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"content": "\u003cp>It’s telling that the most barbed political criticism Michelle Obama drops in her new Netflix documentary \u003cem>Becoming\u003c/em> isn’t about Donald Trump’s birtherism or the commentators who tried to dismiss her as an angry black woman.\u003c/p>\n\u003cp>Instead, she criticizes fickle Democratic supporters while talking about Trump’s 2017 inauguration in a roundtable discussion.\u003c/p>\n\u003cp>“The day I left the White House, I write about how painful it was to sit on that stage—a lot of our folks didn’t vote,” she says in the film, which debuts Wednesday. “So it was almost like, a slap in the face.”\u003c/p>\n\u003cp>Moments later, she expands on that idea, “I understand the people who voted for Trump, [but] the people who didn’t vote at all—the young people, the women—that’s when you think, man, people think this is a game.”\u003c/p>\n\u003cp>The backbone of the documentary comes from footage filmed behind-the-scenes and onstage during the 34-stop tour to promote \u003ca href=\"https://www.npr.org/books/titles/663568665/becoming\" target=\"_blank\" rel=\"noopener noreferrer\">her best-selling memoir,\u003c/a> also called \u003cem>Becoming\u003c/em>. The tour featured celebrity hosts like Oprah Winfrey interviewing the former First Lady in arenas packed with fans; she spoke on everything from visiting a marriage counselor with her husband to raising young black children in a mansion like the White House.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her concern: during a visit with Laura Bush, she noticed the White House butlers were African American and Latino men decked out in tuxedoes.\u003c/p>\n\u003cp>“I didn’t want them growing up thinking grown African American men served them in tuxedoes,” she says. “The truth was that some of those men were (like) my uncles—they were the Pullman porters and other folks—I didn’t want my girls to grow up with that image.”\u003c/p>\n\u003cp>Race is, of course, a huge subject in the film, as Michelle Obama details feeling immense pressure to be perfect as wife to the first black president. For fans who admire the family and their message of inclusion, \u003cem>Becoming\u003c/em> will be a bittersweet reminder of how differently the White House’s current occupants conduct themselves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wePNJGL7nDU\u003c/p>\n\u003cp>Still, when young people ask Michelle Obama how to face the often-intangible forces of systemic prejudice and tribalism, Michelle Obama has a consistent answer: Stay focused. Work hard. Never accept a limiting label.\u003c/p>\n\u003cp>“I never felt invisible,” she says, praising her parents for teaching her confidence. “We can’t afford to wait for the world to be equal to start feeling seen.”\u003c/p>\n\u003cp>When a Native American student tells her he felt uneasy in classes with students wearing Trump hats, she responds: “So you’re in school. Be in school. Get your frickin’ education. Barack and I, all through this presidency, through the lies and the stuff they said about us, all we could do was wake up every day and do our jobs. Let our jobs and our lives speak for itself.”\u003c/p>\n\u003cp>That sounds an awful lot like putting the burden on oppressed people to transcend their own oppression. The Obamas have faced criticism in the past for such “respectability politics”—which also imply that if a person of color doesn’t succeed, perhaps it’s because they didn’t try hard enough. (Remember those Democratic voters who stayed home?)\u003c/p>\n\u003cp>It would have been compelling to see Michelle Obama face some tough questions from someone who legitimately challenges her ideas. But \u003cem>Becoming\u003c/em> is produced by the Obamas’ Higher Ground Productions, following in the footsteps of other recent documentaries—like ESPN’s \u003ca href=\"https://www.espn.com/nba/story/_/id/29127505/espn-michael-jordan-documentary-big-takeaways-episodes-5-6-last-dance\">\u003cem>The Last Dance\u003c/em> \u003c/a>or Hulu’s \u003ca href=\"https://www.hulu.com/series/hillary-793891ec-5bb7-4200-ba93-e3629532d670?&cmp=12386&utm_source=google&utm_medium=SEM&utm_campaign=CM_SEM_Hillary%20Documentary&utm_term=+hulu%20+hillary&ds_rl=1251123&gclid=CjwKCAjwwMn1BRAUEiwAZ_jnEvFpq7FeplEMMgox0Gvbd1vT4aUX-dPNDqKNC6yNqYOWhJOdI8cDxhoCnhkQAvD_BwE&gclsrc=aw.ds\">\u003cem>Hillary\u003c/em>\u003c/a>—which counted on significant participation and support from key subjects to succeed.\u003c/p>\n\u003cp>As good as all of these efforts are, there is also a sense that they can only go so far in challenging their superstar subjects. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her concern: during a visit with Laura Bush, she noticed the White House butlers were African American and Latino men decked out in tuxedoes.\u003c/p>\n\u003cp>“I didn’t want them growing up thinking grown African American men served them in tuxedoes,” she says. “The truth was that some of those men were (like) my uncles—they were the Pullman porters and other folks—I didn’t want my girls to grow up with that image.”\u003c/p>\n\u003cp>Race is, of course, a huge subject in the film, as Michelle Obama details feeling immense pressure to be perfect as wife to the first black president. For fans who admire the family and their message of inclusion, \u003cem>Becoming\u003c/em> will be a bittersweet reminder of how differently the White House’s current occupants conduct themselves.\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/wePNJGL7nDU'\n title='//www.youtube.com/embed/wePNJGL7nDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, when young people ask Michelle Obama how to face the often-intangible forces of systemic prejudice and tribalism, Michelle Obama has a consistent answer: Stay focused. Work hard. Never accept a limiting label.\u003c/p>\n\u003cp>“I never felt invisible,” she says, praising her parents for teaching her confidence. “We can’t afford to wait for the world to be equal to start feeling seen.”\u003c/p>\n\u003cp>When a Native American student tells her he felt uneasy in classes with students wearing Trump hats, she responds: “So you’re in school. Be in school. Get your frickin’ education. Barack and I, all through this presidency, through the lies and the stuff they said about us, all we could do was wake up every day and do our jobs. Let our jobs and our lives speak for itself.”\u003c/p>\n\u003cp>That sounds an awful lot like putting the burden on oppressed people to transcend their own oppression. The Obamas have faced criticism in the past for such “respectability politics”—which also imply that if a person of color doesn’t succeed, perhaps it’s because they didn’t try hard enough. (Remember those Democratic voters who stayed home?)\u003c/p>\n\u003cp>It would have been compelling to see Michelle Obama face some tough questions from someone who legitimately challenges her ideas. But \u003cem>Becoming\u003c/em> is produced by the Obamas’ Higher Ground Productions, following in the footsteps of other recent documentaries—like ESPN’s \u003ca href=\"https://www.espn.com/nba/story/_/id/29127505/espn-michael-jordan-documentary-big-takeaways-episodes-5-6-last-dance\">\u003cem>The Last Dance\u003c/em> \u003c/a>or Hulu’s \u003ca href=\"https://www.hulu.com/series/hillary-793891ec-5bb7-4200-ba93-e3629532d670?&cmp=12386&utm_source=google&utm_medium=SEM&utm_campaign=CM_SEM_Hillary%20Documentary&utm_term=+hulu%20+hillary&ds_rl=1251123&gclid=CjwKCAjwwMn1BRAUEiwAZ_jnEvFpq7FeplEMMgox0Gvbd1vT4aUX-dPNDqKNC6yNqYOWhJOdI8cDxhoCnhkQAvD_BwE&gclsrc=aw.ds\">\u003cem>Hillary\u003c/em>\u003c/a>—which counted on significant participation and support from key subjects to succeed.\u003c/p>\n\u003cp>As good as all of these efforts are, there is also a sense that they can only go so far in challenging their superstar subjects. In \u003cem>Becoming\u003c/em>‘s case, that means a distinct lack of critics shown onscreen and moments that feel too much like an ad for the boss.\u003c/p>\n\u003cp>Despite Michelle Obama’s candor, \u003cem>Becoming \u003c/em>offers a selective view. Barack Obama doesn’t sit for an exclusive interview; daughters Sasha and Malia speak in just a few places. And the former First Lady avoids any direct criticism of political rivals, continuing to go high when others might consider going low.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even with its flaws, \u003cem>Becoming\u003c/em> is a compelling documentary, offering a carefully revealing look at a whip smart, ferociously practical woman trying to understand how her historic time in the White House changed herself, her family and the nation.\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=%27Becoming%27+Offers+A+Revealing+But+Selective+View+Of+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQIYEPe6DWY\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=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\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/OQIYEPe6DWY'\n title='//www.youtube.com/embed/OQIYEPe6DWY'\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=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWUCowuKS40\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\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=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\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/bWUCowuKS40'\n title='//www.youtube.com/embed/bWUCowuKS40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\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=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If the pandemic shuts-down TV production for many months, can the industry still crank out new seasons of series television that viewers will watch?\u003c/p>\n\u003cp>Tonight, CBS’ legal drama \u003cem>All Rise\u003c/em> hints at an answer with an episode crafted after actors and production staffers began isolating in their homes. It’s the first network TV drama to film a new virtual episode about the coronavirus pandemic and it unfolds so seamlessly you’d never otherwise know it was developed during a global crisis.\u003c/p>\n\u003cp>The story centers on an ambitious idea by the show’s lead character, Simone Missick’s Judge Lola Carmichael, to conduct a trial over video chat—with attorneys, court staff and even the judge herself appearing from their homes in a proceeding livestreamed publicly (in the show’s fictional world).\u003c/p>\n\u003cp>The trial is a metaphor for what the show itself is trying to pull off. Producers said during a press conference last week—held via video chat, of course—that they didn’t want to end the show’s season on the episode they filmed just before the lockdown.\u003c/p>\n\u003cp>So they asked actors to become one-person production crews: cobbling together technology, turning rooms in their homes into sets and handling makeup or costuming with whatever they had on hand, coached by the show’s remote production staffers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>All Rise\u003c/em> airs on CBS, a network known for its formulaic cops and crime dramas, so there are times when characters are a little too obvious in arguing over the legal and health issues—like watching the dialogue leading up to a Schoolhouse Rock song.\u003c/p>\n\u003cp>Like NBC’s \u003cem>Parks and Recreation\u003c/em> reunion last week, CBS’ \u003cem>All Rise\u003c/em> episode really centers on how friends and family—both biological and work-related—need to connect at a time of disconnection. It’s an obvious note, but it’s difficult to muster a profound, overarching insight on a global pandemic when you’re in the middle of it.\u003c/p>\n\u003cp>Producers of scripted TV face tough choices planning for the future: Do you make the pandemic a part of your show’s ongoing story line, or ignore it the way \u003cem>Friends\u003c/em> sidestepped 9/11? Can a scripted series feature multiple episodes filmed in lockdown before viewer fatigue sets in?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Projects like CBS’ \u003cem>All Rise\u003c/em> season finale, along with the \u003cem>Parks and Recreation\u003c/em> reunion, still feel more like ambitious experiments than a way forward for scripted TV—a creative nod to the challenges we all face, crafted to tide us over until a new normal emerges.\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=CBS%27+Legal+Drama+%27All+Rise%27+Tackles+Coronavirus+As+A+Story+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>While the world has gone relatively quiet amid the coronavirus pandemic, International Jazz Day plans on bringing some joyful sounds from across the globe together in celebration of the music. Jazz Day, which falls on April 30 of each year, was initially established in 2011 by musician and UNESCO Goodwill Ambassador \u003ca href=\"https://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener noreferrer\">Herbie Hancock\u003c/a> to bring together communities worldwide to celebrate the humanity of the universal art form through workshops, discussions and an all-star \u003ca href=\"https://jazzday.com/2020/04/virtual-ijd-announce/\" target=\"_blank\" rel=\"noopener noreferrer\">global concert\u003c/a>.\u003c/p>\n\u003cp>Cape Town, South Africa, was supposed to host this year’s celebrations, but the events were canceled in late March due to the pandemic. Instead, the day’s activities will remain truly international by taking place online and hosted by Hancock.\u003c/p>\n\u003ch3>Featured Events:\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>International Jazz Day Panel with Nate Chinen\u003c/strong>\u003cbr>\nTime: 1:30 p.m. ET\u003c/li>\n\u003cli>\u003cstrong>International Jazz Day Global Concert \u003c/strong>\u003cbr>\nTime: 3 p.m. ET\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=C54ape_UfwY\u003c/p>\n\u003cp>The marquee Global Concert, which begins at 12:00 p.m. PT on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>, will feature streamed performances from bassist \u003ca href=\"https://www.npr.org/artists/15439719/marcus-miller\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Miller\u003c/a> (U.S.), pianist \u003ca href=\"https://www.npr.org/artists/17022256/lang-lang\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> (China), saxophonist Igor Butman (Russia), vocalist Youn Sun Nah (South Korea), and bassist Alune Wade (Senegal), among other worldwide leaders in the genre.\u003c/p>\n\u003cp>In the spirit of Jazz Day’s mission of inclusion, a free series of educational master classes and children’s activities in six languages conducted by renowned musicians will be streamed in the hours leading up to the concert. The pre-concert program will also include a panel discussion on the importance of art and the international community during the public health crisis, hosted by NPR Music and WBGO’s Nate Chinen and featuring performer Marcus Miller and South African vocalist Sibongile Khumalo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\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=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the world has gone relatively quiet amid the coronavirus pandemic, International Jazz Day plans on bringing some joyful sounds from across the globe together in celebration of the music. Jazz Day, which falls on April 30 of each year, was initially established in 2011 by musician and UNESCO Goodwill Ambassador \u003ca href=\"https://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener noreferrer\">Herbie Hancock\u003c/a> to bring together communities worldwide to celebrate the humanity of the universal art form through workshops, discussions and an all-star \u003ca href=\"https://jazzday.com/2020/04/virtual-ijd-announce/\" target=\"_blank\" rel=\"noopener noreferrer\">global concert\u003c/a>.\u003c/p>\n\u003cp>Cape Town, South Africa, was supposed to host this year’s celebrations, but the events were canceled in late March due to the pandemic. Instead, the day’s activities will remain truly international by taking place online and hosted by Hancock.\u003c/p>\n\u003ch3>Featured Events:\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>International Jazz Day Panel with Nate Chinen\u003c/strong>\u003cbr>\nTime: 1:30 p.m. ET\u003c/li>\n\u003cli>\u003cstrong>International Jazz Day Global Concert \u003c/strong>\u003cbr>\nTime: 3 p.m. ET\u003c/li>\n\u003c/ul>\n\u003chr>\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/C54ape_UfwY'\n title='//www.youtube.com/embed/C54ape_UfwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The marquee Global Concert, which begins at 12:00 p.m. PT on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>, will feature streamed performances from bassist \u003ca href=\"https://www.npr.org/artists/15439719/marcus-miller\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Miller\u003c/a> (U.S.), pianist \u003ca href=\"https://www.npr.org/artists/17022256/lang-lang\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> (China), saxophonist Igor Butman (Russia), vocalist Youn Sun Nah (South Korea), and bassist Alune Wade (Senegal), among other worldwide leaders in the genre.