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"content": "\u003cp>“‘Would we even \u003cem>know \u003c/em>English without Judge Judy?'” asks a character from the new short story collection \u003cem>Afterparties. \u003c/em>It happens during a scene where two Cambodian American cousins, Maly and Ves, are hiding out from a boring and stuffy family function. Instead, they decide to break into a closed video store, smoke weed and chill out, eventually sliding into those types of conversations you get into with certain family members that bounce between talking trash and accidentally unpacking some deep baggage. “‘Guess it’s the only way we survived,'” the other replies.\u003c/p>\n\u003cp>\u003cem>Afterparties \u003c/em>is the highly anticipated debut book by writer Anthony Veasna So, who died in December, at the age of 28, of a drug overdose. As a young, queer Cambodian American writer, So wrote about the big questions of his ethnic identity, Khmer: How do you live in the aftermath of the Cambodian Genocide? How do you bridge the gap between a generation fine with just surviving and one that wants more? What does it even mean to \u003cem>be\u003c/em> Khmer?\u003c/p>\n\u003cp>“He doesn’t give us an easy answer, but he does ask the questions which reflect some kind of truth,” says Monica Sok, a fellow Cambodian American writer and a friend of So’s. But he didn’t ask these questions for the sake of suffocating everything else there is about living. “\u003cem>Afterparties\u003c/em> is probably our first celebrated queer Khmer American fiction that goes beyond survival literature,” she says—meaning writing whose main concern is: \u003cem>how do I make it through this alive?\u003c/em>\u003c/p>\n\u003cp>Instead, the characters in \u003cem>Afterparties\u003c/em> have other interests. In one story, a teacher navigates his new relationship with a more upwardly-mobile Cambodian American do-gooder tech type: “He spent his days….reading articles about diversifying Silicon Valley with more brown faces, as if that brown-ness could make the whole tech industry any less absurd, grotesque, and frivolous.” In another, a washed-up badminton star adjusts to being a low-level legend.\u003c/p>\n\u003cfigure id=\"attachment_13900582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-800x1209.jpg\" alt=\"'Afterparties' by Anthony Veasna So.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Afterparties’ by Anthony Veasna So. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the opening story, “Three Women of Chuck’s Donuts,” two young sisters reminisce coldly about their father, who left them to start a new family: “‘He said marriage is like the show \u003cem>Survivor\u003c/em>, where you make alliances in order to live longer. He thought \u003cem>Survivor\u003c/em> was actually the most Khmer thing possible, and he would definitely win it, because the genocide was the best training he could’ve got'”.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a bleak humor to the way So mixes the serious and frivolous. The writer Dana Spiotta taught So at Syracuse University, where he got his MFA. She says this was key to his writing. It was its own colloquial language—”a way to talk about the generational difference and the tension there, and also the burden of it and the responsibility,” she says.\u003c/p>\n\u003cp>Sometimes, these big ideas would be too much. The writer Jonathan Dee, another teacher of So’s at Syracuse University, got to read the first 75 pages of the novel So was working on. “And my note on those pages was a note that I frequently gave him, which is every idea in this is great. There are just too many ideas,” he says. “And, of course, I can’t help but feel pretty wistful about that advice now, like, don’t worry—you’re going to have lots more novels.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There will, however, be more works by So coming out soon. His publisher, Ecco, is planning on publishing a collection currently titled \u003cem>Songs on Endless Repeat\u003c/em>, which will compile chapters from the unfinished novel as well as non-fiction pieces.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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+Young+Literary+Star+Makes+His+Posthumous+Debut+With+%27Afterparties%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a bleak humor to the way So mixes the serious and frivolous. The writer Dana Spiotta taught So at Syracuse University, where he got his MFA. She says this was key to his writing. It was its own colloquial language—”a way to talk about the generational difference and the tension there, and also the burden of it and the responsibility,” she says.\u003c/p>\n\u003cp>Sometimes, these big ideas would be too much. The writer Jonathan Dee, another teacher of So’s at Syracuse University, got to read the first 75 pages of the novel So was working on. “And my note on those pages was a note that I frequently gave him, which is every idea in this is great. There are just too many ideas,” he says. “And, of course, I can’t help but feel pretty wistful about that advice now, like, don’t worry—you’re going to have lots more novels.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There will, however, be more works by So coming out soon. His publisher, Ecco, is planning on publishing a collection currently titled \u003cem>Songs on Endless Repeat\u003c/em>, which will compile chapters from the unfinished novel as well as non-fiction pieces.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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+Young+Literary+Star+Makes+His+Posthumous+Debut+With+%27Afterparties%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah, how well I remember wanting to be Mary Lou Retton. So what if I had no gymnastics experience? So what if I didn’t know a round-off from a back handspring? My father had welded two bars for me, and I spent every day outside swinging on them and flipping over them on my stomach. I was SURE I was the next Mary Lou. Like thousands of other little girls, during the 1984 Olympics, I cried because my parents wouldn’t send me to Texas to train.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Watching Simone Biles be so brave about her own struggles with pressure has turned my young tears into gratitude, and my wishes into empathy. Though I have never been an Olympic gymnast, I have learned you don’t need to be an elite athlete to hit a wall.\u003c/p>\n\u003cp>And boy, have we hit it.\u003c/p>\n\u003cp>As summer marches on, and the new school year gets closer, the blow-up pool no longer holds any charm for my kids, using the weed-eater no longer makes them feel grown up, just tired of chores, summer math on the iPad isn’t a novelty anymore, just tedious—and reading, well, that has started to seem like a chore too.\u003c/p>\n\u003cp>To be fair, it’s reading new books that seem like a chore. The super-hot and humid days we’ve had this summer seem to have sapped every bit of energy from my kids, so it’s a constant battle to get them to read something new. When it’s reading time, it’s the well-worn pages of \u003cem>Diary of a Wimpy Kid\u003c/em> or \u003cem>New Kid \u003c/em>that make an appearance. Only my youngest, who is just entering a new level of reading, is tearing her way through her unread \u003cem>The Boxcar Children\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The wall: a very real phenomenon. And there is lots of advice on how to conquer it.\u003c/p>\n\u003ch3>Don’t Start Too Fast\u003c/h3>\n\u003cp>Okay, I’ve got that. I’ll admit, I’m guilty of throwing new books at my kids they aren’t excited about reading because I think they SHOULD be reading them. Bad strategy. I must start slower, and luckily there are some new books I KNOW my kids will be excited to read.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clash\u003c/em> by Kayla Miller\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900516 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg\" alt=\"\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">This fourth installment of Miller’s graphic novel series (\u003cem>Click, Act, Camp\u003c/em>) finds Olive, still in the sixth grade, but with a new problem, a new problem whose name is “Natasha.”\u003c/p>\n\u003cp>\u003cem>Clash\u003c/em> hits home for me and my oldest daughter because both of us have experienced having a new kid in class who breezed in and took our friends away. Nat does all she can to exclude Olive and makes an extra effort to make Olive feel bad about herself. Oh, the memories! Honestly, Olive does a much better job of handling the situation than I did when I was in middle school, and \u003cem>Clash\u003c/em> is sure to be a new favorite in my house.\u003c/p>\n\u003ch3>Set Achievable Goals\u003c/h3>\n\u003cp>Marathon runners are not the only people who have to build up their endurance. Readers do as well, and sometimes a fast-paced novel that makes you forget you’re reading a novel can get you in the right frame of mind for a longer run.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maya and the Robot\u003c/em> by Eve. L. Ewing, illustrated by Christine Almeda\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900517 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This debut middle grade book from essayist, poet, and comic book writer Eve L. Ewing, is the perfect read for kids who need a push to pick up a chapter book. Highly illustrated and easily relatable, \u003cem>Maya and the Robot\u003c/em> combines friendship struggles, teacher problems, and yes, science, to tell the story of how fifth-grade Maya finds ways to adapt and thrive when everything seems wrong.\u003c/p>\n\u003cp>For someone who remembers the struggles of one’s younger years, there can never be enough books about handling what can be a tough time. \u003cem>Maya and the Robot\u003c/em> is a fantastic addition to the genre and has the bonus of not just being about the internal struggles of the main character but offering fully formed familial relationships and community as well.\u003c/p>\n\u003ch3>Take Walking Breaks During Your Marathon\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Something Stinks\u003c/em>! by Jonathan Fenske\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900518 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">Every night I read chapter books to my kids. I sit down in the rocking chair while they all pile on the bed, and I read one (or two, maybe sometimes three depending on whether teeth-brushing time went smoothly) chapter of a book that I have chosen. While most nights my kids are happy to hear the next installment of what happens to Anne Shirley or Cassie Logan, there are nights when I read the room and see that my kids need a break, they need something fun and dare I say it, something with a bit of “yick.”\u003c/p>\n\u003cp>Enter \u003cem>Something Stinks!\u003c/em>.\u003c/p>\n\u003cp>Let me say that my kids, no matter how old they get, never tire of \u003cem>Walter the Farting Dog\u003c/em>. Nothing makes them laugh like gas, whether real or literary, and sometimes we just have to end the day with a laugh. \u003cem>Something Stinks!\u003c/em> offers a much-needed break in the Gilbert Blythe saga, and the skunk at the center of the story is so misled, so clueless, that my kids can’t help but scream with laughter.\u003c/p>\n\u003cp>There are all kinds of walls to hit, and as parents or caregivers, we will surely hit a lot of them. Just when we think we’ve gotten things under control, something happens to stop us in our tracks. Fatigue, boredom, stress, pressure, overachieving, all those things throw up walls in front of us, even as children, and even as readers. Sometimes we fight through it, and sometimes we take a breather, and that’s not a bad thing.\u003c/p>\n\u003cp>Not for Simone Biles and not for the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=These+3+Books+Will+Help+Your+Kids+Get+Over+Their+Summer+Reading+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Watching Simone Biles be so brave about her own struggles with pressure has turned my young tears into gratitude, and my wishes into empathy. Though I have never been an Olympic gymnast, I have learned you don’t need to be an elite athlete to hit a wall.\u003c/p>\n\u003cp>And boy, have we hit it.\u003c/p>\n\u003cp>As summer marches on, and the new school year gets closer, the blow-up pool no longer holds any charm for my kids, using the weed-eater no longer makes them feel grown up, just tired of chores, summer math on the iPad isn’t a novelty anymore, just tedious—and reading, well, that has started to seem like a chore too.\u003c/p>\n\u003cp>To be fair, it’s reading new books that seem like a chore. The super-hot and humid days we’ve had this summer seem to have sapped every bit of energy from my kids, so it’s a constant battle to get them to read something new. When it’s reading time, it’s the well-worn pages of \u003cem>Diary of a Wimpy Kid\u003c/em> or \u003cem>New Kid \u003c/em>that make an appearance. Only my youngest, who is just entering a new level of reading, is tearing her way through her unread \u003cem>The Boxcar Children\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The wall: a very real phenomenon. And there is lots of advice on how to conquer it.\u003c/p>\n\u003ch3>Don’t Start Too Fast\u003c/h3>\n\u003cp>Okay, I’ve got that. I’ll admit, I’m guilty of throwing new books at my kids they aren’t excited about reading because I think they SHOULD be reading them. Bad strategy. I must start slower, and luckily there are some new books I KNOW my kids will be excited to read.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clash\u003c/em> by Kayla Miller\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900516 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg\" alt=\"\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">This fourth installment of Miller’s graphic novel series (\u003cem>Click, Act, Camp\u003c/em>) finds Olive, still in the sixth grade, but with a new problem, a new problem whose name is “Natasha.”\u003c/p>\n\u003cp>\u003cem>Clash\u003c/em> hits home for me and my oldest daughter because both of us have experienced having a new kid in class who breezed in and took our friends away. Nat does all she can to exclude Olive and makes an extra effort to make Olive feel bad about herself. Oh, the memories! Honestly, Olive does a much better job of handling the situation than I did when I was in middle school, and \u003cem>Clash\u003c/em> is sure to be a new favorite in my house.\u003c/p>\n\u003ch3>Set Achievable Goals\u003c/h3>\n\u003cp>Marathon runners are not the only people who have to build up their endurance. Readers do as well, and sometimes a fast-paced novel that makes you forget you’re reading a novel can get you in the right frame of mind for a longer run.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maya and the Robot\u003c/em> by Eve. L. Ewing, illustrated by Christine Almeda\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900517 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This debut middle grade book from essayist, poet, and comic book writer Eve L. Ewing, is the perfect read for kids who need a push to pick up a chapter book. Highly illustrated and easily relatable, \u003cem>Maya and the Robot\u003c/em> combines friendship struggles, teacher problems, and yes, science, to tell the story of how fifth-grade Maya finds ways to adapt and thrive when everything seems wrong.\u003c/p>\n\u003cp>For someone who remembers the struggles of one’s younger years, there can never be enough books about handling what can be a tough time. \u003cem>Maya and the Robot\u003c/em> is a fantastic addition to the genre and has the bonus of not just being about the internal struggles of the main character but offering fully formed familial relationships and community as well.\u003c/p>\n\u003ch3>Take Walking Breaks During Your Marathon\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Something Stinks\u003c/em>! by Jonathan Fenske\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900518 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">Every night I read chapter books to my kids. I sit down in the rocking chair while they all pile on the bed, and I read one (or two, maybe sometimes three depending on whether teeth-brushing time went smoothly) chapter of a book that I have chosen. While most nights my kids are happy to hear the next installment of what happens to Anne Shirley or Cassie Logan, there are nights when I read the room and see that my kids need a break, they need something fun and dare I say it, something with a bit of “yick.”\u003c/p>\n\u003cp>Enter \u003cem>Something Stinks!\u003c/em>.\u003c/p>\n\u003cp>Let me say that my kids, no matter how old they get, never tire of \u003cem>Walter the Farting Dog\u003c/em>. Nothing makes them laugh like gas, whether real or literary, and sometimes we just have to end the day with a laugh. \u003cem>Something Stinks!\u003c/em> offers a much-needed break in the Gilbert Blythe saga, and the skunk at the center of the story is so misled, so clueless, that my kids can’t help but scream with laughter.\u003c/p>\n\u003cp>There are all kinds of walls to hit, and as parents or caregivers, we will surely hit a lot of them. Just when we think we’ve gotten things under control, something happens to stop us in our tracks. Fatigue, boredom, stress, pressure, overachieving, all those things throw up walls in front of us, even as children, and even as readers. Sometimes we fight through it, and sometimes we take a breather, and that’s not a bad thing.\u003c/p>\n\u003cp>Not for Simone Biles and not for the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=These+3+Books+Will+Help+Your+Kids+Get+Over+Their+Summer+Reading+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "MTV is Turning 40—Here's How Beavis, Butt-Head and Daria Disrupted Cable",
"headTitle": "MTV is Turning 40—Here’s How Beavis, Butt-Head and Daria Disrupted Cable | KQED",
