a knee into his neck for 8 minutes and 46 seconds while detaining him in Minneapolis.\u003c/p>\n\u003cp>The protests are now spreading around the world to Europe, Africa and other regions.\u003c/p>\n\u003cp>“WHO fully supports equality and the global movement against racism. We reject discrimination of all kinds,” said WHO director-general Tedros Adhanom Ghebreyesus on \u003ca href=\"https://twitter.com/WHO/status/1270013794366812160\" target=\"_blank\" rel=\"noopener noreferrer\">June 8\u003c/a>.\u003c/p>\n\u003cp>The demonstrations have prompted fear that the close contact of thousands of marchers could lead to a spike in case counts—which hit a new high on Sunday, with 136,000 cases reported that day.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/trvrb/status/1269786159032397824\" target=\"_blank\" rel=\"noopener noreferrer\">Modelers say\u003c/a> it’s difficult to assess how the protests will influence COVID-19 infections. Because COVID-19 generally has an incubation time of up to two weeks, public health officials think it will take a \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/06/01/867200259/protests-over-racism-versus-risk-of-covid-i-wouldn-t-weigh-these-crises-separate\" target=\"_blank\" rel=\"noopener noreferrer\">couple of weeks\u003c/a> before they see the impact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s clear that a key ingredient for transmission is present at many of these rallies: close contact. The images of protesters standing shoulder to shoulder—some wearing face masks, others not—raise concerns, especially in cities with higher rates of infection.\u003c/p>\n\u003cp>To that end, Tedros recommends that protesters follow the guidance of local health officials and take precautions to protect themselves from the novel coronavirus. “We encourage all those protesting around the world to do so safely,” he said, “Clean your hands, cover your cough and wear a mask if you attend a protest.” He also advised people to maintain a safe distance from others—and to stay home if they are sick.\u003c/p>\n\u003cp>“The riskiest situation to be in is to be in close proximity to a case, particularly a symptomatic case, of COVID-19,” said Michael Ryan, director of WHO’s health emergencies program at the \u003ca href=\"https://twitter.com/WHO/status/1270013794366812160\" target=\"_blank\" rel=\"noopener noreferrer\">Monday\u003c/a> press conference, so healthy people protesting next to one another may not meet the definition of coming in contact with the disease.\u003c/p>\n\u003cp>However, it’s become clear to researchers that the new coronavirus \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/13/831883560/can-a-coronavirus-patient-who-isnt-showing-symptoms-infect-others\" target=\"_blank\" rel=\"noopener noreferrer\">can be spread\u003c/a> by people who aren’t showing symptoms of it. “Local public health official[s], on the basis of abundance of caution, could advise people either to quarantine or to get tested [after attending a mass gathering],” Ryan said.\u003c/p>\n\u003cp>Local officials have expressed similar worries about the interplay of the protests and the pandemic. Last week Washington, D.C., Mayor Muriel Bowser said she was concerned about what mass gatherings in the streets “could mean for spikes in our coronavirus cases later.” She urged protesters to consider their exposure and consider being tested.\u003c/p>\n\u003cp>Denver Mayor Michael Hancock announced free tests for demonstrators. Officials in Atlanta and New York have suggested testing as well.\u003c/p>\n\u003cp>“Testing everyone that participated in demonstrations would be useful in communities where many new cases are being reported every day. These new cases indicate that transmission is occurring at a high rate in the communities,” said Bill Miller, an epidemiologist and physician at Ohio State University.\u003c/p>\n\u003cp>He said an alternative to testing everyone would be active contact tracing. “With new cases, the tracers could ask about demonstration participation, including days and times,” Miller said. Then, if cases are linked to a demonstration, a call could go out to get everyone who participated in that event to be tested.\u003c/p>\n\u003cp>Being outdoors seems to reduce the risk of exposure because the virus can’t survive long in sunlight and there’s better air circulation, but it’s no guarantee against infection. Health experts warn that some activities linked with the protests—such as riding public transportation to attend rallies or getting arrested and jailed indoors with others—could increase a person’s risk of getting exposed to the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, protests are expected to continue in the days ahead. George Floyd’s burial service will take place on Tuesday at a private service in Houston.\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=Even+In+A+Pandemic%2C+WHO+Believes+That+Public+Protests+Are+Important&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This List of Books, Films and Podcasts About Racism is a Start, Not a Panacea",
"headTitle": "This List of Books, Films and Podcasts About Racism is a Start, Not a Panacea | KQED",
"content": "\u003cp>As of Friday, 15 of the top 20 bestselling books on Amazon were about race or racism. Earlier this week, \u003cem>Code Switch\u003c/em> was number one on Apple Podcasts—which, \u003ca href=\"https://twitter.com/GeeDee215/status/1268000245214035974\" target=\"_blank\" rel=\"noopener noreferrer\">as host Gene Demby said\u003c/a>, is “dope,” but unfortunately occurred under “soul-crushing circumstances.” And \u003cem>The Help \u003c/em>is trending on Netflix (ahem, a film that \u003ca href=\"https://www.npr.org/2011/08/18/139755308/the-help-draws-audiences-and-ire\" target=\"_blank\" rel=\"noopener noreferrer\">drew immediate ire\u003c/a> upon release).\u003c/p>\n\u003cp>We’re in the middle of one of those awfully predictable news cycles—a video of police killing a black person goes viral, protests ensue and broader America suddenly realizes \u003cem>we need to talk about race. \u003c/em>Of course, while \u003ca href=\"https://slate.com/news-and-politics/2020/05/this-week-has-happened-before.html\" target=\"_blank\" rel=\"noopener noreferrer\">this week has happened before,\u003c/a> it’s also happening on a much larger scale than ever before, with \u003ca href=\"https://www.usatoday.com/in-depth/graphics/2020/06/03/map-protests-wake-george-floyds-death/5310149002/\" target=\"_blank\" rel=\"noopener noreferrer\">demonstrations in all 50 states.\u003c/a>\u003c/p>\n\u003cp>To help people be better allies, lists of antiracist books, films and podcasts are being published in droves. There’s never a bad time to learn, but such a list can become erroneously prescriptive, a balm to centuries-old lacerations that cut deeper than the individual reader. \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">As Lauren Michele Jackson wrote for \u003cem>Vulture,\u003c/em> \u003c/a>“The word [anti-racism] and its nominal equivalent, “anti-racist,” suggests something of a vanity project, where the goal is no longer to learn more about race, power, and capital, but to spring closer to the enlightened order of the antiracist.”