\u003c/p>\n\u003cp>In the spirit of Jazz Day’s mission of inclusion, a free series of educational master classes and children’s activities in six languages conducted by renowned musicians will be streamed in the hours leading up to the concert. The pre-concert program will also include a panel discussion on the importance of art and the international community during the public health crisis, hosted by NPR Music and WBGO’s Nate Chinen and featuring performer Marcus Miller and South African vocalist Sibongile Khumalo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\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=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 8:30 a.m. ET on April 10\u003c/strong>\u003c/p>\n\u003cp>In recent days, top U.S. government officials have moved to assure Americans that they won’t lack for food, despite the coronavirus. \u003c/p>\n\u003cp>As he toured a Walmart distribution center, Vice President Pence announced that “America’s food supply is strong.” The Food and Drug Administration’s deputy commissioner for food, Frank Yiannas (a former Walmart executive) told reporters during a teleconference that “there are no widespread or nationwide shortages of food, despite local reports of outages.”\u003c/p>\n\u003cp>“There is no need to hoard,” Yiannas said.\u003c/p>\n\u003cp>In fact, the pandemic has caused entirely different problems: a spike in the number of people who can’t afford groceries and a glut of food where it’s not needed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dairy farmers in Wisconsin, Minnesota and Georgia have been forced to \u003ca href=\"https://www.midwestfarmreport.com/2020/04/01/why-is-this-happening-milk-dumping-explanation-for-non-farm-consumers/\">dump\u003c/a> thousands of gallons of milk that no one will buy. In Florida, vegetable growers are \u003ca href=\"https://www.miamiherald.com/news/coronavirus/article241627101.html\">abandoning\u003c/a> harvest-ready fields of tomatoes, yellow squash and cucumbers for the same reason. \u003c/p>\n\u003cp>“We cannot pick the produce if we cannot sell it, because we cannot afford the payroll every week,” says Kim Jamerson, a vegetable grower near Fort Myers. Those crops will be plowed back into the ground. “We’ll have to tear ’em up,” Jamerson says. “Just tear up beautiful vegetables that really could go elsewhere, to food banks, and hospitals, and rest homes.”\u003c/p>\n\u003cp>The country’s food distribution system, in normal times, is a marvel, efficiently delivering huge amounts of food to consumers. But it relies on predictability, like a rail system that directs a stream of trains, on set schedules, toward their destinations. Now, some of the biggest destinations — chain restaurants, schools and workplace cafeterias — have disappeared, and supply chains are struggling to adapt.\u003c/p>\n\u003cp>Jay Johnson, with \u003ca href=\"https://local.freshpoint.com/store_page/jgl-produce/\">JGL Produce\u003c/a>, a vegetable broker in Immokalee, Fla., is the kind of person who makes this system work — matching buyers with sellers. “You’re getting phone calls, text messages, emails, all day and all night,” he says. ” ‘What’s your price on this? What grade? Can you do a better deal?’ You’re doing all these micronegotiations throughout the day.”\u003c/p>\n\u003cp>On Tuesday, March 24, he says, that all changed. “Everything got quiet. Wednesday, the 25th, superquiet. Thursday, now we’re getting nervous.”\u003c/p>\n\u003cp>Normally, chain restaurants buy a steady supply of produce, week after week. But most have shut down — and did so just as Florida’s vegetable harvest shifted into high gear. “Now you’re sitting there with all this production, perfect weather, and everybody’s like, ‘Oh no,’ ” Johnson says.\u003c/p>\n\u003cp>He told vegetable grower Mike Jamerson, Kim’s husband, that “we’re in trouble here. And it’s to the point where I’m going to fill my warehouse up and I’m going to have to tell you to stop picking.” That’s when workers stopped picking yellow squash on Kim Jamerson’s farm. \u003c/p>\n\u003cp>A week after Jamerson told NPR that they’d have to “tear up” their crops, the situation had improved a bit. Workers have resumed picking, but it’s now a “salvage operation,” Jamerson says. Workers are discarding vegetables that weren’t picked in time. The vegetables that they salvage will be sold at cut-rate prices, with some going to food banks.\u003c/p>\n\u003cp>Something similar has happened to dairy farmers. Milk sales in supermarkets have increased, but not enough to make up for the drop in sales of milk to schools and cheese to Pizza Hut. Factories that make milk powder can’t take any more milk. So some milk cooperatives have told their farmers to dump the milk that their cows are producing. \u003c/p>\n\u003cp>The situation is especially dire for Florida’s tomato growers, who sell 80% of their production to restaurants and other food service companies, rather than to supermarkets. “Think about all the sandwiches that people eat at lunch when they go out. Burgers, or salads at restaurants,” says Michael Schadler, from the Florida Tomato Exchange, which represents some of the state’s largest growers. “Many of those food service items have tomatoes.” \u003c/p>\n\u003cp>Schadler says growers already are “walking away from big portions of their crop,” writing off huge investments. \u003c/p>\n\u003cp>Meanwhile, food banks and pantries are having trouble supplying enough food to people who need it, including millions of children who no longer are getting free meals at school and people who’ve lost jobs in recent weeks.\u003c/p>\n\u003cp>\u003ca href=\"https://www.feedingamerica.org/about-us/leadership/claire-babineaux-fontenot\">Claire Babineaux-Fontenot\u003c/a>, CEO of Feeding America, a network of food banks and charitable meals programs, says that these programs normally receive large donations of unsold food from retail stores. In recent weeks, though, as retailers struggled to keep their shelves stocked, “we’re seeing as much as a 35% reduction in that donation stream from retail,” Babineaux-Fontenot says.\u003c/p>\n\u003cp>Food banks are trying to claim more of the food that is stranded in the food service supply chain, either through donations or by buying it. \u003c/p>\n\u003cp>“We are capturing some of that. I know we’re not capturing all of it, but we have a whole team of professionals whose job is to try to make sure that we capture as much of it as we possibly can,” Babineaux-Fontenot says. “So we’re having conversations with major restaurants. We’re having conversations with major producers, with trade associations, the whole gamut.”\u003c/p>\n\u003cp>Kim Jamerson thinks “it’s just a shame” to have enough food, but not be able to get it to the people in need. “A woman who’s got two kids how can she live on unemployment, go into a grocery store and pay 90 cents for a cucumber? She just can’t do that.”\u003c/p>\n\u003cp>Part of the problem is that it takes labor to move produce from one place to another, and people are still figuring out who will pay for that. Jamerson says she can’t afford to pay workers to pick a crop that will be donated. She wants the government to step in, provide workers or the money to pay them, and make sure food gets to where it’s needed. “The government could send the food to the hospitals, the rest homes, to the food banks, to the churches,” she says.\u003c/p>\n\u003cp>Jay Johnson, the produce broker, says there are signs of hope. The food banks in Florida, he says, are starting to buy some of his vegetables and figuring out new ways to distribute them. \u003c/p>\n\u003cp>They asked Johnson to pack some vegetables in smaller packs, so food banks don’t need so many volunteers to repack them. “They’re understaffed, and don’t have warehouse space, and they’re having to think creatively,” he says. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I see a little bit of light at the end of the tunnel here,” he says, adding that he won’t make money on those sales to food banks. Farmers won’t either, but at least they’ll be able to keep their workforce employed until, hopefully, better times arrive. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org/sections/thesalt/2020/04/03/826006362/food-shortages-nope-too-much-food-in-the-wrong-places\" rel=\"noopener noreferrer\" target=\"_blank\">NPR.org\u003c/a>. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Food+Shortages%3F+Nope%2C+Too+Much+Food+In+The+Wrong+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Some Americans, fearing food shortages from COVID-19, have cleaned out supermarket shelves. Yet there's too much food in some places. Farmers are dumping milk and vegetables that they can't sell.",
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"description": "Some Americans, fearing food shortages from COVID-19, have cleaned out supermarket shelves. Yet there's too much food in some places. Farmers are dumping milk and vegetables that they can't sell.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:30 a.m. ET on April 10\u003c/strong>\u003c/p>\n\u003cp>In recent days, top U.S. government officials have moved to assure Americans that they won’t lack for food, despite the coronavirus. \u003c/p>\n\u003cp>As he toured a Walmart distribution center, Vice President Pence announced that “America’s food supply is strong.” The Food and Drug Administration’s deputy commissioner for food, Frank Yiannas (a former Walmart executive) told reporters during a teleconference that “there are no widespread or nationwide shortages of food, despite local reports of outages.”\u003c/p>\n\u003cp>“There is no need to hoard,” Yiannas said.\u003c/p>\n\u003cp>In fact, the pandemic has caused entirely different problems: a spike in the number of people who can’t afford groceries and a glut of food where it’s not needed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dairy farmers in Wisconsin, Minnesota and Georgia have been forced to \u003ca href=\"https://www.midwestfarmreport.com/2020/04/01/why-is-this-happening-milk-dumping-explanation-for-non-farm-consumers/\">dump\u003c/a> thousands of gallons of milk that no one will buy. In Florida, vegetable growers are \u003ca href=\"https://www.miamiherald.com/news/coronavirus/article241627101.html\">abandoning\u003c/a> harvest-ready fields of tomatoes, yellow squash and cucumbers for the same reason. \u003c/p>\n\u003cp>“We cannot pick the produce if we cannot sell it, because we cannot afford the payroll every week,” says Kim Jamerson, a vegetable grower near Fort Myers. Those crops will be plowed back into the ground. “We’ll have to tear ’em up,” Jamerson says. “Just tear up beautiful vegetables that really could go elsewhere, to food banks, and hospitals, and rest homes.”\u003c/p>\n\u003cp>The country’s food distribution system, in normal times, is a marvel, efficiently delivering huge amounts of food to consumers. But it relies on predictability, like a rail system that directs a stream of trains, on set schedules, toward their destinations. Now, some of the biggest destinations — chain restaurants, schools and workplace cafeterias — have disappeared, and supply chains are struggling to adapt.\u003c/p>\n\u003cp>Jay Johnson, with \u003ca href=\"https://local.freshpoint.com/store_page/jgl-produce/\">JGL Produce\u003c/a>, a vegetable broker in Immokalee, Fla., is the kind of person who makes this system work — matching buyers with sellers. “You’re getting phone calls, text messages, emails, all day and all night,” he says. ” ‘What’s your price on this? What grade? Can you do a better deal?’ You’re doing all these micronegotiations throughout the day.”\u003c/p>\n\u003cp>On Tuesday, March 24, he says, that all changed. “Everything got quiet. Wednesday, the 25th, superquiet. Thursday, now we’re getting nervous.”\u003c/p>\n\u003cp>Normally, chain restaurants buy a steady supply of produce, week after week. But most have shut down — and did so just as Florida’s vegetable harvest shifted into high gear. “Now you’re sitting there with all this production, perfect weather, and everybody’s like, ‘Oh no,’ ” Johnson says.\u003c/p>\n\u003cp>He told vegetable grower Mike Jamerson, Kim’s husband, that “we’re in trouble here. And it’s to the point where I’m going to fill my warehouse up and I’m going to have to tell you to stop picking.” That’s when workers stopped picking yellow squash on Kim Jamerson’s farm. \u003c/p>\n\u003cp>A week after Jamerson told NPR that they’d have to “tear up” their crops, the situation had improved a bit. Workers have resumed picking, but it’s now a “salvage operation,” Jamerson says. Workers are discarding vegetables that weren’t picked in time. The vegetables that they salvage will be sold at cut-rate prices, with some going to food banks.\u003c/p>\n\u003cp>Something similar has happened to dairy farmers. Milk sales in supermarkets have increased, but not enough to make up for the drop in sales of milk to schools and cheese to Pizza Hut. Factories that make milk powder can’t take any more milk. So some milk cooperatives have told their farmers to dump the milk that their cows are producing. \u003c/p>\n\u003cp>The situation is especially dire for Florida’s tomato growers, who sell 80% of their production to restaurants and other food service companies, rather than to supermarkets. “Think about all the sandwiches that people eat at lunch when they go out. Burgers, or salads at restaurants,” says Michael Schadler, from the Florida Tomato Exchange, which represents some of the state’s largest growers. “Many of those food service items have tomatoes.” \u003c/p>\n\u003cp>Schadler says growers already are “walking away from big portions of their crop,” writing off huge investments. \u003c/p>\n\u003cp>Meanwhile, food banks and pantries are having trouble supplying enough food to people who need it, including millions of children who no longer are getting free meals at school and people who’ve lost jobs in recent weeks.\u003c/p>\n\u003cp>\u003ca href=\"https://www.feedingamerica.org/about-us/leadership/claire-babineaux-fontenot\">Claire Babineaux-Fontenot\u003c/a>, CEO of Feeding America, a network of food banks and charitable meals programs, says that these programs normally receive large donations of unsold food from retail stores. In recent weeks, though, as retailers struggled to keep their shelves stocked, “we’re seeing as much as a 35% reduction in that donation stream from retail,” Babineaux-Fontenot says.\u003c/p>\n\u003cp>Food banks are trying to claim more of the food that is stranded in the food service supply chain, either through donations or by buying it. \u003c/p>\n\u003cp>“We are capturing some of that. I know we’re not capturing all of it, but we have a whole team of professionals whose job is to try to make sure that we capture as much of it as we possibly can,” Babineaux-Fontenot says. “So we’re having conversations with major restaurants. We’re having conversations with major producers, with trade associations, the whole gamut.”\u003c/p>\n\u003cp>Kim Jamerson thinks “it’s just a shame” to have enough food, but not be able to get it to the people in need. “A woman who’s got two kids how can she live on unemployment, go into a grocery store and pay 90 cents for a cucumber? She just can’t do that.”\u003c/p>\n\u003cp>Part of the problem is that it takes labor to move produce from one place to another, and people are still figuring out who will pay for that. Jamerson says she can’t afford to pay workers to pick a crop that will be donated. She wants the government to step in, provide workers or the money to pay them, and make sure food gets to where it’s needed. “The government could send the food to the hospitals, the rest homes, to the food banks, to the churches,” she says.\u003c/p>\n\u003cp>Jay Johnson, the produce broker, says there are signs of hope. The food banks in Florida, he says, are starting to buy some of his vegetables and figuring out new ways to distribute them. \u003c/p>\n\u003cp>They asked Johnson to pack some vegetables in smaller packs, so food banks don’t need so many volunteers to repack them. “They’re understaffed, and don’t have warehouse space, and they’re having to think creatively,” he says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see a little bit of light at the end of the tunnel here,” he says, adding that he won’t make money on those sales to food banks. Farmers won’t either, but at least they’ll be able to keep their workforce employed until, hopefully, better times arrive. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org/sections/thesalt/2020/04/03/826006362/food-shortages-nope-too-much-food-in-the-wrong-places\" rel=\"noopener noreferrer\" target=\"_blank\">NPR.org\u003c/a>. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Food+Shortages%3F+Nope%2C+Too+Much+Food+In+The+Wrong+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This is 'Creepy': Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong",
"headTitle": "This is ‘Creepy’: Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong | KQED",