"content": "\u003cdiv class=\"storyMajorUpdateDate\">\u003cstrong>Updated July 30, 2021 at 8:42 AM ET\u003c/strong>\u003c/div>\n\u003cp>From the moment MTV launched on Aug. 1, 1981, it was bound to rattle the nerves of parents and moral crusaders. In its first decade on air, provocative videos and performances from pop stars including Madonna and George Michael invited attention and ignited controversy.\u003c/p>\n\u003cp>Though it’s fairly established by now that the cable channel-turned-entertainment brand stopped being the home of music videos some time ago, its contribution to the television landscape transcends music and reality TV. By the 1990s, the network’s biggest stars also included its resident pair of animated knuckleheads: Beavis and Butt-Head.\u003c/p>\n\u003ch3>Critic-proof, crudely drawn rebels go pop\u003c/h3>\n\u003cp>[aside postid='arts_13885553']The show about brain dead teens and their pubescent whims debuted on MTV in 1993 and was quick to catch flack for everything from its rougher animation style to the impulsive actions of its stars. Critics called the duo \u003ca href=\"https://www.youtube.com/watch?v=7vhPukfBAwQ\" target=\"_blank\" rel=\"noopener noreferrer\">“crude,” “ugly” and “self-destructive.”\u003c/a>\u003c/p>\n\u003cp>Kris Brown became the head writer of \u003cem>Beavis and Butt-Head \u003c/em>in 1994. He says when he was assigned his first episode, he described the show to his own father as being “about these two 13-year-olds that are really stupid and they’re just self-destructive. They’re really into heavy metal, and I mean I don’t think it’s for you really, but I’m really excited about it.” His dad paused and, as Brown recalls, said, “Well, do you plan on writing for anything else?”\u003c/p>\n\u003cp>But the show was critic-proof. \u003cem>Beavis and Butt-Head \u003c/em>became MTV’s highest rated show at one time and expanded into a 1996 feature film—\u003cem>Beavis and Butt-Head Do America\u003c/em>. The movie got two thumbs up from critics Gene Siskel and Roger Ebert and featured multiple cameos, including one from super-fan David Letterman as a roadie who most certainly sired Butt-Head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jRnVQ4NBXko\u003c/p>\n\u003ch3>A hub for experimentation and innovation\u003c/h3>\n\u003cp>\u003cem>Beavis and Butt-Head \u003c/em>may have been a cartoon, but it was also central to MTV’s identity. Animation, it turns out, was baked into the network’s foundation, says Fred Seibert, who helped develop MTV’s initial branding campaigns.\u003c/p>\n\u003cp>“We kind of realized that in many ways cartoons, like \u003cem>Looney Tunes\u003c/em>, were kind of like the kid equivalent of rock ‘n’ roll,” Seibert explains.\u003c/p>\n\u003cp>For animators who wanted to work outside of TV conventions at the time, MTV became a destination and a laboratory. According to Maureen Furniss, who is an animation historian at the California Institute of the Arts, “[MTV] showed people in the public things they had never seen before in animation and gave opportunities to a lot of independent animators and experimental animators.”\u003c/p>\n\u003cp>One of the most important of those experiments were shorts that served as the station’s promotional IDs: the “M” of the MTV logo morphing into various forms, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PrUfMqRlYpk\u003c/p>\n\u003cp>The freedom given to the creators of these promos by MTV’s marketing teams helped serve as a prototype for how the network approached its longer animated shows, says Abby Terkuhle. He became head of the network’s on-air promotions—and eventually oversaw MTV animation.\u003c/p>\n\u003cp>“MTV animation was truly an outgrowth and extension of MTV on-air promotion and MTV on-air promotion was incredible. It was a creative laboratory, ” Terkuhle says. “We were not only allowed to take risks, but encouraged to take risks and the executives had our back.”\u003c/p>\n\u003cfigure id=\"attachment_13900491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg\" alt=\"'Beavis and Butt-Head' creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, 'Beavis and Butt-Head Do America.' From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beavis and Butt-Head’ creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, ‘Beavis and Butt-Head Do America.’ From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation. \u003ccite>(Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That ethos of a creative laboratory that took risks drew show creators to pitch and push for ideas that wouldn’t end up elsewhere on television.\u003c/p>\n\u003cp>MTV’s first full animated program \u003cem>Liquid Television\u003c/em> premiered in 1991 and was a free-flowing showcase of all kinds of animation. It included the cable debut of \u003cem>Beavis and Butt-Head \u003c/em>in the short “\u003ca href=\"https://www.youtube.com/watch?v=m0HpG7Nx7fA\" target=\"_blank\" rel=\"noopener noreferrer\">Frog Baseball\u003c/a>“—an animation festival favorite at the time—as well as parodies of existing TV genres such as game shows and soap operas.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ir2qcPwZFdQ\u003c/p>\n\u003cp>\u003cem>Liquid Television\u003c/em> also included bold experiments in narrative storytelling—and introduced the visually sumptuous world of \u003cem>Aeon Flux\u003c/em>—a spy who has since become a cult icon.\u003c/p>\n\u003cp>Peter Chung, who developed \u003cem>Aeon Flux \u003c/em>for MTV, says, “It had to be something you could not see anywhere else. And so that really encouraged me to make something that was as loaded with as much innuendo, making it a point to make it as transgressive and as eye-catching as I could make it.”\u003c/p>\n\u003ch3>Self-aware ’90s teen angst and claymation wars\u003c/h3>\n\u003cp>From the the mid-1990s to the early 2000s, MTV also ran its own animation studio which produced multiple series—including a \u003cem>Beavis and Butt-Head\u003c/em> spinoff that gave audiences another iconic character.\u003c/p>\n\u003cp>\u003cem>Daria\u003c/em> premiered in 1997 and was a show unafraid to bite the hand that feeds it. Its incisive main character regularly went after the superficialities and commodification of teen life—a tendency MTV itself has long been accused of. But the show could also offer poignant coming-of-age moments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L0WBODNzyCg\u003c/p>\n\u003cp>“We kind of just went with the typical stories that every show about teenagers covers, but because it was from the eyes of Daria, it ended up with a completely different tone, which was funny and deadpan kind of humor,” says \u003cem>Daria\u003c/em> co-creator Susie Lewis.\u003c/p>\n\u003cp>MTV animation wasn’t only hand-drawn images. The network also produced a hit claymation series called \u003cem>Celebrity Deathmatch\u003c/em> in which mock-ups of celebrities took each other on in the wrestling ring and fought, well, to the death. The pilot episode aired at the same time as the Super Bowl halftime show in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3hDNXE0v8kU\u003c/p>\n\u003cp>In recent years, MTV hasn’t had the same track record in animation. Other networks and streaming services have become home to even bolder cartoons intended for older audiences.\u003c/p>\n\u003cp>But MTV Entertainment president Chris McCarthy says you shouldn’t count MTV out just yet. McCarthy says MTV is developing new animated ideas as well as rebooting a few old favorites.\u003c/p>\n\u003cp>“Animation has been critical to the MTV brand from its inception, ” says McCarthy.\u003c/p>\n\u003cp>Among the shows coming back are \u003cem>Beavis and Butt-Head\u003c/em> (its second reboot for the record) as well as a series reimagining \u003cem>Daria \u003c/em>character Jodie as a Gen Z college grad entering the workforce.\u003c/p>\n\u003cp>“We think the animation and its rebirth is just the beginning of a next great chapter of this legacy,” says McCarthy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W8r-tXRLazs&list=PLy2PCKGkKRVZVyzPfNj_R-aYn4IztIyT-\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://ww2.kqed.org/arts/2021/07/29/hitting-the-road-and-building-a-northern-california-bucket-list/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MTV+Is+Turning+40+%E2%80%94+Here%27s+How+Beavis%2C+Butt-Head+And+Daria+Disrupted+Cable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\">\u003cstrong>Updated July 30, 2021 at 8:42 AM ET\u003c/strong>\u003c/div>\n\u003cp>From the moment MTV launched on Aug. 1, 1981, it was bound to rattle the nerves of parents and moral crusaders. In its first decade on air, provocative videos and performances from pop stars including Madonna and George Michael invited attention and ignited controversy.\u003c/p>\n\u003cp>Though it’s fairly established by now that the cable channel-turned-entertainment brand stopped being the home of music videos some time ago, its contribution to the television landscape transcends music and reality TV. By the 1990s, the network’s biggest stars also included its resident pair of animated knuckleheads: Beavis and Butt-Head.\u003c/p>\n\u003ch3>Critic-proof, crudely drawn rebels go pop\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show about brain dead teens and their pubescent whims debuted on MTV in 1993 and was quick to catch flack for everything from its rougher animation style to the impulsive actions of its stars. Critics called the duo \u003ca href=\"https://www.youtube.com/watch?v=7vhPukfBAwQ\" target=\"_blank\" rel=\"noopener noreferrer\">“crude,” “ugly” and “self-destructive.”\u003c/a>\u003c/p>\n\u003cp>Kris Brown became the head writer of \u003cem>Beavis and Butt-Head \u003c/em>in 1994. He says when he was assigned his first episode, he described the show to his own father as being “about these two 13-year-olds that are really stupid and they’re just self-destructive. They’re really into heavy metal, and I mean I don’t think it’s for you really, but I’m really excited about it.” His dad paused and, as Brown recalls, said, “Well, do you plan on writing for anything else?”\u003c/p>\n\u003cp>But the show was critic-proof. \u003cem>Beavis and Butt-Head \u003c/em>became MTV’s highest rated show at one time and expanded into a 1996 feature film—\u003cem>Beavis and Butt-Head Do America\u003c/em>. The movie got two thumbs up from critics Gene Siskel and Roger Ebert and featured multiple cameos, including one from super-fan David Letterman as a roadie who most certainly sired Butt-Head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jRnVQ4NBXko'\n title='//www.youtube.com/embed/jRnVQ4NBXko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A hub for experimentation and innovation\u003c/h3>\n\u003cp>\u003cem>Beavis and Butt-Head \u003c/em>may have been a cartoon, but it was also central to MTV’s identity. Animation, it turns out, was baked into the network’s foundation, says Fred Seibert, who helped develop MTV’s initial branding campaigns.\u003c/p>\n\u003cp>“We kind of realized that in many ways cartoons, like \u003cem>Looney Tunes\u003c/em>, were kind of like the kid equivalent of rock ‘n’ roll,” Seibert explains.\u003c/p>\n\u003cp>For animators who wanted to work outside of TV conventions at the time, MTV became a destination and a laboratory. According to Maureen Furniss, who is an animation historian at the California Institute of the Arts, “[MTV] showed people in the public things they had never seen before in animation and gave opportunities to a lot of independent animators and experimental animators.”\u003c/p>\n\u003cp>One of the most important of those experiments were shorts that served as the station’s promotional IDs: the “M” of the MTV logo morphing into various forms, for example.\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/PrUfMqRlYpk'\n title='//www.youtube.com/embed/PrUfMqRlYpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The freedom given to the creators of these promos by MTV’s marketing teams helped serve as a prototype for how the network approached its longer animated shows, says Abby Terkuhle. He became head of the network’s on-air promotions—and eventually oversaw MTV animation.\u003c/p>\n\u003cp>“MTV animation was truly an outgrowth and extension of MTV on-air promotion and MTV on-air promotion was incredible. It was a creative laboratory, ” Terkuhle says. “We were not only allowed to take risks, but encouraged to take risks and the executives had our back.”\u003c/p>\n\u003cfigure id=\"attachment_13900491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg\" alt=\"'Beavis and Butt-Head' creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, 'Beavis and Butt-Head Do America.' From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beavis and Butt-Head’ creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, ‘Beavis and Butt-Head Do America.’ From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation. \u003ccite>(Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That ethos of a creative laboratory that took risks drew show creators to pitch and push for ideas that wouldn’t end up elsewhere on television.\u003c/p>\n\u003cp>MTV’s first full animated program \u003cem>Liquid Television\u003c/em> premiered in 1991 and was a free-flowing showcase of all kinds of animation. It included the cable debut of \u003cem>Beavis and Butt-Head \u003c/em>in the short “\u003ca href=\"https://www.youtube.com/watch?v=m0HpG7Nx7fA\" target=\"_blank\" rel=\"noopener noreferrer\">Frog Baseball\u003c/a>“—an animation festival favorite at the time—as well as parodies of existing TV genres such as game shows and soap operas.\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/ir2qcPwZFdQ'\n title='//www.youtube.com/embed/ir2qcPwZFdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Liquid Television\u003c/em> also included bold experiments in narrative storytelling—and introduced the visually sumptuous world of \u003cem>Aeon Flux\u003c/em>—a spy who has since become a cult icon.\u003c/p>\n\u003cp>Peter Chung, who developed \u003cem>Aeon Flux \u003c/em>for MTV, says, “It had to be something you could not see anywhere else. And so that really encouraged me to make something that was as loaded with as much innuendo, making it a point to make it as transgressive and as eye-catching as I could make it.”\u003c/p>\n\u003ch3>Self-aware ’90s teen angst and claymation wars\u003c/h3>\n\u003cp>From the the mid-1990s to the early 2000s, MTV also ran its own animation studio which produced multiple series—including a \u003cem>Beavis and Butt-Head\u003c/em> spinoff that gave audiences another iconic character.\u003c/p>\n\u003cp>\u003cem>Daria\u003c/em> premiered in 1997 and was a show unafraid to bite the hand that feeds it. Its incisive main character regularly went after the superficialities and commodification of teen life—a tendency MTV itself has long been accused of. But the show could also offer poignant coming-of-age moments.\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/L0WBODNzyCg'\n title='//www.youtube.com/embed/L0WBODNzyCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We kind of just went with the typical stories that every show about teenagers covers, but because it was from the eyes of Daria, it ended up with a completely different tone, which was funny and deadpan kind of humor,” says \u003cem>Daria\u003c/em> co-creator Susie Lewis.\u003c/p>\n\u003cp>MTV animation wasn’t only hand-drawn images. The network also produced a hit claymation series called \u003cem>Celebrity Deathmatch\u003c/em> in which mock-ups of celebrities took each other on in the wrestling ring and fought, well, to the death. The pilot episode aired at the same time as the Super Bowl halftime show in 1998.\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/3hDNXE0v8kU'\n title='//www.youtube.com/embed/3hDNXE0v8kU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, MTV hasn’t had the same track record in animation. Other networks and streaming services have become home to even bolder cartoons intended for older audiences.\u003c/p>\n\u003cp>But MTV Entertainment president Chris McCarthy says you shouldn’t count MTV out just yet. McCarthy says MTV is developing new animated ideas as well as rebooting a few old favorites.\u003c/p>\n\u003cp>“Animation has been critical to the MTV brand from its inception, ” says McCarthy.\u003c/p>\n\u003cp>Among the shows coming back are \u003cem>Beavis and Butt-Head\u003c/em> (its second reboot for the record) as well as a series reimagining \u003cem>Daria \u003c/em>character Jodie as a Gen Z college grad entering the workforce.\u003c/p>\n\u003cp>“We think the animation and its rebirth is just the beginning of a next great chapter of this legacy,” says McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Olympics Spoilers Are Frustrating. Here's How You Can Avoid Them",
"headTitle": "Olympics Spoilers Are Frustrating. Here’s How You Can Avoid Them | KQED",
