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"content": "\u003cp>The photograph in \u003cem>The Photograph\u003c/em> is the lone portrait of the photographer herself, shown slumping at a kitchen table in a humble Gulf-side home in rural Louisiana. The man who took the shot is her boyfriend, a third-generation fisherman who’s content to marry her and stay put. As it happens, it’s the last night they spend together as a couple, because she’s resolved to pursue her dreams as an artist in New York City and will be taking the first Greyhound bus out of town in the morning. The picture says 1,000 words: She’s sad and uncomfortable in the frame, as if her boyfriend has attempted to box her into a life she doesn’t want.\u003c/p>\n\u003cp>Writer-director Stella Meghie’s half-turgid, half-affecting romance circles around the powerful idea of that shot as a means for the photographer’s daughter to understand her distant mother and perhaps to understand herself, too. This structural push-and-pull between past and present—and between the humble sun-kissed idyll of the Gulf Shore and the Nancy Meyers kitchens of New York—may seem familiar from Nicholas Sparks adaptations, but Meghie seems to evoke them in order to subvert them. She answers the lily-whiteness of Sparks’ characters with African Americans for one, but she also cranks down the melodrama. She’s searching for human moments, not outrageous turns of the plot.\u003c/p>\n\u003cp>The consequence for \u003cem>The Photograph\u003c/em> is that most of it is curiously flat and under-seasoned, despite two stars in Issa Rae and Lakeith Stanfield who have an abundance of chemistry together. Rae stars as Mae Morton, daughter of the renowned photographer Christina Eames (Chante Adams), who’s having a posthumous retrospective of her work in New York. Mae discovers the shot of her mother in a safety deposit box and the film circles back to Louisiana, where Christina’s ex-boyfriend Issac (Rob Morgan) still seems raw 30 years after she left. In flashbacks, Issac (played as a young adult by Y’lan Noel) argues with Christina about their future, but is nonetheless thunderstruck when she leaves without a word.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=954b9vLAT6Y\u003c/p>\n\u003cp>In the present, Mae strikes up a relationship with Michael (Stanfield), the hotshot feature journalist assigned to write about her mother’s life and work. The two fall hard for each other, but Michael’s plan to take a job in London summons the abandonment issues that have haunted her since childhood. They’re too new to each other to demand or expect a long-term commitment, but it seems like one of those connections that’s worth a gamble. And given the lonely life of her mother, Mae naturally worries that she might be doomed to the same fate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rae and Stanfield are effortlessly funny performers, but Meghie limits their spontaneity even in more casual, flirtier, getting-to-know-you encounters. She also smothers the film in a soft-jazz score that reinforces the earnest tone, as if the drama would somehow lose its power if it were played from any other angle. \u003cem>The Photograph\u003c/em> always seems a beat or two slower than it should be, which makes it easier to see the gears of its plot turning away, leading the audience to unsurprising destinations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet there are moments when Meghie’s strategy pays off and playing the emotions straight winds up dignifying and strengthening them. The efforts of Mae and the older Issac to process Christina’s loss are subtly rhymed, as they try to reconcile the love she had for them with a deeper and more private need to express herself. And Stanfield’s performance as Michael seems cool and disengaged until he finally lets down his guard, and a small dam bursts in his eyes. \u003cem>The Photograph\u003c/em> is a Valentine’s card on tastefully embossed stationary, but at least the sentiments within seem genuine.\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=Romantic+Drama+%27The+Photograph%27+Is+Unfocused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headTitle": "Filmmaker Tracks Bezos’ ‘Rise and Reign’ and How Amazon Became ‘Inescapable’ | KQED",
"content": "\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXzDXsXKjFk\u003c/p>\n\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\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/DXzDXsXKjFk'\n title='//www.youtube.com/embed/DXzDXsXKjFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The book we’re talking about right now almost didn’t exist.\u003c/p>\n\u003cp>\u003cem>Little Legends\u003c/em> celebrates exceptional men in black history; it’s by the author-illustrator Vashti Harrison. She says she thought long and hard about taking on this subject matter, because she relates more to women’s stories.\u003c/p>\n\u003cp>“My first book \u003cem>Little Leaders: Bold Women in Black History\u003c/em> … came from a really personal place,” Harrison says. “I was thinking about the stories that I needed to see when I was a little kid. From the moment it got announced people were asking me, ‘Are you going to write one about black men as well?'”\u003c/p>\n\u003cp>Eventually she gave in, since demand was so high for a followup—and the result was \u003cem>Little Legends\u003c/em>. On every other page, Harrison’s detailed illustrations bring each profile to life. And there’s one thing they all have in common: She’s drawn every one with their eyes closed.\u003c/p>\n\u003cp>“I really wanted to create this sweet, simple character,” she says. “I could have drawn each of these famous people to look like themselves, but I wanted to create a child character and kind of make it look like they were almost dressing up as these famous people. They’ve got their eyes closed, with this sweet smile. And I wanted it to feel like they’re kind of imagining themselves in the worlds of these wonderful people. But I also wanted to create a beautiful book … something that featured characters of color, people of color in a book that looks like it belongs on the shelf next to Winnie the Pooh and Madeline and Eloise.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On choosing which men to profile\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was not easy. There was, I think, originally a list of about 100 people, obviously so many incredible people who could have gone in. But one thing that was really important for me in the first book, that I carried over into this one, was showcasing a diverse list of fields of study. Sure, there are doctors and lawyers and activists, but also engineers and cyclists and artists, because there’s a question that a lot of adults ask kids—and I don’t really like this question so much. When I was little, I didn’t love it. But it’s what do you want to be when you grow up? … I mean, I don’t think you should have to know too early. Great if you do. But also cool if you don’t. But I wanted to be able to fill kids up with the knowledge of all these different paths and fields of study. So when they’re ready to answer, they’ll know about all these cool folks that came before them.\u003c/p>\n\u003cp>\u003cstrong>On choosing men who may not be as well-known\u003c/strong>\u003c/p>\n\u003cp>Originally, you know, when I was thinking about my first book, I was thinking about Black History Month. And why is it that we actually celebrate Black History Month when Carter G. Woodson founded Negro History Week in 1926? His goal was to celebrate the stories that have been long neglected throughout history. So I felt like, here’s an opportunity to showcase some names that you wouldn’t maybe come across in the mainstream. So when you go to the bookstore, there are lots of books featuring Martin Luther King Jr. and Barack Obama. I wanted to be able to showcase some names that you may not see everywhere else, so like Bass Reeves and John Robinson. But obviously there are some big names because … I hoped that, you know, people would share this book. And just in case it was someone’s first introduction to black history, there are a few big names.\u003c/p>\n\u003cfigure id=\"attachment_13874846\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png\" alt=\"Bass Reeves (1838-1910)\" width=\"638\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM-160x174.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Bass Reeves (1838-1910)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the artist Aaron Douglas\u003c/strong>\u003c/p>\n\u003cp>I mean, I definitely have a soft spot for the artists. So one of my favorites is Aaron Douglas for sure. You know, his work was just really just so beautiful. He was a master of color, and he was making artwork for and about black people in a time before anyone considered black to be beautiful. And he just made his work so unique. He combined Art Deco and Cubism and Egyptian hieroglyphics to create this bold style that became the look for the Harlem Renaissance. His work was everywhere on posters, on book covers, in magazines. And I just, I love everything he’s created.\u003c/p>\n\u003cfigure id=\"attachment_13874847\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png\" alt=\"Aaron Douglas (1899-1979)\" width=\"645\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png 645w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM-160x171.png 160w\" sizes=\"(max-width: 645px) 100vw, 645px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Douglas (1899-1979)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how these men responded to the racism around them\u003c/strong>\u003c/p>\n\u003cp>What I really wanted kids to connect with was this passion and joy that a lot of these people found in the things that they were doing. Someone like Major Taylor, who faced incredible racism and prejudice in the cycling industry. He still went after his love and enjoyed it and found beauty in it. And I really wanted to be able to share that with kids.