"content": "\u003cp>Lawrence Wright is not interested in saying “I told you so.”\u003c/p>\n\u003cp>At the beginning of his new novel, he writes: “Dear Reader, The events depicted in \u003cem>The End of October \u003c/em>were meant to serve as a cautionary tale. But real life doesn’t always wait for warnings.”\u003c/p>\n\u003cp>Wright’s fictional tale is about a mysterious virus that starts in Asia, sweeps across continents, cripples the health care system, wrecks the economy, and kills people worldwide.\u003c/p>\n\u003cp>“I knew from talking to all these medical experts that something like this was going to happen,” Wright says. “They all knew it. They just didn’t know when.”\u003c/p>\n\u003cp>Wright began writing the novel in 2017 and turned in his final draft in the summer of 2019. He says the timing of publication—in the midst of the coronavirus pandemic—is a coincidence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the parallels with what’s actually happening in real life, that’s not coincidental,” he says. “I researched it very carefully and I talked to people who \u003cem>knew\u003c/em> what was going to happen. They laid it out for me. … So the fact that it’s unfolding as they suggested it would and as I reflected in the novel is no surprise at all.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On seeing aspects of his fiction become fact\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879419\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png\" alt=\"‘The End of October,’ by Lawrence Wright.\" width=\"287\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM-160x249.png 160w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">‘The End of October,’ by Lawrence Wright.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s creepy. It’s weird. In some ways I’m keeping score for myself: You know, what did I get right and what did I get wrong? On the other hand, I’m pretty sick of the coincidences and I hope it doesn’t turn out as badly as I forecast. But, you know, this was meant to be a kind of warning cry. …\u003c/p>\n\u003cp>I made use of some of our nation’s best minds, most of them work for the government in one way or another. … The only difference between me and people in the administration is that I listened to these experts and, you know, the novel reflects the anxiety that they expressed to me.\u003c/p>\n\u003cp>\u003cstrong>On how he came to write a story about a killer virus\u003c/strong>\u003c/p>\n\u003cp>This actually started a decade ago when Ridley Scott had asked me to write a screenplay. He had read the Cormac McCarthy novel \u003ca href=\"https://www.npr.org/books/titles/137975933/the-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Road\u003c/em>\u003c/a>—this post-apocalyptic [story of a] father and son wandering through the ruins of civilization. But there’s no explanation about what happened. And that was what his question to me was: What happened? What force or event would have been so powerful they would bring down civilization?\u003c/p>\n\u003cp>\u003cstrong>On the research he did for the book\u003c/strong>\u003c/p>\n\u003cp>I was always interested in medicine. When I was a young reporter I lived in Atlanta and I did some articles out of the Centers for Disease Control and Prevention. So I was enchanted by epidemiology and the people that worked in that field. …\u003c/p>\n\u003cp>I decided I had to go all the way—just as I would on a nonfiction book or \u003cem>a New Yorker \u003c/em>story. So I started traveling. … I traveled to [the] Washington, D.C., area talking to government experts and people in public health. Also, I went to Bethesda, where the National Institutes of Health are, and to Fort Detrick, which used to be our bio weapons laboratory, but now specializes in preventing novel diseases. … For me at least, working from reality is a lot more interesting than just trying to conjure up what it would be like.\u003c/p>\n\u003cp>\u003cstrong>On what he didn’t predict in his book\u003c/strong>\u003c/p>\n\u003cp>The thing that I underestimated was the solidarity of ordinary people to isolate themselves—sometimes against their own government’s recommendations and at great personal cost. …\u003c/p>\n\u003cp>And that has … succeeded in many respects in keeping the death toll down, I think. And I didn’t really take that into account in the novel. On the other hand, the government is responding pretty much as I expected—or worse.\u003c/p>\n\u003cp>\u003cstrong>On whether readers won’t want to read about a deadly virus during a pandemic\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13879420\" class=\"wp-caption alignright\" style=\"max-width: 282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png\" alt=\"Lawrence Wright won the Pulitzer Prize in 2007 for his book 'The Looming Tower: Al-Qaeda and the Road to 9/11.' He is a writer for 'The New Yorker.'\" width=\"282\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png 282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM-160x131.png 160w\" sizes=\"(max-width: 282px) 100vw, 282px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Wright won the Pulitzer Prize in 2007 for his book ‘The Looming Tower: Al-Qaeda and the Road to 9/11.’ He is a writer for ‘The New Yorker.’ \u003ccite>(Kenny Braun/Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I worry about people being frightened by what happens in the novel and worrying that that’ll come true in real life. On the other hand, some of my early readers say that they were consoled by it because they understand, you know, the actions of a virus and what it takes to fight it. And also, I think and hope that my admiration for the kind of people that are involved in this field of public health comes through. And, you know, people appreciate the sacrifice, but also the ingenuity of people in that field.\u003c/p>\n\u003cp>\u003cstrong>On what he’ll write his next novel about\u003c/strong>\u003c/p>\n\u003cp>I’ve been getting many suggestions. You know, why don’t you write about the end of climate change or a woman president or something? People believe that I have these powers to put things into play in the real world. All I’m doing is examining the world that we live in and extrapolating where it might go. And so the kind of geopolitical clashes that are depicted in the novel are just taking events and rivalries that we’re experiencing right now and imagining under stress, the stress of a pandemic. … As I said, I hope these things don’t come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Becky Sullivan and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Is+%27Creepy%27%3A+Lawrence+Wright+Wishes+His+Pandemic+Novel+Had+Gotten+It+Wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lawrence Wright is not interested in saying “I told you so.”\u003c/p>\n\u003cp>At the beginning of his new novel, he writes: “Dear Reader, The events depicted in \u003cem>The End of October \u003c/em>were meant to serve as a cautionary tale. But real life doesn’t always wait for warnings.”\u003c/p>\n\u003cp>Wright’s fictional tale is about a mysterious virus that starts in Asia, sweeps across continents, cripples the health care system, wrecks the economy, and kills people worldwide.\u003c/p>\n\u003cp>“I knew from talking to all these medical experts that something like this was going to happen,” Wright says. “They all knew it. They just didn’t know when.”\u003c/p>\n\u003cp>Wright began writing the novel in 2017 and turned in his final draft in the summer of 2019. He says the timing of publication—in the midst of the coronavirus pandemic—is a coincidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the parallels with what’s actually happening in real life, that’s not coincidental,” he says. “I researched it very carefully and I talked to people who \u003cem>knew\u003c/em> what was going to happen. They laid it out for me. … So the fact that it’s unfolding as they suggested it would and as I reflected in the novel is no surprise at all.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On seeing aspects of his fiction become fact\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879419\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png\" alt=\"‘The End of October,’ by Lawrence Wright.\" width=\"287\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM-160x249.png 160w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">‘The End of October,’ by Lawrence Wright.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s creepy. It’s weird. In some ways I’m keeping score for myself: You know, what did I get right and what did I get wrong? On the other hand, I’m pretty sick of the coincidences and I hope it doesn’t turn out as badly as I forecast. But, you know, this was meant to be a kind of warning cry. …\u003c/p>\n\u003cp>I made use of some of our nation’s best minds, most of them work for the government in one way or another. … The only difference between me and people in the administration is that I listened to these experts and, you know, the novel reflects the anxiety that they expressed to me.\u003c/p>\n\u003cp>\u003cstrong>On how he came to write a story about a killer virus\u003c/strong>\u003c/p>\n\u003cp>This actually started a decade ago when Ridley Scott had asked me to write a screenplay. He had read the Cormac McCarthy novel \u003ca href=\"https://www.npr.org/books/titles/137975933/the-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Road\u003c/em>\u003c/a>—this post-apocalyptic [story of a] father and son wandering through the ruins of civilization. But there’s no explanation about what happened. And that was what his question to me was: What happened? What force or event would have been so powerful they would bring down civilization?\u003c/p>\n\u003cp>\u003cstrong>On the research he did for the book\u003c/strong>\u003c/p>\n\u003cp>I was always interested in medicine. When I was a young reporter I lived in Atlanta and I did some articles out of the Centers for Disease Control and Prevention. So I was enchanted by epidemiology and the people that worked in that field. …\u003c/p>\n\u003cp>I decided I had to go all the way—just as I would on a nonfiction book or \u003cem>a New Yorker \u003c/em>story. So I started traveling. … I traveled to [the] Washington, D.C., area talking to government experts and people in public health. Also, I went to Bethesda, where the National Institutes of Health are, and to Fort Detrick, which used to be our bio weapons laboratory, but now specializes in preventing novel diseases. … For me at least, working from reality is a lot more interesting than just trying to conjure up what it would be like.\u003c/p>\n\u003cp>\u003cstrong>On what he didn’t predict in his book\u003c/strong>\u003c/p>\n\u003cp>The thing that I underestimated was the solidarity of ordinary people to isolate themselves—sometimes against their own government’s recommendations and at great personal cost. …\u003c/p>\n\u003cp>And that has … succeeded in many respects in keeping the death toll down, I think. And I didn’t really take that into account in the novel. On the other hand, the government is responding pretty much as I expected—or worse.\u003c/p>\n\u003cp>\u003cstrong>On whether readers won’t want to read about a deadly virus during a pandemic\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13879420\" class=\"wp-caption alignright\" style=\"max-width: 282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png\" alt=\"Lawrence Wright won the Pulitzer Prize in 2007 for his book 'The Looming Tower: Al-Qaeda and the Road to 9/11.' He is a writer for 'The New Yorker.'\" width=\"282\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png 282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM-160x131.png 160w\" sizes=\"(max-width: 282px) 100vw, 282px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Wright won the Pulitzer Prize in 2007 for his book ‘The Looming Tower: Al-Qaeda and the Road to 9/11.’ He is a writer for ‘The New Yorker.’ \u003ccite>(Kenny Braun/Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I worry about people being frightened by what happens in the novel and worrying that that’ll come true in real life. On the other hand, some of my early readers say that they were consoled by it because they understand, you know, the actions of a virus and what it takes to fight it. And also, I think and hope that my admiration for the kind of people that are involved in this field of public health comes through. And, you know, people appreciate the sacrifice, but also the ingenuity of people in that field.\u003c/p>\n\u003cp>\u003cstrong>On what he’ll write his next novel about\u003c/strong>\u003c/p>\n\u003cp>I’ve been getting many suggestions. You know, why don’t you write about the end of climate change or a woman president or something? People believe that I have these powers to put things into play in the real world. All I’m doing is examining the world that we live in and extrapolating where it might go. And so the kind of geopolitical clashes that are depicted in the novel are just taking events and rivalries that we’re experiencing right now and imagining under stress, the stress of a pandemic. … As I said, I hope these things don’t come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Becky Sullivan and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Is+%27Creepy%27%3A+Lawrence+Wright+Wishes+His+Pandemic+Novel+Had+Gotten+It+Wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Comedy Mourns the 'End of an Era' as UCB Closes New York Locations",
"headTitle": "Comedy Mourns the ‘End of an Era’ as UCB Closes New York Locations | KQED",
"content": "\u003cp>When the Upright Citizens Brigade announced plans to permanently close its New York bases last week, comedy lost a beloved home. The scrappy, alternative comedy troupe that grew into a school and theater revolutionized improv in New York and beyond with its embrace of “Yes, and …”\u003c/p>\n\u003cp>The New York institution incubated the talents of stars such as Kate McKinnon, Aziz Ansari, Chris Gethard, Donald Glover, Aubrey Plaza and many others in the comedy world. A pillar of longform improv, UCB teachings have been brought into countless comedy writers’ rooms and are etched into many successful TV shows.\u003c/p>\n\u003cp>Four of the company’s founding members, known as the “UCB4″—Amy Poehler, Matt Besser, Matt Walsh and Ian Roberts—told staff in an email on April 21 that the organization couldn’t afford to renew its leases on the group’s two Manhattan locations: the UCB theater in Hell’s Kitchen and a training center in the Garment District.\u003c/p>\n\u003cp>UCB also has two locations in Los Angeles where operations have been temporarily halted during the coronavirus outbreak, but there are currently no plans to close them.\u003c/p>\n\u003cp>Obits followed, marking the exit of UCB’s physical presence in the city where it took off in the ’90s, when the group turned a former strip club into its first theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The guys that I came up with in New York at the UCB Theater—we made our bones there basically,” said Rob Corddry, who went on to be a \u003cem>Daily Show\u003c/em> correspondent and star in comedy films including \u003cem>Hot Tub Time Machine\u003c/em>. “It’s really sad. Sort of the end of an era.”\u003c/p>\n\u003cp>The news comes a month after layoffs were announced at the group’s New York and Los Angeles facilities in response to the coronavirus. A small number of staff were kept at training centers on both coasts.\u003c/p>\n\u003cp>But UCB was under financial strain long before the pandemic. Many UCBers cast the move as an example of an opaque, top-down decision-making that, over the years, they say has sowed distrust in UCB leadership among its members.\u003c/p>\n\u003cp>“The biggest issue with UCB was the lack of communication of the company and the owners to their employees,” said Paris Adkins, a New York performer who was laid off from her administrative job with the company last month.\u003c/p>\n\u003cp>A previous round of layoffs took place at the end of 2018, mostly of \u003ca href=\"https://www.nytimes.com/2018/12/11/arts/television/upright-citizens-brigade-layoffs.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York employees\u003c/a>. Adkins said the pandemic “is just the extenuating circumstance that put things over the edge.”\u003c/p>\n\u003cp>As for the most recent closures, UCB’s founders admitted to falling short of expectations.\u003c/p>\n\u003cp>“Look, we heard the community when they said, ‘We’re scared, too, and we want better communication,’ ” Amy Poehler told\u003cem> The Hollywood Reporter\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/news/amy-poehler-ucb-founders-address-nyc-facility-closures-we-trying-keep-it-alive-1290602\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with the UCB4 \u003c/a>after the announcement. “I think we did make mistakes, and we’re trying to do better.”\u003c/p>\n\u003cp>UCB has not responded to NPR’s attempts to contact the organization.\u003c/p>\n\u003cp>Chris Renfro, an LA-based performer and show producer who relied on UCB as his main source of income, said that learning in March via a mass email that his 3-year career there had come to an end struck him as a betrayal of the values the UCB4 claimed to live by.\u003c/p>\n\u003cp>“UCB is about a community, it’s about having each other’s backs,” he said, referencing the improv tradition UCB students learn of literally patting each other’s backs and saying “Got your back.”\u003c/p>\n\u003cp>“It felt like they had turned their backs on this massive community they had built up around them,” he said. “So now there’s a weird taste in a lot of peoples’ mouths because of that.”\u003c/p>\n\u003cp>According to a letter sent to staff addressing the layoffs, Poehler said she would pay for an additional month of health care for former full-time staff.