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"title": "Comedy Mourns the 'End of an Era' as UCB Closes New York Locations",
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"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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"title": "'I'm Living in the World With No Secrets,' Says Trans Activist Jennifer Finney Boylan",
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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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"title": "'Mrs. America': A Star-Studded Cast Puts the ERA in the Spotlight",
"headTitle": "‘Mrs. America’: A Star-Studded Cast Puts the ERA in the Spotlight | KQED",
"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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"title": "The Rich Really are Different. They Can Shelter in Nicer Places",
"headTitle": "The Rich Really are Different. They Can Shelter in Nicer Places | KQED",
"content": "\u003cp>The coronavirus, we are sometimes told, is a great equalizer, preying on both the elite and the ordinary, the well-heeled and the downtrodden.\u003c/p>\n\u003cp>“It doesn’t care about how rich you are, how famous you are,” Madonna assures us in her \u003ca href=\"https://www.youtube.com/watch?v=5UYU4Slh34I\" target=\"_blank\" rel=\"noopener noreferrer\">latest video\u003c/a>, sitting naked in bathwater laced with rose petals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UYU4Slh34I\u003c/p>\n\u003cp>But being rich sure does let you ride out the pandemic in much more pleasant surroundings.\u003c/p>\n\u003cp>Hollywood billionaire David Geffen recently told his Instagram followers that he was hanging out in the Caribbean to escape the virus. He hoped everyone was keeping safe, he wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For good measure, he included a picture of his 454-foot super-luxurious yacht, the Rising Sun, apparently shot from a drone.\u003c/p>\n\u003cp>https://twitter.com/ianbremmer/status/1243970383985999872\u003c/p>\n\u003cp>“I think tone-deaf is an understatement. As many people noted, this is an individual whose net worth is reportedly $8 billion,” says \u003cem>New York Post \u003c/em>columnist Maureen Callahan.\u003c/p>\n\u003cp>The backlash was ferocious, with thousands of ego-shredding comments pouring into social media. “This is just shameful and grotesque,” \u003ca href=\"https://twitter.com/MeghanMcCain/status/1244003888455389186?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted Meghan McCain\u003c/a>, co-host of \u003cem>The View\u003c/em>. Singer John Mayer even wrote a song called “\u003ca href=\"https://www.instagram.com/p/B-YGR-UFH_M/\" target=\"_blank\" rel=\"noopener noreferrer\">Drone Shot of My Yacht\u003c/a>.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B-YGR-UFH_M/\u003c/p>\n\u003cp>Geffen quickly deleted the post and took his account private.\u003c/p>\n\u003cp>The social media pitchforks also came out after TV star Ellen DeGeneres told a joke comparing life under quarantine \u003ca href=\"https://www.cbsnews.com/news/ellen-degeneres-quarantine-jail-comparison-backlash/?ftag=CNM-00-10aab7e&linkId=86115810\" target=\"_blank\" rel=\"noopener noreferrer\">to being in jail\u003c/a>. The problem? She was telling it from inside a plush, well-appointed mansion—one of several she owns.\u003c/p>\n\u003cp>Episodes like this underscore a central fact of the current pandemic, says Paul Piff, assistant professor of psychology and social behavior at the University of California, Irvine.\u003c/p>\n\u003cp>Rich and poor people are experiencing it in much different ways.\u003c/p>\n\u003cp>People with money can escape the virus more easily, Piff says. It buys them social space. They have large apartments and second homes, and they’re more likely to have a job they can do from home.\u003c/p>\n\u003cp>Working-class people, by contrast, depend more on public transportation, where they’re at greater risk of contracting the virus. They’re less able to afford to stock up on weeks of food and supplies. And they’re more likely to have service jobs that need to be done in person.\u003c/p>\n\u003cp>“They almost necessarily involve social contact. Who is it that’s delivering your food or driving ride-shares? It’s the people who don’t have the means to do otherwise,” Piff says.\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.nytimes.com/interactive/2020/04/01/nyregion/nyc-coronavirus-cases-map.html\" target=\"_blank\" rel=\"noopener noreferrer\">some evidence exists\u003c/a> already that working-class neighborhoods in New York City have been hit much harder by the pandemic than wealthy areas.\u003c/p>\n\u003cp>Piff, who studies the psychology of wealth, says nothing is really unusual about this. Some people have always had means and others haven’t.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at a time when the ability to separate yourself from the crowd is literally a life-and-death issue, it’s probably not a good moment to show off your yacht.\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=The+Rich+Really+Are+Different.+They+Can+Shelter+In+Nicer+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus, we are sometimes told, is a great equalizer, preying on both the elite and the ordinary, the well-heeled and the downtrodden.\u003c/p>\n\u003cp>“It doesn’t care about how rich you are, how famous you are,” Madonna assures us in her \u003ca href=\"https://www.youtube.com/watch?v=5UYU4Slh34I\" target=\"_blank\" rel=\"noopener noreferrer\">latest video\u003c/a>, sitting naked in bathwater laced with rose petals.\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/5UYU4Slh34I'\n title='//www.youtube.com/embed/5UYU4Slh34I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But being rich sure does let you ride out the pandemic in much more pleasant surroundings.\u003c/p>\n\u003cp>Hollywood billionaire David Geffen recently told his Instagram followers that he was hanging out in the Caribbean to escape the virus. He hoped everyone was keeping safe, he wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For good measure, he included a picture of his 454-foot super-luxurious yacht, the Rising Sun, apparently shot from a drone.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I think tone-deaf is an understatement. As many people noted, this is an individual whose net worth is reportedly $8 billion,” says \u003cem>New York Post \u003c/em>columnist Maureen Callahan.\u003c/p>\n\u003cp>The backlash was ferocious, with thousands of ego-shredding comments pouring into social media. “This is just shameful and grotesque,” \u003ca href=\"https://twitter.com/MeghanMcCain/status/1244003888455389186?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted Meghan McCain\u003c/a>, co-host of \u003cem>The View\u003c/em>. Singer John Mayer even wrote a song called “\u003ca href=\"https://www.instagram.com/p/B-YGR-UFH_M/\" target=\"_blank\" rel=\"noopener noreferrer\">Drone Shot of My Yacht\u003c/a>.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Geffen quickly deleted the post and took his account private.\u003c/p>\n\u003cp>The social media pitchforks also came out after TV star Ellen DeGeneres told a joke comparing life under quarantine \u003ca href=\"https://www.cbsnews.com/news/ellen-degeneres-quarantine-jail-comparison-backlash/?ftag=CNM-00-10aab7e&linkId=86115810\" target=\"_blank\" rel=\"noopener noreferrer\">to being in jail\u003c/a>. The problem? She was telling it from inside a plush, well-appointed mansion—one of several she owns.\u003c/p>\n\u003cp>Episodes like this underscore a central fact of the current pandemic, says Paul Piff, assistant professor of psychology and social behavior at the University of California, Irvine.\u003c/p>\n\u003cp>Rich and poor people are experiencing it in much different ways.\u003c/p>\n\u003cp>People with money can escape the virus more easily, Piff says. It buys them social space. They have large apartments and second homes, and they’re more likely to have a job they can do from home.\u003c/p>\n\u003cp>Working-class people, by contrast, depend more on public transportation, where they’re at greater risk of contracting the virus. They’re less able to afford to stock up on weeks of food and supplies. And they’re more likely to have service jobs that need to be done in person.\u003c/p>\n\u003cp>“They almost necessarily involve social contact. Who is it that’s delivering your food or driving ride-shares? It’s the people who don’t have the means to do otherwise,” Piff says.\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.nytimes.com/interactive/2020/04/01/nyregion/nyc-coronavirus-cases-map.html\" target=\"_blank\" rel=\"noopener noreferrer\">some evidence exists\u003c/a> already that working-class neighborhoods in New York City have been hit much harder by the pandemic than wealthy areas.\u003c/p>\n\u003cp>Piff, who studies the psychology of wealth, says nothing is really unusual about this. Some people have always had means and others haven’t.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at a time when the ability to separate yourself from the crowd is literally a life-and-death issue, it’s probably not a good moment to show off your yacht.\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=The+Rich+Really+Are+Different.+They+Can+Shelter+In+Nicer+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Movies That Strike A Balance Between Escapism And Anxiety",