"content": "\u003cp>Let’s face it: Nobody likes spoilers.\u003c/p>\n\u003cp>Whether it’s with sports, \u003ca href=\"https://www.npr.org/2016/03/13/470280414/spoiler-alert-reality-steve-calls-the-bachelor-winner\" target=\"_blank\" rel=\"noopener noreferrer\">reality TV\u003c/a>, \u003ca href=\"https://www.npr.org/sections/publiceditor/2019/06/04/729719972/ill-take-spoilers-for-2-000-alex\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jeopardy \u003c/em>\u003c/a>or \u003ca href=\"https://www.npr.org/2009/11/11/114392902/the-spoiler-problem-contains-spoilers\" target=\"_blank\" rel=\"noopener noreferrer\">that series you’ve been watching\u003c/a> since season one, something so simple as a tweet or a Facebook post from a family member can ruin it for you in less than 30 seconds.\u003c/p>\n\u003cp>[aside postid='arts_13900276']We’ve been trying our best to avoid spoilers about (spoiler alert:) \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the Olympics\u003c/a>. But, despite the numerous attempts to duck and dodge, there are many ways to learn the results—even before you see them on TV.\u003c/p>\n\u003cp>With Tokyo being 13 hours ahead of the U.S. East Coast, it’s a bit difficult to catch the games live unless you’re staying up and pulling an all-nighter.\u003c/p>\n\u003cp>“It’s so hard. It’s almost impossible to avoid spoilers—especially with the Olympics,” says \u003ca href=\"https://www.kent.edu/mdj/tang-tang\" target=\"_blank\" rel=\"noopener noreferrer\">Tang Tang\u003c/a>, a media professor at Kent State University. “There’s social media and all types of media platforms reporting on it, including international media, so it’s almost impossible to stay away.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/etspencer/status/1419995436635590667\u003c/p>\n\u003cp>So, how can you avoid spoilers during the Olympic Games? Simple. Here are a few tips and tricks.\u003c/p>\n\u003ch3>Limit your timeline on Twitter\u003c/h3>\n\u003cp>… or at least, try to. While this may be easy for some, it may be a challenge for others.\u003c/p>\n\u003cp>Twitter is a \u003cem>huge\u003c/em> source for spoilers, and not just for sporting events. However, the social media platform has some cool features on how you can avoid the risk of spoilers.\u003c/p>\n\u003cp>Using the platform’s muting feature allows you to mute or hide certain phrases or hashtags from your timeline. Try using the following phrases as a head start to avoid the risk:\u003c/p>\n\u003cul>\n\u003cli>Gold\u003c/li>\n\u003cli>Olympics\u003c/li>\n\u003cli>Tokyo\u003c/li>\n\u003cli>Tokyo Olympics\u003c/li>\n\u003c/ul>\n\u003cp>To access the feature, it’s simple: Go to more > Settings and Privacy > Privacy and Safety tab > then click Mute and Block.\u003c/p>\n\u003ch3>Limit those Facebook accounts, too\u003c/h3>\n\u003cp>Yes, you also have to finesse your settings on here, as well.\u003c/p>\n\u003cp>Good news: In terms of Facebook, you can target those specific accounts that may be the source of spoiling the games for you.\u003c/p>\n\u003cp>To limit on Facebook, click on the three dots on a post and you’ll come across the option to snooze that account for 30 days. \u003cem>(Side note: You can also use this feature for any official pages you follow or even for someone you’re friends with that you know is always posting about the Olympics.)\u003c/em>\u003c/p>\n\u003ch3>Modifying your push notifications\u003c/h3>\n\u003cp>OK, so with this trick it may be a tad bit difficult.\u003c/p>\n\u003cp>Depending on the news organization, some apps have specific categories in which you can get certain alerts to your phone.\u003c/p>\n\u003cp>https://twitter.com/grovesprof/status/1420732550822207491\u003c/p>\n\u003cp>The best trick would be to open up the specific app that’s driving you crazy with spoilers and check to see if there’s a sports or breaking news tab that you can easily turn off temporarily until the games are over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But be sure to turn them back on later so you won’t miss any important breaking or sports news.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Olympics+Spoilers+Are+Frustrating.+Here%27s+How+You+Can+Avoid+Them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s face it: Nobody likes spoilers.\u003c/p>\n\u003cp>Whether it’s with sports, \u003ca href=\"https://www.npr.org/2016/03/13/470280414/spoiler-alert-reality-steve-calls-the-bachelor-winner\" target=\"_blank\" rel=\"noopener noreferrer\">reality TV\u003c/a>, \u003ca href=\"https://www.npr.org/sections/publiceditor/2019/06/04/729719972/ill-take-spoilers-for-2-000-alex\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jeopardy \u003c/em>\u003c/a>or \u003ca href=\"https://www.npr.org/2009/11/11/114392902/the-spoiler-problem-contains-spoilers\" target=\"_blank\" rel=\"noopener noreferrer\">that series you’ve been watching\u003c/a> since season one, something so simple as a tweet or a Facebook post from a family member can ruin it for you in less than 30 seconds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’ve been trying our best to avoid spoilers about (spoiler alert:) \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the Olympics\u003c/a>. But, despite the numerous attempts to duck and dodge, there are many ways to learn the results—even before you see them on TV.\u003c/p>\n\u003cp>With Tokyo being 13 hours ahead of the U.S. East Coast, it’s a bit difficult to catch the games live unless you’re staying up and pulling an all-nighter.\u003c/p>\n\u003cp>“It’s so hard. It’s almost impossible to avoid spoilers—especially with the Olympics,” says \u003ca href=\"https://www.kent.edu/mdj/tang-tang\" target=\"_blank\" rel=\"noopener noreferrer\">Tang Tang\u003c/a>, a media professor at Kent State University. “There’s social media and all types of media platforms reporting on it, including international media, so it’s almost impossible to stay away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>So, how can you avoid spoilers during the Olympic Games? Simple. Here are a few tips and tricks.\u003c/p>\n\u003ch3>Limit your timeline on Twitter\u003c/h3>\n\u003cp>… or at least, try to. While this may be easy for some, it may be a challenge for others.\u003c/p>\n\u003cp>Twitter is a \u003cem>huge\u003c/em> source for spoilers, and not just for sporting events. However, the social media platform has some cool features on how you can avoid the risk of spoilers.\u003c/p>\n\u003cp>Using the platform’s muting feature allows you to mute or hide certain phrases or hashtags from your timeline. Try using the following phrases as a head start to avoid the risk:\u003c/p>\n\u003cul>\n\u003cli>Gold\u003c/li>\n\u003cli>Olympics\u003c/li>\n\u003cli>Tokyo\u003c/li>\n\u003cli>Tokyo Olympics\u003c/li>\n\u003c/ul>\n\u003cp>To access the feature, it’s simple: Go to more > Settings and Privacy > Privacy and Safety tab > then click Mute and Block.\u003c/p>\n\u003ch3>Limit those Facebook accounts, too\u003c/h3>\n\u003cp>Yes, you also have to finesse your settings on here, as well.\u003c/p>\n\u003cp>Good news: In terms of Facebook, you can target those specific accounts that may be the source of spoiling the games for you.\u003c/p>\n\u003cp>To limit on Facebook, click on the three dots on a post and you’ll come across the option to snooze that account for 30 days. \u003cem>(Side note: You can also use this feature for any official pages you follow or even for someone you’re friends with that you know is always posting about the Olympics.)\u003c/em>\u003c/p>\n\u003ch3>Modifying your push notifications\u003c/h3>\n\u003cp>OK, so with this trick it may be a tad bit difficult.\u003c/p>\n\u003cp>Depending on the news organization, some apps have specific categories in which you can get certain alerts to your phone.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The best trick would be to open up the specific app that’s driving you crazy with spoilers and check to see if there’s a sports or breaking news tab that you can easily turn off temporarily until the games are over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But be sure to turn them back on later so you won’t miss any important breaking or sports news.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Olympics+Spoilers+Are+Frustrating.+Here%27s+How+You+Can+Avoid+Them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A wooden spoon gliding over cast iron. Barely tall enough to see over the stove, Lamar Cornett watched his mother, a cook, make his favorite dish of scrambled eggs.\u003c/p>\n\u003cp>That first cooking lesson launched a lifelong journey in food. Cornett has spent over 20 years in Kentucky restaurants, doing every job short of being the owner. The work is grueling and tense but rewarding and rowdy, and so fast-paced that the pandemic shutdown was like lightning on a cloudy day.\u003c/p>\n\u003cp>“It was almost like there was this unplanned, unorganized general strike,” Cornett said.\u003c/p>\n\u003cp>In those rare quiet moments, millions of restaurant workers like Cornett found themselves thinking about the realities of their work. Breaks barely long enough to use the restroom or smoke a cigarette. Meals inhaled on the go. Hostile bosses, crazy schedules and paltry, stagnant pay.\u003c/p>\n\u003cp>To top it off: rude customers, whose abuses restaurant staff are often forced to tolerate. And lately, testy diners have only gotten more impatient as they emerge from the pandemic shutdowns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cornett, off work for a few weeks, realized he received enough money through unemployment benefits to start saving—for the first time. He wondered if the work he loves would ever entail a job that came with health insurance or paid leave.\u003c/p>\n\u003cp>“I was working what I decided was going to be my last kitchen job,” Cornett said.\u003c/p>\n\u003cp>As he pondered a new career path, an exodus began rattling his industry. Workers have been leaving jobs in restaurants, bars and hotels at the highest rate in decades. Each month so far this year, around 5% of this massive workforce have called it quits. \u003ca href=\"https://www.bls.gov/news.release/jolts.t04.htm\">In May alone\u003c/a>, that was 706,000 people.\u003c/p>\n\u003cp>And now “help wanted” signs are everywhere, with a staggering 1.2 million jobs unfilled in the industry, right when customers are crushing through the doors, ready to eat, drink and finally socialize.\u003c/p>\n\u003ch3>“They’re just yelling the entire time”\u003c/h3>\n\u003cp>Low wages are the most common reason \u003ca href=\"https://onefairwage.site/wp-content/uploads/2021/07/OFW_HelpWanted.pdf\">people cite\u003c/a> for leaving food service work. But in \u003ca href=\"https://www.bloomberg.com/news/articles/2021-07-08/half-of-u-s-hospitality-workers-won-t-return-in-job-crunch\">one recent survey\u003c/a>, more than half of hospitality workers who’ve quit said no amount of pay would get them to return.\u003c/p>\n\u003cp>That’s because for many, leaving food service had a lot to do also with its high-stress culture: exhausting work, unreliable hours, no benefits and so many rude customers.\u003c/p>\n\u003cp>“I never want to do something like this again,” said Marcus Brotherns, who spent two years serving coffee and doughnuts at a drive-through in Rhode Island. During the busiest hours, customers would storm inside to complain about the wrong amount of creamer or sugar.\u003c/p>\n\u003cp>“They’re just yelling the entire time,” he said. Brotherns got a new job delivering beverages to restaurants, work that’s tough but quieter and better-paying with more stable hours. “I am done with fast food.”\u003c/p>\n\u003cp>Tensions escalated over the pandemic, when many low-wage workers at stores and restaurants found themselves forced to be the enforcers of mask-wearing mandates, facing \u003ca href=\"https://www.today.com/food/taco-shop-temporarily-closes-give-employees-rest-after-being-harassed-t185784\">harassment \u003c/a>and \u003ca href=\"https://www.today.com/food/mcdonald-s-worker-assaulted-customer-over-mask-policy-raises-20k-t187011\">physical attacks\u003c/a>.\u003c/p>\n\u003cp>Now, as many eateries are short-handed and hurriedly train new staff, negative reviews and complaints are on the rise from impatient, oblivious diners. One restaurant in Massachusetts \u003ca href=\"https://whdh.com/news/i-hope-you-get-hit-by-a-car-after-customers-berate-staff-cape-restaurant-shuts-for-day-of-kindnesss/\">even closed for a “Day of Kindness”\u003c/a> after angry customers drove servers to tears.\u003c/p>\n\u003ch3>Average pay finally topped $15 in Ma\u003cstrong>y\u003c/strong>\u003c/h3>\n\u003cp>To adjust to the worker shortage, many food establishments found themselves reducing their hours, operating with skeleton crews and hiring like crazy.\u003c/p>\n\u003cp>“We used to be known as a late-night restaurant. … We can’t do that anymore. I don’t have the staff and people are exhausted,” said Laurie Torres, whose Ohio restaurant now closes earlier and stays closed on Mondays. She said she’s been paying her staff bonuses and offered $17 an hour for a dishwasher job, and still three workers stood her up.\u003c/p>\n\u003cp>In fact, for the first time on record, average hourly pay for nonmanagers at restaurants and bars topped $15 in May.\u003c/p>\n\u003cp>Major chains have been trumpeting higher wages: \u003ca href=\"https://www.forbes.com/sites/aliciakelso/2021/05/10/chipotle-is-increasing-its-wages-to-average-15-an-hour/?sh=73edabd46d8e\">Chipotle\u003c/a>, \u003ca href=\"https://www.cnn.com/2021/03/25/business/darden-tipped-wages/index.html\">Olive Garden\u003c/a>, \u003ca href=\"https://www.clevescene.com/scene-and-heard/archives/2021/05/20/ohio-based-white-castle-testing-15-per-hour-wage\">White Castle\u003c/a>,\u003ca href=\"https://www.wsj.com/articles/mcdonalds-owners-offer-tuition-childcare-to-lure-burger-flippers-11626122728\"> even McDonald’s\u003c/a>, which is now promising entry-level pay between $11 and $17 an hour. Employers are paying people just to show up for interviews, \u003ca href=\"https://www.npr.org/2021/07/06/1012344023/heres-what-you-should-know-about-that-eye-popping-sign-on-bonus\">adding signing bonuses\u003c/a> and recruiting ever-younger workers on TikTok.\u003c/p>\n\u003cp>“Every manager acted like they were urgently hiring, it was kind of weird. Like, their big focus was: When can you start?” said Sterling Baumgardner, who at 17 is a minor in Ohio. He recently quit his job at Dunkin’ Donuts and got immediately hired at a sandwich chain making about $12.50 an hour, $3 more than before.\u003c/p>\n\u003ch3>If you can’t pay well, “then you can’t afford to be in business”\u003c/h3>\n\u003cp>Food service jobs have been “plagued with low wages for an extraordinary long period of time,” said Jeannette Wicks-Lim, labor economist at the University of Massachusetts, Amherst. Pay was eking up before the pandemic but then fell again, and so now, she said, workers are just barely making up lost ground. Wages might be jumping fast, but not very high.\u003c/p>\n\u003cp>Cornett, the lifelong restaurant worker from Kentucky, has watched the wage issue get tense on his local food service Facebook group. Any job posting below $15 an hour would get jeers and demands for higher pay. Then the employers would get defensive, saying they couldn’t afford big raises.\u003c/p>\n\u003cp>“The immediate response every time was: ‘Then you can’t afford to be in business, bro,’ ” Cornett said.\u003c/p>\n\u003cp>He was planning to hang up his apron and began looking at jobs at warehouses and factories when he got an offer he couldn’t turn down—from someone who could afford to be in business while paying him better. He’s now a chef at a new brewery in Louisville.\u003c/p>\n\u003cp>“This is the first time I’ve ever been on a salary,” Cornett said. “This is the first time I’ve been able to depend on getting a specific amount of money every pay period.”\u003c/p>\n\u003cp>That amount is $30,000 a year—which isn’t a lot, he admits. But it’s “life-changing” compared with his long career earning $22,000 or $23,000 a year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s also the first time he’s had only one boss, whom he likes. And the first time—finally—that he’s had a job that offers health insurance.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2021/07/20/1016081936/low-pay-no-benefits-rude-customers-restaurant-workers-quit-at-record-rate\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Low+Pay%2C+No+Benefits%2C+Rude+Customers%3A+Restaurant+Workers+Quit+At+Record+Rate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wooden spoon gliding over cast iron. Barely tall enough to see over the stove, Lamar Cornett watched his mother, a cook, make his favorite dish of scrambled eggs.\u003c/p>\n\u003cp>That first cooking lesson launched a lifelong journey in food. Cornett has spent over 20 years in Kentucky restaurants, doing every job short of being the owner. The work is grueling and tense but rewarding and rowdy, and so fast-paced that the pandemic shutdown was like lightning on a cloudy day.\u003c/p>\n\u003cp>“It was almost like there was this unplanned, unorganized general strike,” Cornett said.\u003c/p>\n\u003cp>In those rare quiet moments, millions of restaurant workers like Cornett found themselves thinking about the realities of their work. Breaks barely long enough to use the restroom or smoke a cigarette. Meals inhaled on the go. Hostile bosses, crazy schedules and paltry, stagnant pay.\u003c/p>\n\u003cp>To top it off: rude customers, whose abuses restaurant staff are often forced to tolerate. And lately, testy diners have only gotten more impatient as they emerge from the pandemic shutdowns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cornett, off work for a few weeks, realized he received enough money through unemployment benefits to start saving—for the first time. He wondered if the work he loves would ever entail a job that came with health insurance or paid leave.\u003c/p>\n\u003cp>“I was working what I decided was going to be my last kitchen job,” Cornett said.\u003c/p>\n\u003cp>As he pondered a new career path, an exodus began rattling his industry. Workers have been leaving jobs in restaurants, bars and hotels at the highest rate in decades. Each month so far this year, around 5% of this massive workforce have called it quits. \u003ca href=\"https://www.bls.gov/news.release/jolts.t04.htm\">In May alone\u003c/a>, that was 706,000 people.\u003c/p>\n\u003cp>And now “help wanted” signs are everywhere, with a staggering 1.2 million jobs unfilled in the industry, right when customers are crushing through the doors, ready to eat, drink and finally socialize.\u003c/p>\n\u003ch3>“They’re just yelling the entire time”\u003c/h3>\n\u003cp>Low wages are the most common reason \u003ca href=\"https://onefairwage.site/wp-content/uploads/2021/07/OFW_HelpWanted.pdf\">people cite\u003c/a> for leaving food service work. But in \u003ca href=\"https://www.bloomberg.com/news/articles/2021-07-08/half-of-u-s-hospitality-workers-won-t-return-in-job-crunch\">one recent survey\u003c/a>, more than half of hospitality workers who’ve quit said no amount of pay would get them to return.\u003c/p>\n\u003cp>That’s because for many, leaving food service had a lot to do also with its high-stress culture: exhausting work, unreliable hours, no benefits and so many rude customers.\u003c/p>\n\u003cp>“I never want to do something like this again,” said Marcus Brotherns, who spent two years serving coffee and doughnuts at a drive-through in Rhode Island. During the busiest hours, customers would storm inside to complain about the wrong amount of creamer or sugar.\u003c/p>\n\u003cp>“They’re just yelling the entire time,” he said. Brotherns got a new job delivering beverages to restaurants, work that’s tough but quieter and better-paying with more stable hours. “I am done with fast food.”\u003c/p>\n\u003cp>Tensions escalated over the pandemic, when many low-wage workers at stores and restaurants found themselves forced to be the enforcers of mask-wearing mandates, facing \u003ca href=\"https://www.today.com/food/taco-shop-temporarily-closes-give-employees-rest-after-being-harassed-t185784\">harassment \u003c/a>and \u003ca href=\"https://www.today.com/food/mcdonald-s-worker-assaulted-customer-over-mask-policy-raises-20k-t187011\">physical attacks\u003c/a>.\u003c/p>\n\u003cp>Now, as many eateries are short-handed and hurriedly train new staff, negative reviews and complaints are on the rise from impatient, oblivious diners. One restaurant in Massachusetts \u003ca href=\"https://whdh.com/news/i-hope-you-get-hit-by-a-car-after-customers-berate-staff-cape-restaurant-shuts-for-day-of-kindnesss/\">even closed for a “Day of Kindness”\u003c/a> after angry customers drove servers to tears.\u003c/p>\n\u003ch3>Average pay finally topped $15 in Ma\u003cstrong>y\u003c/strong>\u003c/h3>\n\u003cp>To adjust to the worker shortage, many food establishments found themselves reducing their hours, operating with skeleton crews and hiring like crazy.