\u003c/p>\n\u003cp>Much of the company’s operations run on part-time staff, according to Adkins. She estimated that UCB cut a total of 45 New York-based employees across the city since last month.\u003c/p>\n\u003cp>Despite the community’s frustrations, when the indefinite shutdown of the New York outposts turned definite, the tributes rolled in online.\u003c/p>\n\u003cp>Stephen Colbert, who studied at the peer improv hub Second City in Chicago before moving to New York,\u003ca href=\"https://twitter.com/StephenAtHome/status/1252739663892275202?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> tweeted “I’ll always be grateful” \u003c/a>for the times he was roped in to perform with UCB during the ’90s in the acclaimed sketch show mainstay \u003cem>Asssscat.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Daily Show\u003c/em> correspondent \u003ca href=\"https://twitter.com/jordanklepper/status/1252662922293149697?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Klepper added\u003c/a>, “When I left Chicago, the people at UCB NY welcomed me, challenged me, and embodied the NY spirit of full commitment today because tomorrow you could run out of cash and life ships you back home.”\u003c/p>\n\u003cp>Other dispatches on social media were less endearing.\u003c/p>\n\u003cp>Former students, many of whom shelled out several hundred dollars for improv classes, wrote about negative experiences and wasted money. Some revived longstanding criticism of the theater’s policy to not pay its performers, unlike many of its improv peers.\u003c/p>\n\u003cp>Despite its problems, many felt a sense of community at UCB, Adkins said.\u003c/p>\n\u003cp>“I think people are grieving,” she said. “It’s pretty much my only community in New York and I think a lot of people feel that way. You don’t get the support of a community like you do at UCB.”\u003c/p>\n\u003cp>In an effort to financially support herself and her peers following the layoffs, Adkins started a GoFundMe page to raise money for New York staff. To date, the account \u003ca href=\"https://www.gofundme.com/f/help-the-ucb-ny-staff\" target=\"_blank\" rel=\"noopener noreferrer\">has raised nearly $60,000\u003c/a>. She’s splitting the funds between staff members, who will receive a month’s worth of pay. The rest will be divided among teachers who are in need, Adkins said.\u003c/p>\n\u003cp>In the \u003cem>THR \u003c/em>interview, Amy Poehler assured the UCB community, “We’re not leaving New York.”\u003c/p>\n\u003cp>At least for the short-term, the company has moved both LA and New York classes online. For the long-term in New York, leadership has floated plans to return to the old days of renting other independent spaces to hold classes and performances.\u003c/p>\n\u003cp>Still, even some of its youngest members see the now-shuttered hubs as a piece of history.\u003c/p>\n\u003cp>“But that’s replaceable and people are not,” said former training center staff member Maicy Jo Schwartz, who began her UCB NY career in 2014.\u003c/p>\n\u003cp>Schwartz sees a silver lining.\u003c/p>\n\u003cp>“I wouldn’t be surprised if in the future some people branch off and start their own theaters or their own training centers or their own underground improv and sketch, because New York is a perfect place to do that,” she said. “And I do hope that the UCB4—Amy, Matt, Matt and Ian—can be part of that and support that when there are future endeavors that their alumni take on.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedy+Community+Mourns+The+%27End+Of+An+Era%27+As+UCB+Closes+New+York+Locations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Upright Citizens Brigade announced plans to permanently close its New York bases last week, comedy lost a beloved home. The scrappy, alternative comedy troupe that grew into a school and theater revolutionized improv in New York and beyond with its embrace of “Yes, and …”\u003c/p>\n\u003cp>The New York institution incubated the talents of stars such as Kate McKinnon, Aziz Ansari, Chris Gethard, Donald Glover, Aubrey Plaza and many others in the comedy world. A pillar of longform improv, UCB teachings have been brought into countless comedy writers’ rooms and are etched into many successful TV shows.\u003c/p>\n\u003cp>Four of the company’s founding members, known as the “UCB4″—Amy Poehler, Matt Besser, Matt Walsh and Ian Roberts—told staff in an email on April 21 that the organization couldn’t afford to renew its leases on the group’s two Manhattan locations: the UCB theater in Hell’s Kitchen and a training center in the Garment District.\u003c/p>\n\u003cp>UCB also has two locations in Los Angeles where operations have been temporarily halted during the coronavirus outbreak, but there are currently no plans to close them.\u003c/p>\n\u003cp>Obits followed, marking the exit of UCB’s physical presence in the city where it took off in the ’90s, when the group turned a former strip club into its first theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The guys that I came up with in New York at the UCB Theater—we made our bones there basically,” said Rob Corddry, who went on to be a \u003cem>Daily Show\u003c/em> correspondent and star in comedy films including \u003cem>Hot Tub Time Machine\u003c/em>. “It’s really sad. Sort of the end of an era.”\u003c/p>\n\u003cp>The news comes a month after layoffs were announced at the group’s New York and Los Angeles facilities in response to the coronavirus. A small number of staff were kept at training centers on both coasts.\u003c/p>\n\u003cp>But UCB was under financial strain long before the pandemic. Many UCBers cast the move as an example of an opaque, top-down decision-making that, over the years, they say has sowed distrust in UCB leadership among its members.\u003c/p>\n\u003cp>“The biggest issue with UCB was the lack of communication of the company and the owners to their employees,” said Paris Adkins, a New York performer who was laid off from her administrative job with the company last month.\u003c/p>\n\u003cp>A previous round of layoffs took place at the end of 2018, mostly of \u003ca href=\"https://www.nytimes.com/2018/12/11/arts/television/upright-citizens-brigade-layoffs.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York employees\u003c/a>. Adkins said the pandemic “is just the extenuating circumstance that put things over the edge.”\u003c/p>\n\u003cp>As for the most recent closures, UCB’s founders admitted to falling short of expectations.\u003c/p>\n\u003cp>“Look, we heard the community when they said, ‘We’re scared, too, and we want better communication,’ ” Amy Poehler told\u003cem> The Hollywood Reporter\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/news/amy-poehler-ucb-founders-address-nyc-facility-closures-we-trying-keep-it-alive-1290602\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with the UCB4 \u003c/a>after the announcement. “I think we did make mistakes, and we’re trying to do better.”\u003c/p>\n\u003cp>UCB has not responded to NPR’s attempts to contact the organization.\u003c/p>\n\u003cp>Chris Renfro, an LA-based performer and show producer who relied on UCB as his main source of income, said that learning in March via a mass email that his 3-year career there had come to an end struck him as a betrayal of the values the UCB4 claimed to live by.\u003c/p>\n\u003cp>“UCB is about a community, it’s about having each other’s backs,” he said, referencing the improv tradition UCB students learn of literally patting each other’s backs and saying “Got your back.”\u003c/p>\n\u003cp>“It felt like they had turned their backs on this massive community they had built up around them,” he said. “So now there’s a weird taste in a lot of peoples’ mouths because of that.”\u003c/p>\n\u003cp>According to a letter sent to staff addressing the layoffs, Poehler said she would pay for an additional month of health care for former full-time staff.\u003c/p>\n\u003cp>Much of the company’s operations run on part-time staff, according to Adkins. She estimated that UCB cut a total of 45 New York-based employees across the city since last month.\u003c/p>\n\u003cp>Despite the community’s frustrations, when the indefinite shutdown of the New York outposts turned definite, the tributes rolled in online.\u003c/p>\n\u003cp>Stephen Colbert, who studied at the peer improv hub Second City in Chicago before moving to New York,\u003ca href=\"https://twitter.com/StephenAtHome/status/1252739663892275202?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> tweeted “I’ll always be grateful” \u003c/a>for the times he was roped in to perform with UCB during the ’90s in the acclaimed sketch show mainstay \u003cem>Asssscat.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Daily Show\u003c/em> correspondent \u003ca href=\"https://twitter.com/jordanklepper/status/1252662922293149697?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Klepper added\u003c/a>, “When I left Chicago, the people at UCB NY welcomed me, challenged me, and embodied the NY spirit of full commitment today because tomorrow you could run out of cash and life ships you back home.”\u003c/p>\n\u003cp>Other dispatches on social media were less endearing.\u003c/p>\n\u003cp>Former students, many of whom shelled out several hundred dollars for improv classes, wrote about negative experiences and wasted money. Some revived longstanding criticism of the theater’s policy to not pay its performers, unlike many of its improv peers.\u003c/p>\n\u003cp>Despite its problems, many felt a sense of community at UCB, Adkins said.\u003c/p>\n\u003cp>“I think people are grieving,” she said. “It’s pretty much my only community in New York and I think a lot of people feel that way. You don’t get the support of a community like you do at UCB.”\u003c/p>\n\u003cp>In an effort to financially support herself and her peers following the layoffs, Adkins started a GoFundMe page to raise money for New York staff. To date, the account \u003ca href=\"https://www.gofundme.com/f/help-the-ucb-ny-staff\" target=\"_blank\" rel=\"noopener noreferrer\">has raised nearly $60,000\u003c/a>. She’s splitting the funds between staff members, who will receive a month’s worth of pay. The rest will be divided among teachers who are in need, Adkins said.\u003c/p>\n\u003cp>In the \u003cem>THR \u003c/em>interview, Amy Poehler assured the UCB community, “We’re not leaving New York.”\u003c/p>\n\u003cp>At least for the short-term, the company has moved both LA and New York classes online. For the long-term in New York, leadership has floated plans to return to the old days of renting other independent spaces to hold classes and performances.\u003c/p>\n\u003cp>Still, even some of its youngest members see the now-shuttered hubs as a piece of history.\u003c/p>\n\u003cp>“But that’s replaceable and people are not,” said former training center staff member Maicy Jo Schwartz, who began her UCB NY career in 2014.\u003c/p>\n\u003cp>Schwartz sees a silver lining.\u003c/p>\n\u003cp>“I wouldn’t be surprised if in the future some people branch off and start their own theaters or their own training centers or their own underground improv and sketch, because New York is a perfect place to do that,” she said. “And I do hope that the UCB4—Amy, Matt, Matt and Ian—can be part of that and support that when there are future endeavors that their alumni take on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedy+Community+Mourns+The+%27End+Of+An+Era%27+As+UCB+Closes+New+York+Locations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does it mean to be a woman who had a boyhood? That’s the question LGBTQ activist Jennifer Finney Boylan set out to explore her new memoir, \u003cem>Good Boy: My Life in Seven Dogs\u003c/em>.\u003c/p>\n\u003cp>After Boylan came out as trans in her 40s, she felt estranged from her previous life. She describes her new book as a “memoir of masculinity, kind of told the way an expatriate might speak of the country of their birth.”\u003c/p>\n\u003cp>Boylan acknowledges that some in the trans community might take issue with the notion that she had a “boyhood.”\u003c/p>\n\u003cp>“There are many people who feel that they always were who they are, and to refer to an earlier part of your life differently is really disrespectful,” she says. “But even though I respect that view, for me, … I had this experience and it’s an experience that I now struggle to connect to.”\u003c/p>\n\u003cp>Boylan writes that when she was living as a boy, and then as a man, there were times when she found it impossible to express the thing that was in her heart. But she never had to hide what she felt for dogs. Her memoir is told through the lens of seven different dogs she loved throughout the years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are times when I struggle to remember what it was like to live in that world, but then I remember the dogs, and it becomes really clear,” she says. “There was the dog that I had when I was a boy. There was a dog for when I was a teenager. And there’s one for when I was a cool college boy, and there was one for when I was a husband, and a boyfriend, and a father.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On her first dog\u003c/strong>\u003c/p>\n\u003cp>The first dog we had was this mulish, snarling, resentful Dalmatian who was named—and I can’t believe we named the dog this—Playboy. … Playboy would steal the Thanksgiving turkey off the table and chase after motorcycles and bite your friends. So, it was a difficult relationship. However, the one person in the world who loved Playboy without reservation—and the feeling was mutual—was my father. … He would just get down on the floor and ask that question that has haunted me my entire life: “Who’s a good boy? Who’s a good boy?” And I remember being very jealous in some ways of that dog, because my father could love this horrible dog without condition, whereas for me, it was harder, because I didn’t know who was a good boy, but I knew it wasn’t me.\u003c/p>\n\u003cfigure id=\"attachment_13879066\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png\" alt=\"‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\" width=\"300\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM-160x243.png 160w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On why she didn’t come out as trans or take hormones until she was in her 40s \u003c/strong>\u003c/p>\n\u003cp>In those days, coming out as transgender was unknown territory, at least it was for me. I barely even had a word for the thing that I felt. And as much as I knew I wanted to live my true life, I also felt that if I lived that life, it would almost surely lead to a life of marginality, of violence. I just thought, I might well be killed, that there was no place in the world in which I could live. There is no place in the world for me to be. …\u003c/p>\n\u003cp>If I’d gone to a doctor and been given the chance to take the medication that I needed, I probably still would have been very reluctant to do it because I was just too afraid. And I thought that I would be wrecking the rest of my life, that I would never be loved by anyone except for maybe my dog. I thought that I would never have a family, I would never have a job. It seemed like my best life might well cost me my life. I just soldiered on, hoping that it would all get better.\u003c/p>\n\u003cp>\u003cstrong>On the process of coming out to her wife \u003c/strong>\u003c/p>\n\u003cp>It was not exactly one day. It was less of a decision than, like, an erosion, maybe. … But I remember there was one day when a barrier came down at a railroad crossing and it was snowing. It was probably January of 2000. So it was the new millennium. I remember that it felt like we were in a new era. And I just watched the cars of the freight train going by and started kind of daydreaming and thinking that question: How long are you going to wait before you leave your actual life? Eventually, the barrier went up, the train disappeared down the tracks, but I was just sitting there in my car in this kind of daze until cars behind me started honking and wondering what was wrong with me. So that was the day I came home and I said to my wife, “I think I’m gonna get back into therapy.” We talked a little bit about the gender question before that moment, but that was the moment that I thought, I cannot keep living a life in which I’m not really myself.\u003c/p>\n\u003cp>\u003cstrong>On her wife’s reaction \u003c/strong>\u003c/p>\n\u003cp>She’s a social worker, so her first reaction was, “Good! Therapy’s a good thing.” She wanted me to be happy, but she also felt, once it became clear that transition was coming right ahead, that she had a dilemma where she had to think: I have to help the person that I love most in the world at this moment of their crisis. But in so doing, I might lose the person that I love. It’s kind of an unsolvable dilemma. And, yet, here we are still together, after 32 years of marriage—12 as husband and wife, and 20 as wife and wife.