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"content": "\u003cp>Sometimes, suspense is overwhelming. Who would win that first season of \u003cem>Survivor\u003c/em>? Who would win the presidential election? Will the bread dough rise? Will it rain on your birthday party?\u003c/p>\n\u003cp>Suspense was not overwhelming when we asked our listeners to rank the friends of \u003cem>Friends \u003c/em>from best to worst, at least in one regard: We suspected Ross would come in last and be named Worst Friend. And it was true. Let’s talk about the way our listeners ranked the Friends, beginning with Ross and working our way up to your BFoFF—Best Friend on \u003cem>Friends \u003c/em>Forever.\u003c/p>\n\u003cp>[Just a note: As it turned out, these calculations weren’t complex. The ranking of who received the most votes for Best Friend was the exact opposite of the ranking of who received the most votes for Worst Friend. So Ross received both the most Worst Friend votes and the fewest Best Friend votes, and so on.]\u003c/p>\n\u003ch3>6. Ross\u003c/h3>\n\u003cp>[aside postid='pop_106765']Ross got very mopey over the show’s ten seasons, and he developed a temper at one point and started yelling at his co-workers, and he said Rachel’s name during his wedding to Emily, and it took him forever to stop resenting Susan for being married to Carol, and so forth and so on. But I must say, I was still impressed to see that Ross received 76 percent of the thousands of votes for Worst Friend that came in.\u003c/p>\n\u003cp>That’s so many! That means that if the other five Friends were statistically similar to our listeners, 3.8 of them would have thought he was the worst one in the group! Hopefully, Monica wouldn’t, since that’s his sister, so out of the four Friends he’s not related to, only .2 people—like, just Phoebe’s arm—picked anybody other than Ross as Worst Friend! Maybe he should have abandoned the \u003ca href=\"https://www.youtube.com/watch?v=n67RYI_0sc0&ab_channel=TheGodAccount\" target=\"_blank\" rel=\"noopener noreferrer\">Pivot Couch\u003c/a> earlier.\u003c/p>\n\u003cfigure id=\"attachment_13898884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg\" alt=\"A pregnant Rachel (Jennifer Aniston) lies in a hospital bed, with Ross (David Schwimmer) at her bedside..\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1920x1258.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) and Ross (David Schwimmer). \u003ccite>(Warner Bros. Television/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Rachel\u003c/h3>\n\u003cp>This one surprised me a little more! I grew to appreciate Rachel’s goofy sense of humor, but it’s true that in the beginning, she was presented as spoiled and self-interested, obsessed with shopping and buying and reluctant to abandon her father’s credit cards. Over time, I think Jennifer Aniston’s \u003ca href=\"https://www.youtube.com/watch?v=JYqAWNVHBwo\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat comic energy\u003c/a> gave Rachel a highly necessary jolt of strangeness, and I will never tire of her warm friendship with Joey, which led to such highlights as their exchanging their favorite books. Putting \u003cem>Little Women \u003c/em>in the freezer was maybe the most Joey thing to ever happen, and it was Rachel who understood best that he needed to do it.\u003c/p>\n\u003ch3>4. Monica\u003c/h3>\n\u003cp>I think Monica fell into a little bit of the TV writing problem in which competence, especially in women, is easily exaggerated until it becomes a kind of neurotic unpleasantness (the same thing happened to Rebecca, played by Kirstie Alley, on \u003cem>Cheers\u003c/em>). In the early going, Monica was the nurturer, the mom, the host, the adult. Over time, especially after she and Chandler were married (…spoiler alert?), she got kind of mean and critical in a different way I enjoyed a lot less. I think early Monica would have fared better if she hadn’t been saddled with the problems of later Monica, much as I think later Rachel would have done better in our vote without the limitations of early Rachel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Look, it’s just science.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8mQea59u5hA\u003c/p>\n\u003ch3>3. Joey\u003c/h3>\n\u003cp>Joey became, for my money, the big beating heart of this show by the time it ended. It absolutely didn’t have to be that way—he began as a kind of grody womanizer who had more hair than heart. But the sillier the character got, and the more they discovered Matt LeBlanc’s extraordinary \u003ca href=\"https://www.youtube.com/watch?v=3Nt9mS2j4Uc&ab_channel=GowthamRajBM\" target=\"_blank\" rel=\"noopener noreferrer\">talent for face-pulling\u003c/a>, the more Joey became a big lovable doofus who I prooooooobably would have ranked above Chandler, if it were up to me. He’s probably the character who changed for the better the most, and if I had to pick one of these people to actually know in real life, there’s a good chance I’d pick Joey. He has foolishness and insensitivity in him, but no meanness.\u003c/p>\n\u003ch3>2. Chandler\u003c/h3>\n\u003cp>I was nearly a contemporary of these characters, which means that when Chandler was a twentysomething sarcastic joke-maker who seemed a little allergic to sincerity, I was a twentysomething goober with a soft spot I couldn’t shake for sarcastic joke-makers who seemed a little allergic to sincerity. Chandler was my favorite in the early going, because I liked his jokes the best. But more and more, I’ve come to appreciate the perspective of Phoebe’s psychiatrist boyfriend, played by Fisher Stevens, who was presented as irredeemably annoying but who nailed Chandler’s personality when he said, “You’re so funny! I wouldn’t want to be there when the laughter stops.” Chandler’s position here, near the top, is probably a product of his sharp wit and the degree to which his sense of humor came to define the show’s voice, in spite of what I would argue was eventually his exhausting and relentless funny-guy neediness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pDqE2MZiXCY\u003c/p>\n\u003ch3>1. Phoebe\u003c/h3>\n\u003cp>[aside postid='arts_13897888']Of course it’s Phoebe! Phoebe didn’t nail down Best Friend with quite the emphatic stomping that Ross nailed down Worst Friend; she received 50 percent of the vote for Best Friend. But given that there are six Friends to choose from, it’s still a clear and resounding victory. Phoebe was always the gentlest and the nicest of these people, despite what had been a tough upbringing and a lot of pain. She found love with a couple of different lovely partners, including Hank Azaria’s David and then Paul Rudd’s wonderful Mike Hannigan, and nobody deserved true happiness more. She carried triplets for her brother, she played the guitar, and she would do anything she could for any of these goofballs, even when they were ridiculous. What’s not to love?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel includes Barrie Hardymon, Sam Sanders, and Bedatri D. Choudhury. The audio was produced by Jared M. Gair, and edited by Jessica Reedy. \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=The+%27Friends%2C%27+Ranked%2C+From+Ross+To+Best&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, suspense is overwhelming. Who would win that first season of \u003cem>Survivor\u003c/em>? Who would win the presidential election? Will the bread dough rise? Will it rain on your birthday party?\u003c/p>\n\u003cp>Suspense was not overwhelming when we asked our listeners to rank the friends of \u003cem>Friends \u003c/em>from best to worst, at least in one regard: We suspected Ross would come in last and be named Worst Friend. And it was true. Let’s talk about the way our listeners ranked the Friends, beginning with Ross and working our way up to your BFoFF—Best Friend on \u003cem>Friends \u003c/em>Forever.