\u003c/p>\n\u003cfigure id=\"attachment_13874848\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png\" alt='Marshall \"Major\" Taylor (1878-1932)' width=\"644\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM-160x172.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Marshall “Major” Taylor (1878-1932)\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, it’s a harsh reality that a lot of parents of color, children of color experience often way too early. But what I really want them to know is that through hard work, through grace, through kindness and through passion, these people found and created lives that were meaningful and made work that was meaningful for other people. It was tough tackling some of these subjects. It’s dark. Our history is dark sometimes. And I found it was really important to just put it all out there. You know, it was reality. And so I really just want these young readers to know that that didn’t define them. These hardships didn’t define them, but it was their love and their kindness and their goodness that made a difference in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was produced for radio by Reena Advani and Victoria Whitley-Berry, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Little+Legends%27+Celebrates+Big+Lives+Of+Black+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The book we’re talking about right now almost didn’t exist.\u003c/p>\n\u003cp>\u003cem>Little Legends\u003c/em> celebrates exceptional men in black history; it’s by the author-illustrator Vashti Harrison. She says she thought long and hard about taking on this subject matter, because she relates more to women’s stories.\u003c/p>\n\u003cp>“My first book \u003cem>Little Leaders: Bold Women in Black History\u003c/em> … came from a really personal place,” Harrison says. “I was thinking about the stories that I needed to see when I was a little kid. From the moment it got announced people were asking me, ‘Are you going to write one about black men as well?'”\u003c/p>\n\u003cp>Eventually she gave in, since demand was so high for a followup—and the result was \u003cem>Little Legends\u003c/em>. On every other page, Harrison’s detailed illustrations bring each profile to life. And there’s one thing they all have in common: She’s drawn every one with their eyes closed.\u003c/p>\n\u003cp>“I really wanted to create this sweet, simple character,” she says. “I could have drawn each of these famous people to look like themselves, but I wanted to create a child character and kind of make it look like they were almost dressing up as these famous people. They’ve got their eyes closed, with this sweet smile. And I wanted it to feel like they’re kind of imagining themselves in the worlds of these wonderful people. But I also wanted to create a beautiful book … something that featured characters of color, people of color in a book that looks like it belongs on the shelf next to Winnie the Pooh and Madeline and Eloise.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On choosing which men to profile\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not easy. There was, I think, originally a list of about 100 people, obviously so many incredible people who could have gone in. But one thing that was really important for me in the first book, that I carried over into this one, was showcasing a diverse list of fields of study. Sure, there are doctors and lawyers and activists, but also engineers and cyclists and artists, because there’s a question that a lot of adults ask kids—and I don’t really like this question so much. When I was little, I didn’t love it. But it’s what do you want to be when you grow up? … I mean, I don’t think you should have to know too early. Great if you do. But also cool if you don’t. But I wanted to be able to fill kids up with the knowledge of all these different paths and fields of study. So when they’re ready to answer, they’ll know about all these cool folks that came before them.\u003c/p>\n\u003cp>\u003cstrong>On choosing men who may not be as well-known\u003c/strong>\u003c/p>\n\u003cp>Originally, you know, when I was thinking about my first book, I was thinking about Black History Month. And why is it that we actually celebrate Black History Month when Carter G. Woodson founded Negro History Week in 1926? His goal was to celebrate the stories that have been long neglected throughout history. So I felt like, here’s an opportunity to showcase some names that you wouldn’t maybe come across in the mainstream. So when you go to the bookstore, there are lots of books featuring Martin Luther King Jr. and Barack Obama. I wanted to be able to showcase some names that you may not see everywhere else, so like Bass Reeves and John Robinson. But obviously there are some big names because … I hoped that, you know, people would share this book. And just in case it was someone’s first introduction to black history, there are a few big names.\u003c/p>\n\u003cfigure id=\"attachment_13874846\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png\" alt=\"Bass Reeves (1838-1910)\" width=\"638\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM-160x174.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Bass Reeves (1838-1910)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the artist Aaron Douglas\u003c/strong>\u003c/p>\n\u003cp>I mean, I definitely have a soft spot for the artists. So one of my favorites is Aaron Douglas for sure. You know, his work was just really just so beautiful. He was a master of color, and he was making artwork for and about black people in a time before anyone considered black to be beautiful. And he just made his work so unique. He combined Art Deco and Cubism and Egyptian hieroglyphics to create this bold style that became the look for the Harlem Renaissance. His work was everywhere on posters, on book covers, in magazines. And I just, I love everything he’s created.\u003c/p>\n\u003cfigure id=\"attachment_13874847\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png\" alt=\"Aaron Douglas (1899-1979)\" width=\"645\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png 645w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM-160x171.png 160w\" sizes=\"(max-width: 645px) 100vw, 645px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Douglas (1899-1979)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how these men responded to the racism around them\u003c/strong>\u003c/p>\n\u003cp>What I really wanted kids to connect with was this passion and joy that a lot of these people found in the things that they were doing. Someone like Major Taylor, who faced incredible racism and prejudice in the cycling industry. He still went after his love and enjoyed it and found beauty in it. And I really wanted to be able to share that with kids.\u003c/p>\n\u003cfigure id=\"attachment_13874848\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png\" alt='Marshall \"Major\" Taylor (1878-1932)' width=\"644\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM-160x172.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Marshall “Major” Taylor (1878-1932)\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, it’s a harsh reality that a lot of parents of color, children of color experience often way too early. But what I really want them to know is that through hard work, through grace, through kindness and through passion, these people found and created lives that were meaningful and made work that was meaningful for other people. It was tough tackling some of these subjects. It’s dark. Our history is dark sometimes. And I found it was really important to just put it all out there. You know, it was reality. And so I really just want these young readers to know that that didn’t define them. These hardships didn’t define them, but it was their love and their kindness and their goodness that made a difference in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was produced for radio by Reena Advani and Victoria Whitley-Berry, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Little+Legends%27+Celebrates+Big+Lives+Of+Black+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve been telling stories about pandemics for a very long time. From an eighth century BCE poem about a \u003ca href=\"https://en.wikipedia.org/wiki/Erra_(god)\" target=\"_blank\" rel=\"noopener noreferrer\">Babylonian plague god\u003c/a> to the Old Testament’s ten plagues of Egypt to, well, the AMC megahit zombie show \u003cem>The Walking Dead\u003c/em>, now in its tenth season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=79io403T1EM\u003c/p>\n\u003cp>Long ago, we understood mass outbreaks as divine punishment for human transgressions—but our stories about disease have changed over time. Although still fantastic, modern stories about disease tend to be rooted in political and social realities. Last year, the 800-page novel \u003cem>Wanderers\u003c/em> combined science fiction and horror with a techno-thriller focus on the rise of artificial intelligence and white nationalism in the aftermath of a pandemic. Author Chuck Wendig explains the appeal of writing a story where entire populations get sick and die: “Bringing these things into a book is like, you know, an ancient summoning. Summoning a demon into a summoning circle. Because that’s how you fight it.”\u003c/p>\n\u003cp>But how does fiction fight something like disease? In its own way, says writer and filmmaker Jeff Barnaby, by helping us make sense of the real world. Barnaby says today’s books, TV shows and movies based on pandemics explore how people live upon and move around a planet defined by compromised ecosystems, borders and barricades.\u003c/p>\n\u003cp>“You’re dealing with the aftermath of globalism,” he points out. “And I think you’re starting to see people make the link between how you treat the environment and the way the environment treats you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0hkO5UjSpw\u003c/p>\n\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4sYSyuuLk5g\u003c/p>\n\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, and adapted for the Web by Petra Mayer.\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=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Bong Joon-ho's film about families, class and keeping secrets won best picture. It's the first time a film in a language other than English has won the top prize.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Author L.L. McKinney: Barnes & Noble 'Diverse Editions' are 'Literary Blackface'",