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"content": "\u003cp>What kind of movie watcher are you in the age of coronavirus? While sheltering at home, do you seek out joyous Hollywood classics like \u003ca href=\"https://www.npr.org/2012/08/09/158489285/60-years-later-still-singin-in-the-rain\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Singin’ in the Rain\u003c/em>\u003c/a>? Or do you lean into tales of terror, madness and social breakdown, like all those viewers who have made \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/02/16/802704825/fact-checking-contagion-in-wake-of-coronavirus-the-2011-movie-is-trending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Contagion\u003c/em> \u003c/a>one of the year’s hottest rentals?\u003c/p>\n\u003cp>I fall somewhere in between: eager for escapism, yes, but also for movies that speak to our present anxieties. Here are three movies, two old and one new, that have been on my screen and on my mind.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sorry We Missed You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ysjwg-MnZao&t=35s\u003c/p>\n\u003cp>The English working class has no angrier or more prolific champion than the 83-year-old director Ken Loach. His furious and timely new drama, \u003cem>Sorry We Missed You\u003c/em>, can be rented via \u003ca href=\"https://www.kinolorber.com/news/article/id/76\" target=\"_blank\" rel=\"noopener noreferrer\">Kino Marquee\u003c/a>, an online platform to benefit closed-down arthouse theaters. It stars an excellent Kris Hitchen as Ricky Turner, a Newcastle day laborer who begins driving a van for a parcel delivery company. His new boss sells him on the flexibility of being an independent contractor, but the reality is crushing: Ricky has to buy his own van and receives no benefits or paid time off. Every day brings ruthless deadlines and the risk of parking tickets and fines for late deliveries. To maximize efficiency, Ricky keeps an empty bottle in the van so he can relieve himself on the go. One day he learns that he violated company policy simply by taking his young daughter along for a ride.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Loach and his regular screenwriter, Paul Laverty, are not the subtlest of dramatists, and \u003cem>Sorry We Missed You\u003c/em> can feel bludgeoning in its bleakness, especially in the scenes of the Turners at home. I loved Debbie Honeywood as Ricky’s good-hearted wife, Abbie, whose home-care nursing job has her also burning the candle at both ends. But a calculated subplot with their wayward teenage son sends the story in melodramatic directions it doesn’t need. What gives the movie its power, especially at a time when so many of us are relying on package and food deliveries, is Loach’s palpable rage at the soullessness of the gig economy. He shows us the human toll on workers who have never been more essential—or more exploited.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Green for Danger\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=prfROGvCoDc\u003c/p>\n\u003cp>Speaking of essential: Bearing in mind the lifesaving risks being taken by health care workers all over the world, I recently found myself rewatching \u003cem>Green for Danger\u003c/em>, a superbly entertaining 1946 murder mystery set in a rural British hospital during World War II. The German air raids provide an already high-stakes backdrop for a story that proceeds to get only more suspenseful and harrowing from there. The movie follows a group of doctors and nurses who come under suspicion when a patient dies during surgery and a nurse is found fatally stabbed shortly afterward.\u003c/p>\n\u003cp>The murder investigation falls to Inspector Cockrill of Scotland Yard, played with droll mischief by Alastair Sim, whom you probably know for his all-time great performance as Ebenezer Scrooge. The other actors, who include Sally Gray, Trevor Howard and Judy Campbell, are terrific as a group of medical professionals whose romantic entanglements and professional jealousies wouldn’t be out of place on \u003cem>General Hospital\u003c/em>. \u003cem>Green for Danger\u003c/em>, which is streaming on various platforms including the invaluable \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, was directed by Sidney Gilliat and faithfully adapted from \u003ca href=\"https://www.npr.org/books/titles/834122521/green-for-danger\" target=\"_blank\" rel=\"noopener noreferrer\">one of my favorite detective novels\u003c/a> by Christianna Brand. It’s brilliantly plotted, crisply acted and often very funny, which must have been a relief for audiences back in 1946, readjusting to normal life with the war still fresh on their minds.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Neighbor Totoro\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=92a7Hj0ijLs\u003c/p>\n\u003cp>The difficulty of readjustment is also a theme of the 1988 charmer \u003cem>My Neighbor Totoro\u003c/em>, one of the earliest and most beloved achievements of the great Japanese animator \u003ca href=\"https://www.npr.org/books/authors/534164156/hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>. I watched it again recently, this time at home with my 3-year-old daughter, who’s still a bit young for darker Miyazaki fantasies like \u003cem>Princess Mononoke\u003c/em> and \u003cem>Spirited Away\u003c/em>. But she was captivated by this one—transported by the gorgeous, painterly images and delighted by every appearance of the giant, huggable woodland creature known as Totoro, whom she had already squeezed many times before in plush-toy form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie, which you can stream on platforms including Amazon Prime and YouTube, follows two young sisters who have moved with their father to an old house in the countryside while their mother recovers from an illness in a nearby hospital. In the surrounding woods, they meet Totoro and other astonishing creatures, like the Catbus, a giant, grinning vehicle that whisks you from one end of the forest to another on 12 furry legs. Like many of Miyazaki’s films, \u003cem>My Neighbor Totoro\u003c/em> is rooted in rich strains of Japanese mythology and folklore, but it guides us through this world with beguiling simplicity and generous humor. It’s also a deeply consoling film about finding strength when we need it most. I can’t think of a more charming fantasy—or a better movie for us to cling to in our own time of uncertainty.\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=3+Movies+That+Strike+A+Balance+Between+Escapism+And+Anxiety&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What kind of movie watcher are you in the age of coronavirus? While sheltering at home, do you seek out joyous Hollywood classics like \u003ca href=\"https://www.npr.org/2012/08/09/158489285/60-years-later-still-singin-in-the-rain\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Singin’ in the Rain\u003c/em>\u003c/a>? Or do you lean into tales of terror, madness and social breakdown, like all those viewers who have made \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/02/16/802704825/fact-checking-contagion-in-wake-of-coronavirus-the-2011-movie-is-trending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Contagion\u003c/em> \u003c/a>one of the year’s hottest rentals?\u003c/p>\n\u003cp>I fall somewhere in between: eager for escapism, yes, but also for movies that speak to our present anxieties. Here are three movies, two old and one new, that have been on my screen and on my mind.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sorry We Missed You\u003c/strong>\u003c/em>\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/ysjwg-MnZao'\n title='//www.youtube.com/embed/ysjwg-MnZao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The English working class has no angrier or more prolific champion than the 83-year-old director Ken Loach. His furious and timely new drama, \u003cem>Sorry We Missed You\u003c/em>, can be rented via \u003ca href=\"https://www.kinolorber.com/news/article/id/76\" target=\"_blank\" rel=\"noopener noreferrer\">Kino Marquee\u003c/a>, an online platform to benefit closed-down arthouse theaters. It stars an excellent Kris Hitchen as Ricky Turner, a Newcastle day laborer who begins driving a van for a parcel delivery company. His new boss sells him on the flexibility of being an independent contractor, but the reality is crushing: Ricky has to buy his own van and receives no benefits or paid time off. Every day brings ruthless deadlines and the risk of parking tickets and fines for late deliveries. To maximize efficiency, Ricky keeps an empty bottle in the van so he can relieve himself on the go. One day he learns that he violated company policy simply by taking his young daughter along for a ride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loach and his regular screenwriter, Paul Laverty, are not the subtlest of dramatists, and \u003cem>Sorry We Missed You\u003c/em> can feel bludgeoning in its bleakness, especially in the scenes of the Turners at home. I loved Debbie Honeywood as Ricky’s good-hearted wife, Abbie, whose home-care nursing job has her also burning the candle at both ends. But a calculated subplot with their wayward teenage son sends the story in melodramatic directions it doesn’t need. What gives the movie its power, especially at a time when so many of us are relying on package and food deliveries, is Loach’s palpable rage at the soullessness of the gig economy. He shows us the human toll on workers who have never been more essential—or more exploited.