\u003c/p>\n\u003cp>So, with that in mind, we’ve compiled a list of books, films and podcasts about systemic racism, acknowledging that they are just books, films and podcasts. You’ll find research on how racism permeates everything from the criminal justice system to health care. We hope you spend some time with these resources (and that you listen to \u003cem>Code Switch—\u003c/em>\u003ca href=\"https://www.npr.org/sections/codeswitch/2020/03/26/820991385/the-very-best-of-code-switch-in-8-episodes\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a list of episodes\u003c/a> to get you started). Information is power—you decide what you do with it.\u003c/p>\n\u003ch3>\u003cstrong>Books\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.mprnews.org/story/2017/10/10/why-are-all-the-black-kids-sitting-together-in-the-cafeteria\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race\u003c/em>\u003c/strong>\u003c/a> by Beverly Daniel Tatum\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This classic text on the psychology of racism was re-released with new content in 2017, 20 years after its original publication. By providing straight talk on self-segregation and inequality in schools, Tatum shows the importance—and possibility—of cross-racial dialogues starting young.\u003c/p>\n\u003cp>\u003ca href=\"https://uncpress.org/book/9781469653662/race-for-profit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership\u003c/em>\u003c/strong>\u003c/a> by Keeanga-Yamahtta Taylor\u003c/p>\n\u003cp>A finalist for the 2020 Pulitzer Prize in History, \u003cem>Race for Profit \u003c/em>chronicles how the Housing and Urban Development Act of 1968 failed to stop racist, exploitative mortgage lending practices. Since the policy was supposed to be a balm to the 1960s uprisings—much like the ones we’re seeing now—it serves as a reminder to remain vigilant when policymakers promise change.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/07/27/745925045/book-a-terrible-thing-to-waste\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Terrible Thing to Waste: Environmental Racism and its Assault on the American Mind\u003c/em>\u003c/strong>\u003c/a> by Harriet A. Washington\u003c/p>\n\u003cp>From lead poisoning to toxic waste, Americans of color are disproportionately harmed by environmental hazards. This is detrimental to physical health—air pollution is linked with higher COVID-19 death rates, \u003ca href=\"https://www.hsph.harvard.edu/news/hsph-in-the-news/air-pollution-linked-with-higher-covid-19-death-rates/\" target=\"_blank\" rel=\"noopener noreferrer\">according to Harvard researchers.\u003c/a> But Washington also argues that environmental racism is causing cognitive decline in communities of color. A deconstruction of IQ and an indictment of EPA rollbacks, \u003cem>A Terrible Thing To Waste\u003c/em> is a stirring read.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674979826\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>From the War on Poverty to the War on Crime: The Making of Mass Incarceration in America\u003c/em>\u003c/strong>\u003c/a> by Elizabeth Hinton\u003c/p>\n\u003cp>The origins of mass incarceration—which disproportionately puts black people behind bars—are often pinned on Ronald Reagan and Richard Nixon. But Hinton argues the carceral state was erected “by a consensus of liberals and conservatives who privileged punitive responses to urban problems as a reaction to the civil rights movement.” The 1965 Law Enforcement Assistance Act, part of Lyndon Johnson’s Great Society plan, led to today’s police militarization. This account of history poses relevant questions for today’s land of the free.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/586392678/automating-inequality-how-high-tech-tools-profile-police-and-punish-the-poor\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Automating Inequality: How High-Tech Tools Profile, Police and Punish the Poor\u003c/em>\u003c/strong>\u003c/a> by Virginia Eubanks\u003c/p>\n\u003cp>Algorithms are made by humans, so they are susceptible to human biases. From deciding which neighborhoods get policed to who gets welfare benefits, discrimination has gone digital. By scrutinizing statistical models and telling personal stories, Eubanks shows that machines do not correct racist systems—they only shift blame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/868390203/the-end-of-policing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The End of Policing\u003c/em>\u003c/strong>\u003c/a> by Alex S. Vitale\u003c/p>\n\u003cp>In the wake of high-profile cases of police brutality, the same ideas for reform are trotted out—implicit bias training, body cameras, police-community dialogues. But Vitale argues that this fails to get to the root of the problem—policing itself. While calls to abolish the police are often met with skepticism, academics and activists have long-discussed alternatives to addressing homelessness, domestic disputes and substance abuse. \u003ca href=\"https://www.versobooks.com/books/2817\" target=\"_blank\" rel=\"noopener noreferrer\">A free ebook\u003c/a> of \u003cem>The End of Policing\u003c/em> is available now. (And you can read \u003cem>Code Switch\u003c/em> editor extraordinaire Leah Donnella’s conversation with Vitale \u003ca href=\"https://www.npr.org/sections/codeswitch/2020/06/03/457251670/how-much-do-we-need-the-police\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyrb.com/products/blackballed?variant=1094927969\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Blackballed: The Black Vote and U.S. Democracy\u003c/em>\u003c/strong>\u003c/a> by Darryl Pinckney\u003c/p>\n\u003cp>As young Americans take to the streets to say black lives matter, they’re often told to vote. While voting is important, it’s also important to remember how black political representation has been chipped away by voter ID laws, gerrymandering and felon disenfranchisement. \u003cem>Blackballed \u003c/em>addresses the struggle for voting rights and for racial equality more broadly, drawing on Pinckney’s own experiences and writings of civil rights leaders to create a complicated picture of black political identity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/358318685/dog-whistle-politics-how-coded-racial-appeals-have-reinvented-racism-and-wrecked\">\u003cstrong>\u003cem>Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class\u003c/em>\u003c/strong>\u003c/a> by Ian Haney López\u003c/p>\n\u003cp>“Entitlement mentality.” “Quotas.” “Welfare queens.” From Barry Goldwater to Bill Clinton to the Tea Party, politicians have relied on racially coded language to win over white voters and decimate social programs. \u003cem>Dog