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"content": "\u003cp>“There are so many ways to get this right, they had to look for a way to get this wrong.”\u003c/p>\n\u003cp>That’s author L.L. McKinney’s response to Barnes & Noble’s “Diverse Editions” campaign. McKinney’s most recent book, \u003cem>A Dream So Dark,\u003c/em> is a sequel to \u003cem>\u003ca href=\"https://www.npr.org/books/titles/651940128/a-blade-so-black\" target=\"_blank\" rel=\"noopener noreferrer\">A Blade So Black\u003c/a>\u003c/em>, a contemporary retelling of \u003cem>Alice in Wonderland\u003c/em> with a black female lead.\u003c/p>\n\u003cp>The bookselling chain announced this month that they were going to release classic books with new covers that reimagined protagonists as characters of color. These included \u003cem>Frankenstein\u003c/em>, \u003cem>Peter Pan\u003c/em> and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> among others—almost all books by white authors, about characters presumed to be white.\u003c/p>\n\u003cp>Black authors took to Twitter to express their criticism of the project, many of them, including McKinney, calling it “literary blackface.”\u003c/p>\n\u003cp>Barnes & Noble \u003ca href=\"https://twitter.com/BNBuzz/status/1225120163692937218\" target=\"_blank\" rel=\"noopener noreferrer\">released a statement on Twitter\u003c/a> on Wednesday, the day the book covers were supposed to be displayed at their Fifth Avenue store in Manhattan, saying they were no longer going forward with the campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the statement, the chain said “it was a project inspired by outwork with schools and was created in part to raise awareness and discussion during Black History Month, in which Barnes & Noble stores nationally will continue to highlight a wide selection of books to celebrate black history and great literature from writers of color.”\u003c/p>\n\u003cp>But what was supposed to be a celebration of diversity to kick off Black History Month turned into a moment where black writers weren’t actually part of that celebration. [aside postid='pop_109548']\u003c/p>\n\u003cp>Out of the 12 books chosen for the campaign, only one was written by a black author—\u003cem>The Count of Monte Cristo\u003c/em>, by Alexandre Dumas.\u003c/p>\n\u003cp>“It’s still a story by a white author, featuring a white character, told via the white gaze,” McKinney says. “And none of this has changed within the contents of the story itself. They’re essentially just slapping a cover on it to ‘celebrate diversity.’ But a lot of us felt that you’re just trying to cash in on the fact that it’s Black History Month, and now all of a sudden, black faces and brown faces will sell books. Just maybe one, two years ago, people were saying in meetings, ‘Yeah, you can’t put black people on covers. It’s not going to sell the book.'”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what Barnes & Noble could have done instead\u003c/strong>\u003c/p>\n\u003cp>Feature black people, that’s the beginning and end of it. If you’re wanting to put a spin on classics, feature classics that are by black and brown authors. Like Zora Neale Hurston. Toni Morrison. Give their covers updates and put them on your tables. Or if you want to do this thing where you connect to the ideas of the classic canon, we are out there writing reimaginings and retellings and putting ourselves in the narratives of these stories. Like \u003cem>Pride & Prejudice\u003c/em>. Like \u003cem>Alice in Wonderland\u003c/em>. Like \u003cem>Wizard of Oz\u003c/em>. We’re doing that, so feature those books if that’s the angle you want to go.\u003c/p>\n\u003cp>\u003cstrong>On diversity in book publishing\u003c/strong>\u003c/p>\n\u003cp>No one thinks they’re capable of making mistakes at this level. Especially mistakes like this. Because if you did think that that was a thing that could happen, you would have things in place and people in place to be able to prevent it from happening, right? I’ve been that person, you know, that one black voice, that one person of color in the room or maybe there are two or three of us who says, maybe this isn’t a good idea. But then we’re shouted down or talked over, so it rolls out. This definitely says that there were no people of color in the room to make those decisions. And if they were, no one listened to them.\u003c/p>\n\u003cp>\u003cstrong>On representation \u003c/strong>\u003c/p>\n\u003cp>I am of the camp of if you want good representation, you let those people speak for themselves. You set up the microphone, you check the levels, you get everything together, and then you get out of the way. Especially if you’re someone who has the resources to do that. And then we can take it from there. That’s what I think good representation is. It mostly comes from within the communities that are attempting to be represented because nobody knows it like us, right?\u003c/p>\n\u003cp>There are people who do do the work and they take the care and they show the research and they’re very sensitive to the nature, not only of the representation, but the context around the bad representation that has come before it. Cause you’re not just representing us in that moment, right? You’re fighting against this narrative that has been developed for decades and people don’t even take that into account. They’re just like, “Oh, well, you know, let me write this down and get this out there.” And maybe I don’t play into, you know, this sharp thing that people are aware of right now, but you miss the connotation of like maybe minstrelsy you know, from decades ago, that’s still very much felt in our community. So I think that good representation happens when we’re allowed to take the mic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Justine Kenin and adapted for the Web by Brianna Scott.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+L.L.+McKinney%3A+Barnes+%26+Noble+%27Diverse+Editions%27+Are+%27Literary+Blackface%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are so many ways to get this right, they had to look for a way to get this wrong.”\u003c/p>\n\u003cp>That’s author L.L. McKinney’s response to Barnes & Noble’s “Diverse Editions” campaign. McKinney’s most recent book, \u003cem>A Dream So Dark,\u003c/em> is a sequel to \u003cem>\u003ca href=\"https://www.npr.org/books/titles/651940128/a-blade-so-black\" target=\"_blank\" rel=\"noopener noreferrer\">A Blade So Black\u003c/a>\u003c/em>, a contemporary retelling of \u003cem>Alice in Wonderland\u003c/em> with a black female lead.\u003c/p>\n\u003cp>The bookselling chain announced this month that they were going to release classic books with new covers that reimagined protagonists as characters of color. These included \u003cem>Frankenstein\u003c/em>, \u003cem>Peter Pan\u003c/em> and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> among others—almost all books by white authors, about characters presumed to be white.\u003c/p>\n\u003cp>Black authors took to Twitter to express their criticism of the project, many of them, including McKinney, calling it “literary blackface.”\u003c/p>\n\u003cp>Barnes & Noble \u003ca href=\"https://twitter.com/BNBuzz/status/1225120163692937218\" target=\"_blank\" rel=\"noopener noreferrer\">released a statement on Twitter\u003c/a> on Wednesday, the day the book covers were supposed to be displayed at their Fifth Avenue store in Manhattan, saying they were no longer going forward with the campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the statement, the chain said “it was a project inspired by outwork with schools and was created in part to raise awareness and discussion during Black History Month, in which Barnes & Noble stores nationally will continue to highlight a wide selection of books to celebrate black history and great literature from writers of color.”\u003c/p>\n\u003cp>But what was supposed to be a celebration of diversity to kick off Black History Month turned into a moment where black writers weren’t actually part of that celebration. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Out of the 12 books chosen for the campaign, only one was written by a black author—\u003cem>The Count of Monte Cristo\u003c/em>, by Alexandre Dumas.\u003c/p>\n\u003cp>“It’s still a story by a white author, featuring a white character, told via the white gaze,” McKinney says. “And none of this has changed within the contents of the story itself. They’re essentially just slapping a cover on it to ‘celebrate diversity.’ But a lot of us felt that you’re just trying to cash in on the fact that it’s Black History Month, and now all of a sudden, black faces and brown faces will sell books. Just maybe one, two years ago, people were saying in meetings, ‘Yeah, you can’t put black people on covers. It’s not going to sell the book.'”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what Barnes & Noble could have done instead\u003c/strong>\u003c/p>\n\u003cp>Feature black people, that’s the beginning and end of it. If you’re wanting to put a spin on classics, feature classics that are by black and brown authors. Like Zora Neale Hurston. Toni Morrison. Give their covers updates and put them on your tables. Or if you want to do this thing where you connect to the ideas of the classic canon, we are out there writing reimaginings and retellings and putting ourselves in the narratives of these stories. Like \u003cem>Pride & Prejudice\u003c/em>. Like \u003cem>Alice in Wonderland\u003c/em>. Like \u003cem>Wizard of Oz\u003c/em>. We’re doing that, so feature those books if that’s the angle you want to go.