\u003c/p>\n\u003cp>[Just a note: As it turned out, these calculations weren’t complex. The ranking of who received the most votes for Best Friend was the exact opposite of the ranking of who received the most votes for Worst Friend. So Ross received both the most Worst Friend votes and the fewest Best Friend votes, and so on.]\u003c/p>\n\u003ch3>6. Ross\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ross got very mopey over the show’s ten seasons, and he developed a temper at one point and started yelling at his co-workers, and he said Rachel’s name during his wedding to Emily, and it took him forever to stop resenting Susan for being married to Carol, and so forth and so on. But I must say, I was still impressed to see that Ross received 76 percent of the thousands of votes for Worst Friend that came in.\u003c/p>\n\u003cp>That’s so many! That means that if the other five Friends were statistically similar to our listeners, 3.8 of them would have thought he was the worst one in the group! Hopefully, Monica wouldn’t, since that’s his sister, so out of the four Friends he’s not related to, only .2 people—like, just Phoebe’s arm—picked anybody other than Ross as Worst Friend! Maybe he should have abandoned the \u003ca href=\"https://www.youtube.com/watch?v=n67RYI_0sc0&ab_channel=TheGodAccount\" target=\"_blank\" rel=\"noopener noreferrer\">Pivot Couch\u003c/a> earlier.\u003c/p>\n\u003cfigure id=\"attachment_13898884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg\" alt=\"A pregnant Rachel (Jennifer Aniston) lies in a hospital bed, with Ross (David Schwimmer) at her bedside..\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1920x1258.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) and Ross (David Schwimmer). \u003ccite>(Warner Bros. Television/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Rachel\u003c/h3>\n\u003cp>This one surprised me a little more! I grew to appreciate Rachel’s goofy sense of humor, but it’s true that in the beginning, she was presented as spoiled and self-interested, obsessed with shopping and buying and reluctant to abandon her father’s credit cards. Over time, I think Jennifer Aniston’s \u003ca href=\"https://www.youtube.com/watch?v=JYqAWNVHBwo\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat comic energy\u003c/a> gave Rachel a highly necessary jolt of strangeness, and I will never tire of her warm friendship with Joey, which led to such highlights as their exchanging their favorite books. Putting \u003cem>Little Women \u003c/em>in the freezer was maybe the most Joey thing to ever happen, and it was Rachel who understood best that he needed to do it.\u003c/p>\n\u003ch3>4. Monica\u003c/h3>\n\u003cp>I think Monica fell into a little bit of the TV writing problem in which competence, especially in women, is easily exaggerated until it becomes a kind of neurotic unpleasantness (the same thing happened to Rebecca, played by Kirstie Alley, on \u003cem>Cheers\u003c/em>). In the early going, Monica was the nurturer, the mom, the host, the adult. Over time, especially after she and Chandler were married (…spoiler alert?), she got kind of mean and critical in a different way I enjoyed a lot less. I think early Monica would have fared better if she hadn’t been saddled with the problems of later Monica, much as I think later Rachel would have done better in our vote without the limitations of early Rachel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Look, it’s just science.\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/8mQea59u5hA'\n title='//www.youtube.com/embed/8mQea59u5hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>3. Joey\u003c/h3>\n\u003cp>Joey became, for my money, the big beating heart of this show by the time it ended. It absolutely didn’t have to be that way—he began as a kind of grody womanizer who had more hair than heart. But the sillier the character got, and the more they discovered Matt LeBlanc’s extraordinary \u003ca href=\"https://www.youtube.com/watch?v=3Nt9mS2j4Uc&ab_channel=GowthamRajBM\" target=\"_blank\" rel=\"noopener noreferrer\">talent for face-pulling\u003c/a>, the more Joey became a big lovable doofus who I prooooooobably would have ranked above Chandler, if it were up to me. He’s probably the character who changed for the better the most, and if I had to pick one of these people to actually know in real life, there’s a good chance I’d pick Joey. He has foolishness and insensitivity in him, but no meanness.\u003c/p>\n\u003ch3>2. Chandler\u003c/h3>\n\u003cp>I was nearly a contemporary of these characters, which means that when Chandler was a twentysomething sarcastic joke-maker who seemed a little allergic to sincerity, I was a twentysomething goober with a soft spot I couldn’t shake for sarcastic joke-makers who seemed a little allergic to sincerity. Chandler was my favorite in the early going, because I liked his jokes the best. But more and more, I’ve come to appreciate the perspective of Phoebe’s psychiatrist boyfriend, played by Fisher Stevens, who was presented as irredeemably annoying but who nailed Chandler’s personality when he said, “You’re so funny! I wouldn’t want to be there when the laughter stops.” Chandler’s position here, near the top, is probably a product of his sharp wit and the degree to which his sense of humor came to define the show’s voice, in spite of what I would argue was eventually his exhausting and relentless funny-guy neediness.\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/pDqE2MZiXCY'\n title='//www.youtube.com/embed/pDqE2MZiXCY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1. Phoebe\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course it’s Phoebe! Phoebe didn’t nail down Best Friend with quite the emphatic stomping that Ross nailed down Worst Friend; she received 50 percent of the vote for Best Friend. But given that there are six Friends to choose from, it’s still a clear and resounding victory. Phoebe was always the gentlest and the nicest of these people, despite what had been a tough upbringing and a lot of pain. She found love with a couple of different lovely partners, including Hank Azaria’s David and then Paul Rudd’s wonderful Mike Hannigan, and nobody deserved true happiness more. She carried triplets for her brother, she played the guitar, and she would do anything she could for any of these goofballs, even when they were ridiculous. What’s not to love?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a \u003ca href=\"https://twitter.com/Lin_Manuel/status/1404565413116141570?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> post, \u003cem>In The Heights\u003c/em> co-creator Lin-Manuel Miranda publicly addressed criticisms of the film’s casting that noted only light-skinned actors had roles as the musical’s main Latinx characters.\u003c/p>\n\u003cp>Miranda apologized, writing Monday evening: “I hear that, without sufficient dark-skinned Afro-Latino representation, the world feels extractive of the community we wanted so much to represent with pride and joy. In trying to paint a mosaic of this community, we fell short. I’m truly sorry.”\u003c/p>\n\u003cp>[aside postid='arts_13882671']The film version of the hit Broadway musical, which is set in New York City’s Washington Heights neighborhood, only includes Afro-Latinx performers in background and dance roles. (One main character, Benny, is Black and played by the non-Latinx actor Corey Hawkins.) Critics of the movie \u003ca href=\"https://twitter.com/bad_dominicana/status/1403104020818972674?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">have remarked\u003c/a> that the real-life Washington Heights is heavily Afro-Latinx.