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Green for Danger\u003c/strong>\u003c/em>\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/prfROGvCoDc'\n title='//www.youtube.com/embed/prfROGvCoDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of essential: Bearing in mind the lifesaving risks being taken by health care workers all over the world, I recently found myself rewatching \u003cem>Green for Danger\u003c/em>, a superbly entertaining 1946 murder mystery set in a rural British hospital during World War II. The German air raids provide an already high-stakes backdrop for a story that proceeds to get only more suspenseful and harrowing from there. The movie follows a group of doctors and nurses who come under suspicion when a patient dies during surgery and a nurse is found fatally stabbed shortly afterward.\u003c/p>\n\u003cp>The murder investigation falls to Inspector Cockrill of Scotland Yard, played with droll mischief by Alastair Sim, whom you probably know for his all-time great performance as Ebenezer Scrooge. The other actors, who include Sally Gray, Trevor Howard and Judy Campbell, are terrific as a group of medical professionals whose romantic entanglements and professional jealousies wouldn’t be out of place on \u003cem>General Hospital\u003c/em>. \u003cem>Green for Danger\u003c/em>, which is streaming on various platforms including the invaluable \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, was directed by Sidney Gilliat and faithfully adapted from \u003ca href=\"https://www.npr.org/books/titles/834122521/green-for-danger\" target=\"_blank\" rel=\"noopener noreferrer\">one of my favorite detective novels\u003c/a> by Christianna Brand. It’s brilliantly plotted, crisply acted and often very funny, which must have been a relief for audiences back in 1946, readjusting to normal life with the war still fresh on their minds.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Neighbor Totoro\u003c/strong>\u003c/em>\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/92a7Hj0ijLs'\n title='//www.youtube.com/embed/92a7Hj0ijLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The difficulty of readjustment is also a theme of the 1988 charmer \u003cem>My Neighbor Totoro\u003c/em>, one of the earliest and most beloved achievements of the great Japanese animator \u003ca href=\"https://www.npr.org/books/authors/534164156/hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>. I watched it again recently, this time at home with my 3-year-old daughter, who’s still a bit young for darker Miyazaki fantasies like \u003cem>Princess Mononoke\u003c/em> and \u003cem>Spirited Away\u003c/em>. But she was captivated by this one—transported by the gorgeous, painterly images and delighted by every appearance of the giant, huggable woodland creature known as Totoro, whom she had already squeezed many times before in plush-toy form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie, which you can stream on platforms including Amazon Prime and YouTube, follows two young sisters who have moved with their father to an old house in the countryside while their mother recovers from an illness in a nearby hospital. In the surrounding woods, they meet Totoro and other astonishing creatures, like the Catbus, a giant, grinning vehicle that whisks you from one end of the forest to another on 12 furry legs. Like many of Miyazaki’s films, \u003cem>My Neighbor Totoro\u003c/em> is rooted in rich strains of Japanese mythology and folklore, but it guides us through this world with beguiling simplicity and generous humor. It’s also a deeply consoling film about finding strength when we need it most. I can’t think of a more charming fantasy—or a better movie for us to cling to in our own time of uncertainty.\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=3+Movies+That+Strike+A+Balance+Between+Escapism+And+Anxiety&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need a Mental Escape? These Books Offer Solace in Troubled Times",
"headTitle": "Need a Mental Escape? These Books Offer Solace in Troubled Times | KQED",
"content": "\u003cp>There’s a black-and-white photo taped on my office door at school—the office I haven’t been inside in almost a month. It shows an American soldier stretched out, reading \u003ca href=\"https://www.npr.org/books/titles/138257002/a-tree-grows-in-brooklyn\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Tree Grows in Brooklyn\u003c/em>\u003c/a>, Betty Smith’s 1943 novel based on her childhood in Williamsburg, Brooklyn.\u003c/p>\n\u003cp>Smith’s novel, along with \u003ca href=\"https://www.npr.org/books/titles/138309785/moby-dick\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moby Dick\u003c/em>\u003c/a>, \u003cem>The Adventures of Superman\u003c/em> and some 122 million copies of novels, essays and poetry were printed during World War II and distributed to servicemen. The largest distribution of these so-called “Armed Services Editions” was on the eve of D-Day: Every man boarding a landing craft was handed a book. Even as an uncertain destiny awaited them, some of these guys—like our friend in that photo—found solace in reading.\u003c/p>\n\u003cp>Books are essential cargo, I believe that. And, I want to give a nod to the range of the Armed Services Editions by recommending a variety of books—old and new—that appeal to me right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878600 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png\" alt=\"\" width=\"303\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM-160x233.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">When I need a mental escape from a stressful situation, I often fantasize about wandering around one of the grand department stores of my New York City childhood: stores like Bonwit Teller and B. Altman. Most of those palaces of consumption are gone but, fortunately, Scribner has recently published the first American edition of a tart, beguiling 1993 department store novel called \u003ca href=\"https://www.npr.org/books/titles/831709293/the-women-in-black\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Women in Black\u003c/em>\u003c/a>\u003cem>,\u003c/em> by Madeleine St John.\u003c/p>\n\u003cp>Set in the 1950s, the novel focuses on four saleswomen, decked out in black uniform dresses, who work at Goode’s Department Store in Sydney, Australia. My favorite character is a high school girl, a temporary worker named Lisa, who falls in love at first sight with a couture cocktail dress, “a froth of red pin-spotted white organza with a low neck, a tight bodice, a few deep ruffles over the shoulders. …”\u003c/p>\n\u003cblockquote>\u003cp>“She was experiencing for the first time that particular species of love-at-first-sight … which sooner or later comes to all: the sudden recognition that a particular frock is not merely pretty, would not merely suit one, but answers beyond these necessary attributes to one’s deepest notions of oneself.”\u003c/p>\u003c/blockquote>\n\u003cp>On the cover of \u003cem>The Women in Black\u003c/em> is a blurb by author \u003ca href=\"https://www.npr.org/books/authors/137916196/hilary-mantel\" target=\"_blank\" rel=\"noopener noreferrer\">Hilary Mantel\u003c/a> who says that this is the book she “most often give[s] as a gift to cheer people up.” Do you really need to know anything more?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This pandemic has so many of us thinking a lot about food, and when I think of good writing about food I always think, first, of the immortal \u003ca href=\"https://www.npr.org/2014/11/24/365227833/decades-later-laurie-colwins-books-will-not-let-you-down\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Colwin\u003c/a>, who died in 1992. Colwin’s unpretentious essays about whipping up the likes of buttered noodles and savory beef stew are collected in two books: \u003ca href=\"https://www.npr.org/books/titles/365232593/home-cooking-a-writer-in-the-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Home Cooking\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=138108737\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>More Home Cooking\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878601 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png\" alt=\"\" width=\"303\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM-160x231.