\u003c/p>\n\u003cp>\u003cstrong>On diversity in book publishing\u003c/strong>\u003c/p>\n\u003cp>No one thinks they’re capable of making mistakes at this level. Especially mistakes like this. Because if you did think that that was a thing that could happen, you would have things in place and people in place to be able to prevent it from happening, right? I’ve been that person, you know, that one black voice, that one person of color in the room or maybe there are two or three of us who says, maybe this isn’t a good idea. But then we’re shouted down or talked over, so it rolls out. This definitely says that there were no people of color in the room to make those decisions. And if they were, no one listened to them.\u003c/p>\n\u003cp>\u003cstrong>On representation \u003c/strong>\u003c/p>\n\u003cp>I am of the camp of if you want good representation, you let those people speak for themselves. You set up the microphone, you check the levels, you get everything together, and then you get out of the way. Especially if you’re someone who has the resources to do that. And then we can take it from there. That’s what I think good representation is. It mostly comes from within the communities that are attempting to be represented because nobody knows it like us, right?\u003c/p>\n\u003cp>There are people who do do the work and they take the care and they show the research and they’re very sensitive to the nature, not only of the representation, but the context around the bad representation that has come before it. Cause you’re not just representing us in that moment, right? You’re fighting against this narrative that has been developed for decades and people don’t even take that into account. They’re just like, “Oh, well, you know, let me write this down and get this out there.” And maybe I don’t play into, you know, this sharp thing that people are aware of right now, but you miss the connotation of like maybe minstrelsy you know, from decades ago, that’s still very much felt in our community. So I think that good representation happens when we’re allowed to take the mic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Justine Kenin and adapted for the Web by Brianna Scott.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+L.L.+McKinney%3A+Barnes+%26+Noble+%27Diverse+Editions%27+Are+%27Literary+Blackface%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the past year, NPR has had some pretty big names come perform at the Tiny Desk: \u003ca href=\"https://www.npr.org/2019/07/29/732097345/lizzo-tiny-desk-concert\">Lizzo\u003c/a>, \u003ca href=\"https://www.npr.org/2020/01/29/800256839/jimmy-eat-world-tiny-desk-concert\">Jimmy Eat World\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert\">Taylor Swift\u003c/a>, to name a few.\u003c/p>\n\u003cp>While seeing these artists’ stripped-down sets is impressive, that’s not all the Tiny Desk is about. For me, what’s really magical and memorable about Tiny Desk concerts is discovering and connecting with musicians our audience likely doesn’t know and then getting to share them with our listeners.\u003c/p>\n\u003cp>We started the Tiny Desk Contest in 2014 in an effort to do even more of that: discover and share great unknown artists. Since the Contest’s launch, we’ve had \u003ca href=\"http://tinydeskcontest.npr.org/#previous-winner\">five outstanding winners\u003c/a>, invited \u003ca href=\"https://www.youtube.com/playlist?list=PLy2PCKGkKRVbn9Rsn99a4VhSGWI4SQrm5\">even more Contest artists\u003c/a> to play at the Desk and heard from countless \u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/22/725412654/tiny-desk-top-shelf\">artists we love\u003c/a> along the way. We’re excited today to announce that the 2020 Tiny Desk Contest is here.\u003c/p>\n\u003cp>Here’s what you need to know:\u003c/p>\n\u003cul>\n\u003cli>We’ll start accepting Contest entries next Tuesday, Feb. 11 at 10 a.m. ET. Entries close at midnight ET on Monday, March 30.\u003c/li>\n\u003cli>To be eligible to win, you must be an unsigned musician and at least 18 years old.\u003c/li>\n\u003cli>To enter, record a video of yourself playing one original song at a desk (any desk will do!) and upload it to YouTube.\u003c/li>\n\u003cli>Send us your song by submitting your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>.\u003c/li>\n\u003cli>The winner will be chosen by a panel of judges. I’ll be joined by some great Tiny Desk alums: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Brittany Howard\u003c/a>, \u003ca href=\"https://www.npr.org/2015/09/22/441220834/gina-chavez-tiny-desk-concert\">Gina Chavez\u003c/a> and last year’s winner, \u003ca href=\"https://www.npr.org/2019/06/03/728694436/quinn-christopherson-tiny-desk-concert\">Quinn Christopherson\u003c/a>. Bobby Carter, Tiny Desk concert producer extraordinaire, will be part of the team, plus \u003ca href=\"https://www.npr.org/people/774752634/raina-douris\">Raina Douris\u003c/a> of \u003ca href=\"https://xpn.org/\">WXPN\u003c/a>‘s \u003cem>World Cafe\u003c/em> and \u003ca href=\"https://radiomilwaukee.org/about-us/station-staff/tarik-moody/\">Tarik Moody\u003c/a> of \u003ca href=\"https://radiomilwaukee.org/\">88Nine Radio Milwaukee\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>If you want to make sure your video is eligible to win, you can take this \u003ca href=\"https://tinydeskcontest.npr.org/2020/rules-quiz\">easy quiz\u003c/a> or read the \u003ca href=\"https://tinydeskcontest.npr.org/rules\">official rules\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you win, you’ll play a Tiny Desk concert and then go on tour across the U.S. with NPR Music. And even though we only choose one winner, we feature artists from the \u003ca href=\"https://www.facebook.com/groups/tinydeskcontest/\">Contest community\u003c/a> in plenty of other ways: on \u003ca href=\"https://www.npr.org/sections/allsongs/\">our blog\u003c/a>, in a Contest \u003ca href=\"https://www.youtube.com/watch?v=RtrRzQLxWP0\">supercut video\u003c/a>, on NPR’s \u003ca href=\"https://www.npr.org/sections/allsongs/2019/06/29/736747407/these-tiny-desk-contest-entrants-bring-mini-symphonies-to-the-nyc-subway\">newsmagazines\u003c/a> and at the Tiny Desk Contest On The Road tour stops.\u003c/p>\n\u003cp>Speaking of tour stops, this year, we’re expanding our tour to 10 cities! We’ll be visiting Atlanta, Chicago, Denver, Los Angeles, Nashville, New York, Philadelphia, Phoenix and Seattle. We hope to see you there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We can’t wait to discover even more great music this year and are looking forward to meeting our winner. Could it be you?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the past year, NPR has had some pretty big names come perform at the Tiny Desk: \u003ca href=\"https://www.npr.org/2019/07/29/732097345/lizzo-tiny-desk-concert\">Lizzo\u003c/a>, \u003ca href=\"https://www.npr.org/2020/01/29/800256839/jimmy-eat-world-tiny-desk-concert\">Jimmy Eat World\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert\">Taylor Swift\u003c/a>, to name a few.\u003c/p>\n\u003cp>While seeing these artists’ stripped-down sets is impressive, that’s not all the Tiny Desk is about. For me, what’s really magical and memorable about Tiny Desk concerts is discovering and connecting with musicians our audience likely doesn’t know and then getting to share them with our listeners.\u003c/p>\n\u003cp>We started the Tiny Desk Contest in 2014 in an effort to do even more of that: discover and share great unknown artists. Since the Contest’s launch, we’ve had \u003ca href=\"http://tinydeskcontest.npr.org/#previous-winner\">five outstanding winners\u003c/a>, invited \u003ca href=\"https://www.youtube.com/playlist?list=PLy2PCKGkKRVbn9Rsn99a4VhSGWI4SQrm5\">even more Contest artists\u003c/a> to play at the Desk and heard from countless \u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/22/725412654/tiny-desk-top-shelf\">artists we love\u003c/a> along the way. We’re excited today to announce that the 2020 Tiny Desk Contest is here.\u003c/p>\n\u003cp>Here’s what you need to know:\u003c/p>\n\u003cul>\n\u003cli>We’ll start accepting Contest entries next Tuesday, Feb. 11 at 10 a.m. ET. Entries close at midnight ET on Monday, March 30.\u003c/li>\n\u003cli>To be eligible to win, you must be an unsigned musician and at least 18 years old.\u003c/li>\n\u003cli>To enter, record a video of yourself playing one original song at a desk (any desk will do!) and upload it to YouTube.\u003c/li>\n\u003cli>Send us your song by submitting your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>.\u003c/li>\n\u003cli>The winner will be chosen by a panel of judges. I’ll be joined by some great Tiny Desk alums: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Brittany Howard\u003c/a>, \u003ca href=\"https://www.npr.org/2015/09/22/441220834/gina-chavez-tiny-desk-concert\">Gina Chavez\u003c/a> and last year’s winner, \u003ca href=\"https://www.npr.org/2019/06/03/728694436/quinn-christopherson-tiny-desk-concert\">Quinn Christopherson\u003c/a>. Bobby Carter, Tiny Desk concert producer extraordinaire, will be part of the team, plus \u003ca href=\"https://www.npr.org/people/774752634/raina-douris\">Raina Douris\u003c/a> of \u003ca href=\"https://xpn.org/\">WXPN\u003c/a>‘s \u003cem>World Cafe\u003c/em> and \u003ca href=\"https://radiomilwaukee.org/about-us/station-staff/tarik-moody/\">Tarik Moody\u003c/a> of \u003ca href=\"https://radiomilwaukee.org/\">88Nine Radio Milwaukee\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>If you want to make sure your video is eligible to win, you can take this \u003ca href=\"https://tinydeskcontest.npr.org/2020/rules-quiz\">easy quiz\u003c/a> or read the \u003ca href=\"https://tinydeskcontest.npr.org/rules\">official rules\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you win, you’ll play a Tiny Desk concert and then go on tour across the U.S. with NPR Music. And even though we only choose one winner, we feature artists from the \u003ca href=\"https://www.facebook.com/groups/tinydeskcontest/\">Contest community\u003c/a> in plenty of other ways: on \u003ca href=\"https://www.npr.org/sections/allsongs/\">our blog\u003c/a>, in a Contest \u003ca href=\"https://www.youtube.com/watch?v=RtrRzQLxWP0\">supercut video\u003c/a>, on NPR’s \u003ca href=\"https://www.npr.org/sections/allsongs/2019/06/29/736747407/these-tiny-desk-contest-entrants-bring-mini-symphonies-to-the-nyc-subway\">newsmagazines\u003c/a> and at the Tiny Desk Contest On The Road tour stops.