\u003c/p>\n\u003cp>\u003cstrong>On the process of figuring out what kind of woman she is as she transitioned\u003c/strong>\u003c/p>\n\u003cp>I was essentially going through a second adolescence at age 40. And a lot of the kind of trial-and-error things that girls go through and women go through when they’re 5 and 10 and 15 were things that I was having to figure out. And even now, there are some things that I’m still trying to figure out. Like doing a French braid. I’m 61. I’m beginning to think that that ship has sailed. I’m probably never going to learn how to do that now. …\u003c/p>\n\u003cp>I think to live in this culture means that you’re constantly being influenced by what the culture wants you to be, and if you’re a woman, it means you’re supposed to be thin. You’re supposed to care about how pretty you are. You’re supposed to care about a lot of things that maybe you shouldn’t care about as much as the culture says you ought. … There’s a way in which I felt: If I want to fit in, if I want to pass in the world, then this is all the junk that I have to do. And it took me a while before I realized, actually, no, you can fight against that stuff. You’ve gone to all this trouble to become female. Why would you become anything less than the person you want to be?\u003c/p>\n\u003cp>\u003cstrong>On how being trans affected her reaction when her son came out as trans and became her daughter \u003c/strong>\u003c/p>\n\u003cp>I’ll simply say that when I came out as trans, my expectation was that people should be happy for me, and I knew it was asking a lot of people, but I still had the hope that people would understand that I was doing a difficult thing that was necessary that would enable me to survive in the world.\u003c/p>\n\u003cp>Later, when my own child came out as trans, I was surprised at how much I struggled, at least at first, with it. I suddenly had this insight into what I’d been asking other people, and including my own mother, to understand. In the end, I think I was glad for her, and I love my daughter and I’m really proud of her. But it’s funny how I think having me as a parent didn’t make my daughter’s transition easier. In some ways, I think it may have made it harder.\u003c/p>\n\u003cp>We have a lot of our dreams tied up in our children, and it is hard to understand the obvious, which is that your children aren’t here to live your dreams. Your children are here to live theirs. When I came out to my own mother 20 years ago, she was 85. She was an evangelical Christian. She was a Republican, and I had a pretty good sense that my coming out as trans was not going to strike her as the greatest thing that had ever happened to her—and yet I came out to her. I told her the story and I started to cry. And she got up out of her chair and she put her arms around me and she said, “I would never turn my back on my child. I will always love you.” And I said, “But, mom, won’t it be a scandal when everyone finds out that I’m your daughter now?” And she said, “Well, quite frankly, yes, but I will adjust.” And then she quoted First Corinthians and said, “The greatest of these is love.” She said to me, “love will prevail,” and in large measure, it has in my life. So in some ways what I’m trying to do for my own daughter is to follow the example that my own mother set for me and to allow love to prevail.\u003c/p>\n\u003cp>\u003cstrong>On what she considers to be the biggest differences between her life before her transition and now \u003c/strong>\u003c/p>\n\u003cp>In some ways, the biggest change is not going from male to female. The biggest change is going from someone who has a secret to someone who doesn’t have a secret. And if you have a secret that is as profound as the question of who you are, it’s something that’s going to eat at you all the time. So it used to be I’d wake up in the morning and I’d think, “Okay, we’re gonna do the guy thing again now.” And now I wake up in the morning and I don’t think about it. In a way, gender has become something I think about a whole lot less.\u003c/p>\n\u003cp>I think it’s not just the difference to male and female, it’s the difference between being young and being middle aged. So maybe I’m the wrong person to observe those changes, but I try to live my life with courage as best I can. I’ll be honest and say that tears live very close to the surface now when they didn’t used to. Maybe it’s estrogen. Maybe it’s simply being older. … You live long enough, you end up with a lot of arrows in your side. Whatever the reason, it doesn’t take much to get me weeping, and quite often weeping just because something wonderful has happened. So my emotions are definitely closer to the surface, but then everything is closer to the surface—and not only because of hormones, but because I’m living in the world with no secrets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger 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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I%27m+Living+In+The+World+With+No+Secrets%2C%27+Says+Trans+Activist+Jennifer+Finney+Boylan+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to be a woman who had a boyhood? That’s the question LGBTQ activist Jennifer Finney Boylan set out to explore her new memoir, \u003cem>Good Boy: My Life in Seven Dogs\u003c/em>.\u003c/p>\n\u003cp>After Boylan came out as trans in her 40s, she felt estranged from her previous life. She describes her new book as a “memoir of masculinity, kind of told the way an expatriate might speak of the country of their birth.”\u003c/p>\n\u003cp>Boylan acknowledges that some in the trans community might take issue with the notion that she had a “boyhood.”\u003c/p>\n\u003cp>“There are many people who feel that they always were who they are, and to refer to an earlier part of your life differently is really disrespectful,” she says. “But even though I respect that view, for me, … I had this experience and it’s an experience that I now struggle to connect to.”\u003c/p>\n\u003cp>Boylan writes that when she was living as a boy, and then as a man, there were times when she found it impossible to express the thing that was in her heart. But she never had to hide what she felt for dogs. Her memoir is told through the lens of seven different dogs she loved throughout the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are times when I struggle to remember what it was like to live in that world, but then I remember the dogs, and it becomes really clear,” she says. “There was the dog that I had when I was a boy. There was a dog for when I was a teenager. And there’s one for when I was a cool college boy, and there was one for when I was a husband, and a boyfriend, and a father.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On her first dog\u003c/strong>\u003c/p>\n\u003cp>The first dog we had was this mulish, snarling, resentful Dalmatian who was named—and I can’t believe we named the dog this—Playboy. … Playboy would steal the Thanksgiving turkey off the table and chase after motorcycles and bite your friends. So, it was a difficult relationship. However, the one person in the world who loved Playboy without reservation—and the feeling was mutual—was my father. … He would just get down on the floor and ask that question that has haunted me my entire life: “Who’s a good boy? Who’s a good boy?” And I remember being very jealous in some ways of that dog, because my father could love this horrible dog without condition, whereas for me, it was harder, because I didn’t know who was a good boy, but I knew it wasn’t me.\u003c/p>\n\u003cfigure id=\"attachment_13879066\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png\" alt=\"‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\" width=\"300\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM-160x243.png 160w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On why she didn’t come out as trans or take hormones until she was in her 40s \u003c/strong>\u003c/p>\n\u003cp>In those days, coming out as transgender was unknown territory, at least it was for me. I barely even had a word for the thing that I felt. And as much as I knew I wanted to live my true life, I also felt that if I lived that life, it would almost surely lead to a life of marginality, of violence. I just thought, I might well be killed, that there was no place in the world in which I could live. There is no place in the world for me to be. …\u003c/p>\n\u003cp>If I’d gone to a doctor and been given the chance to take the medication that I needed, I probably still would have been very reluctant to do it because I was just too afraid. And I thought that I would be wrecking the rest of my life, that I would never be loved by anyone except for maybe my dog. I thought that I would never have a family, I would never have a job. It seemed like my best life might well cost me my life. I just soldiered on, hoping that it would all get better.\u003c/p>\n\u003cp>\u003cstrong>On the process of coming out to her wife \u003c/strong>\u003c/p>\n\u003cp>It was not exactly one day. It was less of a decision than, like, an erosion, maybe. … But I remember there was one day when a barrier came down at a railroad crossing and it was snowing. It was probably January of 2000. So it was the new millennium. I remember that it felt like we were in a new era. And I just watched the cars of the freight train going by and started kind of daydreaming and thinking that question: How long are you going to wait before you leave your actual life? Eventually, the barrier went up, the train disappeared down the tracks, but I was just sitting there in my car in this kind of daze until cars behind me started honking and wondering what was wrong with me. So that was the day I came home and I said to my wife, “I think I’m gonna get back into therapy.” We talked a little bit about the gender question before that moment, but that was the moment that I thought, I cannot keep living a life in which I’m not really myself.\u003c/p>\n\u003cp>\u003cstrong>On her wife’s reaction \u003c/strong>\u003c/p>\n\u003cp>She’s a social worker, so her first reaction was, “Good! Therapy’s a good thing.” She wanted me to be happy, but she also felt, once it became clear that transition was coming right ahead, that she had a dilemma where she had to think: I have to help the person that I love most in the world at this moment of their crisis. But in so doing, I might lose the person that I love. It’s kind of an unsolvable dilemma. And, yet, here we are still together, after 32 years of marriage—12 as husband and wife, and 20 as wife and wife.\u003c/p>\n\u003cp>\u003cstrong>On the process of figuring out what kind of woman she is as she transitioned\u003c/strong>\u003c/p>\n\u003cp>I was essentially going through a second adolescence at age 40. And a lot of the kind of trial-and-error things that girls go through and women go through when they’re 5 and 10 and 15 were things that I was having to figure out. And even now, there are some things that I’m still trying to figure out. Like doing a French braid. I’m 61. I’m beginning to think that that ship has sailed. I’m probably never going to learn how to do that now. …\u003c/p>\n\u003cp>I think to live in this culture means that you’re constantly being influenced by what the culture wants you to be, and if you’re a woman, it means you’re supposed to be thin. You’re supposed to care about how pretty you are. You’re supposed to care about a lot of things that maybe you shouldn’t care about as much as the culture says you ought. … There’s a way in which I felt: If I want to fit in, if I want to pass in the world, then this is all the junk that I have to do. And it took me a while before I realized, actually, no, you can fight against that stuff. You’ve gone to all this trouble to become female. Why would you become anything less than the person you want to be?\u003c/p>\n\u003cp>\u003cstrong>On how being trans affected her reaction when her son came out as trans and became her daughter \u003c/strong>\u003c/p>\n\u003cp>I’ll simply say that when I came out as trans, my expectation was that people should be happy for me, and I knew it was asking a lot of people, but I still had the hope that people would understand that I was doing a difficult thing that was necessary that would enable me to survive in the world.\u003c/p>\n\u003cp>Later, when my own child came out as trans, I was surprised at how much I struggled, at least at first, with it. I suddenly had this insight into what I’d been asking other people, and including my own mother, to understand. In the end, I think I was glad for her, and I love my daughter and I’m really proud of her. But it’s funny how I think having me as a parent didn’t make my daughter’s transition easier. In some ways, I think it may have made it harder.\u003c/p>\n\u003cp>We have a lot of our dreams tied up in our children, and it is hard to understand the obvious, which is that your children aren’t here to live your dreams. Your children are here to live theirs. When I came out to my own mother 20 years ago, she was 85. She was an evangelical Christian. She was a Republican, and I had a pretty good sense that my coming out as trans was not going to strike her as the greatest thing that had ever happened to her—and yet I came out to her. I told her the story and I started to cry. And she got up out of her chair and she put her arms around me and she said, “I would never turn my back on my child. I will always love you.” And I said, “But, mom, won’t it be a scandal when everyone finds out that I’m your daughter now?” And she said, “Well, quite frankly, yes, but I will adjust.” And then she quoted First Corinthians and said, “The greatest of these is love.” She said to me, “love will prevail,” and in large measure, it has in my life. So in some ways what I’m trying to do for my own daughter is to follow the example that my own mother set for me and to allow love to prevail.\u003c/p>\n\u003cp>\u003cstrong>On what she considers to be the biggest differences between her life before her transition and now \u003c/strong>\u003c/p>\n\u003cp>In some ways, the biggest change is not going from male to female. The biggest change is going from someone who has a secret to someone who doesn’t have a secret. And if you have a secret that is as profound as the question of who you are, it’s something that’s going to eat at you all the time. So it used to be I’d wake up in the morning and I’d think, “Okay, we’re gonna do the guy thing again now.” And now I wake up in the morning and I don’t think about it. In a way, gender has become something I think about a whole lot less.\u003c/p>\n\u003cp>I think it’s not just the difference to male and female, it’s the difference between being young and being middle aged. So maybe I’m the wrong person to observe those changes, but I try to live my life with courage as best I can. I’ll be honest and say that tears live very close to the surface now when they didn’t used to. Maybe it’s estrogen. Maybe it’s simply being older. … You live long enough, you end up with a lot of arrows in your side. Whatever the reason, it doesn’t take much to get me weeping, and quite often weeping just because something wonderful has happened. So my emotions are definitely closer to the surface, but then everything is closer to the surface—and not only because of hormones, but because I’m living in the world with no secrets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and 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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I%27m+Living+In+The+World+With+No+Secrets%2C%27+Says+Trans+Activist+Jennifer+Finney+Boylan+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Cardi B went live on Instagram last month to tell her fans they should be taking COVID-19 seriously, a Brooklyn DJ laid her speech over a beat and turned it into an \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/coronavirus-cardi-b.html\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes success\u003c/a>.\u003c/p>\n\u003cp>The song—”Coronavirus Remix”—is one of thousands of examples of how artists around the world are using music to spread awareness about the pandemic. Researchers say that in an outbreak, songs about a disease can do more than entertain and uplift—they can transmit important health information to a large number of people quickly and make the message stick.\u003c/p>\n\u003cp>\u003ca href=\"https://steinhardt.nyu.edu/people/carlos-chirinos\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Chirinos\u003c/a>, a professor at New York University, saw this happen during the 2014 \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2014/11/09/362315884/reggae-vibe-ebola-message-african-superstars-try-to-go-viral\" target=\"_blank\" rel=\"noopener noreferrer\">Ebola crisis\u003c/a>, with songs like “Ebola is Real” and “Africa Stop Ebola.”\u003c/p>\n\u003cp>“If songs are catchy, they’re packaging information [about the disease] in three minutes,” he says. “And if people like the song, they’re likely to repeat it and listen to it again and again.”\u003c/p>\n\u003cp>Chirinos is seeing the same musical phenomenon in the coronavirus pandemic and has been collecting songs for his research\u003cstrong>. \u003c/strong>From Vietnam to Uganda and Panama, here’s a sampling of trending COVID-19 anthems from around the world.\u003c/p>\n\u003ch3>\u003cstrong>Vietnam\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ctF5aMV05kM&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Vietnam, the Ministry of Health rewrote the lyrics to the 2017 hit song “Ghen” by Min and Erik—originally about a jealous ex — into a PSA about the coronavirus. Renamed “\u003ca href=\"https://www.youtube.com/watch?v=BtulL3oArQw\" target=\"_blank\" rel=\"noopener noreferrer\">Ghen Cô Vy\u003c/a>,” the new version sparked a choreography from dancer Quang Đăng demonstrating the correct way to wash your hands: under the nails, around the thumbs, between the fingers.