Whistle Politics \u003c/em>makes the case that not only does this strategy endanger people of color, but it also hinders economic mobility for all Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://ugapress.org/book/9780820354750/medical-bondage/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Medical Bondage: Race, Gender, and the Origins of American Gynecology\u003c/em>\u003c/strong>\u003c/a> by Deirdre Cooper Owens\u003c/p>\n\u003cp>The foundational knowledge of American gynecology relied on the exploitation of enslaved black women’s bodies. In \u003cem>Medical Bondage,\u003c/em> Cooper Owens centers the stories of black women that have been overshadowed by the “discoveries” of white male doctors who experimented on them. Baseless theories about black inferiority and higher pain tolerance \u003ca href=\"https://www.pnas.org/content/113/16/4296\" target=\"_blank\" rel=\"noopener noreferrer\">still permeate medical schools today\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://manifold.umn.edu/projects/body-and-soul\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Body and Soul: The Black Panther Party and the Fight against Medical Discrimination\u003c/em>\u003c/strong>\u003c/a> by Alondra Nelson\u003c/p>\n\u003cp>The Black Panther Party is most remembered for its militant action, but health care was also a major pillar of its activism. The People’s Free Medical Clinics tested for hypertension and assisted with housing and employment. Its outreach also brought attention to rampant discrimination within mainstream medicine. Nelson writes that the Black Panther Party understood health as a human right, echoing today’s fight for universal health care. You can \u003ca href=\"https://manifold.umn.edu/read/body-and-soul/section/afa172a4-8eaa-4413-a403-ec76794217e6\" target=\"_blank\" rel=\"noopener noreferrer\">read \u003cem>Body and Soul\u003c/em> online for free.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Films\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>13th\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The U.S. imprisons more people than any other country in the world, and \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/04/30/shrinking-gap-between-number-of-blacks-and-whites-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">a third of U.S. prisoners are black.\u003c/a> In this infuriating documentary, director Ava DuVernay argues that mass incarceration, Jim Crow and slavery are “the three major racialized systems of control adopted in the United States to date.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>I Am Not Your Negro\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Narrated by the words of James Baldwin with the voice of Samuel L. Jackson, \u003cem>I Am Not Your Negro\u003c/em> connects the Civil Rights Movement to Black Lives Matter. Although Baldwin died nearly 30 years before the film’s release, his observations about racial conflict are as incisive today as they were when he made them.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hulu.com/movie/whose-streets-3e8f4b7a-75d4-4484-9843-e665b60e2758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Whose Streets?\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The 2014 killing of 18-year-old Michael Brown by police in Ferguson, Mo. was one of the deaths that sparked the Black Lives Matter movement. Frustrated by media coverage of unrest in Ferguson, co-directors Sabaah Folayan and Damon Davis documented how locals felt about police in riot gear filling their neighborhoods with tear gas. As one resident says, “They don’t tell you the fact that the police showed up to a peaceful candlelight vigil… and boxed them in, and forced them onto a QuikTrip lot.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80184131\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>LA 92\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>LA 92 \u003c/em>is about the Los Angeles riots that occurred in response to the police beating of Rodney King. The film is entirely comprised of archival footage—no talking heads needed. It’s chilling to watch the unrest of nearly 30 years ago, as young people still take to the streets and shout, “No justice, no peace.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80198423\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Teach Us All\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Over 60 years after Brown v. Board of Education, American schools are still segregated. \u003cem>Teach Us All \u003c/em>explains why that is—school choice, residential segregation, biased admissions processes—and talks to advocates working for change. Interspersing interviews from two Little Rock Nine members, the documentary asks how far we’ve really come.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/show/black-america-mlk-and-still-i-rise/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Black America Since MLK: And Still I Rise\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>In this two-part series, Henry Louis Gates, Jr. chronicles the last 50 years of black history through a personal lens. Released days after the 2016 election, some themes of the documentary took on a deeper meaning amid Donald Trump’s win. “Think of the civil rights movement to the present as a second Reconstruction—a 50-year Reconstruction—that ended last night,” Gates said \u003ca href=\"https://www.salon.com/test2/2016/11/12/henry-louis-gates-on-trump-that-election-clearly-represented-a-backlash-against-the-progress-black-people-have-made-since-1965/\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with\u003cem> Salon.\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Podcasts\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/podcasts/floodlines/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Floodlines\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The Atlantic\u003c/em>\u003c/p>\n\u003cp>An audio documentary about the aftermath of Hurricane Katrina, \u003cem>Floodlines \u003c/em>is told from the perspective of four New Orleanians still living with the consequences of governmental neglect. As COVID-19 disproportionately infects and kills Americans of color, the story feels especially relevant. “As a person of color, you always have it in the back of your mind that the government really doesn’t care about you,” said self-described Katrina overcomer Alice Craft-Kerney.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2020/01/23/podcasts/1619-podcast.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>1619\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The New York Times \u003c/em>\u003c/p>\n\u003cp>“In August of 1619, a ship carrying more than 20 enslaved Africans arrived in the English colony of Virginia. America was not yet America, but this was the moment it began.” Hosted by recent Pulitzer Prize winner Nikole Hannah-Jones, the\u003cem> 1619 \u003c/em>audio series chronicles how black people have been central to building American democracy, music, wealth and more.