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">There’s a slim and sensuous new food memoir coming out this month called \u003ca href=\"https://www.npr.org/books/titles/831732547/everything-is-under-control-a-memoir-with-recipes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everything Is Under Control\u003c/em>\u003c/a>, by Phyllis Grant. Grant has cooked in famous restaurants, but she started out training to be a dancer at Juilliard. When she arrived in the city as a teenager, Grant says she and the other would-be dancers made “New York our cafeteria,” inhaling “[w]hite onion, cheddar, and tomato omelets with French fries in fluorescent diners …” But soon enough, Grant describes how the demands of dance shamed her and her friends into denying their appetites.\u003c/p>\n\u003cp>Reading about diners and thinking of all those \u003ca href=\"https://www.npr.org/2020/03/22/819189939/closed-all-at-once-restaurant-industry-faces-collapse\" target=\"_blank\" rel=\"noopener noreferrer\">restaurant workers\u003c/a> across the country who’ve lost jobs makes me think of one of my favorite books of all time, \u003ca href=\"https://www.npr.org/2011/05/05/135514997/what-its-like-to-be-an-elderly-widow-all-alone\" target=\"_blank\" rel=\"noopener noreferrer\">Stewart O’Nan\u003c/a>‘s 2007 novella, \u003ca href=\"https://www.npr.org/books/titles/138270824/last-night-at-the-lobster\" target=\"_blank\" rel=\"noopener noreferrer\">Last Night at the Lobster.\u003c/a> In precise, insider language, O’Nan writes about a manager named Manny and his staff working the last shifts at a Red Lobster restaurant that the higher ups have decided to close. It’s a great story in miniature about loss of the casual community that workplaces create—a community that many of us are missing right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878602 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png\" alt=\"\" width=\"303\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM-160x123.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">We’re into April, which means this is\u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\"> National Poetry Month\u003c/a>. I owe this next recommendation to Maria Popova, whose eclectic \u003ca href=\"https://www.brainpickings.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Brainpickings\u003c/a> blog site \u003ca href=\"https://www.brainpickings.org/2017/03/03/are-you-an-echo-misuzu-kaneko/\" target=\"_blank\" rel=\"noopener noreferrer\">spotlighted \u003c/a>a Japanese poet named Misuzu Kaneko. A small publisher, Chin Music Press, has brought out a gorgeously illustrated edition of Misuzu’s poetry and tragic life story aimed at children and adults called \u003ca href=\"https://www.npr.org/books/titles/831739221/are-you-an-echo-the-lost-poetry-of-misuzu-kaneko\">\u003cem>Are You An Echo?\u003c/em>\u003c/a> Here’s a simple poem called “Snow Pile” that displays Misuzu’s celebrated empathetic imagination:\u003c/p>\n\u003cblockquote>\u003cp>Snow on top\u003cbr>\nmust feel chilly,\u003cbr>\nthe cold moonlight piercing it.\u003c/p>\n\u003cp>Snow on the bottom\u003cbr>\nmust feel burdened\u003cbr>\nby the hundreds who tread on it.\u003c/p>\n\u003cp>Snow in the middle\u003cbr>\nmust feel lonely\u003cbr>\nwith neither earth nor sky to look at.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>I want to end where I began, in my beautiful battered hometown of New York. Most of the great books about New York are books about walking, and that’s certainly true of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead\u003c/a>‘s packed personal travelogue, \u003ca href=\"https://www.npr.org/books/titles/831829023/the-colossus-of-new-york-a-city-in-thirteen-parts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Colossus of New York\u003c/em>\u003c/a>, which came out in 2003. Whitehead roams from the Port Authority to the Brooklyn Bridge to the once dense streets of Midtown. If you’re missing the feeling of being lost in a crowd, Whitehead—and really all these writers I’ve just recommended—offer you the next best thing: the possibility of getting lost in a book.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Need+A+Mental+Escape%3F+These+Books+Offer+Solace+In+Troubled+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a black-and-white photo taped on my office door at school—the office I haven’t been inside in almost a month. It shows an American soldier stretched out, reading \u003ca href=\"https://www.npr.org/books/titles/138257002/a-tree-grows-in-brooklyn\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Tree Grows in Brooklyn\u003c/em>\u003c/a>, Betty Smith’s 1943 novel based on her childhood in Williamsburg, Brooklyn.\u003c/p>\n\u003cp>Smith’s novel, along with \u003ca href=\"https://www.npr.org/books/titles/138309785/moby-dick\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moby Dick\u003c/em>\u003c/a>, \u003cem>The Adventures of Superman\u003c/em> and some 122 million copies of novels, essays and poetry were printed during World War II and distributed to servicemen. The largest distribution of these so-called “Armed Services Editions” was on the eve of D-Day: Every man boarding a landing craft was handed a book. Even as an uncertain destiny awaited them, some of these guys—like our friend in that photo—found solace in reading.\u003c/p>\n\u003cp>Books are essential cargo, I believe that. And, I want to give a nod to the range of the Armed Services Editions by recommending a variety of books—old and new—that appeal to me right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878600 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png\" alt=\"\" width=\"303\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM-160x233.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">When I need a mental escape from a stressful situation, I often fantasize about wandering around one of the grand department stores of my New York City childhood: stores like Bonwit Teller and B. Altman. Most of those palaces of consumption are gone but, fortunately, Scribner has recently published the first American edition of a tart, beguiling 1993 department store novel called \u003ca href=\"https://www.npr.org/books/titles/831709293/the-women-in-black\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Women in Black\u003c/em>\u003c/a>\u003cem>,\u003c/em> by Madeleine St John.\u003c/p>\n\u003cp>Set in the 1950s, the novel focuses on four saleswomen, decked out in black uniform dresses, who work at Goode’s Department Store in Sydney, Australia. My favorite character is a high school girl, a temporary worker named Lisa, who falls in love at first sight with a couture cocktail dress, “a froth of red pin-spotted white organza with a low neck, a tight bodice, a few deep ruffles over the shoulders. …”\u003c/p>\n\u003cblockquote>\u003cp>“She was experiencing for the first time that particular species of love-at-first-sight … which sooner or later comes to all: the sudden recognition that a particular frock is not merely pretty, would not merely suit one, but answers beyond these necessary attributes to one’s deepest notions of oneself.”\u003c/p>\u003c/blockquote>\n\u003cp>On the cover of \u003cem>The Women in Black\u003c/em> is a blurb by author \u003ca href=\"https://www.npr.org/books/authors/137916196/hilary-mantel\" target=\"_blank\" rel=\"noopener noreferrer\">Hilary Mantel\u003c/a> who says that this is the book she “most often give[s] as a gift to cheer people up.” Do you really need to know anything more?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This pandemic has so many of us thinking a lot about food, and when I think of good writing about food I always think, first, of the immortal \u003ca href=\"https://www.npr.org/2014/11/24/365227833/decades-later-laurie-colwins-books-will-not-let-you-down\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Colwin\u003c/a>, who died in 1992. Colwin’s unpretentious essays about whipping up the likes of buttered noodles and savory beef stew are collected in two books: \u003ca href=\"https://www.npr.org/books/titles/365232593/home-cooking-a-writer-in-the-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Home Cooking\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=138108737\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>More Home Cooking\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878601 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png\" alt=\"\" width=\"303\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM-160x231.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">There’s a slim and sensuous new food memoir coming out this month called \u003ca href=\"https://www.npr.org/books/titles/831732547/everything-is-under-control-a-memoir-with-recipes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everything Is Under Control\u003c/em>\u003c/a>, by Phyllis Grant. Grant has cooked in famous restaurants, but she started out training to be a dancer at Juilliard. When she arrived in the city as a teenager, Grant says she and the other would-be dancers made “New York our cafeteria,” inhaling “[w]hite onion, cheddar, and tomato omelets with French fries in fluorescent diners …” But soon enough, Grant describes how the demands of dance shamed her and her friends into denying their appetites.