\u003c/p>\n\u003cp>Speaking of tour stops, this year, we’re expanding our tour to 10 cities! We’ll be visiting Atlanta, Chicago, Denver, Los Angeles, Nashville, New York, Philadelphia, Phoenix and Seattle. We hope to see you there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We can’t wait to discover even more great music this year and are looking forward to meeting our winner. Could it be you?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the final pages of \u003cem>The Third Rainbow Girl—\u003c/em>a new book about the aftermath of the murders of two young women who were hitchhiking in West Virginia in 1980—author Emma Copley Eisenberg interviews a friend of the victims. Elizabeth Johndrow parted company with her friends a day before they were murdered; she’s the “third rainbow girl” of the title.\u003c/p>\n\u003cp>Eisenberg asks Johndrow, now in her 50s, why she and so many other young women hitchhiked back then. Johndrow says:\u003c/p>\n\u003cblockquote>\u003cp>Well, there was adventure to it … [H]itchhiking was like falling forward into the universe that you wanted …\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13874425\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png\" alt=\"'The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia,' by Emma Copley Eisenberg.\" width=\"303\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM-160x240.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘The Third Rainbow Girl:\u003cbr>The Long Life of a Double Murder in Appalachia,’\u003cbr>by Emma Copley Eisenberg.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Third Rainbow Girl\u003c/em> is a haunting and hard-to-characterize book about restless women and the things that await them on the road. At its simplest, it’s a true crime story about the still-unresolved murders of Vicki Durian, 26, and Nancy Santomero, 19.\u003c/p>\n\u003cp>Durian and Santomero had been hitchhiking from Arizona to the Rainbow Gathering—an counterculture peace festival held in the Monongahela National Forest in West Virginia. On the evening of June 25, 1980, their bodies were found in an isolated clearing in Pocahontas County, south of the festival. They had been shot at close range, and there were no signs of sexual assault.\u003c/p>\n\u003cp>The conventional wisdom was that the killer or killers had to be local—someone who knew that clearing. Twelve years later, seven local men—farmers, mechanics, timber haulers—were charged. The charges were dropped because of improper police procedure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In another twist, the investigation focused in on one local farmer, Jacob Beard, reputed to be a mean drunk. Beard was convicted, but then released from prison six years later when a serial killer, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/11/20/246297720/white-supremacist-murderer-who-shot-larry-flynt-is-executed\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Paul Franklin\u003c/a>, confessed to the murders. Franklin was the man who shot and paralyzed \u003cem>Hustler \u003c/em>publisher Larry Flynt and, because he was already on death row for other murders, he was never tried for the so-called Rainbow killings. Case closed. Sort of.\u003c/p>\n\u003cp>Eisenberg dives deep here into the backstories of the victims, investigators and suspects, as well as the cultural “backstory” of Appalachia itself. Because she lived and worked with teenage girls in Pocahontas County on and off for several years but isn’t a native, she’s suited to the insider-outsider reporter role.\u003c/p>\n\u003cp>The Pocahontas County that Eisenberg evokes is a singular place; for one thing, it sits within the\u003ca href=\"https://www.npr.org/sections/alltechconsidered/2013/10/08/218976699/enter-the-quiet-zone-where-cell-service-wi-fi-are-banned\" target=\"_blank\" rel=\"noopener noreferrer\"> National Radio Quiet Zone\u003c/a>—a region where cellphone signals and Wi-Fi are severely restricted in order not to interfere with a giant mountaintop telescope that listens for signals from space.\u003c/p>\n\u003cp>Life in a place like Pocahontas County, Eisenberg writes, “demanded that women and girls be powerful in the ways that more urban places I’ve lived have not.” And, yet, Eisenberg also acknowledges, that it’s a place, like the rest of America, where “misogyny is in the groundwater.”\u003c/p>\n\u003cp>Eisenberg is also fascinated by how prefabricated stories, myths, even fairy tales shape what’s considered to be truth. She chips away at the “hick monster story” that prevailed at the first trial of the local men, which painted them as backwoods predators hunting down loose hippie chicks from the city.\u003c/p>\n\u003cp>She’s also aware of the enduring lure of what the late Gwen Ifill is credited with calling the “missing white woman syndrome,” whereby foul play involving white women—especially if they’re pretty—stokes up public interest, while the same fate befalling women of color does not.\u003c/p>\n\u003cp>Eisenberg ruminates over the press coverage of the crime and how the fact that neither Vicki nor Nancy were considered pretty complicated the “damsels in distress” narrative and, perhaps, explained why the case never rose to a national obsession.\u003c/p>\n\u003cp>But there’s a deeper dimension to \u003cem>The Third Rainbow Girl \u003c/em>that gives it its contemplative power. Eisenberg intertwines her own raw story about coming-into-womanhood into the true crime narrative. I said earlier that “the third Rainbow Girl” was the one who lived, Elizabeth Johndrow. But Eisenberg, herself, is also very much “the third Rainbow Girl” here. She, too, felt the call of the wild, living among strangers, drinking too much, taking risks. “The spring I was to graduate college,” Eisenberg says, “there rose up in me the desire to drop so hard out of my life that I could hear my life trying to get in touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That un-nameable desire to travel a different path led Eisenberg to Pocahontas County and, ultimately, to write this evocative story of two other restless young women—sisters of the road—who passed through decades earlier and, sadly, never left.\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=2+Young+Women+Were+Murdered+In+1980%2C+%27Rainbow+Girl%27+Tells+Their+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the final pages of \u003cem>The Third Rainbow Girl—\u003c/em>a new book about the aftermath of the murders of two young women who were hitchhiking in West Virginia in 1980—author Emma Copley Eisenberg interviews a friend of the victims. Elizabeth Johndrow parted company with her friends a day before they were murdered; she’s the “third rainbow girl” of the title.\u003c/p>\n\u003cp>Eisenberg asks Johndrow, now in her 50s, why she and so many other young women hitchhiked back then. Johndrow says:\u003c/p>\n\u003cblockquote>\u003cp>Well, there was adventure to it … [H]itchhiking was like falling forward into the universe that you wanted …\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13874425\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png\" alt=\"'The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia,' by Emma Copley Eisenberg.\" width=\"303\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM-160x240.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘The Third Rainbow Girl:\u003cbr>The Long Life of a Double Murder in Appalachia,’\u003cbr>by Emma Copley Eisenberg.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Third Rainbow Girl\u003c/em> is a haunting and hard-to-characterize book about restless women and the things that await them on the road. At its simplest, it’s a true crime story about the still-unresolved murders of Vicki Durian, 26, and Nancy Santomero, 19.\u003c/p>\n\u003cp>Durian and Santomero had been hitchhiking from Arizona to the Rainbow Gathering—an counterculture peace festival held in the Monongahela National Forest in West Virginia. On the evening of June 25, 1980, their bodies were found in an isolated clearing in Pocahontas County, south of the festival. They had been shot at close range, and there were no signs of sexual assault.\u003c/p>\n\u003cp>The conventional wisdom was that the killer or killers had to be local—someone who knew that clearing. Twelve years later, seven local men—farmers, mechanics, timber haulers—were charged. The charges were dropped because of improper police procedure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In another twist, the investigation focused in on one local farmer, Jacob Beard, reputed to be a mean drunk. Beard was convicted, but then released from prison six years later when a serial killer, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/11/20/246297720/white-supremacist-murderer-who-shot-larry-flynt-is-executed\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Paul Franklin\u003c/a>, confessed to the murders. Franklin was the man who shot and paralyzed \u003cem>Hustler \u003c/em>publisher Larry Flynt and, because he was already on death row for other murders, he was never tried for the so-called Rainbow killings. Case closed. Sort of.\u003c/p>\n\u003cp>Eisenberg dives deep here into the backstories of the victims, investigators and suspects, as well as the cultural “backstory” of Appalachia itself. Because she lived and worked with teenage girls in Pocahontas County on and off for several years but isn’t a native, she’s suited to the insider-outsider reporter role.