\u003c/p>\n\u003cp>“We used to be known as a late-night restaurant. … We can’t do that anymore. I don’t have the staff and people are exhausted,” said Laurie Torres, whose Ohio restaurant now closes earlier and stays closed on Mondays. She said she’s been paying her staff bonuses and offered $17 an hour for a dishwasher job, and still three workers stood her up.\u003c/p>\n\u003cp>In fact, for the first time on record, average hourly pay for nonmanagers at restaurants and bars topped $15 in May.\u003c/p>\n\u003cp>Major chains have been trumpeting higher wages: \u003ca href=\"https://www.forbes.com/sites/aliciakelso/2021/05/10/chipotle-is-increasing-its-wages-to-average-15-an-hour/?sh=73edabd46d8e\">Chipotle\u003c/a>, \u003ca href=\"https://www.cnn.com/2021/03/25/business/darden-tipped-wages/index.html\">Olive Garden\u003c/a>, \u003ca href=\"https://www.clevescene.com/scene-and-heard/archives/2021/05/20/ohio-based-white-castle-testing-15-per-hour-wage\">White Castle\u003c/a>,\u003ca href=\"https://www.wsj.com/articles/mcdonalds-owners-offer-tuition-childcare-to-lure-burger-flippers-11626122728\"> even McDonald’s\u003c/a>, which is now promising entry-level pay between $11 and $17 an hour. Employers are paying people just to show up for interviews, \u003ca href=\"https://www.npr.org/2021/07/06/1012344023/heres-what-you-should-know-about-that-eye-popping-sign-on-bonus\">adding signing bonuses\u003c/a> and recruiting ever-younger workers on TikTok.\u003c/p>\n\u003cp>“Every manager acted like they were urgently hiring, it was kind of weird. Like, their big focus was: When can you start?” said Sterling Baumgardner, who at 17 is a minor in Ohio. He recently quit his job at Dunkin’ Donuts and got immediately hired at a sandwich chain making about $12.50 an hour, $3 more than before.\u003c/p>\n\u003ch3>If you can’t pay well, “then you can’t afford to be in business”\u003c/h3>\n\u003cp>Food service jobs have been “plagued with low wages for an extraordinary long period of time,” said Jeannette Wicks-Lim, labor economist at the University of Massachusetts, Amherst. Pay was eking up before the pandemic but then fell again, and so now, she said, workers are just barely making up lost ground. Wages might be jumping fast, but not very high.\u003c/p>\n\u003cp>Cornett, the lifelong restaurant worker from Kentucky, has watched the wage issue get tense on his local food service Facebook group. Any job posting below $15 an hour would get jeers and demands for higher pay. Then the employers would get defensive, saying they couldn’t afford big raises.\u003c/p>\n\u003cp>“The immediate response every time was: ‘Then you can’t afford to be in business, bro,’ ” Cornett said.\u003c/p>\n\u003cp>He was planning to hang up his apron and began looking at jobs at warehouses and factories when he got an offer he couldn’t turn down—from someone who could afford to be in business while paying him better. He’s now a chef at a new brewery in Louisville.\u003c/p>\n\u003cp>“This is the first time I’ve ever been on a salary,” Cornett said. “This is the first time I’ve been able to depend on getting a specific amount of money every pay period.”\u003c/p>\n\u003cp>That amount is $30,000 a year—which isn’t a lot, he admits. But it’s “life-changing” compared with his long career earning $22,000 or $23,000 a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "5 Takeaways From The 2021 Emmy Nominations",
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"content": "\u003cp>This year’s Emmy nominations cover a time when the coronavirus pandemic turned the TV industry upside down. So it makes sense that the shows and performances announced Tuesday might include some choices that are a bit … unconventional.\u003c/p>\n\u003cp>Netflix’s continuation of \u003cem>The Karate Kid\u003c/em> franchise, \u003ca href=\"https://www.npr.org/2018/05/02/607087244/a-crane-kick-of-nostalgia-right-to-the-throat-cobra-kai\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cobra Kai\u003c/em>\u003c/a>, nominated as best comedy series? \u003ca href=\"https://www.npr.org/2020/08/16/901256615/lovecraft-country-facing-monsters-and-a-monstrous-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, a series that was essentially canceled by HBO when it decided not to make a second season, racking up 18 nominations, including best drama series? Netflix’s middling comedy \u003ca href=\"https://www.npr.org/2020/10/02/919086574/emily-in-paris-is-a-painless-and-pretty-frolic-and-that-s-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily in Paris\u003c/em>\u003c/a>, widely ridiculed for snagging a Golden Globe nomination this year, also nominated for a best comedy series Emmy?[aside postID='arts_13884214']\u003c/p>\n\u003cp>Thankfully, the nominations announced this year were mostly devoid of head-scratching choices and did an admirable job of reflecting both promising newcomers and old masters during a period when lockdowns threatened to cripple the industry. It’s a heartening sign that it will take more than a pandemic to wipe out innovation and quality work in today’s TV universe.\u003c/p>\n\u003cp>Here are five more takeaways I had from the nominations for the 73rd Emmy Awards:\u003c/p>\n\u003ch2>Streaming services are more dominant than ever\u003c/h2>\n\u003cp>Sure, the most nominated media platform is HBO with 130 nods. But it only got there by including the nominations for streaming corporate sibling HBO Max with its total. Even so, streaming giant Netflix had the second-largest number of nominations at 129, and upstart Disney+ landed in third place with 71.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A peek at the most-nominated shows reveals Netflix’s \u003ca href=\"https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Crown\u003c/em>\u003c/a> and Disney+’s \u003ca href=\"https://www.npr.org/2020/10/30/929505050/return-of-the-mandalorian-and-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mandalorian\u003c/em>\u003c/a> tied with 24 nominations, followed quickly by Disney+’s \u003ca href=\"https://www.npr.org/2021/03/05/973989043/wandavision-wraps-a-season-that-was-never-what-it-seemed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WandaVision\u003c/em>\u003c/a> (23) and Hulu’s \u003ca href=\"https://www.npr.org/2019/09/10/759437597/margaret-atwood-on-the-enduring-resonance-of-the-handmaid-s-tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Handmaid’s Tale\u003c/em>\u003c/a> (21). Indeed, among the top 10 most-nominated shows, just three—NBC’s \u003cem>Saturday Night Live\u003c/em>, along with \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a> and \u003cem>Lovecraft Country\u003c/em> on HBO–were not created by streaming services.\u003c/p>\n\u003ch2>Lots of diversity, though still often focused on Black people\u003c/h2>\n\u003cp>[aside postID='arts_13897419']It was wonderful to see \u003ca href=\"https://www.npr.org/2021/06/06/1000646372/farewell-to-pose-which-fused-grief-and-joy-right-up-to-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pose\u003c/em>\u003c/a> star Mj Rodriguez nominated as best actress in a drama, recognizing her powerhouse performance on that show with the first lead acting nomination for a transgender person. And for a critic like me, who has advocated for ethnic diversity in TV for decades, seeing nominations for ambitious, Black-centered shows such as \u003cem>Lovecraft Country\u003c/em>, Amazon Prime Video’s \u003cem>The Underground Railroad\u003c/em> and ABC’s \u003cem>Black-ish\u003c/em> right next to key nods for accomplished Black performers such as \u003ca href=\"https://www.npr.org/2020/12/28/949236178/bridgerton-is-a-delicious-raunchy-tale-of-1-very-hot-family\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bridgerton\u003c/em>\u003c/a>’s Regé-Jean Page and Uzo Adubo from \u003ca href=\"https://www.npr.org/2021/06/28/1010891216/uzo-aduba-in-treatment-hbo-orange-is-the-new-black-crazy-eyes-netflix\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Treatment\u003c/em>\u003c/a> is like a dream come true. Best of all, the Emmys recognized Michaela Coel and her groundbreaking series, \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I May Destroy You\u003c/em>\u003c/a>\u003cem>\u003c/em>, when the Golden Globes did not.\u003c/p>\n\u003cp>But it is time for the Emmys—and the TV industry at large—to spread that wealth beyond Black performers and Black-centered shows. Yes, Lin-Manuel Miranda, Rosie Perez, Anthony Ramos, Bowen Yang and Phillipa Soo all got key nominations. But if Disney+’s version of \u003cem>Hamilton\u003c/em> hadn’t been eligible, many of those nominations would not have occurred. So I’m hopeful this is a first step toward bringing even more—and more well-rounded—diversity to big Hollywood awards nominations.\u003c/p>\n\u003ch2>Geeks rejoice! Superhero and genre shows get more love than ever\u003c/h2>\n\u003cp>True enough, \u003cem>Game of Thrones\u003c/em> often soaked up loads of nominations back in the day. But this year, several shows in the horror/superhero space, so often overlooked by major Hollywood awards, got love in major categories, including \u003cem>WandaVision\u003c/em>, \u003ci>The Mandalorian\u003c/i>, \u003cem>Lovecraft Country\u003c/em> and Amazon Prime Video’s dark superhero satire, \u003ca href=\"https://www.npr.org/2020/09/02/908811190/the-boys-return-for-a-2nd-season-even-more-twisted-than-the-1st\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boys\u003c/em>\u003c/a> (which was the biggest surprise for me). We saw powerhouse studio Marvel get its first Emmy nominations this year, which likely means this is just a taste of future geekdom to come.\u003c/p>\n\u003ch2>‘Saturday Night Live’ remains an influential powerhouse\u003c/h2>\n\u003cp>Every few years, a snarky critic writes an epitaph for this annoyingly inconsistent-yet-often-brilliant sketch comedy landmark. And then \u003cem>SNL\u003c/em> racks up the Emmy nominations to prove just how premature those rumors of death truly are. It’s not just that its 21 nominations beat comedy favorite \u003cem>Ted Lasso\u003c/em> by one nod; it had a significant presence in supporting and guest acting comedy categories. Kenan Thompson even managed to snag a nomination as best lead actor in a comedy for his sitcom, \u003cem>Kenan\u003c/em>, while still starring as a major player on \u003cem>SNL\u003c/em>—where he was also nominated for best supporting actor in a comedy.[aside postID='arts_13897829']\u003c/p>\n\u003cp>Part of its domination this year came from reduced competition in the comedy space, for sure. (The pandemic seems to have cleared out more comedy shows than dramas.) But \u003cem>SNL\u003c/em> also pulled off some brilliant shows when the entire cast and writing staff were working remotely from home, following those episodes by welcoming back a live audience well before vaccines were widely available. Not bad for a series nearly ready for its own AARP card.\u003c/p>\n\u003ch2>Fewer notable snubs, but intense competition made some inevitable\u003c/h2>\n\u003cp>No matter what was nominated as best limited series, there were bound to be major shows left out—just because the competition in this space has grown immensely, thanks to big-name stars signing on for projects designed to last just one season. This includes series such as Kate Winslet’s \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>Still, it was unfortunate that Steve McQueen’s ode to Black immigrants in Britain, \u003ca href=\"https://www.npr.org/2020/11/20/936635676/small-axe-a-searing-portrait-of-racism-and-a-communitys-will-to-survive\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Small Axe\u003c/em>,\u003c/a> was left out of the category, along with Showtime’s \u003ca href=\"https://www.npr.org/2020/10/05/920311084/ethan-hawke-on-playing-john-brown-early-fame-and-making-a-friend-of-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Lord Bird\u003c/em>,\u003c/a> HBO Max’s \u003ca href=\"https://www.npr.org/2021/02/19/968381311/its-a-sin-brings-a-lost-generation-of-gay-men-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It’s a Sin\u003c/em>\u003c/a> and HBO’s \u003ca href=\"https://www.npr.org/2020/10/25/926843328/the-undoing-review-hbo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Undoing\u003c/em>\u003c/a>. Similarly, \u003cem>Undoing\u003c/em> star Nicole Kidman’s lack of an acting nomination had to be one of the highest-profile acting snubs, along with Ethan Hawke from \u003cem>The Good Lord Bird\u003c/em>. And the Emmys also seemed to turn their back on the third season of Netflix’s \u003cem>Master of None\u003c/em>, passing up the opportunity to honor Naomi Ackie and Lena Waithe’s portrayal of a crumbling marriage. This snub made me wonder if onetime series star Aziz Ansari’s #MeToo controversy had an impact.\u003c/p>\n\u003cp>And much as I loved seeing the final season of \u003cem>Conan\u003c/em> get nominated as best variety talk series and \u003ca href=\"https://www.npr.org/2020/08/31/907762048/black-lady-sketch-show-is-tv-we-d-never-seen-before-says-dime-davis\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Black Lady Sketch Show\u003c/em>\u003c/a> nominated for best variety sketch series, Emmy dropped the ball by not showing love for NBC’s \u003cem>Late Night With Seth Meyers\u003c/em> and \u003cem>The Amber Ruffin Show\u003c/em> on Peacock in those categories. (\u003cem>Late Night\u003c/em> got a directing nod, and \u003cem>Amber Ruffin\u003c/em> was nominated for writing.) It’s time to expand these categories a bit so more great work can earn its due.\u003c/p>\n\u003cp>Winners for the 73rd Emmy Awards will be announced during a ceremony aired and streamed Sept. 19 on CBS and Paramount+, hosted by Cedric the Entertainer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "This year’s Emmy noms signal a banner year for streaming platforms, along with historic inclusion and unexpected exclusions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Emmy nominations cover a time when the coronavirus pandemic turned the TV industry upside down. So it makes sense that the shows and performances announced Tuesday might include some choices that are a bit … unconventional.\u003c/p>\n\u003cp>Netflix’s continuation of \u003cem>The Karate Kid\u003c/em> franchise, \u003ca href=\"https://www.npr.org/2018/05/02/607087244/a-crane-kick-of-nostalgia-right-to-the-throat-cobra-kai\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cobra Kai\u003c/em>\u003c/a>, nominated as best comedy series? \u003ca href=\"https://www.npr.org/2020/08/16/901256615/lovecraft-country-facing-monsters-and-a-monstrous-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, a series that was essentially canceled by HBO when it decided not to make a second season, racking up 18 nominations, including best drama series? Netflix’s middling comedy \u003ca href=\"https://www.npr.org/2020/10/02/919086574/emily-in-paris-is-a-painless-and-pretty-frolic-and-that-s-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily in Paris\u003c/em>\u003c/a>, widely ridiculed for snagging a Golden Globe nomination this year, also nominated for a best comedy series Emmy?\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thankfully, the nominations announced this year were mostly devoid of head-scratching choices and did an admirable job of reflecting both promising newcomers and old masters during a period when lockdowns threatened to cripple the industry. It’s a heartening sign that it will take more than a pandemic to wipe out innovation and quality work in today’s TV universe.\u003c/p>\n\u003cp>Here are five more takeaways I had from the nominations for the 73rd Emmy Awards:\u003c/p>\n\u003ch2>Streaming services are more dominant than ever\u003c/h2>\n\u003cp>Sure, the most nominated media platform is HBO with 130 nods. But it only got there by including the nominations for streaming corporate sibling HBO Max with its total. Even so, streaming giant Netflix had the second-largest number of nominations at 129, and upstart Disney+ landed in third place with 71.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A peek at the most-nominated shows reveals Netflix’s \u003ca href=\"https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Crown\u003c/em>\u003c/a> and Disney+’s \u003ca href=\"https://www.npr.org/2020/10/30/929505050/return-of-the-mandalorian-and-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mandalorian\u003c/em>\u003c/a> tied with 24 nominations, followed quickly by Disney+’s \u003ca href=\"https://www.npr.org/2021/03/05/973989043/wandavision-wraps-a-season-that-was-never-what-it-seemed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WandaVision\u003c/em>\u003c/a> (23) and Hulu’s \u003ca href=\"https://www.npr.org/2019/09/10/759437597/margaret-atwood-on-the-enduring-resonance-of-the-handmaid-s-tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Handmaid’s Tale\u003c/em>\u003c/a> (21). Indeed, among the top 10 most-nominated shows, just three—NBC’s \u003cem>Saturday Night Live\u003c/em>, along with \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a> and \u003cem>Lovecraft Country\u003c/em> on HBO–were not created by streaming services.\u003c/p>\n\u003ch2>Lots of diversity, though still often focused on Black people\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was wonderful to see \u003ca href=\"https://www.npr.org/2021/06/06/1000646372/farewell-to-pose-which-fused-grief-and-joy-right-up-to-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pose\u003c/em>\u003c/a> star Mj Rodriguez nominated as best actress in a drama, recognizing her powerhouse performance on that show with the first lead acting nomination for a transgender person. And for a critic like me, who has advocated for ethnic diversity in TV for decades, seeing nominations for ambitious, Black-centered shows such as \u003cem>Lovecraft Country\u003c/em>, Amazon Prime Video’s \u003cem>The Underground Railroad\u003c/em> and ABC’s \u003cem>Black-ish\u003c/em> right next to key nods for accomplished Black performers such as \u003ca href=\"https://www.npr.org/2020/12/28/949236178/bridgerton-is-a-delicious-raunchy-tale-of-1-very-hot-family\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bridgerton\u003c/em>\u003c/a>’s Regé-Jean Page and Uzo Adubo from \u003ca href=\"https://www.npr.org/2021/06/28/1010891216/uzo-aduba-in-treatment-hbo-orange-is-the-new-black-crazy-eyes-netflix\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Treatment\u003c/em>\u003c/a> is like a dream come true. Best of all, the Emmys recognized Michaela Coel and her groundbreaking series, \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I May Destroy You\u003c/em>\u003c/a>\u003cem>\u003c/em>, when the Golden Globes did not.