\u003c/p>\n\u003cp>Reading about diners and thinking of all those \u003ca href=\"https://www.npr.org/2020/03/22/819189939/closed-all-at-once-restaurant-industry-faces-collapse\" target=\"_blank\" rel=\"noopener noreferrer\">restaurant workers\u003c/a> across the country who’ve lost jobs makes me think of one of my favorite books of all time, \u003ca href=\"https://www.npr.org/2011/05/05/135514997/what-its-like-to-be-an-elderly-widow-all-alone\" target=\"_blank\" rel=\"noopener noreferrer\">Stewart O’Nan\u003c/a>‘s 2007 novella, \u003ca href=\"https://www.npr.org/books/titles/138270824/last-night-at-the-lobster\" target=\"_blank\" rel=\"noopener noreferrer\">Last Night at the Lobster.\u003c/a> In precise, insider language, O’Nan writes about a manager named Manny and his staff working the last shifts at a Red Lobster restaurant that the higher ups have decided to close. It’s a great story in miniature about loss of the casual community that workplaces create—a community that many of us are missing right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878602 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png\" alt=\"\" width=\"303\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM-160x123.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">We’re into April, which means this is\u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\"> National Poetry Month\u003c/a>. I owe this next recommendation to Maria Popova, whose eclectic \u003ca href=\"https://www.brainpickings.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Brainpickings\u003c/a> blog site \u003ca href=\"https://www.brainpickings.org/2017/03/03/are-you-an-echo-misuzu-kaneko/\" target=\"_blank\" rel=\"noopener noreferrer\">spotlighted \u003c/a>a Japanese poet named Misuzu Kaneko. A small publisher, Chin Music Press, has brought out a gorgeously illustrated edition of Misuzu’s poetry and tragic life story aimed at children and adults called \u003ca href=\"https://www.npr.org/books/titles/831739221/are-you-an-echo-the-lost-poetry-of-misuzu-kaneko\">\u003cem>Are You An Echo?\u003c/em>\u003c/a> Here’s a simple poem called “Snow Pile” that displays Misuzu’s celebrated empathetic imagination:\u003c/p>\n\u003cblockquote>\u003cp>Snow on top\u003cbr>\nmust feel chilly,\u003cbr>\nthe cold moonlight piercing it.\u003c/p>\n\u003cp>Snow on the bottom\u003cbr>\nmust feel burdened\u003cbr>\nby the hundreds who tread on it.\u003c/p>\n\u003cp>Snow in the middle\u003cbr>\nmust feel lonely\u003cbr>\nwith neither earth nor sky to look at.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>I want to end where I began, in my beautiful battered hometown of New York. Most of the great books about New York are books about walking, and that’s certainly true of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead\u003c/a>‘s packed personal travelogue, \u003ca href=\"https://www.npr.org/books/titles/831829023/the-colossus-of-new-york-a-city-in-thirteen-parts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Colossus of New York\u003c/em>\u003c/a>, which came out in 2003. Whitehead roams from the Port Authority to the Brooklyn Bridge to the once dense streets of Midtown. If you’re missing the feeling of being lost in a crowd, Whitehead—and really all these writers I’ve just recommended—offer you the next best thing: the possibility of getting lost in a book.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Need+A+Mental+Escape%3F+These+Books+Offer+Solace+In+Troubled+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Run,' Do Not Walk: HBO's New Smart, Spiky, Sexy Comedy/Thriller",
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"content": "\u003cp>The premise is big, bold, even broad: When they broke up in college, fifteen years ago, Ruby (Merritt Wever) and Billy (Domhnall Gleeson) promised each other that if either one of them ever texted the word “RUN” to the other … \u003cem>and \u003c/em>the other texted it back, they would drop everything and meet in Grand Central Station, hop on a cross-country train, and see what happened.\u003c/p>\n\u003cp>See? Big idea. High concept. Great elevator pitch. Sold in the room.\u003c/p>\n\u003cp>The execution, as it’s carried out by Wever, Gleeson and showrunner Vicky Jones, is smartly, bracingly small. Grounded. Precise. Detailed. Real.\u003c/p>\n\u003cp>That contrast is why HBO’s \u003cem>Run \u003c/em>is the best new show of 2020.\u003c/p>\n\u003cp>The notion of running away from your commitments to hook up with an ex is, after all, quite literally an escapist fantasy. It seems like it to us, and it seems like it to Ruby and Billy. The fun of the opening few minutes of the seven-episode series (five of which have been screened for press) is the thrill of chasing an impulse. They’re having a ball, and so are we.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But impulsive actions bring a kind of joy that’s bound up with disorder. Chaos isn’t a by-product, it’s part of the appeal. \u003cem>Run \u003c/em>knows that—and it knows that when Ruby and Billy do see each other again, they will each come to that encounter with the conviction that the past fifteen years of their real lives never happened, that they can pick up where they left off, that they can be the selves they were 15 years ago.\u003c/p>\n\u003cp>They can’t, of course, and the many tiny ways this begins to dawn on them—we watch it happening in the tilt of Wever’s head, in the way Gleeson’s eyes jitter in his face—makes for a kind of ruefully knowing comedy. We can see how much they’ve idealized this reunion over the years, which makes every moment they actually spend together sexy, and dangerous—and fragile.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9gnW8TAP2U\u003c/p>\n\u003cp>Again and again, their idyll threatens to shatter—a bit of flirty banter goes awry, or a wave of guilt crashes over one or the other, or a muttered aside inflicts a deep wound. But they keep coming back, and before too long the pressures that endanger their time together shift from internal to external. This transition happens a few episodes in, when the series slides from rom-com to thriller… um …-com.\u003c/p>\n\u003cp>Creator Vicky Jones, who directed the original stage version of \u003cem>Fleabag\u003c/em>, plays with time in a smart, revealing way. We do get flashbacks, but they aren’t what we’re expecting to see—college-age Ruby and Billy, making the pact—they’re moments that, doled out over the course of the series as they are, directly affect our perceptions of these characters in the current moment. They don’t fill in tedious backstory, they change our understanding of what we’re seeing. The show knows that we’ve got everything we need to know about that college relationship—Wever and Gleeson are showing it to us every moment they share the screen.\u003c/p>\n\u003cp>Wever is great, here—sliding her warm, lilting voice up and down her register in a way that switches from flirty to furious and back again, often within a single line of dialogue. Gleeson is funny without ever lunging at a joke (note the way he subtly dials up his Irish accent to Full Lucky Charms Leprechaun, when someone whose help he requires tells him they’re part Irish). The performances are layered enough for us to look past Ruby’s selfishness and Billy’s shadiness and still root for them. Even Rich Sommer, as the husband Ruby left in the lurch, gets a scene or two to invest his character with deeper levels than expected.\u003c/p>\n\u003cp>Executive produced by Phoebe Waller-Bridge (who shows up for a brief cameo), \u003cem>Run \u003c/em>shares a sensibility with both \u003cem>Fleabag \u003c/em>and \u003cem>Killing Eve\u003c/em>—a clear-eyed intelligence about adult sexuality combined with a sense of humor that explores interpersonal dynamics without relying on familiar tropes. In fact, that mid-season turn from romantic comedy to thriller feels like a transition from \u003cem>Fleabag \u003c/em>(smart, sexy comedy) to \u003cem>Killing Eve\u003c/em> (propulsive, twisty plot, raised stakes).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is not to say that anything about \u003cem>Run \u003c/em>feels derivative of those shows. It’s its own thing, clearly, and what that is happens to be just what this cultural moment demands—two actors at the top of their game in a story that’s fun, funny, sexy and, more than anything else, smart.\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=%27Run%2C%27+Do+Not+Walk%3A+HBO%27s+New+Smart%2C+Spiky%2C+Sexy+Comedy%2FThriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise is big, bold, even broad: When they broke up in college, fifteen years ago, Ruby (Merritt Wever) and Billy (Domhnall Gleeson) promised each other that if either one of them ever texted the word “RUN” to the other … \u003cem>and \u003c/em>the other texted it back, they would drop everything and meet in Grand Central Station, hop on a cross-country train, and see what happened.\u003c/p>\n\u003cp>See? Big idea. High concept. Great elevator pitch. Sold in the room.\u003c/p>\n\u003cp>The execution, as it’s carried out by Wever, Gleeson and showrunner Vicky Jones, is smartly, bracingly small. Grounded. Precise. Detailed. Real.\u003c/p>\n\u003cp>That contrast is why HBO’s \u003cem>Run \u003c/em>is the best new show of 2020.