\u003c/p>\n\u003cp>The dance racked up more than 5 million views on the choreographer’s YouTube channel and took off on Tiktok, generating a \u003ca href=\"https://www.tiktok.com/tag/ghencovychallenge?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">#ghencovychallenge\u003c/a> with more than 31 million hashtag views. In the videos, people replicate Đăng’s moves as the song reinforces that you should avoid touching your face and lather up with soap for 20 seconds before rinsing off your hands.\u003c/p>\n\u003ch3>\u003cstrong>Hong Kong\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6IOS7-4n12c&feature=emb_logo\u003c/p>\n\u003cp>In early February, Hong Kong performer Kathy Mak released a \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">spoof\u003c/a> of the song “Torn,” the ’90s hit by Natalia Imbruglia, that pokes fun at the paranoia of the pandemic.\u003c/p>\n\u003cp>“I sterilize, I sanitize/ My hands are always freaking dry,” she sings. “There’s just so many things that I can’t touch/ I’m torn.”\u003c/p>\n\u003cp>A lot of listeners share her sentiments. Two \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">different\u003c/a> videos of the song have racked up over a million views combined.\u003c/p>\n\u003ch3>\u003cstrong>Senegal\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=06YbY1MLp4A&feature=emb_logo\u003c/p>\n\u003cp>In Senegal, hip-hop collective Y’en a Marre has collaborated with the country’s health ministry to create a song in French called “Fagaru Ci Coronavirus” or “Shield Against Coronavirus.”\u003c/p>\n\u003cp>Since its March 19 release, the song and accompanying music video—featuring the group wearing medical gear and rapping in a hospital—aims to educate people on the threats of COVID-19 while encouraging compliance in prevention tactics.\u003c/p>\n\u003cp>The group, which is known in the country for rallying young people around social justice issues, promotes solidarity. One of the lyrics: \u003cem>“Soutenons nous mutuallement et combettons le tous ensemble\u003c/em>” or “\u003cem>Support each other and fight it all together.”\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Uganda\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=PUHrck2g7Ic&feature=emb_logo\u003c/p>\n\u003cp>Ugandan reggae artist and political activist Bobi Wine recently \u003ca href=\"https://www.latimes.com/world-nation/story/2020-03-29/ugandas-bobi-wine-sings-against-virus-criticizes-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out\u003c/a> against what he says is the failure of African governments to invest in their health-care systems—so he released an upbeat jam on March 25 called “Corona Virus Alert” amid a growing number of cases in the country.\u003c/p>\n\u003cp>With lyrics like “serious fever is a symptom/ dry cough is a symptom/ even sneezing is a symptom,” it provides instructions for what to do if you feel sick and encourages people to take the disease seriously. He points out that everyone must do their part in sanitizing and social distancing to stop transmission of the disease. So far, the song has racked up over a million views on YouTube.\u003c/p>\n\u003ch3>\u003cstrong>Panama\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qkkQfY2sBMs\u003c/p>\n\u003cp>Salsa musician and former presidential candidate Rubén Blades is a source of national pride for Panamanians. The artist, who recorded the best-selling salsa record of all time in 1978, honed in on the sentiment of patriotism on March 26 with a song and music video called “Para Panama,” or “For Panama.”\u003c/p>\n\u003cp>The song frames staying home as a statement of solidarity for the country’s well-being. And it pays homage to health-care workers with lines like: \u003cem>“Arriesgan su vida para socorrernos/ eso no se olvida/ y hay que agradecerlo”\u003c/em> or “\u003cem>They risk their lives to help us/ that can’t be forgotten/ and has to be appreciated.”\u003c/em>\u003c/p>\n\u003cp>The music video also features crowd-sourced videos of Panamanians singing along to the song’s chorus in their homes as a symbol of gratitude for the country’s doctors and nurses.\u003c/p>\n\u003ch3>\u003cstrong>Puerto Rico\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=x3c18yP6uDc\u003c/p>\n\u003cp>International rap star Bad Bunny \u003ca href=\"https://www.npr.org/sections/altlatino/2020/03/13/815040558/reviving-classic-reggaeton-bad-bunnys-new-album-yhlqmdlg-breaks-records\" target=\"_blank\" rel=\"noopener noreferrer\">broke Billboard records\u003c/a> earlier this year with the highest charting all-Spanish-language album in history—but now the Puerto Rican artist is switching gears from singing about the club to telling his young audience to stop going out and practice social distancing.\u003c/p>\n\u003cp>On the SoundCloud track titled “En Casita” or “At Home,” he sings: “\u003cem>Yo que te quería ver/ pero no se va poder/toca quedarme en casa\u003c/em>,” translating to “\u003cem>I wanted to see you/ but that won’t be possible/I have to stay home\u003c/em>.”\u003c/p>\n\u003cp>With more than one million streams on the song since its April 4 debut, Bad Bunny’s lyrics also emphasize that although it can be annoying to feel stuck inside, it’s a necessary sacrifice for vulnerable populations—especially given that Puerto Rico is the U.S. territory with the most \u003ca href=\"https://www.npr.org/2020/04/06/828439886/puerto-ricans-are-at-risk-from-the-coronavirus-and-a-lack-of-information\" target=\"_blank\" rel=\"noopener noreferrer\">older Americans\u003c/a> per capita.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Is there a COVID-19 song you can’t stop listening to? Send us an email goatsandsoda@npr.org.\u003c/strong>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bad+Bunny+And+Bobi+Wine+Are+Among+The+Global+Artists+Singing+About+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Cardi B went live on Instagram last month to tell her fans they should be taking COVID-19 seriously, a Brooklyn DJ laid her speech over a beat and turned it into an \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/coronavirus-cardi-b.html\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes success\u003c/a>.\u003c/p>\n\u003cp>The song—”Coronavirus Remix”—is one of thousands of examples of how artists around the world are using music to spread awareness about the pandemic. Researchers say that in an outbreak, songs about a disease can do more than entertain and uplift—they can transmit important health information to a large number of people quickly and make the message stick.\u003c/p>\n\u003cp>\u003ca href=\"https://steinhardt.nyu.edu/people/carlos-chirinos\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Chirinos\u003c/a>, a professor at New York University, saw this happen during the 2014 \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2014/11/09/362315884/reggae-vibe-ebola-message-african-superstars-try-to-go-viral\" target=\"_blank\" rel=\"noopener noreferrer\">Ebola crisis\u003c/a>, with songs like “Ebola is Real” and “Africa Stop Ebola.”\u003c/p>\n\u003cp>“If songs are catchy, they’re packaging information [about the disease] in three minutes,” he says. “And if people like the song, they’re likely to repeat it and listen to it again and again.”\u003c/p>\n\u003cp>Chirinos is seeing the same musical phenomenon in the coronavirus pandemic and has been collecting songs for his research\u003cstrong>. \u003c/strong>From Vietnam to Uganda and Panama, here’s a sampling of trending COVID-19 anthems from around the world.\u003c/p>\n\u003ch3>\u003cstrong>Vietnam\u003c/strong>\u003c/h3>\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/ctF5aMV05kM'\n title='//www.youtube.com/embed/ctF5aMV05kM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Vietnam, the Ministry of Health rewrote the lyrics to the 2017 hit song “Ghen” by Min and Erik—originally about a jealous ex — into a PSA about the coronavirus. Renamed “\u003ca href=\"https://www.youtube.com/watch?v=BtulL3oArQw\" target=\"_blank\" rel=\"noopener noreferrer\">Ghen Cô Vy\u003c/a>,” the new version sparked a choreography from dancer Quang Đăng demonstrating the correct way to wash your hands: under the nails, around the thumbs, between the fingers.\u003c/p>\n\u003cp>The dance racked up more than 5 million views on the choreographer’s YouTube channel and took off on Tiktok, generating a \u003ca href=\"https://www.tiktok.com/tag/ghencovychallenge?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">#ghencovychallenge\u003c/a> with more than 31 million hashtag views. In the videos, people replicate Đăng’s moves as the song reinforces that you should avoid touching your face and lather up with soap for 20 seconds before rinsing off your hands.\u003c/p>\n\u003ch3>\u003cstrong>Hong Kong\u003c/strong>\u003c/h3>\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/6IOS7-4n12c'\n title='//www.youtube.com/embed/6IOS7-4n12c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In early February, Hong Kong performer Kathy Mak released a \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">spoof\u003c/a> of the song “Torn,” the ’90s hit by Natalia Imbruglia, that pokes fun at the paranoia of the pandemic.\u003c/p>\n\u003cp>“I sterilize, I sanitize/ My hands are always freaking dry,” she sings. “There’s just so many things that I can’t touch/ I’m torn.”\u003c/p>\n\u003cp>A lot of listeners share her sentiments. Two \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">different\u003c/a> videos of the song have racked up over a million views combined.\u003c/p>\n\u003ch3>\u003cstrong>Senegal\u003c/strong>\u003c/h3>\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/06YbY1MLp4A'\n title='//www.youtube.com/embed/06YbY1MLp4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Senegal, hip-hop collective Y’en a Marre has collaborated with the country’s health ministry to create a song in French called “Fagaru Ci Coronavirus” or “Shield Against Coronavirus.”\u003c/p>\n\u003cp>Since its March 19 release, the song and accompanying music video—featuring the group wearing medical gear and rapping in a hospital—aims to educate people on the threats of COVID-19 while encouraging compliance in prevention tactics.\u003c/p>\n\u003cp>The group, which is known in the country for rallying young people around social justice issues, promotes solidarity. One of the lyrics: \u003cem>“Soutenons nous mutuallement et combettons le tous ensemble\u003c/em>” or “\u003cem>Support each other and fight it all together.”\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Uganda\u003c/strong>\u003c/h3>\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/PUHrck2g7Ic'\n title='//www.youtube.com/embed/PUHrck2g7Ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ugandan reggae artist and political activist Bobi Wine recently \u003ca href=\"https://www.latimes.com/world-nation/story/2020-03-29/ugandas-bobi-wine-sings-against-virus-criticizes-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out\u003c/a> against what he says is the failure of African governments to invest in their health-care systems—so he released an upbeat jam on March 25 called “Corona Virus Alert” amid a growing number of cases in the country.\u003c/p>\n\u003cp>With lyrics like “serious fever is a symptom/ dry cough is a symptom/ even sneezing is a symptom,” it provides instructions for what to do if you feel sick and encourages people to take the disease seriously. He points out that everyone must do their part in sanitizing and social distancing to stop transmission of the disease. So far, the song has racked up over a million views on YouTube.\u003c/p>\n\u003ch3>\u003cstrong>Panama\u003c/strong>\u003c/h3>\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/qkkQfY2sBMs'\n title='//www.youtube.com/embed/qkkQfY2sBMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salsa musician and former presidential candidate Rubén Blades is a source of national pride for Panamanians. The artist, who recorded the best-selling salsa record of all time in 1978, honed in on the sentiment of patriotism on March 26 with a song and music video called “Para Panama,” or “For Panama.”\u003c/p>\n\u003cp>The song frames staying home as a statement of solidarity for the country’s well-being. And it pays homage to health-care workers with lines like: \u003cem>“Arriesgan su vida para socorrernos/ eso no se olvida/ y hay que agradecerlo”\u003c/em> or “\u003cem>They risk their lives to help us/ that can’t be forgotten/ and has to be appreciated.”\u003c/em>\u003c/p>\n\u003cp>The music video also features crowd-sourced videos of Panamanians singing along to the song’s chorus in their homes as a symbol of gratitude for the country’s doctors and nurses.\u003c/p>\n\u003ch3>\u003cstrong>Puerto Rico\u003c/strong>\u003c/h3>\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/x3c18yP6uDc'\n title='//www.youtube.com/embed/x3c18yP6uDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>International rap star Bad Bunny \u003ca href=\"https://www.npr.org/sections/altlatino/2020/03/13/815040558/reviving-classic-reggaeton-bad-bunnys-new-album-yhlqmdlg-breaks-records\" target=\"_blank\" rel=\"noopener noreferrer\">broke Billboard records\u003c/a> earlier this year with the highest charting all-Spanish-language album in history—but now the Puerto Rican artist is switching gears from singing about the club to telling his young audience to stop going out and practice social distancing.\u003c/p>\n\u003cp>On the SoundCloud track titled “En Casita” or “At Home,” he sings: “\u003cem>Yo que te quería ver/ pero no se va poder/toca quedarme en casa\u003c/em>,” translating to “\u003cem>I wanted to see you/ but that won’t be possible/I have to stay home\u003c/em>.”\u003c/p>\n\u003cp>With more than one million streams on the song since its April 4 debut, Bad Bunny’s lyrics also emphasize that although it can be annoying to feel stuck inside, it’s a necessary sacrifice for vulnerable populations—especially given that Puerto Rico is the U.S. territory with the most \u003ca href=\"https://www.npr.org/2020/04/06/828439886/puerto-ricans-are-at-risk-from-the-coronavirus-and-a-lack-of-information\" target=\"_blank\" rel=\"noopener noreferrer\">older Americans\u003c/a> per capita.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Is there a COVID-19 song you can’t stop listening to? Send us an email goatsandsoda@npr.org.\u003c/strong>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bad+Bunny+And+Bobi+Wine+Are+Among+The+Global+Artists+Singing+About+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Last Dance' Corners Michael Jordan and the 1990s Chicago Bulls",