\u003c/p>\n\u003cp>Miranda, who wrote the music and lyrics for the musical with the book by Quiara Alegría Hudes, said on Twitter: “I started writing \u003cem>In\u003c/em> \u003cem>The Heights\u003c/em> because I didn’t feel seen. And over the past 20 years all I wanted was for us—ALL of us—to feel seen. I’m seeing the discussion around Afro-Latino representation in our film this weekend, and it is clear that many in our dark-skinned Afro-Latino community don’t feel sufficiently represented within it, particularly among the leading roles. I can hear the hurt and frustration over colorism, of feeling unseen in the feedback.”\u003c/p>\n\u003cp>Miranda continued, “I’m learning from the feedback, I thank you for raising it, and I’m listening. I’m trying to hold space for both the incredible pride in the movie we made and be accountable for our shortcomings. Thank you for your honest feedback. I promise to do better in my future projects, and I’m dedicated to the learning and evolving we all have to do to make sure we are honoring our diverse and vibrant community. Siempre, LMM.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/1404565413116141570\u003c/p>\n\u003cp>For \u003cem>\u003ca href=\"https://www.theroot.com/lets-talk-about-in-the-heights-and-the-erasure-of-dark-1847064126\" target=\"_blank\" rel=\"noopener noreferrer\">The Root\u003c/a>\u003c/em>, writer Felice León, who is of Afro-Cuban heritage, interviewed the film’s director, Jon M. Chu, as well as actors Hawkins, Leslie Grace and Melissa Barrera. León asked about the lack of Black Latinx performers in the film’s main roles.\u003c/p>\n\u003cp>[aside postid='arts_13898635']“It’s definitely something we talked about,” Chu said, “and I needed to be educated about [it], of course. In the end, when we were looking at the cast, we tried to get the people who were best for those roles specifically. … I think it’s a really good conversation to have, it’s something we all should be talking about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>León wrote that she had requested an interview with Miranda, but was not approved.\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=Lin-Manuel+Miranda+Apologizes+For+Lack+Of+Afro-Latinx+Actors+In+%27In+The+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film version of the hit Broadway musical, which is set in New York City’s Washington Heights neighborhood, only includes Afro-Latinx performers in background and dance roles. (One main character, Benny, is Black and played by the non-Latinx actor Corey Hawkins.) Critics of the movie \u003ca href=\"https://twitter.com/bad_dominicana/status/1403104020818972674?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">have remarked\u003c/a> that the real-life Washington Heights is heavily Afro-Latinx.\u003c/p>\n\u003cp>Miranda, who wrote the music and lyrics for the musical with the book by Quiara Alegría Hudes, said on Twitter: “I started writing \u003cem>In\u003c/em> \u003cem>The Heights\u003c/em> because I didn’t feel seen. And over the past 20 years all I wanted was for us—ALL of us—to feel seen. I’m seeing the discussion around Afro-Latino representation in our film this weekend, and it is clear that many in our dark-skinned Afro-Latino community don’t feel sufficiently represented within it, particularly among the leading roles. I can hear the hurt and frustration over colorism, of feeling unseen in the feedback.”\u003c/p>\n\u003cp>Miranda continued, “I’m learning from the feedback, I thank you for raising it, and I’m listening. I’m trying to hold space for both the incredible pride in the movie we made and be accountable for our shortcomings. Thank you for your honest feedback. I promise to do better in my future projects, and I’m dedicated to the learning and evolving we all have to do to make sure we are honoring our diverse and vibrant community. Siempre, LMM.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Just 10% of Popular Movies Had a Muslim Character. Riz Ahmed Wants to Change That",
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"content": "\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>[aside postid='arts_13880993']The report pointed to several examples, including the film \u003cem>Hotel Mumbai\u003c/em>, which featured Muslims as terrorists. Movies such as \u003cem>Aladdin\u003c/em> depicted Muslim characters only in the past. Other films portrayed Muslims as outsiders or subservient to white characters. In 2017’s \u003cem>Wonder Woman\u003c/em>, the character Sameer had to play up a stereotype. He later complains about his limited opportunities. “Not everyone gets to be what they want to be all the time,” he says to the superhero. “Me? I am an actor. I love acting.”\u003c/p>\n\u003cp>Ahmed and the Inclusion Initiative also worked on the study with The Pillars Fund, a foundation for Muslims in the U.S. The group’s cofounder and president, Kashif Shaikh says that while the Muslim community is racially and ethnically diverse, it’s rarely shown that way in movies. He said Hollywood has created and reinforced dangerous portrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. That includes more LGBTQ roles, or those with disabilities, like Riz Ahmed’s character in the 2019 film \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>In a video announcing the USC study, Ahmed said he was one of only a handful of Muslim actors who get to play Hollywood roles that are “either non-Muslim or unremarkably Muslim.”\u003c/p>\n\u003cp>“I ask myself if I’m the exception to the rule, what must the rule be about people like me? What must the unwritten rule be about Muslims, a quarter of the world’s population and their place in our stories, our culture and their place in our society, if any?”\u003c/p>\n\u003cp>Ahmed recalled having been interrogated at an airport after he appeared in the film \u003cem>The Road to Guantanamo\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13844505']“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\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=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The report pointed to several examples, including the film \u003cem>Hotel Mumbai\u003c/em>, which featured Muslims as terrorists. Movies such as \u003cem>Aladdin\u003c/em> depicted Muslim characters only in the past. Other films portrayed Muslims as outsiders or subservient to white characters. In 2017’s \u003cem>Wonder Woman\u003c/em>, the character Sameer had to play up a stereotype. He later complains about his limited opportunities. “Not everyone gets to be what they want to be all the time,” he says to the superhero. “Me? I am an actor. I love acting.”\u003c/p>\n\u003cp>Ahmed and the Inclusion Initiative also worked on the study with The Pillars Fund, a foundation for Muslims in the U.S. The group’s cofounder and president, Kashif Shaikh says that while the Muslim community is racially and ethnically diverse, it’s rarely shown that way in movies. He said Hollywood has created and reinforced dangerous portrayals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. That includes more LGBTQ roles, or those with disabilities, like Riz Ahmed’s character in the 2019 film \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>In a video announcing the USC study, Ahmed said he was one of only a handful of Muslim actors who get to play Hollywood roles that are “either non-Muslim or unremarkably Muslim.”\u003c/p>\n\u003cp>“I ask myself if I’m the exception to the rule, what must the rule be about people like me? What must the unwritten rule be about Muslims, a quarter of the world’s population and their place in our stories, our culture and their place in our society, if any?”\u003c/p>\n\u003cp>Ahmed recalled having been interrogated at an airport after he appeared in the film \u003cem>The Road to Guantanamo\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\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=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Skateboarding Gives Freedom to Rural Indian Teen in Netflix Film—and in Real Life",