\u003c/p>\n\u003cp>The notion of running away from your commitments to hook up with an ex is, after all, quite literally an escapist fantasy. It seems like it to us, and it seems like it to Ruby and Billy. The fun of the opening few minutes of the seven-episode series (five of which have been screened for press) is the thrill of chasing an impulse. They’re having a ball, and so are we.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But impulsive actions bring a kind of joy that’s bound up with disorder. Chaos isn’t a by-product, it’s part of the appeal. \u003cem>Run \u003c/em>knows that—and it knows that when Ruby and Billy do see each other again, they will each come to that encounter with the conviction that the past fifteen years of their real lives never happened, that they can pick up where they left off, that they can be the selves they were 15 years ago.\u003c/p>\n\u003cp>They can’t, of course, and the many tiny ways this begins to dawn on them—we watch it happening in the tilt of Wever’s head, in the way Gleeson’s eyes jitter in his face—makes for a kind of ruefully knowing comedy. We can see how much they’ve idealized this reunion over the years, which makes every moment they actually spend together sexy, and dangerous—and fragile.\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/x9gnW8TAP2U'\n title='//www.youtube.com/embed/x9gnW8TAP2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Again and again, their idyll threatens to shatter—a bit of flirty banter goes awry, or a wave of guilt crashes over one or the other, or a muttered aside inflicts a deep wound. But they keep coming back, and before too long the pressures that endanger their time together shift from internal to external. This transition happens a few episodes in, when the series slides from rom-com to thriller… um …-com.\u003c/p>\n\u003cp>Creator Vicky Jones, who directed the original stage version of \u003cem>Fleabag\u003c/em>, plays with time in a smart, revealing way. We do get flashbacks, but they aren’t what we’re expecting to see—college-age Ruby and Billy, making the pact—they’re moments that, doled out over the course of the series as they are, directly affect our perceptions of these characters in the current moment. They don’t fill in tedious backstory, they change our understanding of what we’re seeing. The show knows that we’ve got everything we need to know about that college relationship—Wever and Gleeson are showing it to us every moment they share the screen.\u003c/p>\n\u003cp>Wever is great, here—sliding her warm, lilting voice up and down her register in a way that switches from flirty to furious and back again, often within a single line of dialogue. Gleeson is funny without ever lunging at a joke (note the way he subtly dials up his Irish accent to Full Lucky Charms Leprechaun, when someone whose help he requires tells him they’re part Irish). The performances are layered enough for us to look past Ruby’s selfishness and Billy’s shadiness and still root for them. Even Rich Sommer, as the husband Ruby left in the lurch, gets a scene or two to invest his character with deeper levels than expected.\u003c/p>\n\u003cp>Executive produced by Phoebe Waller-Bridge (who shows up for a brief cameo), \u003cem>Run \u003c/em>shares a sensibility with both \u003cem>Fleabag \u003c/em>and \u003cem>Killing Eve\u003c/em>—a clear-eyed intelligence about adult sexuality combined with a sense of humor that explores interpersonal dynamics without relying on familiar tropes. In fact, that mid-season turn from romantic comedy to thriller feels like a transition from \u003cem>Fleabag \u003c/em>(smart, sexy comedy) to \u003cem>Killing Eve\u003c/em> (propulsive, twisty plot, raised stakes).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is not to say that anything about \u003cem>Run \u003c/em>feels derivative of those shows. It’s its own thing, clearly, and what that is happens to be just what this cultural moment demands—two actors at the top of their game in a story that’s fun, funny, sexy and, more than anything else, smart.\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=%27Run%2C%27+Do+Not+Walk%3A+HBO%27s+New+Smart%2C+Spiky%2C+Sexy+Comedy%2FThriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I Don't Want To Die Poor' Questions the Student Loan Industry with Humor",
"headTitle": "‘I Don’t Want To Die Poor’ Questions the Student Loan Industry with Humor | KQED",
"content": "\u003cp>Making Michael Arceneaux’s \u003cem>I Don’t Want to Die Poor\u003c/em> required reading in high schools across the country would help a lot of young people think twice about the promise that going to college at any cost is the only path to upward social mobility.\u003c/p>\n\u003cp>Arceneaux, also the author of \u003cem>I Can’t Date Jesus\u003c/em>, writes in his new book of essays:\u003c/p>\n\u003cblockquote>\u003cp>“The student loan industry is a barely regulated, predatory system, and with Donald Trump in the White House and those equally useless people in Congress, oversight of the industry is becoming nonexistent.”\u003c/p>\u003c/blockquote>\n\u003cp>The truths come hard and fast in \u003cem>I Don’t Want to Die Poor\u003c/em>. Arceneaux uses the first essay, titled “You Self-Centered Bastard,” to bluntly show readers one of the issues in his life that will serve as an element of cohesion throughout the collection: student loans. The essay also serves to set the tone for what follows—a lot of personal stuff, great insights full of sarcasm and humor, and a relationship with popular culture that permeates everything the author does. [aside postid='arts_13878355,arts_13877670,arts_13877940' label='More Good Reads']\u003c/p>\n\u003cp>Arceneaux doesn’t shy away from any topic, and this book offers readers a look into his past, his financial woes, his sexuality and love life, the harsh realities of freelancing (yes, I sighed when I wrote that), racism, his mother’s constant battle to stay afloat, his father’s alcoholism and his own struggles with an eating disorder. Throughout all of it, he retains a dark sense of humor and the idea that there is something better out there, something he will achieve through hard work.\u003c/p>\n\u003cp>The thing that makes \u003cem>I Don’t Want to Die Poor \u003c/em>an outstanding read is Arceneaux’s voice. He writes like he’s telling you, his friend, a story. That makes you want to spend more time with him, listening to his stories and marveling at the way people can share so much simply because demographic factors put you in the same situations. For Arceneaux, life hasn’t been easy, and his writing shows that. Luckily for readers, every painful detail he shares is balanced out by a superb critique, a masterful turn of phrase, a funny use of popular culture or a couple of sentences that cut to the bone of a social issue and expose the core of it with unbending honesty:\u003c/p>\n\u003cblockquote>\u003cp>“It’s adorable to believe we live in a meritocracy, but so much of certain types of success is dictated by everything else besides perceived special talents and abilities. It’s about privilege, and how that privilege gives way to greater access and larger means than are offered those who lack it.”\u003c/p>\u003c/blockquote>\n\u003cp>Arceneaux’s sincerity shines here. So does his style. He captures readers in one essay when discussing how his eating disorder stemmed from his “desire to feel as if I was in control of some aspect of my life.” In another, he explains how “queer people have to deal with the reality that our straight counterparts have experiences in their teens and twenties that many of us don’t get to have until much later in life.” However, and more importantly, he will show from time to time that he writes to get a point across and isn’t here to please anyone. For example, when he talks about the time he thought about being a rapper, he deconstructs hip-hop to unmask its homophobia. His words aren’t gentle: “I forgot I can’t be a n**ga in hip-hop because I’m a f**got.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Heartbreaking, hilarious, unapologetic and smart, this collection of essays shows a talented young voice that can attack racist nonsense while discussing \u003cem>The Real Housewives of Atlanta\u003c/em>. It’s also a warning to future generations and a literary hug to those who have fallen into the unforgiving claws of student loan debt.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter:\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">\u003cem>@Gabino_Iglesias\u003c/em>\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making Michael Arceneaux’s \u003cem>I Don’t Want to Die Poor\u003c/em> required reading in high schools across the country would help a lot of young people think twice about the promise that going to college at any cost is the only path to upward social mobility.\u003c/p>\n\u003cp>Arceneaux, also the author of \u003cem>I Can’t Date Jesus\u003c/em>, writes in his new book of essays:\u003c/p>\n\u003cblockquote>\u003cp>“The student loan industry is a barely regulated, predatory system, and with Donald Trump in the White House and those equally useless people in Congress, oversight of the industry is becoming nonexistent.”