\u003c/p>\n\u003cp>\u003ca href=\"https://aapf.org/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Intersectionality Matters! \u003c/em>\u003c/strong>\u003c/a>from \u003cem>The African American Policy Forum\u003c/em>\u003c/p>\n\u003cp>Hosted by Kimberlé Crenshaw, a leading critical race theorist who coined the term “intersectionality,” this podcast brings the academic term to life. Each episode brings together lively political organizers, journalists and writers. \u003ca href=\"https://soundcloud.com/intersectionality-matters/15-pt-6-under-the-blacklight-covid-in-confinement\" target=\"_blank\" rel=\"noopener noreferrer\">This recent episode\u003c/a> on COVID-19 in prisons and other areas of confinement is a must-listen.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510333/throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Throughline \u003c/em>\u003c/strong>\u003c/a>from\u003cem> NPR\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Every week at \u003cem>Throughline, \u003c/em>our pals Rund Abdelfatah and Ramtin Arablouei “go back in time to understand the present.” To understand the history of systemic racism in America, we recommend “\u003ca href=\"https://www.npr.org/2020/06/03/869046127/american-police\" target=\"_blank\" rel=\"noopener noreferrer\">American Police\u003c/a>,” “\u003ca href=\"https://www.npr.org/2019/08/14/751126384/mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Mass Incarceration\u003c/a>” and “\u003ca href=\"https://www.npr.org/2019/07/24/744884767/milliken-v-bradley\" target=\"_blank\" rel=\"noopener noreferrer\">Milliken v. Bradley\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=This+List+Of+Books%2C+Films+And+Podcasts+About+Racism+Is+A+Start%2C+Not+A+Panacea&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As of Friday, 15 of the top 20 bestselling books on Amazon were about race or racism. Earlier this week, \u003cem>Code Switch\u003c/em> was number one on Apple Podcasts—which, \u003ca href=\"https://twitter.com/GeeDee215/status/1268000245214035974\" target=\"_blank\" rel=\"noopener noreferrer\">as host Gene Demby said\u003c/a>, is “dope,” but unfortunately occurred under “soul-crushing circumstances.” And \u003cem>The Help \u003c/em>is trending on Netflix (ahem, a film that \u003ca href=\"https://www.npr.org/2011/08/18/139755308/the-help-draws-audiences-and-ire\" target=\"_blank\" rel=\"noopener noreferrer\">drew immediate ire\u003c/a> upon release).\u003c/p>\n\u003cp>We’re in the middle of one of those awfully predictable news cycles—a video of police killing a black person goes viral, protests ensue and broader America suddenly realizes \u003cem>we need to talk about race. \u003c/em>Of course, while \u003ca href=\"https://slate.com/news-and-politics/2020/05/this-week-has-happened-before.html\" target=\"_blank\" rel=\"noopener noreferrer\">this week has happened before,\u003c/a> it’s also happening on a much larger scale than ever before, with \u003ca href=\"https://www.usatoday.com/in-depth/graphics/2020/06/03/map-protests-wake-george-floyds-death/5310149002/\" target=\"_blank\" rel=\"noopener noreferrer\">demonstrations in all 50 states.\u003c/a>\u003c/p>\n\u003cp>To help people be better allies, lists of antiracist books, films and podcasts are being published in droves. There’s never a bad time to learn, but such a list can become erroneously prescriptive, a balm to centuries-old lacerations that cut deeper than the individual reader. \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">As Lauren Michele Jackson wrote for \u003cem>Vulture,\u003c/em> \u003c/a>“The word [anti-racism] and its nominal equivalent, “anti-racist,” suggests something of a vanity project, where the goal is no longer to learn more about race, power, and capital, but to spring closer to the enlightened order of the antiracist.”\u003c/p>\n\u003cp>So, with that in mind, we’ve compiled a list of books, films and podcasts about systemic racism, acknowledging that they are just books, films and podcasts. You’ll find research on how racism permeates everything from the criminal justice system to health care. We hope you spend some time with these resources (and that you listen to \u003cem>Code Switch—\u003c/em>\u003ca href=\"https://www.npr.org/sections/codeswitch/2020/03/26/820991385/the-very-best-of-code-switch-in-8-episodes\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a list of episodes\u003c/a> to get you started). Information is power—you decide what you do with it.\u003c/p>\n\u003ch3>\u003cstrong>Books\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.mprnews.org/story/2017/10/10/why-are-all-the-black-kids-sitting-together-in-the-cafeteria\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race\u003c/em>\u003c/strong>\u003c/a> by Beverly Daniel Tatum\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This classic text on the psychology of racism was re-released with new content in 2017, 20 years after its original publication. By providing straight talk on self-segregation and inequality in schools, Tatum shows the importance—and possibility—of cross-racial dialogues starting young.\u003c/p>\n\u003cp>\u003ca href=\"https://uncpress.org/book/9781469653662/race-for-profit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership\u003c/em>\u003c/strong>\u003c/a> by Keeanga-Yamahtta Taylor\u003c/p>\n\u003cp>A finalist for the 2020 Pulitzer Prize in History, \u003cem>Race for Profit \u003c/em>chronicles how the Housing and Urban Development Act of 1968 failed to stop racist, exploitative mortgage lending practices. Since the policy was supposed to be a balm to the 1960s uprisings—much like the ones we’re seeing now—it serves as a reminder to remain vigilant when policymakers promise change.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/07/27/745925045/book-a-terrible-thing-to-waste\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Terrible Thing to Waste: Environmental Racism and its Assault on the American Mind\u003c/em>\u003c/strong>\u003c/a> by Harriet A. Washington\u003c/p>\n\u003cp>From lead poisoning to toxic waste, Americans of color are disproportionately harmed by environmental hazards. This is detrimental to physical health—air pollution is linked with higher COVID-19 death rates, \u003ca href=\"https://www.hsph.harvard.edu/news/hsph-in-the-news/air-pollution-linked-with-higher-covid-19-death-rates/\" target=\"_blank\" rel=\"noopener noreferrer\">according to Harvard researchers.\u003c/a> But Washington also argues that environmental racism is causing cognitive decline in communities of color. A deconstruction of IQ and an indictment of EPA rollbacks, \u003cem>A Terrible Thing To Waste\u003c/em> is a stirring read.