\u003c/p>\n\u003cp>But it is time for the Emmys—and the TV industry at large—to spread that wealth beyond Black performers and Black-centered shows. Yes, Lin-Manuel Miranda, Rosie Perez, Anthony Ramos, Bowen Yang and Phillipa Soo all got key nominations. But if Disney+’s version of \u003cem>Hamilton\u003c/em> hadn’t been eligible, many of those nominations would not have occurred. So I’m hopeful this is a first step toward bringing even more—and more well-rounded—diversity to big Hollywood awards nominations.\u003c/p>\n\u003ch2>Geeks rejoice! Superhero and genre shows get more love than ever\u003c/h2>\n\u003cp>True enough, \u003cem>Game of Thrones\u003c/em> often soaked up loads of nominations back in the day. But this year, several shows in the horror/superhero space, so often overlooked by major Hollywood awards, got love in major categories, including \u003cem>WandaVision\u003c/em>, \u003ci>The Mandalorian\u003c/i>, \u003cem>Lovecraft Country\u003c/em> and Amazon Prime Video’s dark superhero satire, \u003ca href=\"https://www.npr.org/2020/09/02/908811190/the-boys-return-for-a-2nd-season-even-more-twisted-than-the-1st\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boys\u003c/em>\u003c/a> (which was the biggest surprise for me). We saw powerhouse studio Marvel get its first Emmy nominations this year, which likely means this is just a taste of future geekdom to come.\u003c/p>\n\u003ch2>‘Saturday Night Live’ remains an influential powerhouse\u003c/h2>\n\u003cp>Every few years, a snarky critic writes an epitaph for this annoyingly inconsistent-yet-often-brilliant sketch comedy landmark. And then \u003cem>SNL\u003c/em> racks up the Emmy nominations to prove just how premature those rumors of death truly are. It’s not just that its 21 nominations beat comedy favorite \u003cem>Ted Lasso\u003c/em> by one nod; it had a significant presence in supporting and guest acting comedy categories. Kenan Thompson even managed to snag a nomination as best lead actor in a comedy for his sitcom, \u003cem>Kenan\u003c/em>, while still starring as a major player on \u003cem>SNL\u003c/em>—where he was also nominated for best supporting actor in a comedy.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of its domination this year came from reduced competition in the comedy space, for sure. (The pandemic seems to have cleared out more comedy shows than dramas.) But \u003cem>SNL\u003c/em> also pulled off some brilliant shows when the entire cast and writing staff were working remotely from home, following those episodes by welcoming back a live audience well before vaccines were widely available. Not bad for a series nearly ready for its own AARP card.\u003c/p>\n\u003ch2>Fewer notable snubs, but intense competition made some inevitable\u003c/h2>\n\u003cp>No matter what was nominated as best limited series, there were bound to be major shows left out—just because the competition in this space has grown immensely, thanks to big-name stars signing on for projects designed to last just one season. This includes series such as Kate Winslet’s \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>Still, it was unfortunate that Steve McQueen’s ode to Black immigrants in Britain, \u003ca href=\"https://www.npr.org/2020/11/20/936635676/small-axe-a-searing-portrait-of-racism-and-a-communitys-will-to-survive\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Small Axe\u003c/em>,\u003c/a> was left out of the category, along with Showtime’s \u003ca href=\"https://www.npr.org/2020/10/05/920311084/ethan-hawke-on-playing-john-brown-early-fame-and-making-a-friend-of-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Lord Bird\u003c/em>,\u003c/a> HBO Max’s \u003ca href=\"https://www.npr.org/2021/02/19/968381311/its-a-sin-brings-a-lost-generation-of-gay-men-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It’s a Sin\u003c/em>\u003c/a> and HBO’s \u003ca href=\"https://www.npr.org/2020/10/25/926843328/the-undoing-review-hbo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Undoing\u003c/em>\u003c/a>. Similarly, \u003cem>Undoing\u003c/em> star Nicole Kidman’s lack of an acting nomination had to be one of the highest-profile acting snubs, along with Ethan Hawke from \u003cem>The Good Lord Bird\u003c/em>. And the Emmys also seemed to turn their back on the third season of Netflix’s \u003cem>Master of None\u003c/em>, passing up the opportunity to honor Naomi Ackie and Lena Waithe’s portrayal of a crumbling marriage. This snub made me wonder if onetime series star Aziz Ansari’s #MeToo controversy had an impact.\u003c/p>\n\u003cp>And much as I loved seeing the final season of \u003cem>Conan\u003c/em> get nominated as best variety talk series and \u003ca href=\"https://www.npr.org/2020/08/31/907762048/black-lady-sketch-show-is-tv-we-d-never-seen-before-says-dime-davis\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Black Lady Sketch Show\u003c/em>\u003c/a> nominated for best variety sketch series, Emmy dropped the ball by not showing love for NBC’s \u003cem>Late Night With Seth Meyers\u003c/em> and \u003cem>The Amber Ruffin Show\u003c/em> on Peacock in those categories. (\u003cem>Late Night\u003c/em> got a directing nod, and \u003cem>Amber Ruffin\u003c/em> was nominated for writing.) It’s time to expand these categories a bit so more great work can earn its due.\u003c/p>\n\u003cp>Winners for the 73rd Emmy Awards will be announced during a ceremony aired and streamed Sept. 19 on CBS and Paramount+, hosted by Cedric the Entertainer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: 15 Things Folks Can't Live Without in a Pandemic, From Ants to Holy Water",
"headTitle": "PHOTOS: 15 Things Folks Can’t Live Without in a Pandemic, From Ants to Holy Water | KQED",
"content": "\u003cp>When the pandemic hit, Paula Zuccotti rediscovered her long-neglected vinyl collection. “I’m listening to records I hadn’t touched in years,” says the Argentine-born, London-based designer and ethnographic researcher. Her job is to notice stuff—meaning people’s belongings and how they use them—so this new habit prompted Zuccotti to wonder what other kinds of objects had taken on more central roles in people’s lockdown existence.\u003c/p>\n\u003cp>To find out, she put out a call on Instagram in April 2020, asking, “What are the 15 things that are helping you get through this?” Zuccotti showed off her list of 15, which included a record, a kettlebell and a sage smudge stick, and offered simple directions for folks interested in sharing theirs: Put the items on an even surface, shoot a photo from above, and post the pic with the hashtag #EveryThingWeTouchCovidEssentialsx15.\u003c/p>\n\u003cp>[aside postid='arts_13890197']“I wanted them to use the filter of, ‘Here is what I value today.’ They don’t need to be new things, but maybe they took on a new meaning,” explains Zuccotti, who considers this project an extension of the work she did for her 2015 book, \u003cem>\u003ca href=\"https://www.amazon.com/Everything-We-Touch-24-Hour-Inventory/dp/0241205905\" target=\"_blank\" rel=\"noopener noreferrer\">Every Thing We Touch: A 24 Hour Inventory of Our Lives\u003c/a>\u003c/em>, featuring her photos of all of the items several subjects interacted with in a single day. Zuccotti has dubbed this practice of looking at our things as potential artifacts “future archaeology.”\u003c/p>\n\u003cp>And there’s certainly a lot to learn about how COVID-19 and its accompanying restrictions have altered routines around the world. Zuccotti compiled the more than 1,000 responses from 50 countries into a publicly searchable archive at \u003ca href=\"https://lockdownessentials.org/\" target=\"_blank\" rel=\"noopener noreferrer\">lockdownessentials.org.\u003c/a> The images aren’t always quite as polished as professional shots, but they’re extremely telling, especially when paired with the brief descriptions explaining why each item made the cut for an individual’s 15.\u003c/p>\n\u003cp>Common threads quickly became apparent—laptops and headphones are ubiquitous, alongside face masks and hand sanitizer, demonstrating the different ways we have managed to maintain contact with the outside world. Zuccotti appreciates that local goods and cultural practices take on an outsized role, as do flowers and candles and slippers. “There’s been a switch in how people see things,” she says. “They defined themselves instead by what makes them feel better.” Here’s a closer look at a few of the images:\u003c/p>\n\u003cfigure id=\"attachment_13899869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-800x522.jpg\" alt=\"Top row, left to right: Notebook, incense, water bottle, coffee maker, sneakers, wine. Bottom row, left to right: camera, glasses, book, headphones, facial cleansing device, edible ants in a bowl, mask, gloves, tablet.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top row, left to right: Notebook, incense, water bottle, coffee maker, sneakers, wine. Bottom row, left to right: camera, glasses, book, headphones, facial cleansing device, edible ants in a bowl, mask, gloves, tablet. \u003ccite>(Liliana Cadena/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Liliana Cadena, Barichara, Colombia\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yes, those are large ants filling that white bowl. Cadena writes that she has a renewed appreciation for these hormigas culonas, a nutritious local delicacy. That particular part of her diet is unusual, but like many other folks, she’s been drinking plenty of caffeine and alcohol—as represented by her coffee maker and bottle of Lambrusco. For both, Cadena connects the experience to spending time and meals with her family. Zuccotti likes how Cadena describes her sneakers in the context of no longer worrying so much about how she looks. “I’ve never felt so confident and comfortable wearing relaxed clothes,” Cadena writes. That struck a chord with Zuccotti, whose high heels have also been stashed away.\u003c/p>\n\u003cfigure id=\"attachment_13899871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899871\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-800x590.jpg\" alt=\"Items, left to right: Book, notebooks, laptop, instant camera with print, baby clothes, personal hygiene supplies for mother and baby, hand sanitizer, local fruits, ointment, shamanic drum, Agua de Florida ritual water, prayer altar, spiritual candle, herbs. Also pictured: a black baby wrap surrounds the items with the photographer's shoes visible.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-1920x1415.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items, left to right: Book, notebooks, laptop, instant camera with print, baby clothes, personal hygiene supplies for mother and baby, hand sanitizer, local fruits, ointment, shamanic drum, Agua de Florida ritual water, prayer altar, spiritual candle, herbs. Also pictured: a black baby wrap surrounds the items with the photographer’s shoes visible. \u003ccite>(Maria Belen Morales/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Maria Belen Morales, Quito, Ecuador\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Morales’ toes peek into the frame, although she’s not actually one of her 15 items. Humans (and the occasional cat) do pop up on other lists and in photos. In Morales’ case, her newborn baby Inti is represented by all of the objects related to her care, including the unfurled baby wrap framing the image and the yellow bottle of Agua de Florida “for cleaning and healing rituals.” The scented spray is something that’s also among Zuccotti’s 15 items. “If you are down, you smell it, and you have a boost and feel better,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13899872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-800x533.jpg\" alt=\"Items, left to right: Coffee pot, rosemary and thyme, laptop with Airpods, eggplants, chili peppers, pomelo, drumstick, trowel, dog collar, tennis ball, swim goggles, wildflowers, ajwain leaves and spinach.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items, left to right: Coffee pot, rosemary and thyme, laptop with Airpods, eggplants, chili peppers, pomelo, drumstick, trowel, dog collar, tennis ball, swim goggles, wildflowers, ajwain leaves and spinach. \u003ccite>( Padmavathy Krishna Kumar/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Padmavathy Krishna Kumar, Bangalore, India\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Many of Kumar’s items were plucked directly from her garden, which was a visually striking choice. But what really stands out for Zuccotti is how each holds a distinctly different meaning for Kumar. Rosemary and thyme are valued for their scent, the chilies are a “mood uplifting” shade of red, and the spinach and ajwain leaf represent her rediscovery of her mother’s cooking.\u003c/p>\n\u003cfigure id=\"attachment_13899873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899873\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-800x499.jpg\" alt=\"Items left to right: Drill, masking tape, headphones, collage-making supplies, microphones, kora (a type of lute), avocado, toilet paper, speaker, book, toothbrush, camera, vibrator.\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-1920x1197.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right: Drill, masking tape, headphones, collage-making supplies, microphones, kora (a type of lute), avocado, toilet paper, speaker, book, toothbrush, camera, vibrator. \u003ccite>(Naitiemu Nyanjom/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Naitiemu Nyanjom, Nairobi, Kenya\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You can’t miss the bright pink vibrator—a sign, Zuccotti says, of the honesty participants brought to this project. The largest item in Nyanjom’s collection, however, is the kora, a long-necked harp lute. “I really wanna learn a musical instrument this year,” Nyanjom writes. That has been a widespread sentiment, notes Zuccotti, who saw a particular surge of interest in people reconnecting with their culture through music.\u003c/p>\n\u003cfigure id=\"attachment_13899874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899874\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-800x530.jpg\" alt=\"Items left to right, top to bottom: Camera, Nintendo Switch, color wheel, mug, tablet, tea, phone, supplies for watercolor paintings, Turkish oud, water bottle, pencil case, watercolor paints, book.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-1920x1272.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: Camera, Nintendo Switch, color wheel, mug, tablet, tea, phone, supplies for watercolor paintings, Turkish oud, water bottle, pencil case, watercolor paints, book. \u003ccite>(Mohamad Chehimi/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Mohamad Chehimi, Kuwait City, Kuwait\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Chehimi spent lockdown at home, but not in his home country. So like other contributors “in a place that’s not their place,” as Zuccotti describes it, the Lebanon native found ways to bridge the distance. There’s Lebanese-American author Kahil Gibran’s \u003cem>The Prophet\u003c/em>, a book he’s read three times. There’s also a Nintendo Switch, which Chehimi used “to meet my friends ‘virtually’ playing online games such as Animal Crossing.”\u003c/p>\n\u003cfigure id=\"attachment_13899875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-800x600.jpg\" alt=\"Items left to right, top to bottom: Headphones, vitamin C, webcam, mints, hand sanitizer, Playstation controller, pan, grocery cards, eye makeup implements, mask, karaoke microphone, phone, remote, speaker, hair straightener (purple).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: Headphones, vitamin C, webcam, mints, hand sanitizer, Playstation controller, pan, grocery cards, eye makeup implements, mask, karaoke microphone, phone, remote, speaker, hair straightener (purple). \u003ccite>(Sheena/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Sheena, Manila, Philippines\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“As everyone is using face masks and half my face is covered, I make sure that my eyes look alluring and pretty,” Sheena writes to explain why eye make-up is in her list of 15. She’s also included hair straighteners because she has been experimenting with different styles and colors. This focus on appearance is possibly linked to Zuccotti’s favorite object in the photo: the karaoke microphone. With bars shut, Manila residents like Sheena turned to home karaoke in droves. Parents complained that their homeschooled kids were so distracted by the ruckus that the government \u003ca href=\"https://www.nytimes.com/2020/10/08/world/manila-orders-karaoke-silence-for-students-sake.html\" target=\"_blank\" rel=\"noopener noreferrer\">banned “karaokes, videokes and other sound producing devices” during daylight hours.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13899876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Magdalena_Zaja%CC%A8c_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-800x550.jpg\" alt=\"Items left to right, top to bottom: laptop, Koala plushie, self-sewn shopping bag (black), coffee mug, pink glasses, sketchbook, red hair scrunchy, tailor tape, watercolor paint, vegetables, mask, facial cleanser, painted fabrics, books.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-1536x1057.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-1920x1321.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: laptop, Koala plushie, self-sewn shopping bag (black), coffee mug, pink glasses, sketchbook, red hair scrunchy, tailor tape, watercolor paint, vegetables, mask, facial cleanser, painted fabrics, books. \u003ccite>(Magdalena Zajac/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Magdalena Zajac, Ljubljana, Slovenia\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A little stuffed koala is “a friend spending the whole quarantine with me,” the international exchange student from Poland writes. That’s a positive way to view the situation—something Zuccotti saw expressed in a variety of ways. (Check out Rino from Tokyo, Japan, who has a drawing of fingers crossed.) Zajac’s collection also includes a pair of rose-colored spectacles that emphasize her sunny outlook. “In my country, we use the expression ‘look through pink glasses’ to assume a generally optimistic and cheerful attitude,” she writes.