\u003c/p>\n\u003cp>The Pocahontas County that Eisenberg evokes is a singular place; for one thing, it sits within the\u003ca href=\"https://www.npr.org/sections/alltechconsidered/2013/10/08/218976699/enter-the-quiet-zone-where-cell-service-wi-fi-are-banned\" target=\"_blank\" rel=\"noopener noreferrer\"> National Radio Quiet Zone\u003c/a>—a region where cellphone signals and Wi-Fi are severely restricted in order not to interfere with a giant mountaintop telescope that listens for signals from space.\u003c/p>\n\u003cp>Life in a place like Pocahontas County, Eisenberg writes, “demanded that women and girls be powerful in the ways that more urban places I’ve lived have not.” And, yet, Eisenberg also acknowledges, that it’s a place, like the rest of America, where “misogyny is in the groundwater.”\u003c/p>\n\u003cp>Eisenberg is also fascinated by how prefabricated stories, myths, even fairy tales shape what’s considered to be truth. She chips away at the “hick monster story” that prevailed at the first trial of the local men, which painted them as backwoods predators hunting down loose hippie chicks from the city.\u003c/p>\n\u003cp>She’s also aware of the enduring lure of what the late Gwen Ifill is credited with calling the “missing white woman syndrome,” whereby foul play involving white women—especially if they’re pretty—stokes up public interest, while the same fate befalling women of color does not.\u003c/p>\n\u003cp>Eisenberg ruminates over the press coverage of the crime and how the fact that neither Vicki nor Nancy were considered pretty complicated the “damsels in distress” narrative and, perhaps, explained why the case never rose to a national obsession.\u003c/p>\n\u003cp>But there’s a deeper dimension to \u003cem>The Third Rainbow Girl \u003c/em>that gives it its contemplative power. Eisenberg intertwines her own raw story about coming-into-womanhood into the true crime narrative. I said earlier that “the third Rainbow Girl” was the one who lived, Elizabeth Johndrow. But Eisenberg, herself, is also very much “the third Rainbow Girl” here. She, too, felt the call of the wild, living among strangers, drinking too much, taking risks. “The spring I was to graduate college,” Eisenberg says, “there rose up in me the desire to drop so hard out of my life that I could hear my life trying to get in touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That un-nameable desire to travel a different path led Eisenberg to Pocahontas County and, ultimately, to write this evocative story of two other restless young women—sisters of the road—who passed through decades earlier and, sadly, never left.\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=2+Young+Women+Were+Murdered+In+1980%2C+%27Rainbow+Girl%27+Tells+Their+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Andy Gill, Gang Of Four Guitarist Who Gave Punk Space and Groove, Dead at 64",
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"content": "\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_QJwR6D9d4\u003c/p>\n\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\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=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\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/I_QJwR6D9d4'\n title='//www.youtube.com/embed/I_QJwR6D9d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\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=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Crooks Go All-Out to Take Home the Grand Fries in HBO's 'McMillions'",
"headTitle": "Crooks Go All-Out to Take Home the Grand Fries in HBO’s ‘McMillions’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kK2ZGOsbeqo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. [aside postid='arts_13873021']\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kK2ZGOsbeqo'\n title='//www.youtube.com/embed/kK2ZGOsbeqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Endings are sad, but without them, nothing matters.\u003c/p>\n\u003cp>That was only one of the lessons of the thoughtful, emotional finale of NBC’s \u003cem>The Good Place\u003c/em>, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It’s leaving at the right time, when you’ve done your work. When you’re ready.\u003c/p>\n\u003cp>Creator Michael Schur, who also was behind \u003cem>Parks & Recreation\u003c/em>, has a kind of grudging, aggravated optimism that echoes in a lot of his work. \u003cem>The Good Place \u003c/em>was full of reminders of how petty and nasty people can be when they’re not specifically trying to discipline their worst instincts. It was also emphatic about the fact that it’s almost impossible to successfully weave your way through the complicated world of trying to be decent, given the way our current systems of commerce and government work. Similarly, the people we knew in Pawnee, Ind., were constantly besieged by smallness and disappointment—remember how Leslie Knope’s beautiful dream of elected office ended the first time.\u003c/p>\n\u003cp>But \u003cem>The Good Place\u003c/em>, like \u003cem>Parks\u003c/em>, became a show about the fact that even given those setbacks and disappointments, people can be good, can do good, can grant each other grace. And more than \u003cem>Parks\u003c/em>, \u003cem>The Good Place \u003c/em>became a playfully direct and explicit exploration of that idea.\u003c/p>\n\u003cp>Earlier on, the show was more about Eleanor, a self-proclaimed dirtbag in life trying in the afterlife to become good through concerted effort, with the help of her friends: Chidi, her teacher; Tahani, her nemesis-turned-friend; Jason, the Floridian dingdong DJ she adored; Janet, who is not a girl \u003cem>or \u003c/em>a robot; and Michael, her tormentor-turned-ally. She learned to sacrifice, to tell the truth, to be better, to persevere. And she became a leader. She learned to step in when no one knew what to do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This season, though—especially the last few episodes—seemed less about learning what it means to be good, which all of our friends on the show already were, and more about accepting what it means to be human. Longstanding notions of heaven, on which Schur and his extraordinary writers were riffing throughout the series, have a very particular weirdness to them that I think was ultimately too much for that limited, humanist, often frustrated optimism to swallow: that paradise is doing whatever you want, forever. [aside postid='pop_105436']\u003c/p>\n\u003cp>One problem with a traditional heaven (pardon me while I critique ancient notions of the afterlife; it’s that kind of television show) is that while it works well as a reward, as a carrot to dangle as the payoff for being good while on earth, it is so far removed from human experience that it doesn’t say very much about humanity. It’s a very flat, all-the-flavors-of-ice-cream, I-want-a-pony notion of heaven. But when we long for happiness on earth, is it for that? Is it because we want all the flavors of ice cream and a pony? Doing whatever we want forever?\u003c/p>\n\u003cp>In the penultimate episode, “Patty,” the group reached the real Good Place, where they learned that, indeed, it’s fun to do whatever you want. But they also learned that a frictionless existence is meaningless. They learned, as the show explicitly stated in the finale via a cameo from the philosophy professor Todd May, that mortality gives meaning to human life, so some kind of ending is necessary to make even the afterlife a place of true happiness. To be human is to know you are not forever; to know you are forever is to lose your humanity. Thus, Eleanor and friends developed a system in which even people in heaven could decide that the time had come for it to be over. Again: Heaven is not never leaving; it’s leaving at the right time, when the work is done.\u003c/p>\n\u003cp>Jason was the first to realize, after playing a perfect game of \u003cem>Madden\u003c/em> with his father, Donkey Doug, that he was ready to go. He said goodbye to Janet, coming to terms with the deeply relatable fear that he’d be forgotten, and he went into the redwoods where the show put its last door. And then, in true Jason fashion, he just kind of hung around, chilling, waiting for one last chance to see Janet. Like a monk, she pointed out. He didn’t get it.\u003c/p>\n\u003cp>Tahani went a different direction. Like the party planner she always was, Tahani decided to become an architect, designing entire afterlives in her peacock bow tie. She likes to plan, she likes to design, she likes to do for others—and now, she figured out how to do it from a place of generosity (as well as, sure, a desire to continue to get credit for her great ideas; she’s only post-human, after all).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Bnq6IRgt4yE&t=16s\u003c/p>\n\u003cp>And then Chidi. Eleanor’s selfishness was now translated through love, and she tried to tempt him to stay with trips to Athens and Paris, asking him over and over to tell her all about philosophy again. He was willing to stay for her, but inevitably, because he had taught her well, she realized—and explained very clearly, in specific language of moral philosophy—that this was selfish of her, and that she had to let him go. So she did.\u003c/p>\n\u003cp>If there was a part of the finale I didn’t quite think resonated, it was the visit to Mindy St. Claire to persuade her to go through the system and attempt to qualify for the Good Place. I’ve always found the idea of the Medium Place very funny, and Maribeth Monroe is always marvelous in the role. But here, the idea that this was part of Eleanor’s final work that needed to be done didn’t \u003cem>quite \u003c/em>seem of a piece with the rest of the finale, even if her explanation that Mindy was the person she might have been if she hadn’t met her friends was very sweet.