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"content": "\u003cp>The documentary series \u003cem>The Last Dance\u003c/em>, which began Sunday night on ESPN, is about basketball.\u003c/p>\n\u003cp>Maybe that should be obvious, since it’s the story of Michael Jordan and the dominant Chicago Bulls team that won six NBA championships in the 1990s. But understand: it’s really about basketball. It’s not \u003ca href=\"https://www.kqed.org/arts/11665308/o-j-made-in-america-is-about-america-not-o-j\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>O.J.: Made In America\u003c/em>\u003c/a>, which was primarily about race and policing and media. It’s not like some of the documentaries in ESPN’s \u003cem>30 For 30 \u003c/em>series—to which this feels like a spiritual cousin—that use sports as a way to talk about other things.\u003c/p>\n\u003cp>No, \u003cem>The Last Dance \u003c/em>is really, deeply, intensely about NBA basketball. It’s about why Michael Jordan was as dominant and feared as he was, and about how you build a team that can win that much. It’s also about how even Jordan could not win championships by himself, and about how team dynamics were affected by such a towering figure. It’s about the business of the NBA and the egos and whims of owners and general managers.\u003c/p>\n\u003cp>The structure of \u003cem>The Last Dance\u003c/em> is a little complicated, in that it follows two timelines simultaneously, one gradually catching up to the other. The first is the entire period of the Bulls’ ascendance and dominance, from the drafting of Jordan in 1984 through their six championship seasons: a three-peat in 1992, 1993 and 1994; another in 1996, 1997 and 1998. The second timeline is a much more deliberate examination of just that last winning season, the 1997-98 year in which, despite the five championships they’d already won together, the futures of Jordan, coach Phil Jackson, and underpaid second man Scottie Pippen were all uncertain. (The documentary explains early on that in 1997-98, the Bulls and Jordan allowed a film crew tremendous access, which is why there’s abundant footage from that season.)\u003c/p>\n\u003cp>Director Jason Hehir makes wise use of visual cues and a sliding on-screen timeline to continually reorient you to where you are in the story. And it’s effective to tell the story of that last season and slide back in time, over and over, to revisit the story up to that point. But I suspect there will be people who will find the back and forth frustrating, particularly if they’re following it week by week rather than in a giant binge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the center of the documentary, at the center of the Bulls, and in some ways at the center of the world, especially circa 1993, is Michael Jordan. Jordan has always somehow been both ubiquitous and a little elusive. These are by far the most involved, seemingly candid interviews I’ve ever seen with him; he gave the filmmakers a lot of time to talk about everything from his tensions with Isiah Thomas to the death of his father.\u003c/p>\n\u003cp>Incidentally, the bad blood between the Bulls and the early ’90s Detroit Pistons—Thomas especially—is one of the juiciest tales that arises from the first years of the Bulls’ dominance. Some examinations of old sports rivalries show former athletes burying the hatchet or at least finding some humor in their pasts (as in the outstanding \u003cem>30 For 30\u003c/em> entry \u003cem>Winning Time\u003c/em>, about the Pacers and the Knicks). This is not that kind of documentary. Jordan doesn’t seem to have lost an iota of his disdain when it comes to Thomas, and the filmmakers offer some artfully presented evidence that he’s got good reason to remain frustrated.\u003c/p>\n\u003cp>The interview techniques here are very smart; I especially like the decision to sometimes let an interview subject see the footage of what someone else has already said. Sometimes you get a wry “that’s about right”; sometimes you get a laugh; sometimes you get Jordan roundly ridiculing another player’s reminiscence of perhaps having gotten the better of Jordan once, just for a moment. He assures you that never happened. Never.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Peh9Yqf1GXc\u003c/p>\n\u003cp>In fact, one of the most compelling threads in \u003cem>The Last Dance \u003c/em>is the fine line between Jordan’s unmatched competitive drive—to which everyone attributes much of his success—and his extreme sensitivity to slights. Even at the height of his powers, he cannot bear to have anyone even casually compared to him, in any way, lest his uniqueness be bruised. Over and over, he explains that his desire to win a particular game came from a need to retaliate following something inadequately reverent that was said about him or the Bulls. (This at a time when he was also exhausted by the demands of being as famous as he was.) He attributes one of his best performances to wanting to get back at someone who didn’t greet him at a restaurant.\u003c/p>\n\u003cp>Did Michael Jordan, who could have crushed most of his enemies in multiple ways at any time, actually need to make things this personal in order to be motivated, as he seems to suggest? Or was he just an outstanding basketball player who also nursed decades of grudges because it’s just how he is? Do you need resentments to be that good?\u003c/p>\n\u003cp>It feels important that \u003cem>The Last Dance \u003c/em>doesn’t seem built to change anyone’s opinion of Jordan, for better or worse. It returns again and again to his extraordinary talent, his legendary work ethic (including during his stint in minor league baseball, which took place between the Bulls’ two three-peats), his closeness with his family, and his version of leadership—which looks a lot like bullying, but which teammates who are interviewed generally insist was for the best.\u003c/p>\n\u003cp>But there’s also a lot of time spent on the fact that no matter how good Jordan was, and no matter how much talent he had, he was never going to win six championships without the rest of his team. In that final season, when Pippen—who everyone then agrees is wildly underpaid because he got into an ill-advised seven-year contract—decides to have surgery on his foot at the beginning of the season rather than getting it over with in the off-season, in part because he feels stung by management’s unwillingness to renegotiate, Jordan is irate. Pippen has left him out there to fend for himself, he complains. He has disappointed the team. Indeed, the season doesn’t start off well at all.\u003c/p>\n\u003cp>And … well, wasn’t this Pippen’s point? Wasn’t he precisely trying to demonstrate that he was needed more than they were treating him like he was needed, even with the great Michael Jordan on board? And didn’t he prove he was right? This, too: Couldn’t Jordan have thrown his massive influence behind Pippen’s request for a renegotiation as he had behind Phil Jackson, announcing he’d quit if the coach was replaced? It’s not explicitly explored, but watching Jordan get so angry that someone else was \u003cem>also \u003c/em>trying to have his value recognized is, at times, curious.\u003c/p>\n\u003cp>The biggest open question from \u003cem>The Last Dance \u003c/em>is what it would take to put together a team this dominant over this period of time again. Could you possibly keep guys together long enough? If a Scottie Pippen doesn’t get into a bad seven-year contract (a mistake you have to assume young players want to avoid) that lets the Bulls keep him cheaply, does Michael Jordan get the support he needs to be Michael Jordan in the first place? Put another way: No matter how good LeBron James is, it seems like he was probably never going to win six championships in eight years with the same team.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think it will take at least a passing interest in the NBA, or in Jordan, to find this series fully satisfying. But for people who wonder whether we’ll ever see sports dynasties again, there’s a great deal here to enjoy. And if nothing else, you will certainly see some tremendous dunks.\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=Michael+Jordan+And+The+Chicago+Bulls+Play+Some+Good+Basketball+In+%27The+Last+Dance%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The documentary series \u003cem>The Last Dance\u003c/em>, which began Sunday night on ESPN, is about basketball.\u003c/p>\n\u003cp>Maybe that should be obvious, since it’s the story of Michael Jordan and the dominant Chicago Bulls team that won six NBA championships in the 1990s. But understand: it’s really about basketball. It’s not \u003ca href=\"https://www.kqed.org/arts/11665308/o-j-made-in-america-is-about-america-not-o-j\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>O.J.: Made In America\u003c/em>\u003c/a>, which was primarily about race and policing and media. It’s not like some of the documentaries in ESPN’s \u003cem>30 For 30 \u003c/em>series—to which this feels like a spiritual cousin—that use sports as a way to talk about other things.\u003c/p>\n\u003cp>No, \u003cem>The Last Dance \u003c/em>is really, deeply, intensely about NBA basketball. It’s about why Michael Jordan was as dominant and feared as he was, and about how you build a team that can win that much. It’s also about how even Jordan could not win championships by himself, and about how team dynamics were affected by such a towering figure. It’s about the business of the NBA and the egos and whims of owners and general managers.\u003c/p>\n\u003cp>The structure of \u003cem>The Last Dance\u003c/em> is a little complicated, in that it follows two timelines simultaneously, one gradually catching up to the other. The first is the entire period of the Bulls’ ascendance and dominance, from the drafting of Jordan in 1984 through their six championship seasons: a three-peat in 1992, 1993 and 1994; another in 1996, 1997 and 1998. The second timeline is a much more deliberate examination of just that last winning season, the 1997-98 year in which, despite the five championships they’d already won together, the futures of Jordan, coach Phil Jackson, and underpaid second man Scottie Pippen were all uncertain. (The documentary explains early on that in 1997-98, the Bulls and Jordan allowed a film crew tremendous access, which is why there’s abundant footage from that season.)\u003c/p>\n\u003cp>Director Jason Hehir makes wise use of visual cues and a sliding on-screen timeline to continually reorient you to where you are in the story. And it’s effective to tell the story of that last season and slide back in time, over and over, to revisit the story up to that point. But I suspect there will be people who will find the back and forth frustrating, particularly if they’re following it week by week rather than in a giant binge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the center of the documentary, at the center of the Bulls, and in some ways at the center of the world, especially circa 1993, is Michael Jordan. Jordan has always somehow been both ubiquitous and a little elusive. These are by far the most involved, seemingly candid interviews I’ve ever seen with him; he gave the filmmakers a lot of time to talk about everything from his tensions with Isiah Thomas to the death of his father.\u003c/p>\n\u003cp>Incidentally, the bad blood between the Bulls and the early ’90s Detroit Pistons—Thomas especially—is one of the juiciest tales that arises from the first years of the Bulls’ dominance. Some examinations of old sports rivalries show former athletes burying the hatchet or at least finding some humor in their pasts (as in the outstanding \u003cem>30 For 30\u003c/em> entry \u003cem>Winning Time\u003c/em>, about the Pacers and the Knicks). This is not that kind of documentary. Jordan doesn’t seem to have lost an iota of his disdain when it comes to Thomas, and the filmmakers offer some artfully presented evidence that he’s got good reason to remain frustrated.\u003c/p>\n\u003cp>The interview techniques here are very smart; I especially like the decision to sometimes let an interview subject see the footage of what someone else has already said. Sometimes you get a wry “that’s about right”; sometimes you get a laugh; sometimes you get Jordan roundly ridiculing another player’s reminiscence of perhaps having gotten the better of Jordan once, just for a moment. He assures you that never happened. Never.\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/Peh9Yqf1GXc'\n title='//www.youtube.com/embed/Peh9Yqf1GXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In fact, one of the most compelling threads in \u003cem>The Last Dance \u003c/em>is the fine line between Jordan’s unmatched competitive drive—to which everyone attributes much of his success—and his extreme sensitivity to slights. Even at the height of his powers, he cannot bear to have anyone even casually compared to him, in any way, lest his uniqueness be bruised. Over and over, he explains that his desire to win a particular game came from a need to retaliate following something inadequately reverent that was said about him or the Bulls. (This at a time when he was also exhausted by the demands of being as famous as he was.) He attributes one of his best performances to wanting to get back at someone who didn’t greet him at a restaurant.\u003c/p>\n\u003cp>Did Michael Jordan, who could have crushed most of his enemies in multiple ways at any time, actually need to make things this personal in order to be motivated, as he seems to suggest? Or was he just an outstanding basketball player who also nursed decades of grudges because it’s just how he is? Do you need resentments to be that good?\u003c/p>\n\u003cp>It feels important that \u003cem>The Last Dance \u003c/em>doesn’t seem built to change anyone’s opinion of Jordan, for better or worse. It returns again and again to his extraordinary talent, his legendary work ethic (including during his stint in minor league baseball, which took place between the Bulls’ two three-peats), his closeness with his family, and his version of leadership—which looks a lot like bullying, but which teammates who are interviewed generally insist was for the best.\u003c/p>\n\u003cp>But there’s also a lot of time spent on the fact that no matter how good Jordan was, and no matter how much talent he had, he was never going to win six championships without the rest of his team. In that final season, when Pippen—who everyone then agrees is wildly underpaid because he got into an ill-advised seven-year contract—decides to have surgery on his foot at the beginning of the season rather than getting it over with in the off-season, in part because he feels stung by management’s unwillingness to renegotiate, Jordan is irate. Pippen has left him out there to fend for himself, he complains. He has disappointed the team. Indeed, the season doesn’t start off well at all.\u003c/p>\n\u003cp>And … well, wasn’t this Pippen’s point? Wasn’t he precisely trying to demonstrate that he was needed more than they were treating him like he was needed, even with the great Michael Jordan on board? And didn’t he prove he was right? This, too: Couldn’t Jordan have thrown his massive influence behind Pippen’s request for a renegotiation as he had behind Phil Jackson, announcing he’d quit if the coach was replaced? It’s not explicitly explored, but watching Jordan get so angry that someone else was \u003cem>also \u003c/em>trying to have his value recognized is, at times, curious.\u003c/p>\n\u003cp>The biggest open question from \u003cem>The Last Dance \u003c/em>is what it would take to put together a team this dominant over this period of time again. Could you possibly keep guys together long enough? If a Scottie Pippen doesn’t get into a bad seven-year contract (a mistake you have to assume young players want to avoid) that lets the Bulls keep him cheaply, does Michael Jordan get the support he needs to be Michael Jordan in the first place? Put another way: No matter how good LeBron James is, it seems like he was probably never going to win six championships in eight years with the same team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think it will take at least a passing interest in the NBA, or in Jordan, to find this series fully satisfying. But for people who wonder whether we’ll ever see sports dynasties again, there’s a great deal here to enjoy. And if nothing else, you will certainly see some tremendous dunks.\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=Michael+Jordan+And+The+Chicago+Bulls+Play+Some+Good+Basketball+In+%27The+Last+Dance%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“With everything else going on in the world, now I gotta spend almost nine hours of my life thinking about Phyllis Schlafly?”\u003c/p>\n\u003cp>It only seems honest to admit to this reaction to the approach of \u003cem>Mrs. America\u003c/em>, a nine-part miniseries created by Dahvi Waller. It was made under the FX Networks umbrella, but it’s available only on Hulu, which drops the first three episodes on April 15. The series is not exclusively interested in Schlafly, but she is its point of greatest fascination, as it tells the story of the battle over the Equal Rights Amendment in the 1970s.\u003c/p>\n\u003cp>What has set \u003cem>Mrs. America \u003c/em>apart since it was announced is its large and impressive cast: Cate Blanchett as Schlafly, the conservative woman who railed against feminists as immoral opponents of decent housewives everywhere and successfully generated a large backlash against the ERA. Rose Byrne as Gloria Steinem, the creator of \u003cem>Ms. \u003c/em>magazine and a representative of the movement whose prominence would remain controversial both inside and outside it. Uzo Aduba as Shirley Chisholm, the presidential candidate who found much of second-wave feminism to be, at best, condescending to her candidacy. Margo Martindale as New York congresswoman Bella Abzug, Tracey Ullman as influential author Betty Friedan, and on and on and on.\u003c/p>\n\u003cp>At the center is Blanchett’s deployment of her most patrician affect (which is saying something) to portray Schlafly as an ambitious woman eager to gather power, who originally tries to obtain it as a foreign policy commentator. Finding that door largely closed to her—in part because of sexism—she realizes that while they don’t want her opinions on foreign policy, she is very much welcomed by the male politicians in her circle when she is fighting and deriding other women. Feminists, specifically. Blanchett’s version of Schlafly adopts her antifeminist positions more because they are her path to power than because they are her greatest passion, although there’s plenty to indicate she believes in them at least enough to support their imposition on other women. (As other characters repeatedly point out, Schlafly herself is hardly living the life she advocates as the one most noble for women: Far from a housewife, she is essentially a professional full-time lobbyist.)\u003c/p>\n\u003cp>It’s curious. The performances in \u003cem>Mrs. America \u003c/em>are, as you’d expect, uniformly excellent. But there is something that feels not quite complete about it. Perhaps it’s that the series’ reach exceeded its grasp. Because about half of the narrative energy is spent on Schlafly and about half on all the women in the feminist movement put together, they all, despite the marvelous and nuanced portrayals, struggle to be fully realized. Martindale has a couple of very moving scenes as Abzug, whose moment is passing between the beginning of the 1970s and the end, and whose carefully crafted political skill becomes disappointing for the women who want her to stand firmer on matters like gay rights and racism. Byrne shines in the moments when Steinem proves young enough and progressive enough to be more aware than some of her colleagues of the racism inherent in the movement she’s helping to lead, but not quite able—or is it willing?