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674979826\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>From the War on Poverty to the War on Crime: The Making of Mass Incarceration in America\u003c/em>\u003c/strong>\u003c/a> by Elizabeth Hinton\u003c/p>\n\u003cp>The origins of mass incarceration—which disproportionately puts black people behind bars—are often pinned on Ronald Reagan and Richard Nixon. But Hinton argues the carceral state was erected “by a consensus of liberals and conservatives who privileged punitive responses to urban problems as a reaction to the civil rights movement.” The 1965 Law Enforcement Assistance Act, part of Lyndon Johnson’s Great Society plan, led to today’s police militarization. This account of history poses relevant questions for today’s land of the free.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/586392678/automating-inequality-how-high-tech-tools-profile-police-and-punish-the-poor\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Automating Inequality: How High-Tech Tools Profile, Police and Punish the Poor\u003c/em>\u003c/strong>\u003c/a> by Virginia Eubanks\u003c/p>\n\u003cp>Algorithms are made by humans, so they are susceptible to human biases. From deciding which neighborhoods get policed to who gets welfare benefits, discrimination has gone digital. By scrutinizing statistical models and telling personal stories, Eubanks shows that machines do not correct racist systems—they only shift blame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/868390203/the-end-of-policing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The End of Policing\u003c/em>\u003c/strong>\u003c/a> by Alex S. Vitale\u003c/p>\n\u003cp>In the wake of high-profile cases of police brutality, the same ideas for reform are trotted out—implicit bias training, body cameras, police-community dialogues. But Vitale argues that this fails to get to the root of the problem—policing itself. While calls to abolish the police are often met with skepticism, academics and activists have long-discussed alternatives to addressing homelessness, domestic disputes and substance abuse. \u003ca href=\"https://www.versobooks.com/books/2817\" target=\"_blank\" rel=\"noopener noreferrer\">A free ebook\u003c/a> of \u003cem>The End of Policing\u003c/em> is available now. (And you can read \u003cem>Code Switch\u003c/em> editor extraordinaire Leah Donnella’s conversation with Vitale \u003ca href=\"https://www.npr.org/sections/codeswitch/2020/06/03/457251670/how-much-do-we-need-the-police\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyrb.com/products/blackballed?variant=1094927969\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Blackballed: The Black Vote and U.S. Democracy\u003c/em>\u003c/strong>\u003c/a> by Darryl Pinckney\u003c/p>\n\u003cp>As young Americans take to the streets to say black lives matter, they’re often told to vote. While voting is important, it’s also important to remember how black political representation has been chipped away by voter ID laws, gerrymandering and felon disenfranchisement. \u003cem>Blackballed \u003c/em>addresses the struggle for voting rights and for racial equality more broadly, drawing on Pinckney’s own experiences and writings of civil rights leaders to create a complicated picture of black political identity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/358318685/dog-whistle-politics-how-coded-racial-appeals-have-reinvented-racism-and-wrecked\">\u003cstrong>\u003cem>Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class\u003c/em>\u003c/strong>\u003c/a> by Ian Haney López\u003c/p>\n\u003cp>“Entitlement mentality.” “Quotas.” “Welfare queens.” From Barry Goldwater to Bill Clinton to the Tea Party, politicians have relied on racially coded language to win over white voters and decimate social programs. \u003cem>Dog Whistle Politics \u003c/em>makes the case that not only does this strategy endanger people of color, but it also hinders economic mobility for all Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://ugapress.org/book/9780820354750/medical-bondage/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Medical Bondage: Race, Gender, and the Origins of American Gynecology\u003c/em>\u003c/strong>\u003c/a> by Deirdre Cooper Owens\u003c/p>\n\u003cp>The foundational knowledge of American gynecology relied on the exploitation of enslaved black women’s bodies. In \u003cem>Medical Bondage,\u003c/em> Cooper Owens centers the stories of black women that have been overshadowed by the “discoveries” of white male doctors who experimented on them. Baseless theories about black inferiority and higher pain tolerance \u003ca href=\"https://www.pnas.org/content/113/16/4296\" target=\"_blank\" rel=\"noopener noreferrer\">still permeate medical schools today\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://manifold.umn.edu/projects/body-and-soul\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Body and Soul: The Black Panther Party and the Fight against Medical Discrimination\u003c/em>\u003c/strong>\u003c/a> by Alondra Nelson\u003c/p>\n\u003cp>The Black Panther Party is most remembered for its militant action, but health care was also a major pillar of its activism. The People’s Free Medical Clinics tested for hypertension and assisted with housing and employment. Its outreach also brought attention to rampant discrimination within mainstream medicine. Nelson writes that the Black Panther Party understood health as a human right, echoing today’s fight for universal health care. You can \u003ca href=\"https://manifold.umn.edu/read/body-and-soul/section/afa172a4-8eaa-4413-a403-ec76794217e6\" target=\"_blank\" rel=\"noopener noreferrer\">read \u003cem>Body and Soul\u003c/em> online for free.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Films\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>13th\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The U.S. imprisons more people than any other country in the world, and \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/04/30/shrinking-gap-between-number-of-blacks-and-whites-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">a third of U.S. prisoners are black.\u003c/a> In this infuriating documentary, director Ava DuVernay argues that mass incarceration, Jim Crow and slavery are “the three major racialized systems of control adopted in the United States to date.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>I Am Not Your Negro\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Narrated by the words of James Baldwin with the voice of Samuel L. Jackson, \u003cem>I Am Not Your Negro\u003c/em> connects the Civil Rights Movement to Black Lives Matter. Although Baldwin died nearly 30 years before the film’s release, his observations about racial conflict are as incisive today as they were when he made them.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hulu.com/movie/whose-streets-3e8f4b7a-75d4-4484-9843-e665b60e2758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Whose Streets?