\u003c/p>\n\u003cp>What did seem spot-on was that Eleanor couldn’t leave until she saw to Michael. One of the show’s best swerves has been its reversal of the relationship between Michael and Eleanor from one where he was like a benevolent father to one where he is more like her well-meaning but disoriented teenage son. And Michael had the same problem that all of Eleanor’s friends had in the afterlife when they first got to the Good Place: he had no end in sight. He wasn’t even able to walk through the door, as he learned in the finale’s funniest sequence, in which Michael discovered that he didn’t disappear after passing through, even if he tried to hide behind a tree to make it seem like he did. (If all this show had done was bring out this dopey, broad part of Ted Danson’s comedic talent, it would have been worth it.)\u003c/p>\n\u003cp>No, Michael needed a chance to be human. Human, with all the annoyances and limitations and—this was perhaps what was stressed the most—uncertainty that humanity brings. And, granted his humanity, he delighted in burning his hands on a microwave dinner and playing with his giant dog (named Jason) and all the dumb, ordinary things he had never gotten to experience.\u003c/p>\n\u003cp>And then Eleanor could pass through the door, completing the journey she took when she died after being hit by some grocery carts … and then a truck. She began as a fraud, or so she believed, and ended up saving the world. She learned humanity from a bunch of very flawed people, none of whom understood it perfectly themselves.\u003c/p>\n\u003cp>What a weird, often extremely goofy, ultimately very profound 52 episodes those were. Not everything worked: I don’t think the new humans introduced this season as test cases ever clicked at all, despite good performances from the actors. At times, the systems of demons and trains and places and tests became so convoluted that I gave up, and I still probably couldn’t ace a test on exactly what happened in some of those systems.\u003c/p>\n\u003cp>But I understood its final philosophical stance perfectly. Fragility and preciousness are not paired out of some regrettable irony; they are reliant on each other. It’s because we know our time with people will end that we can find ourselves flooded with gratitude for their presence. The friction of our limitations is what necessitates effort (of all kinds), and effort—rewarded and not—is where we find meaning. Surround yourself with friends who love you and love them deeply, and you will grow. It’s worth applying every part of yourself, including your intellect, to the question of how to do the right thing.\u003c/p>\n\u003cp>There was so much in this series to admire: outstanding performances from the core cast and tons of guests, wonderful writing, weird jokes (Knish From A Rose 4-ever), a positively divine official podcast, glorious production design, inventive visual effects and, yes, the decision to exit when it was time. Maybe too early. Maybe. But isn’t that the way it goes?\u003c/p>\n\u003cp>Schur has talked about the fact that after the end of \u003cem>Parks\u003c/em>, NBC was willing to try just about anything he wanted to make. So naturally, he made a philosophical comedy about decency that regularly quoted philosophers, took strong positions on frozen yogurt (suitable only for a \u003cem>fake\u003c/em> heaven), pulled off some remarkable surprises and packed a year of sobbing into a 75-minute finale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Humanity is beautiful and weird and frustrating, and joy and loss are twins. That’s a lot to get out of a show that also taught me to yell “BORTLES!” when I’m trying to get out of trouble.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Goodbye+To+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Endings are sad, but without them, nothing matters.\u003c/p>\n\u003cp>That was only one of the lessons of the thoughtful, emotional finale of NBC’s \u003cem>The Good Place\u003c/em>, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It’s leaving at the right time, when you’ve done your work. When you’re ready.\u003c/p>\n\u003cp>Creator Michael Schur, who also was behind \u003cem>Parks & Recreation\u003c/em>, has a kind of grudging, aggravated optimism that echoes in a lot of his work. \u003cem>The Good Place \u003c/em>was full of reminders of how petty and nasty people can be when they’re not specifically trying to discipline their worst instincts. It was also emphatic about the fact that it’s almost impossible to successfully weave your way through the complicated world of trying to be decent, given the way our current systems of commerce and government work. Similarly, the people we knew in Pawnee, Ind., were constantly besieged by smallness and disappointment—remember how Leslie Knope’s beautiful dream of elected office ended the first time.\u003c/p>\n\u003cp>But \u003cem>The Good Place\u003c/em>, like \u003cem>Parks\u003c/em>, became a show about the fact that even given those setbacks and disappointments, people can be good, can do good, can grant each other grace. And more than \u003cem>Parks\u003c/em>, \u003cem>The Good Place \u003c/em>became a playfully direct and explicit exploration of that idea.\u003c/p>\n\u003cp>Earlier on, the show was more about Eleanor, a self-proclaimed dirtbag in life trying in the afterlife to become good through concerted effort, with the help of her friends: Chidi, her teacher; Tahani, her nemesis-turned-friend; Jason, the Floridian dingdong DJ she adored; Janet, who is not a girl \u003cem>or \u003c/em>a robot; and Michael, her tormentor-turned-ally. She learned to sacrifice, to tell the truth, to be better, to persevere. And she became a leader. She learned to step in when no one knew what to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One problem with a traditional heaven (pardon me while I critique ancient notions of the afterlife; it’s that kind of television show) is that while it works well as a reward, as a carrot to dangle as the payoff for being good while on earth, it is so far removed from human experience that it doesn’t say very much about humanity. It’s a very flat, all-the-flavors-of-ice-cream, I-want-a-pony notion of heaven. But when we long for happiness on earth, is it for that? Is it because we want all the flavors of ice cream and a pony? Doing whatever we want forever?\u003c/p>\n\u003cp>In the penultimate episode, “Patty,” the group reached the real Good Place, where they learned that, indeed, it’s fun to do whatever you want. But they also learned that a frictionless existence is meaningless. They learned, as the show explicitly stated in the finale via a cameo from the philosophy professor Todd May, that mortality gives meaning to human life, so some kind of ending is necessary to make even the afterlife a place of true happiness. To be human is to know you are not forever; to know you are forever is to lose your humanity. Thus, Eleanor and friends developed a system in which even people in heaven could decide that the time had come for it to be over. Again: Heaven is not never leaving; it’s leaving at the right time, when the work is done.\u003c/p>\n\u003cp>Jason was the first to realize, after playing a perfect game of \u003cem>Madden\u003c/em> with his father, Donkey Doug, that he was ready to go. He said goodbye to Janet, coming to terms with the deeply relatable fear that he’d be forgotten, and he went into the redwoods where the show put its last door. And then, in true Jason fashion, he just kind of hung around, chilling, waiting for one last chance to see Janet. Like a monk, she pointed out. He didn’t get it.\u003c/p>\n\u003cp>Tahani went a different direction. Like the party planner she always was, Tahani decided to become an architect, designing entire afterlives in her peacock bow tie. She likes to plan, she likes to design, she likes to do for others—and now, she figured out how to do it from a place of generosity (as well as, sure, a desire to continue to get credit for her great ideas; she’s only post-human, after all).\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/Bnq6IRgt4yE'\n title='//www.youtube.com/embed/Bnq6IRgt4yE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then Chidi. Eleanor’s selfishness was now translated through love, and she tried to tempt him to stay with trips to Athens and Paris, asking him over and over to tell her all about philosophy again. He was willing to stay for her, but inevitably, because he had taught her well, she realized—and explained very clearly, in specific language of moral philosophy—that this was selfish of her, and that she had to let him go. So she did.\u003c/p>\n\u003cp>If there was a part of the finale I didn’t quite think resonated, it was the visit to Mindy St. Claire to persuade her to go through the system and attempt to qualify for the Good Place. I’ve always found the idea of the Medium Place very funny, and Maribeth Monroe is always marvelous in the role. But here, the idea that this was part of Eleanor’s final work that needed to be done didn’t \u003cem>quite \u003c/em>seem of a piece with the rest of the finale, even if her explanation that Mindy was the person she might have been if she hadn’t met her friends was very sweet.\u003c/p>\n\u003cp>What did seem spot-on was that Eleanor couldn’t leave until she saw to Michael. One of the show’s best swerves has been its reversal of the relationship between Michael and Eleanor from one where he was like a benevolent father to one where he is more like her well-meaning but disoriented teenage son. And Michael had the same problem that all of Eleanor’s friends had in the afterlife when they first got to the Good Place: he had no end in sight. He wasn’t even able to walk through the door, as he learned in the finale’s funniest sequence, in which Michael discovered that he didn’t disappear after passing through, even if he tried to hide behind a tree to make it seem like he did. (If all this show had done was bring out this dopey, broad part of Ted Danson’s comedic talent, it would have been worth it.)