\u003c/p>\n\u003cfigure id=\"attachment_13899877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-800x430.jpg\" alt=\"Items left to right, top to bottom: Wool quilt, socks, Kindle, perfume, dark chocolate, metal ladle, espresso mug, playing cards, weights, Bruce Lee coaster with bottle caps, necklace, remote, headphones, notebook and pens, whiteboard sheets and markers, all displayed on a yoga mat.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-1536x825.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-1920x1031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: Wool quilt, socks, Kindle, perfume, dark chocolate, metal ladle, espresso mug, playing cards, weights, Bruce Lee coaster with bottle caps, necklace, remote, headphones, notebook and pens, whiteboard sheets and markers, all displayed on a yoga mat. \u003ccite>(Vittoria Tedaldi/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Vittoria Tedaldi, Madrid, Spain\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Tedaldi titled her photo, “Walking barefoot through lockdown,” so the pair of socks pictured were an anti-essential—being at home meant she didn’t need to wear them. She writes that “we suddenly had time to play,” which is why there’s that eye-catching set of playing cards honoring Spanish culinary history, illustrated by artist Silja Goetz. Tedaldi’s steel spoon, which she includes as a nod to “cooking as a way of caring,” also stands out to Zuccotti. She notes that in several American photos, spoons that were used to cheer essential workers by banging on pots held a different meaning.\u003c/p>\n\u003cfigure id=\"attachment_13899878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-800x600.jpg\" alt=\"Items pictured: Oranges, bananas, haricot beans, peanuts, grapefruit, mangoes, flour, sugarcane, Bible, cross, African fabrics, flowers, a fan.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9.jpg 1524w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items pictured: Oranges, bananas, haricot beans, peanuts, grapefruit, mangoes, flour, sugarcane, Bible, cross, African fabrics, flowers, a fan. \u003ccite>(Dati Agbo/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Dati Agno, Lome, Togo\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Not every contributor is on Instagram. Zuccotti’s trainer at her London gym hails from Togo, and when she told him about her project, he convinced his grandmother to submit her 15 items. Agno’s list is loaded with relatively basic needs, such as fruit, flour and a fan. And like many images from Africa, she includes a Bible. Zuccotti notes that these types of items are a sign that even as many of us changed the essential things in our lives, others found comfort in their usual objects.\u003c/p>\n\u003cp>\u003cstrong>Your Turn: Send Us A Photo Of One Of Your Pandemic Essentials\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>We’d love to see your pandemic essentials! Send us a photo of yourself \u003c/em>\u003cstrong>\u003cem>posing with one object\u003c/em>\u003c/strong>\u003cem> that’s helping you get through the COVID crisis (that isn’t a laptop or a phone!). In a few sentences, tell us why it’s important to you. Horizontal images are much appreciated. Email the photo and caption, plus your name and location, to \u003c/em>\u003ca href=\"mailto:nprgoatsandsoda@npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>goatsandsoda@npr.org\u003c/em>\u003c/a>\u003cem> with the subject line “My pandemic essential.” We may feature it in a future story on NPR.org. The deadline is July 6. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=PHOTOS%3A+15+Things+Folks+Can%27t+Live+Without+In+A+Pandemic%2C+From+Ants+To+Holy+Water&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the pandemic hit, Paula Zuccotti rediscovered her long-neglected vinyl collection. “I’m listening to records I hadn’t touched in years,” says the Argentine-born, London-based designer and ethnographic researcher. Her job is to notice stuff—meaning people’s belongings and how they use them—so this new habit prompted Zuccotti to wonder what other kinds of objects had taken on more central roles in people’s lockdown existence.\u003c/p>\n\u003cp>To find out, she put out a call on Instagram in April 2020, asking, “What are the 15 things that are helping you get through this?” Zuccotti showed off her list of 15, which included a record, a kettlebell and a sage smudge stick, and offered simple directions for folks interested in sharing theirs: Put the items on an even surface, shoot a photo from above, and post the pic with the hashtag #EveryThingWeTouchCovidEssentialsx15.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I wanted them to use the filter of, ‘Here is what I value today.’ They don’t need to be new things, but maybe they took on a new meaning,” explains Zuccotti, who considers this project an extension of the work she did for her 2015 book, \u003cem>\u003ca href=\"https://www.amazon.com/Everything-We-Touch-24-Hour-Inventory/dp/0241205905\" target=\"_blank\" rel=\"noopener noreferrer\">Every Thing We Touch: A 24 Hour Inventory of Our Lives\u003c/a>\u003c/em>, featuring her photos of all of the items several subjects interacted with in a single day. Zuccotti has dubbed this practice of looking at our things as potential artifacts “future archaeology.”\u003c/p>\n\u003cp>And there’s certainly a lot to learn about how COVID-19 and its accompanying restrictions have altered routines around the world. Zuccotti compiled the more than 1,000 responses from 50 countries into a publicly searchable archive at \u003ca href=\"https://lockdownessentials.org/\" target=\"_blank\" rel=\"noopener noreferrer\">lockdownessentials.org.\u003c/a> The images aren’t always quite as polished as professional shots, but they’re extremely telling, especially when paired with the brief descriptions explaining why each item made the cut for an individual’s 15.\u003c/p>\n\u003cp>Common threads quickly became apparent—laptops and headphones are ubiquitous, alongside face masks and hand sanitizer, demonstrating the different ways we have managed to maintain contact with the outside world. Zuccotti appreciates that local goods and cultural practices take on an outsized role, as do flowers and candles and slippers. “There’s been a switch in how people see things,” she says. “They defined themselves instead by what makes them feel better.” Here’s a closer look at a few of the images:\u003c/p>\n\u003cfigure id=\"attachment_13899869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-800x522.jpg\" alt=\"Top row, left to right: Notebook, incense, water bottle, coffee maker, sneakers, wine. Bottom row, left to right: camera, glasses, book, headphones, facial cleansing device, edible ants in a bowl, mask, gloves, tablet.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/liliana-cadena-colombia_custom-217535da34e11a09cc4b442c2e7f10b0be4c51e5.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top row, left to right: Notebook, incense, water bottle, coffee maker, sneakers, wine. Bottom row, left to right: camera, glasses, book, headphones, facial cleansing device, edible ants in a bowl, mask, gloves, tablet. \u003ccite>(Liliana Cadena/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Liliana Cadena, Barichara, Colombia\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yes, those are large ants filling that white bowl. Cadena writes that she has a renewed appreciation for these hormigas culonas, a nutritious local delicacy. That particular part of her diet is unusual, but like many other folks, she’s been drinking plenty of caffeine and alcohol—as represented by her coffee maker and bottle of Lambrusco. For both, Cadena connects the experience to spending time and meals with her family. Zuccotti likes how Cadena describes her sneakers in the context of no longer worrying so much about how she looks. “I’ve never felt so confident and comfortable wearing relaxed clothes,” Cadena writes. That struck a chord with Zuccotti, whose high heels have also been stashed away.\u003c/p>\n\u003cfigure id=\"attachment_13899871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899871\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-800x590.jpg\" alt=\"Items, left to right: Book, notebooks, laptop, instant camera with print, baby clothes, personal hygiene supplies for mother and baby, hand sanitizer, local fruits, ointment, shamanic drum, Agua de Florida ritual water, prayer altar, spiritual candle, herbs. Also pictured: a black baby wrap surrounds the items with the photographer's shoes visible.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3-1920x1415.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/maria-belen-morales-quito_custom-e1fa0f5d0fc59a071cab5490a19209cfff2d1af3.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items, left to right: Book, notebooks, laptop, instant camera with print, baby clothes, personal hygiene supplies for mother and baby, hand sanitizer, local fruits, ointment, shamanic drum, Agua de Florida ritual water, prayer altar, spiritual candle, herbs. Also pictured: a black baby wrap surrounds the items with the photographer’s shoes visible. \u003ccite>(Maria Belen Morales/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Maria Belen Morales, Quito, Ecuador\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Morales’ toes peek into the frame, although she’s not actually one of her 15 items. Humans (and the occasional cat) do pop up on other lists and in photos. In Morales’ case, her newborn baby Inti is represented by all of the objects related to her care, including the unfurled baby wrap framing the image and the yellow bottle of Agua de Florida “for cleaning and healing rituals.” The scented spray is something that’s also among Zuccotti’s 15 items. “If you are down, you smell it, and you have a boost and feel better,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13899872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-800x533.jpg\" alt=\"Items, left to right: Coffee pot, rosemary and thyme, laptop with Airpods, eggplants, chili peppers, pomelo, drumstick, trowel, dog collar, tennis ball, swim goggles, wildflowers, ajwain leaves and spinach.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/padmavathy-krishna-kumar-bangalore_custom-2ddd6738b60d5dabb19f819913f663fa34f673a9.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items, left to right: Coffee pot, rosemary and thyme, laptop with Airpods, eggplants, chili peppers, pomelo, drumstick, trowel, dog collar, tennis ball, swim goggles, wildflowers, ajwain leaves and spinach. \u003ccite>( Padmavathy Krishna Kumar/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Padmavathy Krishna Kumar, Bangalore, India\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Many of Kumar’s items were plucked directly from her garden, which was a visually striking choice. But what really stands out for Zuccotti is how each holds a distinctly different meaning for Kumar. Rosemary and thyme are valued for their scent, the chilies are a “mood uplifting” shade of red, and the spinach and ajwain leaf represent her rediscovery of her mother’s cooking.\u003c/p>\n\u003cfigure id=\"attachment_13899873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899873\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-800x499.jpg\" alt=\"Items left to right: Drill, masking tape, headphones, collage-making supplies, microphones, kora (a type of lute), avocado, toilet paper, speaker, book, toothbrush, camera, vibrator.\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97-1920x1197.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/naitiemu-nyanjom-nairobi_custom-d4a74f96438e17e844cd393211784bef7ee26e97.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right: Drill, masking tape, headphones, collage-making supplies, microphones, kora (a type of lute), avocado, toilet paper, speaker, book, toothbrush, camera, vibrator. \u003ccite>(Naitiemu Nyanjom/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Naitiemu Nyanjom, Nairobi, Kenya\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You can’t miss the bright pink vibrator—a sign, Zuccotti says, of the honesty participants brought to this project. The largest item in Nyanjom’s collection, however, is the kora, a long-necked harp lute. “I really wanna learn a musical instrument this year,” Nyanjom writes. That has been a widespread sentiment, notes Zuccotti, who saw a particular surge of interest in people reconnecting with their culture through music.\u003c/p>\n\u003cfigure id=\"attachment_13899874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899874\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-800x530.jpg\" alt=\"Items left to right, top to bottom: Camera, Nintendo Switch, color wheel, mug, tablet, tea, phone, supplies for watercolor paintings, Turkish oud, water bottle, pencil case, watercolor paints, book.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da-1920x1272.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/mohamad-chehimi-kuwait_custom-3b81fe6e1e5b08feb53ca6422fec9e05ca9129da.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: Camera, Nintendo Switch, color wheel, mug, tablet, tea, phone, supplies for watercolor paintings, Turkish oud, water bottle, pencil case, watercolor paints, book. \u003ccite>(Mohamad Chehimi/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Mohamad Chehimi, Kuwait City, Kuwait\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Chehimi spent lockdown at home, but not in his home country. So like other contributors “in a place that’s not their place,” as Zuccotti describes it, the Lebanon native found ways to bridge the distance. There’s Lebanese-American author Kahil Gibran’s \u003cem>The Prophet\u003c/em>, a book he’s read three times. There’s also a Nintendo Switch, which Chehimi used “to meet my friends ‘virtually’ playing online games such as Animal Crossing.”\u003c/p>\n\u003cfigure id=\"attachment_13899875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-800x600.jpg\" alt=\"Items left to right, top to bottom: Headphones, vitamin C, webcam, mints, hand sanitizer, Playstation controller, pan, grocery cards, eye makeup implements, mask, karaoke microphone, phone, remote, speaker, hair straightener (purple).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/ph38015_proj-beskar_philippines_rn-101_photo-task-b_v1_14dec2020_custom-a57bbcc4ed6b2a361750df093ade47cd2bbb235d.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: Headphones, vitamin C, webcam, mints, hand sanitizer, Playstation controller, pan, grocery cards, eye makeup implements, mask, karaoke microphone, phone, remote, speaker, hair straightener (purple). \u003ccite>(Sheena/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Sheena, Manila, Philippines\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“As everyone is using face masks and half my face is covered, I make sure that my eyes look alluring and pretty,” Sheena writes to explain why eye make-up is in her list of 15. She’s also included hair straighteners because she has been experimenting with different styles and colors. This focus on appearance is possibly linked to Zuccotti’s favorite object in the photo: the karaoke microphone. With bars shut, Manila residents like Sheena turned to home karaoke in droves. Parents complained that their homeschooled kids were so distracted by the ruckus that the government \u003ca href=\"https://www.nytimes.com/2020/10/08/world/manila-orders-karaoke-silence-for-students-sake.html\" target=\"_blank\" rel=\"noopener noreferrer\">banned “karaokes, videokes and other sound producing devices” during daylight hours.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13899876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Magdalena_Zaja%CC%A8c_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-800x550.jpg\" alt=\"Items left to right, top to bottom: laptop, Koala plushie, self-sewn shopping bag (black), coffee mug, pink glasses, sketchbook, red hair scrunchy, tailor tape, watercolor paint, vegetables, mask, facial cleanser, painted fabrics, books.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-1536x1057.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a-1920x1321.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Magdalena_Zając_SLOVENIA_custom-74486eebfe359dd1ac847f3e390b1f4bc81e4c9a.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: laptop, Koala plushie, self-sewn shopping bag (black), coffee mug, pink glasses, sketchbook, red hair scrunchy, tailor tape, watercolor paint, vegetables, mask, facial cleanser, painted fabrics, books. \u003ccite>(Magdalena Zajac/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Magdalena Zajac, Ljubljana, Slovenia\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A little stuffed koala is “a friend spending the whole quarantine with me,” the international exchange student from Poland writes. That’s a positive way to view the situation—something Zuccotti saw expressed in a variety of ways. (Check out Rino from Tokyo, Japan, who has a drawing of fingers crossed.) Zajac’s collection also includes a pair of rose-colored spectacles that emphasize her sunny outlook. “In my country, we use the expression ‘look through pink glasses’ to assume a generally optimistic and cheerful attitude,” she writes.\u003c/p>\n\u003cfigure id=\"attachment_13899877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-800x430.jpg\" alt=\"Items left to right, top to bottom: Wool quilt, socks, Kindle, perfume, dark chocolate, metal ladle, espresso mug, playing cards, weights, Bruce Lee coaster with bottle caps, necklace, remote, headphones, notebook and pens, whiteboard sheets and markers, all displayed on a yoga mat.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-1536x825.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c-1920x1031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/vittoria-tedaldi-spain_custom-f018ceeb08c5ebe49d964baac77dfcf24400ac8c.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items left to right, top to bottom: Wool quilt, socks, Kindle, perfume, dark chocolate, metal ladle, espresso mug, playing cards, weights, Bruce Lee coaster with bottle caps, necklace, remote, headphones, notebook and pens, whiteboard sheets and markers, all displayed on a yoga mat. \u003ccite>(Vittoria Tedaldi/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Vittoria Tedaldi, Madrid, Spain\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Tedaldi titled her photo, “Walking barefoot through lockdown,” so the pair of socks pictured were an anti-essential—being at home meant she didn’t need to wear them. She writes that “we suddenly had time to play,” which is why there’s that eye-catching set of playing cards honoring Spanish culinary history, illustrated by artist Silja Goetz. Tedaldi’s steel spoon, which she includes as a nod to “cooking as a way of caring,” also stands out to Zuccotti. She notes that in several American photos, spoons that were used to cheer essential workers by banging on pots held a different meaning.\u003c/p>\n\u003cfigure id=\"attachment_13899878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-800x600.jpg\" alt=\"Items pictured: Oranges, bananas, haricot beans, peanuts, grapefruit, mangoes, flour, sugarcane, Bible, cross, African fabrics, flowers, a fan.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/dati-agbo-togo_custom-40ead057e04d61b9b2af091ba72fb3c972b90dc9.jpg 1524w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Items pictured: Oranges, bananas, haricot beans, peanuts, grapefruit, mangoes, flour, sugarcane, Bible, cross, African fabrics, flowers, a fan. \u003ccite>(Dati Agbo/Lockdown Essentials)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Dati Agno, Lome, Togo\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Not every contributor is on Instagram. Zuccotti’s trainer at her London gym hails from Togo, and when she told him about her project, he convinced his grandmother to submit her 15 items. Agno’s list is loaded with relatively basic needs, such as fruit, flour and a fan. And like many images from Africa, she includes a Bible. Zuccotti notes that these types of items are a sign that even as many of us changed the essential things in our lives, others found comfort in their usual objects.\u003c/p>\n\u003cp>\u003cstrong>Your Turn: Send Us A Photo Of One Of Your Pandemic Essentials\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>We’d love to see your pandemic essentials! Send us a photo of yourself \u003c/em>\u003cstrong>\u003cem>posing with one object\u003c/em>\u003c/strong>\u003cem> that’s helping you get through the COVID crisis (that isn’t a laptop or a phone!). In a few sentences, tell us why it’s important to you. Horizontal images are much appreciated. Email the photo and caption, plus your name and location, to \u003c/em>\u003ca href=\"mailto:nprgoatsandsoda@npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>goatsandsoda@npr.org\u003c/em>\u003c/a>\u003cem> with the subject line “My pandemic essential.” We may feature it in a future story on NPR.org. The deadline is July 6. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=PHOTOS%3A+15+Things+Folks+Can%27t+Live+Without+In+A+Pandemic%2C+From+Ants+To+Holy+Water&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'No Sudden Move' Intrigues With Double-Crosses, Dirty Dealings in 1950s Detroit",