"headTitle": "Skateboarding Gives Freedom to Rural Indian Teen in Netflix Film—and in Real Life | KQED",
"content": "\u003cp>When Asha Gond first started skateboarding, neighbors in her village of Janwar in central India were aghast. They urged the teenager’s parents to keep her busy with housework or get her married. When she walked through the village, skateboard in hand, they would sneer at her and make disparaging comments. Skateboarding is for boys, Gond, now 21, recalls the villagers saying.\u003c/p>\n\u003cp>Skateboarding isn’t common in Indian cities, let alone remote rural areas like where Gond lives. The skatepark in her village was built by a German social activist. It ignited in her a life-altering passion for skateboarding—a passion Gond has pursued despite the rigid patriarchal norms in her village and one that has taken her to championships overseas.\u003c/p>\n\u003cp>It’s an incredible story of how one skatepark can change a girl’s—and really an entire community’s—life.\u003c/p>\n\u003cp>It also happens to be the plot of a new Netflix movie called \u003ca href=\"https://www.youtube.com/watch?v=k5Fn99wmFCQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skater Girl\u003c/em>\u003c/a> releasing June 11. The movie chronicles the journey of a rural Indian teenage girl who discovers a life-changing passion for skateboarding after a Westerner builds a skatepark in her village but faces obstacles when she tries to chase her dream of competing.\u003c/p>\n\u003cp>The filmmakers say it’s a fictionalized account of stories of skateboarding girls in India. But Gond says it’s her story and that the filmmakers never got her permission—even though they met her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The things that they’ve shown in the trailer have actually happened to me,” she told NPR in a phone interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k5Fn99wmFCQ\u003c/p>\n\u003cp>\u003cstrong>Why A Rural Village Got A Skatepark\u003c/strong>\u003c/p>\n\u003cp>Janwar is a tiny village of about 1,200 located at the edge of a tiger reserve in the state of Madhya Pradesh. Tribal communities called Adivasis make up about \u003ca href=\"https://urldefense.com/v3/__https:/censusindia.gov.in/2011census/dchb/2309_PART_B_DCHB_PANNA.pdf__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-4EhXZs%24\" target=\"_blank\" rel=\"noopener noreferrer\">half\u003c/a> of its population. India’s ancient caste system relegates Adivasis to the bottom of the social hierarchy and they typically live segregated from the rest of the community. When Gond was growing up, Adivasi children like her weren’t allowed to mix or play with their higher caste peers. Girls tended to marry early and the literacy rate was extremely low—especially among women.\u003c/p>\n\u003cp>Then came the skatepark, built by \u003ca href=\"https://www.ulrikereinhard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ulrike Reinhard\u003c/a>, a German business consultant and activist. Reinhard has been mostly living in India since 2012 and much of her work focuses on empowering youth in rural areas. She had been toying with the idea of building a school in rural India. But inspired by \u003ca href=\"https://urldefense.com/v3/__https:/www.skateistan.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U0HWm-GM%24\" target=\"_blank\" rel=\"noopener noreferrer\">Skateistan\u003c/a>, an international nonprofit organization that promotes education and gender equality through skateboarding, Reinhard decided to build a skatepark in Janwar.\u003c/p>\n\u003cp>“It was an experiment,” Reinhard says. “I thought, can a skatepark trigger change in such a stiff and old-traditioned community?”\u003c/p>\n\u003cp>To raise money for the project, Reinhard reached out to artists across the world to convert skateboards into artboards which she then auctioned.\u003c/p>\n\u003cp>[aside postid='news_11733418']When she had the funding, she encouraged skating enthusiasts from around the world to come to Janwar to help build the park. About a dozen came and constructed the skatepark with assistance from laborers in the village. The skatepark opened in 2015.\u003c/p>\n\u003cp>The end result was something most of the people in the village had never seen—or even heard of. Gond said her initial reaction was that it “looked very weird.” Some people thought it was a swimming pool, Reinhard says.\u003c/p>\n\u003cp>The kids came around quickly and thought the skatepark was cool, says Reinhard. But some adults were skeptical of Reinhard’s intentions and started spreading rumors that she was involved in human trafficking.\u003c/p>\n\u003cp>Gond’s mother was scared for her. “People would say [Reinhard] is going to sell your daughter and you won’t be able to see her again ever,” says Kamala Gond, who has since come around to support the project.\u003c/p>\n\u003cp>The German nonprofit \u003ca href=\"https://www.skate-aid.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Skate-aid\u003c/a> provided the first batch of 20 skateboards. Reinhard doesn’t know how to skateboard so she showed the kids YouTube videos on a tablet to get them started.\u003c/p>\n\u003cp>In the beginning, it was difficult to maintain balance, Gond says.”The skateboard would go ahead when I stepped on it. I thought I would fall over and smash my face.”\u003c/p>\n\u003cp>But once she got the hang of it, it was all Gond could think of. “I would lie in bed at night and think about how to maneuver the skateboard to do a particular trick,” she says.\u003c/p>\n\u003cp>\u003cstrong>Girls Get Priority. And Leave Your Caste At the Door\u003c/strong>\u003c/p>\n\u003cp>The skatepark is free and open to all the children in the village, irrespective of caste. Encouraging Adivasi children and Yadav kids (a higher caste) to skate together is blurring caste divisions in the community, Gond says.\u003c/p>\n\u003cp>While members of higher castes don’t get special treatment, girls do. One of the skatepark’s rules is “Girls first”—meaning if there are no skateboards free, a girl can ask a skateboarding boy to give his skateboard to her and he has to agree.\u003c/p>\n\u003cp>[aside postid='pop_85006']“The girls’ destiny is sealed the day they are born,” says Reinhard, adding that they are typically put to work at a young age and married off early. “So this was a way to tackle the gender [inequality] issue without naming it explicitly.”\u003c/p>\n\u003cp>Not everyone was happy to see girls skateboarding, much less Adivasi girls like Gond. Villagers would gossip that Gond would be better off learning to cook instead of skateboarding.\u003c/p>\n\u003cp>“They used to say to my parents, ‘What is she going to do after she goes to her husband’s home?'” says Gond.\u003c/p>\n\u003cp>Some mornings, Gond recalls, she arrived at the skatepark to threatening messages written on the concrete. “They said they would burn me if I did skateboarding.”\u003c/p>\n\u003cfigure id=\"attachment_13898796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg\" alt=\"Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off. \u003ccite>(Vicky Roy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Gond continued to skate and quickly became a rising star in Janwar. Over the years, she’s traveled across India to participate in skateboarding contests. In 2018, she represented India in the World Skateboarding Championship in Nanjing, China. She came in nearly last, but she was the only Indian in the women’s games, competing against many who came from countries with long traditions of skateboarding.