\u003c/p>\u003c/blockquote>\n\u003cp>The truths come hard and fast in \u003cem>I Don’t Want to Die Poor\u003c/em>. Arceneaux uses the first essay, titled “You Self-Centered Bastard,” to bluntly show readers one of the issues in his life that will serve as an element of cohesion throughout the collection: student loans. The essay also serves to set the tone for what follows—a lot of personal stuff, great insights full of sarcasm and humor, and a relationship with popular culture that permeates everything the author does. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arceneaux doesn’t shy away from any topic, and this book offers readers a look into his past, his financial woes, his sexuality and love life, the harsh realities of freelancing (yes, I sighed when I wrote that), racism, his mother’s constant battle to stay afloat, his father’s alcoholism and his own struggles with an eating disorder. Throughout all of it, he retains a dark sense of humor and the idea that there is something better out there, something he will achieve through hard work.\u003c/p>\n\u003cp>The thing that makes \u003cem>I Don’t Want to Die Poor \u003c/em>an outstanding read is Arceneaux’s voice. He writes like he’s telling you, his friend, a story. That makes you want to spend more time with him, listening to his stories and marveling at the way people can share so much simply because demographic factors put you in the same situations. For Arceneaux, life hasn’t been easy, and his writing shows that. Luckily for readers, every painful detail he shares is balanced out by a superb critique, a masterful turn of phrase, a funny use of popular culture or a couple of sentences that cut to the bone of a social issue and expose the core of it with unbending honesty:\u003c/p>\n\u003cblockquote>\u003cp>“It’s adorable to believe we live in a meritocracy, but so much of certain types of success is dictated by everything else besides perceived special talents and abilities. It’s about privilege, and how that privilege gives way to greater access and larger means than are offered those who lack it.”\u003c/p>\u003c/blockquote>\n\u003cp>Arceneaux’s sincerity shines here. So does his style. He captures readers in one essay when discussing how his eating disorder stemmed from his “desire to feel as if I was in control of some aspect of my life.” In another, he explains how “queer people have to deal with the reality that our straight counterparts have experiences in their teens and twenties that many of us don’t get to have until much later in life.” However, and more importantly, he will show from time to time that he writes to get a point across and isn’t here to please anyone. For example, when he talks about the time he thought about being a rapper, he deconstructs hip-hop to unmask its homophobia. His words aren’t gentle: “I forgot I can’t be a n**ga in hip-hop because I’m a f**got.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Heartbreaking, hilarious, unapologetic and smart, this collection of essays shows a talented young voice that can attack racist nonsense while discussing \u003cem>The Real Housewives of Atlanta\u003c/em>. It’s also a warning to future generations and a literary hug to those who have fallen into the unforgiving claws of student loan debt.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter:\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">\u003cem>@Gabino_Iglesias\u003c/em>\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chelsea Bieker’s mother left when she was 9 years old. “Growing up, I was hungry for narratives that were tackling some of the things that I was experiencing and feeling,” she recalls. Whenever she found those stories, she says it felt healing, cathartic—a release.\u003c/p>\n\u003cp>“It didn’t feel like I was so isolated—it made my experience feel more universal,” she says.\u003c/p>\n\u003cp>In Bieker’s debut novel \u003ca href=\"https://books.catapult.co/products/godshot-a-novel-by-chelsea-bieker\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Godshot\u003c/em>\u003c/a>, a devastating drought in a fictional California town has led residents to seek answers in a charismatic cult leader. Narrator Lacey May is 14 years old when her mother abandons her.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878264 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png\" alt=\"\" width=\"304\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM-160x244.png 160w\" sizes=\"(max-width: 304px) 100vw, 304px\">\u003c/p>\n\u003cp>Bieker understands that, at a time when readers are facing real world fears about coronavirus, it might feel like an odd moment to immerse oneself in a fictional world of drought, chaos and childhood trauma. But Bieker believes this difficult time of quiet and isolation is an invitation to look at ourselves in new ways.\u003c/p>\n\u003cp>“I believe that fiction asks us to turn toward the difficult parts in our own lives and our own selves to try to find some sort of grace …” she says. “Art can help me ask the difficult questions of myself and then try to answer them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s time to watch Netflix—we all have to find the balance that’s right for us. But “leaning in to some of the things that might be coming up during this time can be valuable, too,” Bieker says.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the challenges she faced growing up\u003c/strong>\u003c/p>\n\u003cp>I was raised by two alcoholic parents and all of the trauma and stress that comes with that. But mainly when I was 9, my mother left and she didn’t come back. And so I was dealing with this grief of this really confusing loss. Because she didn’t die—it wasn’t like I could really have any closure with that grief. But she had just left and she was existing somewhere else. So around 9, I was kind of forced to reckon with this loss that I didn’t know how to categorize at the time. Now I know to call it grief and I have a language for it. But when I was a child, I wanted to find books that reflected that in some way.\u003c/p>\n\u003cp>\u003cstrong>On why she decided the characters in the book would belong to a cult\u003c/strong>\u003c/p>\n\u003cp>I wanted those characters to have to grapple with the devastation of the land in a very deep way. And the way these people are handling it is through spiritual outlets. They’re not looking to science. They’re not looking to facts to explain what’s happening around them. But they have this leader who’s promising that if they behave a certain way, if they do certain things, they are in control, somehow. They will please God and restore the land. So while on one hand, these characters are really ignoring climate change, and facts, and politics—they’re not in that space at all. [But] they’re also taking this really intense responsibility in their own way—however misguided. And they’re trying to make things right. …\u003c/p>\n\u003cp>People want to feel like they’re on the right track—that they’re doing something meaningful in their lives. … The promise of a future paradise is very alluring. And that’s definitely what the characters in this book are being drawn to.\u003c/p>\n\u003cp>\u003cstrong>On the women who live on the outskirts of town and operate a phone sex line—and why they are a lifeline for Lacey May\u003c/strong>\u003c/p>\n\u003cp>It’s her way out. It’s a window into another way of living. And it’s also a place that she learns about her body for the first time in a really practical way. These are women who are connected to their bodies. They are empowered in their bodies in different ways. And she’s seeing that really for the first time. She’s coming from a place of absolutely no sex education and being forced to kind of self-educate. And these women provide this other kind of door to this other way of thinking.\u003c/p>\n\u003cp>\u003cstrong>On Lacey May seeking out other mother-daughter relationships\u003c/strong>\u003c/p>\n\u003cp>I think Lacey May realizes after her mother leaves that she’s going to have to go on sort of a search for another sort of mothering. And she does find that through these sort of unlikely friendships with these other women throughout the book. And I think in turn, she’s able to understand her own mother in a different way through their lens—which is important because she begins to see her mother not only as her mother, who has failed her in many ways, but as a person who’s fallible and someone that there may be hope for, compassion for one day.\u003c/p>\n\u003cp>\u003cstrong>On whether that mirrors her own experience\u003c/strong>\u003c/p>\n\u003cp>My love for my mother never wavered through any of it. … When I look back over my experience—and the experience certainly isn’t over, it’s something I continue to process today, especially as a mother to my own children—but the love for my mother that I’ve had has grown and evolved in its own way and it’s really never left.\u003c/p>\n\u003cp>So I wanted the book to … characterize that. That despite all odds, there is still a remaining connection and love between this mother and daughter and the hope for it to restore in a traditional sense—where the mother comes back and life resumes happy as ever, that’s never going to happen—but there can be a hope toward another kind of experience.