"headTitle": "‘No Sudden Move’ Intrigues With Double-Crosses, Dirty Dealings in 1950s Detroit | KQED",
"content": "\u003cp>Eight years ago, \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a> announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived. Since 2017 he’s been on a tear, cranking out one or two new movies a year, among them the brilliant NASCAR heist thriller \u003ca href=\"https://www.npr.org/2017/08/17/542881550/a-nascar-caper-comedy-fueled-by-thick-southern-accents-logan-lucky\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan Lucky\u003c/em>\u003c/a>, the sharp sports-agency drama \u003ca href=\"https://www.npr.org/2019/02/08/691314350/the-business-of-sport-takes-center-stage-in-soderberghs-high-flying-bird\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High Flying Bird\u003c/em>\u003c/a> and \u003cem>The Laundromat\u003c/em>, an irreverent look at financial fraud in the 21st century. What connects these movies is how attuned they are to matters of class and money in a way that’s still pretty rare in Hollywood.\u003c/p>\n\u003cp>Soderbergh’s engrossing new movie, \u003cem>No Sudden Move\u003c/em>, continues this trend. It’s an ensemble crime thriller set in 1954 Detroit, a gorgeously designed world of fedoras and trenchcoats, smoky wood-paneled offices and vintage automobiles. Like the classic ’50s noirs that inspired it, Ed Solomon’s densely plotted script is full of double-crosses and dirty dealings.\u003c/p>\n\u003cp>[aside postid='arts_25363']At the center of the story are two crooks: Don Cheadle plays Curt Goynes, and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1585570\" target=\"_blank\" rel=\"noopener noreferrer\">Benicio Del Toro\u003c/a> plays Ronald Russo. They’re low-level gangsters who’ve been hired by a Mr. Jones—a nicely menacing turn by Brendan Fraser—as part of a plan to coerce a guy named Mark into stealing a top-secret document from the company where he works.\u003c/p>\n\u003cp>Curt and Ronald’s job is to “babysit” Mark’s wife and kids at their home while the theft is taking place. But as you might expect from a tense situation with masked men, loaded guns and a terrified family, the scheme quickly goes awry. Amid the fallout, Curt and Ronald realize they’ve been drawn into a major corporate conspiracy.\u003c/p>\n\u003cp>When the document eventually falls into their possession, they realize they could profit handsomely if they play their cards right—and if they stay alive. It’s a big “if,” as they soon learn there’s a price on their heads. Over the next few days, they run afoul of any number of nasty characters, including a local kingpin played by \u003ca href=\"https://www.npr.org/2012/04/05/148921156/many-colors-of-prejudice-are-revealed-in-dark-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Duke\u003c/a>, and a surly gangster played by an amusingly typecast\u003ca href=\"https://www.npr.org/2016/01/12/462773313/ray-liotta-on-goodfellas-acting-and-his-return-to-tv\" target=\"_blank\" rel=\"noopener noreferrer\"> Ray Liotta\u003c/a>. \u003ca href=\"https://www.npr.org/2010/09/16/129904576/a-transformative-year-for-don-draper-jon-hamm\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Hamm\u003c/a> turns up as a nosy police detective—and looks right at home in the decade before \u003ca href=\"https://www.npr.org/2015/05/18/407619617/mad-men-ends-how-was-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Men\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GRDLX3a-IE\u003c/p>\n\u003cp>Through it all, Cheadle and Del Toro, who have both worked with Soderbergh before, maintain a nicely combative rapport, playing two very different men who have grown weary of their lives of crime. While Ronald plans to retire, Curt has nobler intentions: He wants to pour some of the spoils back into the Black communities in Detroit that have suffered heavily under \u003ca href=\"https://www.npr.org/2017/05/03/526655831/a-forgotten-history-of-how-the-u-s-government-segregated-america\" target=\"_blank\" rel=\"noopener noreferrer\">racist housing policies\u003c/a> and zoning laws.\u003c/p>\n\u003cp>[aside postid='arts_120058']Those are just a few of the many social issues the movie touches on, including the tensions between the city’s Black and Italian populations and the disastrous environmental consequences of an unchecked automobile industry. These matters aren’t always woven as smoothly into the story as they could have been, but they give \u003cem>No Sudden Move\u003c/em> a potent edge nonetheless. You’re pulled in by the suave camerawork and \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Beachler\u003c/a>‘s rich mid-century production design, but you’re also made aware of the inequities churning beneath the surface.\u003c/p>\n\u003cp>That social conscience is nothing new for Soderbergh, who’s made some of his best movies about working-class strivers, from \u003cem>Erin Brockovich\u003c/em> to \u003ca href=\"https://www.npr.org/2012/06/28/155706959/magic-mike-flesh-aplenty-but-more-than-skin-deep\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Magic Mike\u003c/em>\u003c/a>. Here he’s less focused on individuals than an entire corrupt system, showing us how the men in the executive suites are as crooked as the ones shooting each other in the streets. But while \u003cem>No Sudden Move\u003c/em> does feature a lot of awful male misbehavior, Soderbergh has always been just as interested in his female characters, and he doesn’t neglect the crucial roles played by the women in this ’50s gangland setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amy Seimetz—a key force on the Soderbergh-produced series \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=104325729\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Girlfriend Experience\u003c/em>\u003c/a>—gives one of the movie’s best performances as Mark’s wife, Mary. Unlike her feckless fool of a husband, she handles a scary situation with unflappable smarts and courage. There are other terrific actors, too, like Lauren LaStrada, Julia Fox and Frankie Shaw: They may be playing housewives or mistresses or secretaries, but they all have an inner strength or defiant streak, a refusal to let the caddish and controlling men in their lives call the shots. I’d gladly follow any of them into movies of their own—especially if Soderbergh is around to direct them.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27No+Sudden+Move%27+Intrigues+With+Double-Crosses%2C+Dirty+Dealings+In+1950s+Detroit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight years ago, \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a> announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived. Since 2017 he’s been on a tear, cranking out one or two new movies a year, among them the brilliant NASCAR heist thriller \u003ca href=\"https://www.npr.org/2017/08/17/542881550/a-nascar-caper-comedy-fueled-by-thick-southern-accents-logan-lucky\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan Lucky\u003c/em>\u003c/a>, the sharp sports-agency drama \u003ca href=\"https://www.npr.org/2019/02/08/691314350/the-business-of-sport-takes-center-stage-in-soderberghs-high-flying-bird\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High Flying Bird\u003c/em>\u003c/a> and \u003cem>The Laundromat\u003c/em>, an irreverent look at financial fraud in the 21st century. What connects these movies is how attuned they are to matters of class and money in a way that’s still pretty rare in Hollywood.\u003c/p>\n\u003cp>Soderbergh’s engrossing new movie, \u003cem>No Sudden Move\u003c/em>, continues this trend. It’s an ensemble crime thriller set in 1954 Detroit, a gorgeously designed world of fedoras and trenchcoats, smoky wood-paneled offices and vintage automobiles. Like the classic ’50s noirs that inspired it, Ed Solomon’s densely plotted script is full of double-crosses and dirty dealings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the story are two crooks: Don Cheadle plays Curt Goynes, and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1585570\" target=\"_blank\" rel=\"noopener noreferrer\">Benicio Del Toro\u003c/a> plays Ronald Russo. They’re low-level gangsters who’ve been hired by a Mr. Jones—a nicely menacing turn by Brendan Fraser—as part of a plan to coerce a guy named Mark into stealing a top-secret document from the company where he works.\u003c/p>\n\u003cp>Curt and Ronald’s job is to “babysit” Mark’s wife and kids at their home while the theft is taking place. But as you might expect from a tense situation with masked men, loaded guns and a terrified family, the scheme quickly goes awry. Amid the fallout, Curt and Ronald realize they’ve been drawn into a major corporate conspiracy.\u003c/p>\n\u003cp>When the document eventually falls into their possession, they realize they could profit handsomely if they play their cards right—and if they stay alive. It’s a big “if,” as they soon learn there’s a price on their heads. Over the next few days, they run afoul of any number of nasty characters, including a local kingpin played by \u003ca href=\"https://www.npr.org/2012/04/05/148921156/many-colors-of-prejudice-are-revealed-in-dark-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Duke\u003c/a>, and a surly gangster played by an amusingly typecast\u003ca href=\"https://www.npr.org/2016/01/12/462773313/ray-liotta-on-goodfellas-acting-and-his-return-to-tv\" target=\"_blank\" rel=\"noopener noreferrer\"> Ray Liotta\u003c/a>. \u003ca href=\"https://www.npr.org/2010/09/16/129904576/a-transformative-year-for-don-draper-jon-hamm\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Hamm\u003c/a> turns up as a nosy police detective—and looks right at home in the decade before \u003ca href=\"https://www.npr.org/2015/05/18/407619617/mad-men-ends-how-was-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Men\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those are just a few of the many social issues the movie touches on, including the tensions between the city’s Black and Italian populations and the disastrous environmental consequences of an unchecked automobile industry. These matters aren’t always woven as smoothly into the story as they could have been, but they give \u003cem>No Sudden Move\u003c/em> a potent edge nonetheless. You’re pulled in by the suave camerawork and \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Beachler\u003c/a>‘s rich mid-century production design, but you’re also made aware of the inequities churning beneath the surface.\u003c/p>\n\u003cp>That social conscience is nothing new for Soderbergh, who’s made some of his best movies about working-class strivers, from \u003cem>Erin Brockovich\u003c/em> to \u003ca href=\"https://www.npr.org/2012/06/28/155706959/magic-mike-flesh-aplenty-but-more-than-skin-deep\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Magic Mike\u003c/em>\u003c/a>. Here he’s less focused on individuals than an entire corrupt system, showing us how the men in the executive suites are as crooked as the ones shooting each other in the streets. But while \u003cem>No Sudden Move\u003c/em> does feature a lot of awful male misbehavior, Soderbergh has always been just as interested in his female characters, and he doesn’t neglect the crucial roles played by the women in this ’50s gangland setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amy Seimetz—a key force on the Soderbergh-produced series \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=104325729\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Girlfriend Experience\u003c/em>\u003c/a>—gives one of the movie’s best performances as Mark’s wife, Mary. Unlike her feckless fool of a husband, she handles a scary situation with unflappable smarts and courage. There are other terrific actors, too, like Lauren LaStrada, Julia Fox and Frankie Shaw: They may be playing housewives or mistresses or secretaries, but they all have an inner strength or defiant streak, a refusal to let the caddish and controlling men in their lives call the shots. I’d gladly follow any of them into movies of their own—especially if Soderbergh is around to direct them.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27No+Sudden+Move%27+Intrigues+With+Double-Crosses%2C+Dirty+Dealings+In+1950s+Detroit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading",
"headTitle": "What’s Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading | KQED",
"content": "\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x580mowu5Gs\u003c/p>\n\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpE4893PxqE\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQuf18ajNIr/\u003c/p>\n\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oCUFC-ULdOk\u003c/p>\n\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBPzxmxf9ig\u003c/p>\n\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x580mowu5Gs'\n title='//www.youtube.com/embed/x580mowu5Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QpE4893PxqE'\n title='//www.youtube.com/embed/QpE4893PxqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oCUFC-ULdOk'\n title='//www.youtube.com/embed/oCUFC-ULdOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\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/MBPzxmxf9ig'\n title='//www.youtube.com/embed/MBPzxmxf9ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock",
"headTitle": "‘Summer of Soul’ Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock | KQED",
"content": "\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1-siC9cugqA'\n title='//www.youtube.com/embed/1-siC9cugqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bill Cosby Is Released From Prison After Court Overturns Sexual Assault Conviction",