\u003c/p>\n\u003cp>Gond is also co-founder and director of the nonprofit organization Barefoot Skateboarders, which focuses on the education and development of the children in Janwar.\u003c/p>\n\u003cp>Her mother says she’s proud of her.\u003c/p>\n\u003cp>“I feel wonderful, I had never imagined that my daughter could do this or achieve what she has achieved,” says Kamala Gond, who says she regrets that she never had the opportunity to go to school and was married when she was a young teen. “What I couldn’t do, my daughter is doing.”\u003c/p>\n\u003cp>\u003cstrong>‘No School. No Skateboarding’\u003c/strong>\u003c/p>\n\u003cp>The second rule at the skatepark is, “No school. No skateboarding.” When the kids skip school or are kept home by their parents, they aren’t allowed to skateboard. And to make school a better experience, Reinhard partnered with \u003ca href=\"https://urldefense.com/v3/__https:/prakriti.edu.in/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-jK3Wug%24\" target=\"_blank\" rel=\"noopener noreferrer\">Prakriti School\u003c/a>, an organization that focuses on innovative learning, to organize workshops for teachers in Janwar to improve their teaching skills. As a result, school attendance has gone up considerably, Reinhard says.\u003c/p>\n\u003cp>[aside postid='arts_13891248']“We really have created an eagerness to learn,” Reinhard says, adding that they’ve built a second skatepark and a community center that Gond manages where kids can take part in a variety of activities, including painting and karate. “We have a computer lab and the kids are sitting in front of computer screens learning Hindi poems or math.”\u003c/p>\n\u003cp>Reinhard says skateboarding is the oil that keeps the whole machine running. It’s a model that’s been successful in many countries. The nonprofit Skateistan now runs programs in Afghanistan, Cambodia and South Africa. Skate After School, an \u003ca href=\"https://urldefense.com/v3/__https:/www.skateafterschool.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U8BlZH3T%24\" target=\"_blank\" rel=\"noopener noreferrer\">Arizona-based nonprofit\u003c/a>, teaches skateboarding to nurture children from underserved communities.\u003c/p>\n\u003cp>How does it work? Sports as a means of social change is powerful, says \u003ca href=\"https://urldefense.com/v3/__https:/malala.org/champions/jyotsna-jha__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UzBEPwlp%24\" target=\"_blank\" rel=\"noopener noreferrer\">Jyotsna Jha\u003c/a>, director of the Indian think tank Center for Budget and Policy Studies. “Especially something like skating, which is novel and thrilling, can really create a sense of achievement among children that they had perhaps never experienced otherwise,” she said via email.\u003c/p>\n\u003cp>Sports has always been a gendered act, she says. “But when a sport is introduced for girls that is not traditionally associated with girls, it helps in breaking many stereotypes and also generating new ways of thinking,” Jha says.\u003c/p>\n\u003cfigure id=\"attachment_13898797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg\" alt=\"Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village. \u003ccite>(Aslam Saiyad/Barefoot Skateboarders Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>An Inspiring Movie And A Controversy\u003c/strong>\u003c/p>\n\u003cp>The impact that skateboarding is creating in different communities is what director Manjari Makijany says inspired her movie \u003cem>Skater Girl\u003c/em>. But after watching the trailer, some people on social media familiar with Reinhard’s work and Gond’s story assumed the movie was about Gond and the skatepark in Janwar. But Gond says the filmmakers never got permission to tell her story.\u003c/p>\n\u003cp>“Why don’t you ask me that you are going to tell my story?” Gond \u003ca href=\"https://urldefense.com/v3/__https:/www.facebook.com/NetflixFamily/posts/1182671495505173?comment_id=163450362388313__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U2jrrCCu%24\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> in a comment to a Netflix post sharing the trailer.\u003c/p>\n\u003cp>In an email to NPR, Makijany denied that the movie was about Gond.\u003c/p>\n\u003cp>“\u003cem>Skater Girl\u003c/em> is not a biopic based on anyone’s life story nor is it a documentary,” Makijany says. “It is not [Gond or Reinhard’s] story.”\u003c/p>\n\u003cp>In the movie, as in Janwar, the rule is “No school, No skateboarding” and it’s a Westerner—like Reinhard—who introduces the village to skateboarding and builds a skatepark.\u003c/p>\n\u003cp>Gond says the filmmakers met with her in Janwar and spoke to her about how skateboarding had changed her life and transformed her village. The director says Gond was just one of many girls they met during the making of the movie. The movie was also not shot in Janwar but in a village in Rajasthan state.\u003c/p>\n\u003cp>Reinhard had a contract to be a research consultant on the movie but says she quit early because of differences over the storytelling approach.\u003c/p>\n\u003cp>“It turned out to be this kitschy, cheesy kind of thing,” she says.\u003c/p>\n\u003cp>Reinhard also says from an ethical point of view, the filmmakers should have made a contract with Gond and the other children.\u003c/p>\n\u003cp>[aside postid='arts_13898211']Reinhard’s name and the Janwar skatepark appear in the end credits of the movie, along with the names of other skateboarders in India and around the world. The director says Gond and the other Janwar children were given a chance to be a part of the movie’s climax scene, but they declined.\u003c/p>\n\u003cp>“We said if this is our story we want to be seen and tell our story. We don’t want to be only in the background of the last scene,” Gond says.\u003c/p>\n\u003cp>Despite her misgivings, Reinhard says overall, the movie will benefit Janwar and raise awareness about their work and about skateboarding. A new \u003ca href=\"https://urldefense.com/v3/__https:/www.desertdolphinskatepark.com/about__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UysxWPbE%24\" target=\"_blank\" rel=\"noopener noreferrer\">skatepark\u003c/a> was built in Khempur village where the movie was shot and is now being used by the community there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As for Gond, she says she is curious to see the full movie. All she has to do now is get a Netflix account, a luxury most people in her village do not have.\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=Skateboarding+Gives+Freedom+To+Rural+Indian+Teen+In+Netflix+Film+%E2%80%94+And+In+Real+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Asha Gond first started skateboarding, neighbors in her village of Janwar in central India were aghast. They urged the teenager’s parents to keep her busy with housework or get her married. When she walked through the village, skateboard in hand, they would sneer at her and make disparaging comments. Skateboarding is for boys, Gond, now 21, recalls the villagers saying.\u003c/p>\n\u003cp>Skateboarding isn’t common in Indian cities, let alone remote rural areas like where Gond lives. The skatepark in her village was built by a German social activist. It ignited in her a life-altering passion for skateboarding—a passion Gond has pursued despite the rigid patriarchal norms in her village and one that has taken her to championships overseas.\u003c/p>\n\u003cp>It’s an incredible story of how one skatepark can change a girl’s—and really an entire community’s—life.