—to make eradicating it a priority.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, it’s almost inevitable in a historical sweep like this that some stories will seem to get short shrift. Chisholm’s presidential campaign is a big part of a single episode and Aduba drives it brilliantly, creating a Chisholm who’s wise in general as well as wisely skeptical of figures like Steinem and Abzug. But she’s absent from long stretches of the story. Similarly, it would have been great to see more of Niecy Nash as Flo Kennedy, a character who shoots off sparks in every scene in which she appears. It’s refreshing, and it’s essential, that \u003cem>Mrs. America\u003c/em> is transparently cognizant of the lack of commitment the women’s movement has often shown to black women, poor women, lesbians, and other constituencies not well-represented in its leadership. But it perhaps needed more of this part of the story, told through the lens of these characters—more, more. More of Aduba and Nash and of Bria Henderson as the editor and activist Margaret Sloan-Hunter. More of Annie Parisse and Anna Douglas, who play Midge Costanza and Jean O’Leary, who want nothing to do with a movement that still welcomes Friedan, whose opposition to embracing lesbians as part of the women’s movement lasted years.\u003c/p>\n\u003cp>Moreover, because there are so many of them and there’s so much stage-setting to do and so much updating about what’s actually going on in the decade or so that’s covered here, the women on the ERA YES side spend a lot of their time explicitly explaining and expositing on matters of feminism, feminist strategy, and internal movement politics. Where Schlafly gets at least some scenes with her children and husband that don’t revolve around her explaining her beliefs about the ERA, the women working with Abzug and Steinem rarely do anything except tell you what they’re going to do next and why, and who’s fighting with whom. Rifts like the long-standing (and well-known) one between Steinem and Friedan are more documented than illuminated, simply because of the limitations of time. Nevertheless, the time spent with these characters is never boring, simply because the acting is so good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tiariKwWvhI\u003c/p>\n\u003cp>What doesn’t work as well is a composite character named Alice, played by Sarah Paulson—also a tremendous actress, here given a disappointing role. One of Schafly’s early acolytes and a close friend, Alice’s growing doubts are the least satisfying subplot on offer in all nine episodes. That’s partly because Alice seems like precisely what she is: a made-up person among icons, cooked up to make a specific point. But it’s also because by the time we spend most of an episode watching Alice contemplate whether she wants to remain on Team Schlafly, the question of whether this comfortable, well-off woman will finally push back after ignoring years of clear signals that Schlafly’s movement contains elements that trouble her morally, her plight seems exceedingly low-stakes, compared to everything else that’s happening. Cognitive dissonance is a distraction when it’s framed against, say, civil rights.\u003c/p>\n\u003cp>But back to Schlafly, where we began.\u003c/p>\n\u003cp>If it is meant to be inherently perplexing, and thus fascinating, that a woman who has experienced sexism herself would take up the cause of antifeminism, or that anyone from any other group would assume a position of hostility against what seem to be their own interests. We are surely past that now. If the central question of the series is what made Schlafly choose this cause, the answer it provides is simple: because it was there. Because this was the place in which powerful men found her most useful, and therefore it was the place in which she was able to gain a toehold to eventually accumulate power of her own, which she could flex independently.\u003c/p>\n\u003cp>The Schlafly you see here is as much an opportunist as a believer, although she is surely both. There are suggestions that she bristles at the arrogance of her lawyer husband Fred (John Slattery) and privately enjoys the moments in which her stardom eclipses him. But the answer that the series provides about Schlafly’s fundamental (so to speak) qualities goes like this: she wants power, she lacks empathy, and she’s very effective at creating baseless fears in people that she can then exploit. It’s profoundly depressing to watch, and it’s very plausible. But does it enlighten? Is this something different from what you might expect to learn?\u003c/p>\n\u003cp>\u003cem>Mrs. America \u003c/em>doesn’t ask you to sympathize with Phyllis Schlafly, exactly; it is unsparing in drawing her as a tremendously unkind and destructive person—and, increasingly as it goes on, a dishonest one. But it does seek to explain something about her. It seeks to use the story of her as a way to explain how power works and how politics works, as well as how the ERA came to fail after looking like it was on a clear path to ratification. But perhaps we are past needing all of this explained. Perhaps that is why the story of Schlafly feels wearying.\u003c/p>\n\u003cp>To be clear, \u003cem>Mrs. America \u003c/em>is made well; in particular, it’s directed and edited well and acted very well. There are some playful and clever juxtapositions in the editing, as when you jump from a very sexy scene to one in which Schlafly is dutifully rubbing her husband’s tired calves. The re-creation of the aesthetic of the period is gorgeous and feels truthful, looking like the 1970s rather than a send-up of the 1970s. Across nine episodes, it never feels dull, even though it does sometimes feel a bit speechy. It doesn’t give in to too many of those moments in historical pieces in which names are dropped in a wink-wink kind of way, as when Schlafly meets two young men late in the series who seem unimportant and then introduce themselves as Roger Stone and Paul Manafort. Or when a young woman helping with the legal work is told, at the close of her one significant scene that perhaps she should assume a higher-profile role—and then she is addressed as “Mrs. Ginsburg.” Winkety-wink.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But something seems amiss, separate from the filmmaking, separate from the artistry. Maybe it’s just that it can be hard to separate \u003cem>Mrs. America\u003c/em>‘s utter bleakness from its quality. Its conviction that determined public figures can persuade people to turn on their neighbors in response to invented threats is hard to argue with, but hardly a proposition for which one needs to turn to fiction—even historical fiction. As the old Palmolive ad of this era would have said: we’re soaking in it.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mrs.+America%27%3A+A+Star-Studded+Cast+Puts+The+ERA+In+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“With everything else going on in the world, now I gotta spend almost nine hours of my life thinking about Phyllis Schlafly?”\u003c/p>\n\u003cp>It only seems honest to admit to this reaction to the approach of \u003cem>Mrs. America\u003c/em>, a nine-part miniseries created by Dahvi Waller. It was made under the FX Networks umbrella, but it’s available only on Hulu, which drops the first three episodes on April 15. The series is not exclusively interested in Schlafly, but she is its point of greatest fascination, as it tells the story of the battle over the Equal Rights Amendment in the 1970s.\u003c/p>\n\u003cp>What has set \u003cem>Mrs. America \u003c/em>apart since it was announced is its large and impressive cast: Cate Blanchett as Schlafly, the conservative woman who railed against feminists as immoral opponents of decent housewives everywhere and successfully generated a large backlash against the ERA. Rose Byrne as Gloria Steinem, the creator of \u003cem>Ms. \u003c/em>magazine and a representative of the movement whose prominence would remain controversial both inside and outside it. Uzo Aduba as Shirley Chisholm, the presidential candidate who found much of second-wave feminism to be, at best, condescending to her candidacy. Margo Martindale as New York congresswoman Bella Abzug, Tracey Ullman as influential author Betty Friedan, and on and on and on.\u003c/p>\n\u003cp>At the center is Blanchett’s deployment of her most patrician affect (which is saying something) to portray Schlafly as an ambitious woman eager to gather power, who originally tries to obtain it as a foreign policy commentator. Finding that door largely closed to her—in part because of sexism—she realizes that while they don’t want her opinions on foreign policy, she is very much welcomed by the male politicians in her circle when she is fighting and deriding other women. Feminists, specifically. Blanchett’s version of Schlafly adopts her antifeminist positions more because they are her path to power than because they are her greatest passion, although there’s plenty to indicate she believes in them at least enough to support their imposition on other women. (As other characters repeatedly point out, Schlafly herself is hardly living the life she advocates as the one most noble for women: Far from a housewife, she is essentially a professional full-time lobbyist.)\u003c/p>\n\u003cp>It’s curious. The performances in \u003cem>Mrs. America \u003c/em>are, as you’d expect, uniformly excellent. But there is something that feels not quite complete about it. Perhaps it’s that the series’ reach exceeded its grasp. Because about half of the narrative energy is spent on Schlafly and about half on all the women in the feminist movement put together, they all, despite the marvelous and nuanced portrayals, struggle to be fully realized. Martindale has a couple of very moving scenes as Abzug, whose moment is passing between the beginning of the 1970s and the end, and whose carefully crafted political skill becomes disappointing for the women who want her to stand firmer on matters like gay rights and racism. Byrne shines in the moments when Steinem proves young enough and progressive enough to be more aware than some of her colleagues of the racism inherent in the movement she’s helping to lead, but not quite able—or is it willing?—to make eradicating it a priority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, it’s almost inevitable in a historical sweep like this that some stories will seem to get short shrift. Chisholm’s presidential campaign is a big part of a single episode and Aduba drives it brilliantly, creating a Chisholm who’s wise in general as well as wisely skeptical of figures like Steinem and Abzug. But she’s absent from long stretches of the story. Similarly, it would have been great to see more of Niecy Nash as Flo Kennedy, a character who shoots off sparks in every scene in which she appears. It’s refreshing, and it’s essential, that \u003cem>Mrs. America\u003c/em> is transparently cognizant of the lack of commitment the women’s movement has often shown to black women, poor women, lesbians, and other constituencies not well-represented in its leadership. But it perhaps needed more of this part of the story, told through the lens of these characters—more, more. More of Aduba and Nash and of Bria Henderson as the editor and activist Margaret Sloan-Hunter. More of Annie Parisse and Anna Douglas, who play Midge Costanza and Jean O’Leary, who want nothing to do with a movement that still welcomes Friedan, whose opposition to embracing lesbians as part of the women’s movement lasted years.\u003c/p>\n\u003cp>Moreover, because there are so many of them and there’s so much stage-setting to do and so much updating about what’s actually going on in the decade or so that’s covered here, the women on the ERA YES side spend a lot of their time explicitly explaining and expositing on matters of feminism, feminist strategy, and internal movement politics. Where Schlafly gets at least some scenes with her children and husband that don’t revolve around her explaining her beliefs about the ERA, the women working with Abzug and Steinem rarely do anything except tell you what they’re going to do next and why, and who’s fighting with whom. Rifts like the long-standing (and well-known) one between Steinem and Friedan are more documented than illuminated, simply because of the limitations of time. Nevertheless, the time spent with these characters is never boring, simply because the acting is so good.\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/tiariKwWvhI'\n title='//www.youtube.com/embed/tiariKwWvhI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What doesn’t work as well is a composite character named Alice, played by Sarah Paulson—also a tremendous actress, here given a disappointing role. One of Schafly’s early acolytes and a close friend, Alice’s growing doubts are the least satisfying subplot on offer in all nine episodes. That’s partly because Alice seems like precisely what she is: a made-up person among icons, cooked up to make a specific point. But it’s also because by the time we spend most of an episode watching Alice contemplate whether she wants to remain on Team Schlafly, the question of whether this comfortable, well-off woman will finally push back after ignoring years of clear signals that Schlafly’s movement contains elements that trouble her morally, her plight seems exceedingly low-stakes, compared to everything else that’s happening. Cognitive dissonance is a distraction when it’s framed against, say, civil rights.\u003c/p>\n\u003cp>But back to Schlafly, where we began.\u003c/p>\n\u003cp>If it is meant to be inherently perplexing, and thus fascinating, that a woman who has experienced sexism herself would take up the cause of antifeminism, or that anyone from any other group would assume a position of hostility against what seem to be their own interests. We are surely past that now. If the central question of the series is what made Schlafly choose this cause, the answer it provides is simple: because it was there. Because this was the place in which powerful men found her most useful, and therefore it was the place in which she was able to gain a toehold to eventually accumulate power of her own, which she could flex independently.\u003c/p>\n\u003cp>The Schlafly you see here is as much an opportunist as a believer, although she is surely both. There are suggestions that she bristles at the arrogance of her lawyer husband Fred (John Slattery) and privately enjoys the moments in which her stardom eclipses him. But the answer that the series provides about Schlafly’s fundamental (so to speak) qualities goes like this: she wants power, she lacks empathy, and she’s very effective at creating baseless fears in people that she can then exploit. It’s profoundly depressing to watch, and it’s very plausible. But does it enlighten? Is this something different from what you might expect to learn?\u003c/p>\n\u003cp>\u003cem>Mrs. America \u003c/em>doesn’t ask you to sympathize with Phyllis Schlafly, exactly; it is unsparing in drawing her as a tremendously unkind and destructive person—and, increasingly as it goes on, a dishonest one. But it does seek to explain something about her. It seeks to use the story of her as a way to explain how power works and how politics works, as well as how the ERA came to fail after looking like it was on a clear path to ratification. But perhaps we are past needing all of this explained. Perhaps that is why the story of Schlafly feels wearying.\u003c/p>\n\u003cp>To be clear, \u003cem>Mrs. America \u003c/em>is made well; in particular, it’s directed and edited well and acted very well. There are some playful and clever juxtapositions in the editing, as when you jump from a very sexy scene to one in which Schlafly is dutifully rubbing her husband’s tired calves. The re-creation of the aesthetic of the period is gorgeous and feels truthful, looking like the 1970s rather than a send-up of the 1970s. Across nine episodes, it never feels dull, even though it does sometimes feel a bit speechy. It doesn’t give in to too many of those moments in historical pieces in which names are dropped in a wink-wink kind of way, as when Schlafly meets two young men late in the series who seem unimportant and then introduce themselves as Roger Stone and Paul Manafort. Or when a young woman helping with the legal work is told, at the close of her one significant scene that perhaps she should assume a higher-profile role—and then she is addressed as “Mrs. Ginsburg.” Winkety-wink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But something seems amiss, separate from the filmmaking, separate from the artistry. Maybe it’s just that it can be hard to separate \u003cem>Mrs. America\u003c/em>‘s utter bleakness from its quality. Its conviction that determined public figures can persuade people to turn on their neighbors in response to invented threats is hard to argue with, but hardly a proposition for which one needs to turn to fiction—even historical fiction. As the old Palmolive ad of this era would have said: we’re soaking in it.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mrs.+America%27%3A+A+Star-Studded+Cast+Puts+The+ERA+In+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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