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"content": "\u003cp>Comedian Bill Cosby has been released from prison after the Pennsylvania Supreme Court has vacated the indecent assault conviction against him. \u003c/p>\n\u003cp>The court’s decision upends the long-running legal battle against the once-beloved actor, whose conviction marked a major milestone in the #MeToo movement after he was accused of sexual misconduct by dozens of women stretching back decades.\u003c/p>\n\u003cp>In an opinion issued Wednesday, the court found that Cosby’s due process rights were violated when he was charged for a 2004 assault after prosecutors previously told the comedian they wouldn’t bring criminal charges against him.\u003c/p>\n\u003cp>Cosby, 83, has served two years of a three to 10 year sentence. He has been incarcerated at SCI Phoenix, a \u003ca href=\"https://www.cor.pa.gov/Facilities/StatePrisons/Pages/Phoenix.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">maximum security prison\u003c/a> in Montgomery County.\u003c/p>\n\u003cp>He was released just before 2:30pm local time, Pennsylvania Department of Corrections spokesperson Maria Bivens confirmed to NPR.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In April 2018, Cosby was found guilty of three counts of aggravated indecent assault for drugging and sexually assaulting Andrea Constand at his home in Cheltenham, outside Philadelphia.\u003c/p>\n\u003cp>Constand, who had been working for the women’s basketball team at Temple University, also settled her civil suit with Cosby for $3.38 million.\u003c/p>\n\u003cp>In December 2019, \u003ca href=\"https://www.npr.org/2019/12/10/786678567/bill-cosby-loses-appeal-of-sexual-assault-conviction\" target=\"_blank\" rel=\"noopener noreferrer\">Cosby lost an appeal\u003c/a> of his sexual assault conviction.\u003c/p>\n\u003ch2>An apparent prosecutor’s promise is central to this controversy\u003c/h2>\n\u003cp>The Pennsylvania high court’s opinion centered around former Montgomery County District Attorney Bruce Castor’s assurance to Cosby in 2005 that he would not be charged for drugging and sexually assaulting Constand. \u003c/p>\n\u003cp>Any agreement between Castor and Cosby was never put into writing, the justices say. \u003c/p>\n\u003cp>The opinion states that Castor thought a criminal prosecution could be difficult, partly because Constand did not immediately file a complaint against Cosby. The opinion says he was also concerned about a lack of forensic evidence, and declined to prosecute the comedian. \u003c/p>\n\u003cp>Castor said at the time that Constand’s best chance at justice for her assault was a civil lawsuit, and if Cosby knew he would not face criminal charges, then he couldn’t invoke his Fifth Amendment right in the civil action.\u003c/p>\n\u003cp>Cosby provided four depositions in which he made “several incriminating statements,” according to the opinion. \u003c/p>\n\u003cp>“The end result was exactly what D.A. Castor intended: Cosby gave up his rights, and Constand received significant financial relief,” the court wrote. “Cosby was compelled to give inculpatory evidence that led ultimately to a multimillion dollar settlement.”\u003c/p>\n\u003cp>Years later, when succeeding prosecutors reopened the criminal case and filed criminal charges against Cosby, the depositions under oath were used against him at his trial. \u003c/p>\n\u003cp>The justices described the about-face as “an affront to fundamental fairness,” saying “no mere changing of the guard strips that circumstance of its inequity.”\u003c/p>\n\u003cp>The justices did not all agree on this matter. Three joined in the opinion, and the three remaining justices filed two separate opinions.\u003c/p>\n\u003cp>For example, in his dissent, Justice Thomas Saylor noted that a lower court made an “explicit finding Castor made no promise that the Commonwealth would never prosecute.” He questioned whether the available evidence really shows that such a promise was made. \u003c/p>\n\u003cp>The Montgomery County District Attorney’s office did not immediately respond to a request for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Bill Cosby has been released from prison after the Pennsylvania Supreme Court has vacated the indecent assault conviction against him. \u003c/p>\n\u003cp>The court’s decision upends the long-running legal battle against the once-beloved actor, whose conviction marked a major milestone in the #MeToo movement after he was accused of sexual misconduct by dozens of women stretching back decades.\u003c/p>\n\u003cp>In an opinion issued Wednesday, the court found that Cosby’s due process rights were violated when he was charged for a 2004 assault after prosecutors previously told the comedian they wouldn’t bring criminal charges against him.\u003c/p>\n\u003cp>Cosby, 83, has served two years of a three to 10 year sentence. He has been incarcerated at SCI Phoenix, a \u003ca href=\"https://www.cor.pa.gov/Facilities/StatePrisons/Pages/Phoenix.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">maximum security prison\u003c/a> in Montgomery County.\u003c/p>\n\u003cp>He was released just before 2:30pm local time, Pennsylvania Department of Corrections spokesperson Maria Bivens confirmed to NPR.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In April 2018, Cosby was found guilty of three counts of aggravated indecent assault for drugging and sexually assaulting Andrea Constand at his home in Cheltenham, outside Philadelphia.\u003c/p>\n\u003cp>Constand, who had been working for the women’s basketball team at Temple University, also settled her civil suit with Cosby for $3.38 million.\u003c/p>\n\u003cp>In December 2019, \u003ca href=\"https://www.npr.org/2019/12/10/786678567/bill-cosby-loses-appeal-of-sexual-assault-conviction\" target=\"_blank\" rel=\"noopener noreferrer\">Cosby lost an appeal\u003c/a> of his sexual assault conviction.\u003c/p>\n\u003ch2>An apparent prosecutor’s promise is central to this controversy\u003c/h2>\n\u003cp>The Pennsylvania high court’s opinion centered around former Montgomery County District Attorney Bruce Castor’s assurance to Cosby in 2005 that he would not be charged for drugging and sexually assaulting Constand. \u003c/p>\n\u003cp>Any agreement between Castor and Cosby was never put into writing, the justices say. \u003c/p>\n\u003cp>The opinion states that Castor thought a criminal prosecution could be difficult, partly because Constand did not immediately file a complaint against Cosby. The opinion says he was also concerned about a lack of forensic evidence, and declined to prosecute the comedian. \u003c/p>\n\u003cp>Castor said at the time that Constand’s best chance at justice for her assault was a civil lawsuit, and if Cosby knew he would not face criminal charges, then he couldn’t invoke his Fifth Amendment right in the civil action.\u003c/p>\n\u003cp>Cosby provided four depositions in which he made “several incriminating statements,” according to the opinion. \u003c/p>\n\u003cp>“The end result was exactly what D.A. Castor intended: Cosby gave up his rights, and Constand received significant financial relief,” the court wrote. “Cosby was compelled to give inculpatory evidence that led ultimately to a multimillion dollar settlement.”\u003c/p>\n\u003cp>Years later, when succeeding prosecutors reopened the criminal case and filed criminal charges against Cosby, the depositions under oath were used against him at his trial. \u003c/p>\n\u003cp>The justices described the about-face as “an affront to fundamental fairness,” saying “no mere changing of the guard strips that circumstance of its inequity.”\u003c/p>\n\u003cp>The justices did not all agree on this matter. Three joined in the opinion, and the three remaining justices filed two separate opinions.\u003c/p>\n\u003cp>For example, in his dissent, Justice Thomas Saylor noted that a lower court made an “explicit finding Castor made no promise that the Commonwealth would never prosecute.” He questioned whether the available evidence really shows that such a promise was made. \u003c/p>\n\u003cp>The Montgomery County District Attorney’s office did not immediately respond to a request for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Young Love Shines in the Dark in ‘Blackout,’ a New YA Story Collection",
"headTitle": "Young Love Shines in the Dark in ‘Blackout,’ a New YA Story Collection | KQED",
"content": "\u003cp>During the 2020 pandemic, six best-selling African American young adult novelists put their time to good use by combining their enormous talents for this collection of stories about young Black teens in love. Set in one of America’s most romantic cities (IMHO)—New York City—these tales of Black love celebrate family as much as they showcase the many ways teenage love can claim a heart.\u003c/p>\n\u003cfigure id=\"attachment_13899552\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg\" alt=\"'Blackout,' by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon.\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blackout,’ by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon. \u003ccite>(Quill Tree Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stories in \u003cem>Blackout\u003c/em>—by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon—are set during a present-day New York City blackout. This means no electricity, no operating subways, trains of any kind, traffic lights, elevators, air conditioning—you name it, if it needs electrical juice, forget about it.\u003c/p>\n\u003cp>And since the protagonists in each of these stories are traveling to (or maybe not directly to) Twig’s block party in Brooklyn, they are all on the move with the threat of darkness closing in.\u003c/p>\n\u003cp>That darkness is what connects and elevates these stories. Under cover of night, these teens in love have a chance to face their true desires, fears, and significant others with honesty—easier to talk in dim light than bright sunshine. The blackout also conjures expectations of isolation, hiding in small dark spaces—characters who can’t see, can’t do, can’t move. But in \u003cem>Blackout\u003c/em>, it’s summer in New York City, so when the electricity fails, there are still a few hours of daylight remaining. Just enough time for these kids to fix what’s wrong in their lives before darkness falls.\u003c/p>\n\u003cp>You see, young love can’t sit still when the lights threaten to go out—both metaphorically and literally—but thankfully, these teens also have the benefit of young legs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “The Long Walk” by Tiffany D. Jackson (the story with the longest central arc), Tammi and Kareem are exes who run into each other at a job interview. When the electricity goes bye-bye, they begin the trek from Manhattan to Brooklyn and, for the first time since their breakup, have a chance to talk and discover the real reason their love story went wrong.\u003c/p>\n\u003cp>Nic Stone’s “Mask Off” is about a basketball superstar who has more on his mind than playing college ball. A young man he cares about is a passenger on the same subway car, stuck in the dark between stops—and getting “unstuck” is what Jacorey “JJ” Harding, Jr. seeks. In Ashley Woodfolk’s “Made to Fit,” Nella regularly visits Althea House, where her Grandpop resides. During a search for a missing photo, Nella, with the help of a new acquaintance, a girl named Joss (and her dog Ziggy), learns more than she bargained for about self-confidence.\u003c/p>\n\u003cp>The idea of being stuck—like JJ on the subway, unable to acknowledge his true self—pops up throughout the book. In “All the Great Love Stories … and Dust,” by Dhonielle Clayton, Lana and Tristán are stuck in the New York Public Library, which does put a hitch in her plans, but somehow, Lana will find the courage to say what she must to Tristán, no matter how difficult it is. Meanwhile, a group of students from Jackson, Mississippi, are onboard a double-decker bus for a class trip in “No Sleep ‘Til Brooklyn” by Angie Thomas, and among them is Kayla, who must choose between two loves—or is it three?\u003c/p>\n\u003cp>Eventually all of \u003cem>Blackout\u003c/em>‘s characters take off the blinders, and from JJ to Tammi, Nella, Lana, and more, these thoughtful, respectful, kind and endearing Black teens are also boldly courageous.\u003c/p>\n\u003cp>“Seymour and Grace,” by Nicola Yoon, provides a cautionary tale about judging a book by its cover—or a rideshare driver by his favorite podcast, as Grace does when she turns up her nose at Seymour’s job and his choice of listening entertainment. They both arrive safely at Twix’s block party—but by that point, going their separate ways turns out to be more complicated than expected.\u003c/p>\n\u003cp>[aside postid='arts_13899078']These stories are not only uplifting tales of young Black love; they also celebrate family and city. Grandparents and parents are as much a part of this collection as each story’s protagonists and their goals. The multigenerational inclusion makes a strong and positive statement about Black families, while creating mirror narratives reaching back to past blackouts in 2003 and 1977—for example, Tammi and Kareem’s long walk mirrors another couple’s stroll decades earlier, during that 1977 blackout; it marks one of the collection’s many heartfelt moments when the stories intersect on one or more levels.\u003c/p>\n\u003cp>The end of this collection came fast, and frankly, I could have used a few more scenes at the block party, if only to kick back and have some more time with these characters, and their big hearts, wise decisions, and joy. I wanted to party with these new friends, listen to some music, and enjoy Brooklyn.\u003c/p>\n\u003cp>In \u003cem>Blackouts\u003c/em>, young Black love with all its insecurities, mistakes, emotion, honesty, and humanity makes for a lush read. Even amidst their fears, these characters are wonderfully respectful of each other’s choices. You will root for them all to find their own right love at their own right time. And though it was written for young adults, \u003cem>Blackout\u003c/em> is a must-read for all generations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denny S. Bryce is the author of the historical novel \u003c/em>Wild Women and the Blues.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Young+Love+Shines+In+The+Dark+In+This+New+Story+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the 2020 pandemic, six best-selling African American young adult novelists put their time to good use by combining their enormous talents for this collection of stories about young Black teens in love. Set in one of America’s most romantic cities (IMHO)—New York City—these tales of Black love celebrate family as much as they showcase the many ways teenage love can claim a heart.\u003c/p>\n\u003cfigure id=\"attachment_13899552\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg\" alt=\"'Blackout,' by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon.\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blackout,’ by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon. \u003ccite>(Quill Tree Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stories in \u003cem>Blackout\u003c/em>—by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon—are set during a present-day New York City blackout. This means no electricity, no operating subways, trains of any kind, traffic lights, elevators, air conditioning—you name it, if it needs electrical juice, forget about it.\u003c/p>\n\u003cp>And since the protagonists in each of these stories are traveling to (or maybe not directly to) Twig’s block party in Brooklyn, they are all on the move with the threat of darkness closing in.\u003c/p>\n\u003cp>That darkness is what connects and elevates these stories. Under cover of night, these teens in love have a chance to face their true desires, fears, and significant others with honesty—easier to talk in dim light than bright sunshine. The blackout also conjures expectations of isolation, hiding in small dark spaces—characters who can’t see, can’t do, can’t move. But in \u003cem>Blackout\u003c/em>, it’s summer in New York City, so when the electricity fails, there are still a few hours of daylight remaining. Just enough time for these kids to fix what’s wrong in their lives before darkness falls.\u003c/p>\n\u003cp>You see, young love can’t sit still when the lights threaten to go out—both metaphorically and literally—but thankfully, these teens also have the benefit of young legs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “The Long Walk” by Tiffany D. Jackson (the story with the longest central arc), Tammi and Kareem are exes who run into each other at a job interview. When the electricity goes bye-bye, they begin the trek from Manhattan to Brooklyn and, for the first time since their breakup, have a chance to talk and discover the real reason their love story went wrong.\u003c/p>\n\u003cp>Nic Stone’s “Mask Off” is about a basketball superstar who has more on his mind than playing college ball. A young man he cares about is a passenger on the same subway car, stuck in the dark between stops—and getting “unstuck” is what Jacorey “JJ” Harding, Jr. seeks. In Ashley Woodfolk’s “Made to Fit,” Nella regularly visits Althea House, where her Grandpop resides. During a search for a missing photo, Nella, with the help of a new acquaintance, a girl named Joss (and her dog Ziggy), learns more than she bargained for about self-confidence.\u003c/p>\n\u003cp>The idea of being stuck—like JJ on the subway, unable to acknowledge his true self—pops up throughout the book. In “All the Great Love Stories … and Dust,” by Dhonielle Clayton, Lana and Tristán are stuck in the New York Public Library, which does put a hitch in her plans, but somehow, Lana will find the courage to say what she must to Tristán, no matter how difficult it is. Meanwhile, a group of students from Jackson, Mississippi, are onboard a double-decker bus for a class trip in “No Sleep ‘Til Brooklyn” by Angie Thomas, and among them is Kayla, who must choose between two loves—or is it three?\u003c/p>\n\u003cp>Eventually all of \u003cem>Blackout\u003c/em>‘s characters take off the blinders, and from JJ to Tammi, Nella, Lana, and more, these thoughtful, respectful, kind and endearing Black teens are also boldly courageous.\u003c/p>\n\u003cp>“Seymour and Grace,” by Nicola Yoon, provides a cautionary tale about judging a book by its cover—or a rideshare driver by his favorite podcast, as Grace does when she turns up her nose at Seymour’s job and his choice of listening entertainment. They both arrive safely at Twix’s block party—but by that point, going their separate ways turns out to be more complicated than expected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These stories are not only uplifting tales of young Black love; they also celebrate family and city. Grandparents and parents are as much a part of this collection as each story’s protagonists and their goals. The multigenerational inclusion makes a strong and positive statement about Black families, while creating mirror narratives reaching back to past blackouts in 2003 and 1977—for example, Tammi and Kareem’s long walk mirrors another couple’s stroll decades earlier, during that 1977 blackout; it marks one of the collection’s many heartfelt moments when the stories intersect on one or more levels.\u003c/p>\n\u003cp>The end of this collection came fast, and frankly, I could have used a few more scenes at the block party, if only to kick back and have some more time with these characters, and their big hearts, wise decisions, and joy. I wanted to party with these new friends, listen to some music, and enjoy Brooklyn.\u003c/p>\n\u003cp>In \u003cem>Blackouts\u003c/em>, young Black love with all its insecurities, mistakes, emotion, honesty, and humanity makes for a lush read. Even amidst their fears, these characters are wonderfully respectful of each other’s choices. You will root for them all to find their own right love at their own right time. And though it was written for young adults, \u003cem>Blackout\u003c/em> is a must-read for all generations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denny S. Bryce is the author of the historical novel \u003c/em>Wild Women and the Blues.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Young+Love+Shines+In+The+Dark+In+This+New+Story+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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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"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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"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.",
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},
"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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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