\u003c/p>\n\u003cp>It also happens to be the plot of a new Netflix movie called \u003ca href=\"https://www.youtube.com/watch?v=k5Fn99wmFCQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skater Girl\u003c/em>\u003c/a> releasing June 11. The movie chronicles the journey of a rural Indian teenage girl who discovers a life-changing passion for skateboarding after a Westerner builds a skatepark in her village but faces obstacles when she tries to chase her dream of competing.\u003c/p>\n\u003cp>The filmmakers say it’s a fictionalized account of stories of skateboarding girls in India. But Gond says it’s her story and that the filmmakers never got her permission—even though they met her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The things that they’ve shown in the trailer have actually happened to me,” she told NPR in a phone interview.\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/k5Fn99wmFCQ'\n title='//www.youtube.com/embed/k5Fn99wmFCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Why A Rural Village Got A Skatepark\u003c/strong>\u003c/p>\n\u003cp>Janwar is a tiny village of about 1,200 located at the edge of a tiger reserve in the state of Madhya Pradesh. Tribal communities called Adivasis make up about \u003ca href=\"https://urldefense.com/v3/__https:/censusindia.gov.in/2011census/dchb/2309_PART_B_DCHB_PANNA.pdf__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-4EhXZs%24\" target=\"_blank\" rel=\"noopener noreferrer\">half\u003c/a> of its population. India’s ancient caste system relegates Adivasis to the bottom of the social hierarchy and they typically live segregated from the rest of the community. When Gond was growing up, Adivasi children like her weren’t allowed to mix or play with their higher caste peers. Girls tended to marry early and the literacy rate was extremely low—especially among women.\u003c/p>\n\u003cp>Then came the skatepark, built by \u003ca href=\"https://www.ulrikereinhard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ulrike Reinhard\u003c/a>, a German business consultant and activist. Reinhard has been mostly living in India since 2012 and much of her work focuses on empowering youth in rural areas. She had been toying with the idea of building a school in rural India. But inspired by \u003ca href=\"https://urldefense.com/v3/__https:/www.skateistan.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U0HWm-GM%24\" target=\"_blank\" rel=\"noopener noreferrer\">Skateistan\u003c/a>, an international nonprofit organization that promotes education and gender equality through skateboarding, Reinhard decided to build a skatepark in Janwar.\u003c/p>\n\u003cp>“It was an experiment,” Reinhard says. “I thought, can a skatepark trigger change in such a stiff and old-traditioned community?”\u003c/p>\n\u003cp>To raise money for the project, Reinhard reached out to artists across the world to convert skateboards into artboards which she then auctioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When she had the funding, she encouraged skating enthusiasts from around the world to come to Janwar to help build the park. About a dozen came and constructed the skatepark with assistance from laborers in the village. The skatepark opened in 2015.\u003c/p>\n\u003cp>The end result was something most of the people in the village had never seen—or even heard of. Gond said her initial reaction was that it “looked very weird.” Some people thought it was a swimming pool, Reinhard says.\u003c/p>\n\u003cp>The kids came around quickly and thought the skatepark was cool, says Reinhard. But some adults were skeptical of Reinhard’s intentions and started spreading rumors that she was involved in human trafficking.\u003c/p>\n\u003cp>Gond’s mother was scared for her. “People would say [Reinhard] is going to sell your daughter and you won’t be able to see her again ever,” says Kamala Gond, who has since come around to support the project.\u003c/p>\n\u003cp>The German nonprofit \u003ca href=\"https://www.skate-aid.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Skate-aid\u003c/a> provided the first batch of 20 skateboards. Reinhard doesn’t know how to skateboard so she showed the kids YouTube videos on a tablet to get them started.\u003c/p>\n\u003cp>In the beginning, it was difficult to maintain balance, Gond says.”The skateboard would go ahead when I stepped on it. I thought I would fall over and smash my face.”\u003c/p>\n\u003cp>But once she got the hang of it, it was all Gond could think of. “I would lie in bed at night and think about how to maneuver the skateboard to do a particular trick,” she says.\u003c/p>\n\u003cp>\u003cstrong>Girls Get Priority. And Leave Your Caste At the Door\u003c/strong>\u003c/p>\n\u003cp>The skatepark is free and open to all the children in the village, irrespective of caste. Encouraging Adivasi children and Yadav kids (a higher caste) to skate together is blurring caste divisions in the community, Gond says.\u003c/p>\n\u003cp>While members of higher castes don’t get special treatment, girls do. One of the skatepark’s rules is “Girls first”—meaning if there are no skateboards free, a girl can ask a skateboarding boy to give his skateboard to her and he has to agree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The girls’ destiny is sealed the day they are born,” says Reinhard, adding that they are typically put to work at a young age and married off early. “So this was a way to tackle the gender [inequality] issue without naming it explicitly.”\u003c/p>\n\u003cp>Not everyone was happy to see girls skateboarding, much less Adivasi girls like Gond. Villagers would gossip that Gond would be better off learning to cook instead of skateboarding.\u003c/p>\n\u003cp>“They used to say to my parents, ‘What is she going to do after she goes to her husband’s home?'” says Gond.\u003c/p>\n\u003cp>Some mornings, Gond recalls, she arrived at the skatepark to threatening messages written on the concrete. “They said they would burn me if I did skateboarding.”\u003c/p>\n\u003cfigure id=\"attachment_13898796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg\" alt=\"Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off. \u003ccite>(Vicky Roy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Gond continued to skate and quickly became a rising star in Janwar. Over the years, she’s traveled across India to participate in skateboarding contests. In 2018, she represented India in the World Skateboarding Championship in Nanjing, China. She came in nearly last, but she was the only Indian in the women’s games, competing against many who came from countries with long traditions of skateboarding.\u003c/p>\n\u003cp>Gond is also co-founder and director of the nonprofit organization Barefoot Skateboarders, which focuses on the education and development of the children in Janwar.\u003c/p>\n\u003cp>Her mother says she’s proud of her.\u003c/p>\n\u003cp>“I feel wonderful, I had never imagined that my daughter could do this or achieve what she has achieved,” says Kamala Gond, who says she regrets that she never had the opportunity to go to school and was married when she was a young teen. “What I couldn’t do, my daughter is doing.”\u003c/p>\n\u003cp>\u003cstrong>‘No School. No Skateboarding’\u003c/strong>\u003c/p>\n\u003cp>The second rule at the skatepark is, “No school. No skateboarding.” When the kids skip school or are kept home by their parents, they aren’t allowed to skateboard. And to make school a better experience, Reinhard partnered with \u003ca href=\"https://urldefense.com/v3/__https:/prakriti.edu.in/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-jK3Wug%24\" target=\"_blank\" rel=\"noopener noreferrer\">Prakriti School\u003c/a>, an organization that focuses on innovative learning, to organize workshops for teachers in Janwar to improve their teaching skills. As a result, school attendance has gone up considerably, Reinhard says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We really have created an eagerness to learn,” Reinhard says, adding that they’ve built a second skatepark and a community center that Gond manages where kids can take part in a variety of activities, including painting and karate. “We have a computer lab and the kids are sitting in front of computer screens learning Hindi poems or math.”