\u003c/p>\n\u003cp>No, Michael needed a chance to be human. Human, with all the annoyances and limitations and—this was perhaps what was stressed the most—uncertainty that humanity brings. And, granted his humanity, he delighted in burning his hands on a microwave dinner and playing with his giant dog (named Jason) and all the dumb, ordinary things he had never gotten to experience.\u003c/p>\n\u003cp>And then Eleanor could pass through the door, completing the journey she took when she died after being hit by some grocery carts … and then a truck. She began as a fraud, or so she believed, and ended up saving the world. She learned humanity from a bunch of very flawed people, none of whom understood it perfectly themselves.\u003c/p>\n\u003cp>What a weird, often extremely goofy, ultimately very profound 52 episodes those were. Not everything worked: I don’t think the new humans introduced this season as test cases ever clicked at all, despite good performances from the actors. At times, the systems of demons and trains and places and tests became so convoluted that I gave up, and I still probably couldn’t ace a test on exactly what happened in some of those systems.\u003c/p>\n\u003cp>But I understood its final philosophical stance perfectly. Fragility and preciousness are not paired out of some regrettable irony; they are reliant on each other. It’s because we know our time with people will end that we can find ourselves flooded with gratitude for their presence. The friction of our limitations is what necessitates effort (of all kinds), and effort—rewarded and not—is where we find meaning. Surround yourself with friends who love you and love them deeply, and you will grow. It’s worth applying every part of yourself, including your intellect, to the question of how to do the right thing.\u003c/p>\n\u003cp>There was so much in this series to admire: outstanding performances from the core cast and tons of guests, wonderful writing, weird jokes (Knish From A Rose 4-ever), a positively divine official podcast, glorious production design, inventive visual effects and, yes, the decision to exit when it was time. Maybe too early. Maybe. But isn’t that the way it goes?\u003c/p>\n\u003cp>Schur has talked about the fact that after the end of \u003cem>Parks\u003c/em>, NBC was willing to try just about anything he wanted to make. So naturally, he made a philosophical comedy about decency that regularly quoted philosophers, took strong positions on frozen yogurt (suitable only for a \u003cem>fake\u003c/em> heaven), pulled off some remarkable surprises and packed a year of sobbing into a 75-minute finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Humanity is beautiful and weird and frustrating, and joy and loss are twins. That’s a lot to get out of a show that also taught me to yell “BORTLES!” when I’m trying to get out of trouble.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Goodbye+To+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe symmetry is inherently pleasing. Perhaps it is the whiff of cosmic clout. Or it could be that in our divided times, uniting over something as indisputable as the date is just the divertissement we crave.\u003c/p>\n\u003cp>https://twitter.com/lisamurkowski/status/1224033773773295617\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Whatever the case, Sunday’s super-rare date of 02-02-2020, the only eight-digit global palindrome of the century, has people talking, with #PalindromeDay trending on Twitter.\u003c/p>\n\u003cp>https://twitter.com/MKBHD/status/1223970983717081089\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Palindrome derives from the Greek word for running back again, and defines a number, word or phrase that is the same read forward and backward. (Think: “Madam, in Eden, I’m Adam.”)\u003c/p>\n\u003cp>https://twitter.com/StigAbell/status/1223870626408079365\u003c/p>\n\u003cp>Palindromic dates have long been viewed as carrying \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/11/363286759/on-armistice-day-in-u-k-a-sea-of-red-poppies-remembers-the-fallen\" target=\"_blank\" rel=\"noopener noreferrer\">special significance\u003c/a> and even \u003ca href=\"https://themysticmedium.com/palindromic-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">spirituality\u003c/a>. Adding to the universal appeal and rarity of Sunday’s date is its achieving the eight-digit palindrome pinnacle, working in the cross-cultural formats of MM-DD-YYYY and DD-MM-YYYY.\u003c/p>\n\u003cp>https://twitter.com/patch72/status/1223924022213214208\u003c/p>\n\u003cp>\u003ca href=\"https://faculty.up.edu/ainan/\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Inan\u003c/a> is professor of electrical engineering at the University of Portland and a palindrome aficionado. Tracing back and looking ahead over centuries, he mines palindromes like gems and says the last time we had an eight-digit palindrome date was 908 years ago on 11-11-1111.\u003c/p>\n\u003cp>“I tell my students they are lucky to have such a date in their lifetime,” Inan \u003ca href=\"https://www.oregonlive.com/trending/2020/01/super-bowl-sunday-is-a-big-day-for-a-portland-professor-because-hes-a-palindrome-expert.html\" target=\"_blank\" rel=\"noopener noreferrer\">tells The Oregonian\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/TundeTASH/status/1223992831615868928\u003c/p>\n\u003cp>While the U.S. was marking the palindrome of 11-02-2011, in the U.K., it was 02-11-2011, or just another Wednesday.\u003c/p>\n\u003cp>But on Sunday, the Brits got in on the fun. The math department at the Solihull School in the U.K. calculated some palindromic bonuses; Sunday also happens to fall on the 33rd day of the year, with 333 days remaining in the year. (2020 is a leap year and with the added day in February has 366 days.)\u003c/p>\n\u003cp>https://twitter.com/SolSchMaths/status/1223874879428136960\u003c/p>\n\u003cp>Ivanka Trump \u003ca href=\"https://twitter.com/IvankaTrump/status/1223950232683192321\" target=\"_blank\" rel=\"noopener noreferrer\">points out \u003c/a>to her 7.6 million Twitter followers that most of us won’t be around on the the next eight-digit palindrome date of 12-12-2121.\u003c/p>\n\u003cp>https://twitter.com/IvankaTrump/status/1223950232683192321\u003c/p>\n\u003cp>After that, it will be 908-year wait until the next one on 03-03-3030.\u003c/p>\n\u003cp>Other palindromes using fewer digits, like 8-10-18, are more commonplace.\u003c/p>\n\u003cp>Some couples view palindromes as dates to seize the day and take the plunge.\u003c/p>\n\u003cp>Little Vegas Chapel tweeted Sunday, “Today marks the first specialty date of the month! Congratulations to all the wonderful couples getting married on this day of 2/2/20!”\u003c/p>\n\u003cp>But in China, where officials are trying to get ahead of the fast-spreading coronavirus outbreak, the date saw a surge of couples registering to wed, spurring the government to advise couples to postpone their weddings.\u003c/p>\n\u003cp>The civil affairs administration said the registration process involves an official portrait, requiring people to remove their masks, a move deemed too risky in the outbreak that’s infected more than 14,000 people and killed more than 300.\u003c/p>\n\u003cp>“Where marriage registrations have been announced or promised for February 2 this year, you are advised to cancel it and explain the situation to others,” the notice said, \u003ca href=\"https://www.voanews.com/science-health/coronavirus-outbreak/china-urges-no-weddings-short-funerals-contain-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">according to VOA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ministry also asked for funerals to be held in a “simple and expeditious manner to avoid gatherings of people.”\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=Why+A+Day+Like+Sunday+Hasn%27t+Been+Seen+In+900+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After that, it will be 908-year wait until the next one on 03-03-3030.\u003c/p>\n\u003cp>Other palindromes using fewer digits, like 8-10-18, are more commonplace.\u003c/p>\n\u003cp>Some couples view palindromes as dates to seize the day and take the plunge.\u003c/p>\n\u003cp>Little Vegas Chapel tweeted Sunday, “Today marks the first specialty date of the month! Congratulations to all the wonderful couples getting married on this day of 2/2/20!”\u003c/p>\n\u003cp>But in China, where officials are trying to get ahead of the fast-spreading coronavirus outbreak, the date saw a surge of couples registering to wed, spurring the government to advise couples to postpone their weddings.\u003c/p>\n\u003cp>The civil affairs administration said the registration process involves an official portrait, requiring people to remove their masks, a move deemed too risky in the outbreak that’s infected more than 14,000 people and killed more than 300.\u003c/p>\n\u003cp>“Where marriage registrations have been announced or promised for February 2 this year, you are advised to cancel it and explain the situation to others,” the notice said, \u003ca href=\"https://www.voanews.com/science-health/coronavirus-outbreak/china-urges-no-weddings-short-funerals-contain-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">according to VOA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ministry also asked for funerals to be held in a “simple and expeditious manner to avoid gatherings of people.”\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=Why+A+Day+Like+Sunday+Hasn%27t+Been+Seen+In+900+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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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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"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",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"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. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"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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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"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>",
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