\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The 2014 killing of 18-year-old Michael Brown by police in Ferguson, Mo. was one of the deaths that sparked the Black Lives Matter movement. Frustrated by media coverage of unrest in Ferguson, co-directors Sabaah Folayan and Damon Davis documented how locals felt about police in riot gear filling their neighborhoods with tear gas. As one resident says, “They don’t tell you the fact that the police showed up to a peaceful candlelight vigil… and boxed them in, and forced them onto a QuikTrip lot.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80184131\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>LA 92\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>LA 92 \u003c/em>is about the Los Angeles riots that occurred in response to the police beating of Rodney King. The film is entirely comprised of archival footage—no talking heads needed. It’s chilling to watch the unrest of nearly 30 years ago, as young people still take to the streets and shout, “No justice, no peace.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80198423\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Teach Us All\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Over 60 years after Brown v. Board of Education, American schools are still segregated. \u003cem>Teach Us All \u003c/em>explains why that is—school choice, residential segregation, biased admissions processes—and talks to advocates working for change. Interspersing interviews from two Little Rock Nine members, the documentary asks how far we’ve really come.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/show/black-america-mlk-and-still-i-rise/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Black America Since MLK: And Still I Rise\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>In this two-part series, Henry Louis Gates, Jr. chronicles the last 50 years of black history through a personal lens. Released days after the 2016 election, some themes of the documentary took on a deeper meaning amid Donald Trump’s win. “Think of the civil rights movement to the present as a second Reconstruction—a 50-year Reconstruction—that ended last night,” Gates said \u003ca href=\"https://www.salon.com/test2/2016/11/12/henry-louis-gates-on-trump-that-election-clearly-represented-a-backlash-against-the-progress-black-people-have-made-since-1965/\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with\u003cem> Salon.\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Podcasts\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/podcasts/floodlines/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Floodlines\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The Atlantic\u003c/em>\u003c/p>\n\u003cp>An audio documentary about the aftermath of Hurricane Katrina, \u003cem>Floodlines \u003c/em>is told from the perspective of four New Orleanians still living with the consequences of governmental neglect. As COVID-19 disproportionately infects and kills Americans of color, the story feels especially relevant. “As a person of color, you always have it in the back of your mind that the government really doesn’t care about you,” said self-described Katrina overcomer Alice Craft-Kerney.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2020/01/23/podcasts/1619-podcast.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>1619\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The New York Times \u003c/em>\u003c/p>\n\u003cp>“In August of 1619, a ship carrying more than 20 enslaved Africans arrived in the English colony of Virginia. America was not yet America, but this was the moment it began.” Hosted by recent Pulitzer Prize winner Nikole Hannah-Jones, the\u003cem> 1619 \u003c/em>audio series chronicles how black people have been central to building American democracy, music, wealth and more.\u003c/p>\n\u003cp>\u003ca href=\"https://aapf.org/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Intersectionality Matters! \u003c/em>\u003c/strong>\u003c/a>from \u003cem>The African American Policy Forum\u003c/em>\u003c/p>\n\u003cp>Hosted by Kimberlé Crenshaw, a leading critical race theorist who coined the term “intersectionality,” this podcast brings the academic term to life. Each episode brings together lively political organizers, journalists and writers. \u003ca href=\"https://soundcloud.com/intersectionality-matters/15-pt-6-under-the-blacklight-covid-in-confinement\" target=\"_blank\" rel=\"noopener noreferrer\">This recent episode\u003c/a> on COVID-19 in prisons and other areas of confinement is a must-listen.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510333/throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Throughline \u003c/em>\u003c/strong>\u003c/a>from\u003cem> NPR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every week at \u003cem>Throughline, \u003c/em>our pals Rund Abdelfatah and Ramtin Arablouei “go back in time to understand the present.” To understand the history of systemic racism in America, we recommend “\u003ca href=\"https://www.npr.org/2020/06/03/869046127/american-police\" target=\"_blank\" rel=\"noopener noreferrer\">American Police\u003c/a>,” “\u003ca href=\"https://www.npr.org/2019/08/14/751126384/mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Mass Incarceration\u003c/a>” and “\u003ca href=\"https://www.npr.org/2019/07/24/744884767/milliken-v-bradley\" target=\"_blank\" rel=\"noopener noreferrer\">Milliken v. Bradley\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=This+List+Of+Books%2C+Films+And+Podcasts+About+Racism+Is+A+Start%2C+Not+A+Panacea&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I May Destroy You' is HBO's New Unforgettable, Unmissable Drama",
"headTitle": "‘I May Destroy You’ is HBO’s New Unforgettable, Unmissable Drama | KQED",
"content": "\u003cp>\u003cem>Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault. \u003c/em>\u003c/p>\n\u003cp>In the first episode of the HBO series \u003cem>I May Destroy You\u003c/em>, Arabella has other things going on before she’s sexually assaulted. She’s trying to meet a book deadline, and she’s worried she can’t, and in the great tradition of writers doing everything else when they can’t write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.\u003c/p>\n\u003cp>But before that, she has friends, she has family, she’s struggling with her path from social media breakout star to author, and she’s navigating a long-distance relationship with a man she met in Italy, where she meant to be writing but then didn’t, quite. Played by creator Michaela Coel, also the writer and star of \u003cem>Chewing Gum\u003c/em>, she’s not a character constructed to be traumatized; she’s a character, full stop.\u003c/p>\n\u003cp>\u003cem>I May Destroy You \u003c/em>is about sexual violence and consent; those themes come up over and over in different stories that change characters in different ways. But it avoids the flatness that would come from drama as a didactic explainer. Arabella’s is a story that widens out to show how being assaulted affects her sex life, her relationships with her friends and her family, her career, her aspirations, and her health. It documents the police investigation without centering it. This is not a whodunit, even though Arabella’s drive to understand what happened propels some of the plot.