\u003c/p>\n\u003cp>Reinhard says skateboarding is the oil that keeps the whole machine running. It’s a model that’s been successful in many countries. The nonprofit Skateistan now runs programs in Afghanistan, Cambodia and South Africa. Skate After School, an \u003ca href=\"https://urldefense.com/v3/__https:/www.skateafterschool.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U8BlZH3T%24\" target=\"_blank\" rel=\"noopener noreferrer\">Arizona-based nonprofit\u003c/a>, teaches skateboarding to nurture children from underserved communities.\u003c/p>\n\u003cp>How does it work? Sports as a means of social change is powerful, says \u003ca href=\"https://urldefense.com/v3/__https:/malala.org/champions/jyotsna-jha__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UzBEPwlp%24\" target=\"_blank\" rel=\"noopener noreferrer\">Jyotsna Jha\u003c/a>, director of the Indian think tank Center for Budget and Policy Studies. “Especially something like skating, which is novel and thrilling, can really create a sense of achievement among children that they had perhaps never experienced otherwise,” she said via email.\u003c/p>\n\u003cp>Sports has always been a gendered act, she says. “But when a sport is introduced for girls that is not traditionally associated with girls, it helps in breaking many stereotypes and also generating new ways of thinking,” Jha says.\u003c/p>\n\u003cfigure id=\"attachment_13898797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg\" alt=\"Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village. \u003ccite>(Aslam Saiyad/Barefoot Skateboarders Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>An Inspiring Movie And A Controversy\u003c/strong>\u003c/p>\n\u003cp>The impact that skateboarding is creating in different communities is what director Manjari Makijany says inspired her movie \u003cem>Skater Girl\u003c/em>. But after watching the trailer, some people on social media familiar with Reinhard’s work and Gond’s story assumed the movie was about Gond and the skatepark in Janwar. But Gond says the filmmakers never got permission to tell her story.\u003c/p>\n\u003cp>“Why don’t you ask me that you are going to tell my story?” Gond \u003ca href=\"https://urldefense.com/v3/__https:/www.facebook.com/NetflixFamily/posts/1182671495505173?comment_id=163450362388313__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U2jrrCCu%24\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> in a comment to a Netflix post sharing the trailer.\u003c/p>\n\u003cp>In an email to NPR, Makijany denied that the movie was about Gond.\u003c/p>\n\u003cp>“\u003cem>Skater Girl\u003c/em> is not a biopic based on anyone’s life story nor is it a documentary,” Makijany says. “It is not [Gond or Reinhard’s] story.”\u003c/p>\n\u003cp>In the movie, as in Janwar, the rule is “No school, No skateboarding” and it’s a Westerner—like Reinhard—who introduces the village to skateboarding and builds a skatepark.\u003c/p>\n\u003cp>Gond says the filmmakers met with her in Janwar and spoke to her about how skateboarding had changed her life and transformed her village. The director says Gond was just one of many girls they met during the making of the movie. The movie was also not shot in Janwar but in a village in Rajasthan state.\u003c/p>\n\u003cp>Reinhard had a contract to be a research consultant on the movie but says she quit early because of differences over the storytelling approach.\u003c/p>\n\u003cp>“It turned out to be this kitschy, cheesy kind of thing,” she says.\u003c/p>\n\u003cp>Reinhard also says from an ethical point of view, the filmmakers should have made a contract with Gond and the other children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reinhard’s name and the Janwar skatepark appear in the end credits of the movie, along with the names of other skateboarders in India and around the world. The director says Gond and the other Janwar children were given a chance to be a part of the movie’s climax scene, but they declined.\u003c/p>\n\u003cp>“We said if this is our story we want to be seen and tell our story. We don’t want to be only in the background of the last scene,” Gond says.\u003c/p>\n\u003cp>Despite her misgivings, Reinhard says overall, the movie will benefit Janwar and raise awareness about their work and about skateboarding. A new \u003ca href=\"https://urldefense.com/v3/__https:/www.desertdolphinskatepark.com/about__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UysxWPbE%24\" target=\"_blank\" rel=\"noopener noreferrer\">skatepark\u003c/a> was built in Khempur village where the movie was shot and is now being used by the community there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for Gond, she says she is curious to see the full movie. All she has to do now is get a Netflix account, a luxury most people in her village do not have.\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=Skateboarding+Gives+Freedom+To+Rural+Indian+Teen+In+Netflix+Film+%E2%80%94+And+In+Real+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been four summers since the release of \u003ca href=\"https://www.npr.org/artists/227790178/lorde\" target=\"_blank\" rel=\"noopener noreferrer\">Lorde\u003c/a>‘s 2017 album \u003cem>Melodrama\u003c/em>, and although its release into the world involved a minor hiccup, the singer-songwriter has returned with the confident, sunny single, “Solar Power.” Accompanied by a music video Lorde co-directed with Joel Kefali—in which she appears centered in bright yellow, surrounded by acolytes dressed in earth tones, scattered on a beach—it’s the first single from what she confirmed today in a newsletter to fans will be her new album, also called \u003cem>Solar Power\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_88946']The song inadvertently made its way onto streaming services ahead of schedule on Thursday, but was pulled and posted on official platforms in the evening. While a release date for the record has yet to be announced, the title track includes familiar collaborators—\u003ca href=\"https://www.npr.org/artists/526883217/bleachers\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a> co-writes and co-produces—along with a pair of backing vocalists—\u003ca href=\"https://www.npr.org/artists/519693526/phoebe-bridgers\" target=\"_blank\" rel=\"noopener noreferrer\">Phoebe Bridgers\u003c/a> and \u003ca href=\"https://www.npr.org/artists/593106686/clairo\" target=\"_blank\" rel=\"noopener noreferrer\">Clairo\u003c/a>—whose careers have taken flight since Lorde released her last album in 2017.\u003c/p>\n\u003cp>In place of \u003cem>Melodrama\u003c/em>‘s reckless, love-drunk, city escapism, “Solar Power” celebrates sand, saltwater and “a new state of mind.” For listeners tuning in during the waning days of the Covid-19 pandemic, Lorde seems to be writing to us from New Zealand’s January summer, the host of a gathering that feels either years behind—or ahead—of the gloomy lockdown we’ve been living through. Swept by the track’s skittish guitar and Lorde’s nimble voice speaking glowing affirmations, it’s difficult not to follow along when she murmurs, “Are you coming, my baby?