\u003c/p>\n\u003cp>\u003cstrong>On her current relationship with her mother\u003c/strong>\u003c/p>\n\u003cp>I do have a relationship with my mother. We never really stopped having one. … I’ve actually noticed since I had my own children six years ago, my mother and I are able to connect in a different way and I really enjoy our time talking when we’re able to have it. … I’ve been able to see the beauty in a really non-conventional connection and take what we can get, you know?\u003c/p>\n\u003cp>\u003cstrong>On what her novel says about blind obedience to charismatic leaders\u003c/strong>\u003c/p>\n\u003cp>I think part of what \u003cem>Godshot \u003c/em>is doing is that it’s prompting us to ask questions and not to accept a package solution that seems to be rooted in this big group think. I think that’s dangerous. And I think the characters in the book slowly realize that. And they do begin to question, they do begin to access their own curiosity, and find their own answers. And I think that’s important for all of us to do—to be critical thinkers and to not listen to just one voice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Aubri Juhasz 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=%27Godshot%27+Author+Explains+How+Fiction+Helps+Us+Face+Real-World+Adversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chelsea Bieker’s mother left when she was 9 years old. “Growing up, I was hungry for narratives that were tackling some of the things that I was experiencing and feeling,” she recalls. Whenever she found those stories, she says it felt healing, cathartic—a release.\u003c/p>\n\u003cp>“It didn’t feel like I was so isolated—it made my experience feel more universal,” she says.\u003c/p>\n\u003cp>In Bieker’s debut novel \u003ca href=\"https://books.catapult.co/products/godshot-a-novel-by-chelsea-bieker\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Godshot\u003c/em>\u003c/a>, a devastating drought in a fictional California town has led residents to seek answers in a charismatic cult leader. Narrator Lacey May is 14 years old when her mother abandons her.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878264 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png\" alt=\"\" width=\"304\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM-160x244.png 160w\" sizes=\"(max-width: 304px) 100vw, 304px\">\u003c/p>\n\u003cp>Bieker understands that, at a time when readers are facing real world fears about coronavirus, it might feel like an odd moment to immerse oneself in a fictional world of drought, chaos and childhood trauma. But Bieker believes this difficult time of quiet and isolation is an invitation to look at ourselves in new ways.\u003c/p>\n\u003cp>“I believe that fiction asks us to turn toward the difficult parts in our own lives and our own selves to try to find some sort of grace …” she says. “Art can help me ask the difficult questions of myself and then try to answer them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, there’s time to watch Netflix—we all have to find the balance that’s right for us. But “leaning in to some of the things that might be coming up during this time can be valuable, too,” Bieker says.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the challenges she faced growing up\u003c/strong>\u003c/p>\n\u003cp>I was raised by two alcoholic parents and all of the trauma and stress that comes with that. But mainly when I was 9, my mother left and she didn’t come back. And so I was dealing with this grief of this really confusing loss. Because she didn’t die—it wasn’t like I could really have any closure with that grief. But she had just left and she was existing somewhere else. So around 9, I was kind of forced to reckon with this loss that I didn’t know how to categorize at the time. Now I know to call it grief and I have a language for it. But when I was a child, I wanted to find books that reflected that in some way.\u003c/p>\n\u003cp>\u003cstrong>On why she decided the characters in the book would belong to a cult\u003c/strong>\u003c/p>\n\u003cp>I wanted those characters to have to grapple with the devastation of the land in a very deep way. And the way these people are handling it is through spiritual outlets. They’re not looking to science. They’re not looking to facts to explain what’s happening around them. But they have this leader who’s promising that if they behave a certain way, if they do certain things, they are in control, somehow. They will please God and restore the land. So while on one hand, these characters are really ignoring climate change, and facts, and politics—they’re not in that space at all. [But] they’re also taking this really intense responsibility in their own way—however misguided. And they’re trying to make things right. …\u003c/p>\n\u003cp>People want to feel like they’re on the right track—that they’re doing something meaningful in their lives. … The promise of a future paradise is very alluring. And that’s definitely what the characters in this book are being drawn to.\u003c/p>\n\u003cp>\u003cstrong>On the women who live on the outskirts of town and operate a phone sex line—and why they are a lifeline for Lacey May\u003c/strong>\u003c/p>\n\u003cp>It’s her way out. It’s a window into another way of living. And it’s also a place that she learns about her body for the first time in a really practical way. These are women who are connected to their bodies. They are empowered in their bodies in different ways. And she’s seeing that really for the first time. She’s coming from a place of absolutely no sex education and being forced to kind of self-educate. And these women provide this other kind of door to this other way of thinking.\u003c/p>\n\u003cp>\u003cstrong>On Lacey May seeking out other mother-daughter relationships\u003c/strong>\u003c/p>\n\u003cp>I think Lacey May realizes after her mother leaves that she’s going to have to go on sort of a search for another sort of mothering. And she does find that through these sort of unlikely friendships with these other women throughout the book. And I think in turn, she’s able to understand her own mother in a different way through their lens—which is important because she begins to see her mother not only as her mother, who has failed her in many ways, but as a person who’s fallible and someone that there may be hope for, compassion for one day.\u003c/p>\n\u003cp>\u003cstrong>On whether that mirrors her own experience\u003c/strong>\u003c/p>\n\u003cp>My love for my mother never wavered through any of it. … When I look back over my experience—and the experience certainly isn’t over, it’s something I continue to process today, especially as a mother to my own children—but the love for my mother that I’ve had has grown and evolved in its own way and it’s really never left.\u003c/p>\n\u003cp>So I wanted the book to … characterize that. That despite all odds, there is still a remaining connection and love between this mother and daughter and the hope for it to restore in a traditional sense—where the mother comes back and life resumes happy as ever, that’s never going to happen—but there can be a hope toward another kind of experience.\u003c/p>\n\u003cp>\u003cstrong>On her current relationship with her mother\u003c/strong>\u003c/p>\n\u003cp>I do have a relationship with my mother. We never really stopped having one. … I’ve actually noticed since I had my own children six years ago, my mother and I are able to connect in a different way and I really enjoy our time talking when we’re able to have it. … I’ve been able to see the beauty in a really non-conventional connection and take what we can get, you know?\u003c/p>\n\u003cp>\u003cstrong>On what her novel says about blind obedience to charismatic leaders\u003c/strong>\u003c/p>\n\u003cp>I think part of what \u003cem>Godshot \u003c/em>is doing is that it’s prompting us to ask questions and not to accept a package solution that seems to be rooted in this big group think. I think that’s dangerous. And I think the characters in the book slowly realize that. And they do begin to question, they do begin to access their own curiosity, and find their own answers. And I think that’s important for all of us to do—to be critical thinkers and to not listen to just one voice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Aubri Juhasz 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=%27Godshot%27+Author+Explains+How+Fiction+Helps+Us+Face+Real-World+Adversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need An Escape? Try 'Unorthodox,' 'Baghdad Central' and 'Abigail'",
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"content": "\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-zVhRId0BTw\u003c/p>\n\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JxQXiIjYiwo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\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=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\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=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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