\u003c/p>\n\u003cp>Coel doesn’t just star in the series. She wrote these 12 episodes herself. She co-directed much of the season with Sam Miller, who’s worked on \u003cem>Luther \u003c/em>and on episodes of everything from \u003cem>Luke Cage \u003c/em>to \u003cem>American Crime\u003c/em>. She’s a producer and the star. Her face is the series’ indelible image. And she based the story of Arabella’s assault on \u003ca href=\"https://www.essence.com/entertainment/michaela-coel-hbo-i-may-destroy-you/\" target=\"_blank\" rel=\"noopener noreferrer\">a night in her own life\u003c/a>. It is, transparently, the most personal of projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You see that personal passion-project quality not only in the writing, but in the way Coel and Miller manage the visual language. The wardrobe and hair and knockabout style of filming conversations among friends are unobtrusive and casual in many stretches of the story, which build to those moments when they are emphatically not. This is not a twitchy, self-conscious style that draws attention to itself for no reason; it’s a reservation of visual emphasis for the places where it belongs. Arabella changes her hair, or she puts on a Halloween costume, and the air around her changes, too. It doesn’t look or sound like any other story. With that said, it also makes excellent use some of the best techniques that have emerged in recent television, including episodes that pause the narrative to pay attention to a different point of view, or a different point in time, to enrich the main story thread.\u003c/p>\n\u003cp>In the early going, \u003cem>I May Destroy You \u003c/em>can feel disorienting, because its upending of conventional crime and trauma story structures is so thorough. If you went in not knowing it was a story about sexual assault, you could watch most of the first episode as a day-in-the-life pilot for a quirky half-hour about a wandering millennial, about the publishing industry, about dating apps, and about social media in general. But this is the wisdom of the writing, at its core: This is how you demonstrate that Arabella existed in full before she was assaulted. She \u003cem>already \u003c/em>had a story unfolding, and a life that a series about her could have followed. She wasn’t simply suspended in air, waiting for something narratively important to happen to her.\u003c/p>\n\u003cp>And just as she had a story already, Arabella had a personality already, and Coel resolutely draws her as a woman who is both traumatized and flawed. The rounded character she would have been in that quirky half-hour about the millennial and the book contract, she still is. She can be insensitive and mean, and she can be just as unaware of other people’s experiences and needs as they are of hers. Arabella and her friends—best friend Terry (Weruche Opia), friends Kwame (Paapa Essiedu) and Simon (Ami Ameen), dreamy Italian boyfriend Biagio (Marouane Zotti)—exist in a web of connections in which they hurt and are hurt, sometimes right and sometimes not. They both buoy and disappoint each other, making \u003cem>I May Destroy You \u003c/em>an outstanding examination of friendship as much as anything.\u003c/p>\n\u003cp>It sometimes helps, when encouraging people to try out an unconventionally structured show, to provide a hint that the overall shape of the story will satisfy. Let’s say only this: After 12 episodes, there is a gut-punch brilliance to how Arabella’s story is brought to a close that it would be wildly unfair to spoil. But know that Coel concludes in a way that’s both formally clever—that feels too slight, but it’s true—and dramatically satisfying. It is the holy grail of a certain kind of drama to find an ending that seems, in retrospect, both surprising and inevitable. And it’s very hard to get that right, but she got there.\u003c/p>\n\u003cp>It’s significant that HBO (together with the BBC) has produced this show at all, particularly given its \u003ca href=\"https://www.huffpost.com/entry/hbo-diversity_n_4899679\" target=\"_blank\" rel=\"noopener noreferrer\">dismal record\u003c/a> when it comes to the diversity of voices that get to make the highly personal, idiosyncratic dramas that have built the brand. (And it’s worth emphasizing, perhaps, that despite being a half-hour show from a woman whose last big project was very funny, this is a drama series.) But it’s equally encouraging, if your eye is on what television networks are supporting, that the show is so particular, and that it comes from a voice that’s so fresh, and that it leads with a frankness that a lot of conventional “gritty” drama series cannot match.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And ultimately, this is a chance to watch a brilliant lead performance. It’s tricky to call an actor mesmerizing, for fear of making her power seem magical rather than the result of craft. But Coel here is magnetic and memorable, for sure, and you won’t be able to take your eyes off her.\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=%27I+May+Destroy+You%27+Is+HBO%27s+New+Unforgettable%2C+Unmissable+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault. \u003c/em>\u003c/p>\n\u003cp>In the first episode of the HBO series \u003cem>I May Destroy You\u003c/em>, Arabella has other things going on before she’s sexually assaulted. She’s trying to meet a book deadline, and she’s worried she can’t, and in the great tradition of writers doing everything else when they can’t write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.\u003c/p>\n\u003cp>But before that, she has friends, she has family, she’s struggling with her path from social media breakout star to author, and she’s navigating a long-distance relationship with a man she met in Italy, where she meant to be writing but then didn’t, quite. Played by creator Michaela Coel, also the writer and star of \u003cem>Chewing Gum\u003c/em>, she’s not a character constructed to be traumatized; she’s a character, full stop.\u003c/p>\n\u003cp>\u003cem>I May Destroy You \u003c/em>is about sexual violence and consent; those themes come up over and over in different stories that change characters in different ways. But it avoids the flatness that would come from drama as a didactic explainer. Arabella’s is a story that widens out to show how being assaulted affects her sex life, her relationships with her friends and her family, her career, her aspirations, and her health. It documents the police investigation without centering it. This is not a whodunit, even though Arabella’s drive to understand what happened propels some of the plot.\u003c/p>\n\u003cp>Coel doesn’t just star in the series. She wrote these 12 episodes herself. She co-directed much of the season with Sam Miller, who’s worked on \u003cem>Luther \u003c/em>and on episodes of everything from \u003cem>Luke Cage \u003c/em>to \u003cem>American Crime\u003c/em>. She’s a producer and the star. Her face is the series’ indelible image. And she based the story of Arabella’s assault on \u003ca href=\"https://www.essence.com/entertainment/michaela-coel-hbo-i-may-destroy-you/\" target=\"_blank\" rel=\"noopener noreferrer\">a night in her own life\u003c/a>. It is, transparently, the most personal of projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You see that personal passion-project quality not only in the writing, but in the way Coel and Miller manage the visual language. The wardrobe and hair and knockabout style of filming conversations among friends are unobtrusive and casual in many stretches of the story, which build to those moments when they are emphatically not. This is not a twitchy, self-conscious style that draws attention to itself for no reason; it’s a reservation of visual emphasis for the places where it belongs. Arabella changes her hair, or she puts on a Halloween costume, and the air around her changes, too. It doesn’t look or sound like any other story. With that said, it also makes excellent use some of the best techniques that have emerged in recent television, including episodes that pause the narrative to pay attention to a different point of view, or a different point in time, to enrich the main story thread.\u003c/p>\n\u003cp>In the early going, \u003cem>I May Destroy You \u003c/em>can feel disorienting, because its upending of conventional crime and trauma story structures is so thorough. If you went in not knowing it was a story about sexual assault, you could watch most of the first episode as a day-in-the-life pilot for a quirky half-hour about a wandering millennial, about the publishing industry, about dating apps, and about social media in general. But this is the wisdom of the writing, at its core: This is how you demonstrate that Arabella existed in full before she was assaulted. She \u003cem>already \u003c/em>had a story unfolding, and a life that a series about her could have followed. She wasn’t simply suspended in air, waiting for something narratively important to happen to her.\u003c/p>\n\u003cp>And just as she had a story already, Arabella had a personality already, and Coel resolutely draws her as a woman who is both traumatized and flawed. The rounded character she would have been in that quirky half-hour about the millennial and the book contract, she still is. She can be insensitive and mean, and she can be just as unaware of other people’s experiences and needs as they are of hers. Arabella and her friends—best friend Terry (Weruche Opia), friends Kwame (Paapa Essiedu) and Simon (Ami Ameen), dreamy Italian boyfriend Biagio (Marouane Zotti)—exist in a web of connections in which they hurt and are hurt, sometimes right and sometimes not. They both buoy and disappoint each other, making \u003cem>I May Destroy You \u003c/em>an outstanding examination of friendship as much as anything.\u003c/p>\n\u003cp>It sometimes helps, when encouraging people to try out an unconventionally structured show, to provide a hint that the overall shape of the story will satisfy. Let’s say only this: After 12 episodes, there is a gut-punch brilliance to how Arabella’s story is brought to a close that it would be wildly unfair to spoil. But know that Coel concludes in a way that’s both formally clever—that feels too slight, but it’s true—and dramatically satisfying. It is the holy grail of a certain kind of drama to find an ending that seems, in retrospect, both surprising and inevitable. And it’s very hard to get that right, but she got there.\u003c/p>\n\u003cp>It’s significant that HBO (together with the BBC) has produced this show at all, particularly given its \u003ca href=\"https://www.huffpost.com/entry/hbo-diversity_n_4899679\" target=\"_blank\" rel=\"noopener noreferrer\">dismal record\u003c/a> when it comes to the diversity of voices that get to make the highly personal, idiosyncratic dramas that have built the brand. (And it’s worth emphasizing, perhaps, that despite being a half-hour show from a woman whose last big project was very funny, this is a drama series.) But it’s equally encouraging, if your eye is on what television networks are supporting, that the show is so particular, and that it comes from a voice that’s so fresh, and that it leads with a frankness that a lot of conventional “gritty” drama series cannot match.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And ultimately, this is a chance to watch a brilliant lead performance. It’s tricky to call an actor mesmerizing, for fear of making her power seem magical rather than the result of craft. But Coel here is magnetic and memorable, for sure, and you won’t be able to take your eyes off her.\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=%27I+May+Destroy+You%27+Is+HBO%27s+New+Unforgettable%2C+Unmissable+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Five Days' Chronicles the Baltimore Uprising After Freddie Gray's Death",
"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": "\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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"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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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. 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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\u003c/div>\u003c/p>",
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"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, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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, 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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. 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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. 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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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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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"meta": {
"site": "radio",
"source": "npr"
},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"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",
"title": "Hidden Brain",
"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": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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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"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"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/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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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",
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