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wvsP_lzh2-8&t=20s\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=Lorde+Drops+Surprise+New+Song%2C+%27Solar+Power%2C%27+And+Music+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The song inadvertently made its way onto streaming services ahead of schedule on Thursday, but was pulled and posted on official platforms in the evening. While a release date for the record has yet to be announced, the title track includes familiar collaborators—\u003ca href=\"https://www.npr.org/artists/526883217/bleachers\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a> co-writes and co-produces—along with a pair of backing vocalists—\u003ca href=\"https://www.npr.org/artists/519693526/phoebe-bridgers\" target=\"_blank\" rel=\"noopener noreferrer\">Phoebe Bridgers\u003c/a> and \u003ca href=\"https://www.npr.org/artists/593106686/clairo\" target=\"_blank\" rel=\"noopener noreferrer\">Clairo\u003c/a>—whose careers have taken flight since Lorde released her last album in 2017.\u003c/p>\n\u003cp>In place of \u003cem>Melodrama\u003c/em>‘s reckless, love-drunk, city escapism, “Solar Power” celebrates sand, saltwater and “a new state of mind.” For listeners tuning in during the waning days of the Covid-19 pandemic, Lorde seems to be writing to us from New Zealand’s January summer, the host of a gathering that feels either years behind—or ahead—of the gloomy lockdown we’ve been living through. Swept by the track’s skittish guitar and Lorde’s nimble voice speaking glowing affirmations, it’s difficult not to follow along when she murmurs, “Are you coming, my baby?”\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/wvsP_lzh2-8'\n title='//www.youtube.com/embed/wvsP_lzh2-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Lorde+Drops+Surprise+New+Song%2C+%27Solar+Power%2C%27+And+Music+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'In The Heights' is a Spirited, Socially Undistanced, Summer Crowd Pleaser",
"headTitle": "‘In The Heights’ is a Spirited, Socially Undistanced, Summer Crowd Pleaser | KQED",
"content": "\u003cp>\u003cem>In the Heights\u003c/em> couldn’t be more perfectly timed. For one thing, summer movies don’t get much more summery than this one, which takes place during a record-breaking New York heat wave. For another, this vibrant screen adaptation of the\u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\"> Lin-Manuel Miranda\u003c/a> stage musical captures something we’ve largely gone without over the past year: a joyous sense of togetherness.\u003c/p>\n\u003cp>This is the most socially undistanced movie I’ve seen in months. The action unfolds in crowded store aisles and gossip-filled beauty salons where everyone knows everyone. The musical numbers, which blend hip-hop, Latin pop, salsa and other styles, frequently spill out into the surrounding neighborhood. The actors become dancers in an electrifying street ballet.\u003c/p>\n\u003cp>[aside postid='arts_13845568']A lot of this is packed into the movie’s transporting opening sequence, which brings us into this pan-Latino barrio in Washington Heights. Miranda pops up in a small role as a vendor, selling shaved ice out of a pushcart, but our real guide to this Upper Manhattan neighborhood is Usnavi de la Vega, played by a terrific Anthony Ramos.\u003c/p>\n\u003cp>Usnavi owns a popular corner bodega that’s especially prized for its café con leche. As he raps about the challenges of running his scrappy little business in a place that’s rapidly being gentrified, he’s joined by a chorus of voices from the neighborhood singing about their own struggles to get by.\u003c/p>\n\u003cp>As much as he loves Washington Heights and the people who live there, Usnavi longs to return to the beaches of the Dominican Republic where he grew up. He hopes his teenage cousin Sonny, played by Gregory Diaz IV, might come with him, but Sonny, an undocumented immigrant, dreams of becoming a U.S. citizen in a subplot that ties into recent headlines. One of the more poignant insights of \u003cem>In the Heights\u003c/em> is that everyone has a different concept of home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U0CL-ZSuCrQ\u003c/p>\n\u003cp>Usnavi has a long-standing crush on Vanessa, played by an excellent Melissa Barrera, who’s hoping to move downtown and become a fashion designer. Leslie Grace plays their friend Nina, an academic superstar who’s just had a rough year at Stanford, where she feels she doesn’t belong. But her father, Kevin—a nice turn by Jimmy Smits—wants Nina to stick with it: If she can’t get out of the Heights and succeed, he thinks, what hope is there for anyone else?\u003c/p>\n\u003cp>Kevin, who immigrated to New York from Puerto Rico decades ago, runs a cab company that’s one of the few remaining Latino-owned businesses in the area. As rents go up and people and businesses are forced out, the community gets a shot of excitement when Usnavi finds out that someone bought a winning lottery ticket for a $96,000 jackpot from his bodega.\u003c/p>\n\u003cp>[aside postid='pop_13021']I saw \u003cem>In the Heights\u003c/em> onstage in Los Angeles back in 2010, and while the screenwriter \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129379017\" target=\"_blank\" rel=\"noopener noreferrer\">Quiara Alegría Hudes\u003c/a> has made some smart tweaks and trims to her original book for the musical, some of the material’s basic weaknesses persist here. The various romantic and aspirational subplots are engrossing enough, but feel thinly stretched at more than two hours. Washington Heights looks more vivid and immediate on-screen than it did onstage, but in some ways the simplistic, relentlessly upbeat nature of the story seems all the more glaring.\u003c/p>\n\u003cp>Still, there’s nothing wrong with staying upbeat right now, and the director Jon M. Chu is very much up to the task. Chu previously directed \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, and he’s good at squeezing resonant ideas about generational conflict and cultural confusion into a deft, crowd-pleasing package. It’s worth noting that Chu also made two entries in the \u003cem>Step Up\u003c/em> dance-movie franchise, and while I sometimes wish he would slow down the editing and let the musical numbers breathe more, the sheer dynamism of his filmmaking is pretty hard to resist.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> may not be a great movie, but it’s a pretty great moviegoing experience. There are lovely moments here, like when Benny and Nina do a surreal, gravity-defying dance along the side of an apartment building. There are also exhilarating ones, like when the neighborhood, reeling from a heat-wave-triggered blackout, pulls together to throw the mother of all block parties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there’s a knockout solo from Abuela Claudia, the neighborhood’s adopted grandmother, played by Olga Merediz, wonderfully reprising her Tony-nominated role. Claudia’s big number is called “Paciencia y Fe,” or “Patience and Faith,” values she’s clung to since she moved from Cuba back in the ’40s. She’s the living embodiment of this movie’s loving and enduring spirit.\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=%27In+The+Heights%27+Is+A+Spirited%2C+Socially+Undistanced%2C+Summer+Crowd+Pleaser&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In the Heights\u003c/em> couldn’t be more perfectly timed. For one thing, summer movies don’t get much more summery than this one, which takes place during a record-breaking New York heat wave. For another, this vibrant screen adaptation of the\u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\"> Lin-Manuel Miranda\u003c/a> stage musical captures something we’ve largely gone without over the past year: a joyous sense of togetherness.\u003c/p>\n\u003cp>This is the most socially undistanced movie I’ve seen in months. The action unfolds in crowded store aisles and gossip-filled beauty salons where everyone knows everyone. The musical numbers, which blend hip-hop, Latin pop, salsa and other styles, frequently spill out into the surrounding neighborhood. The actors become dancers in an electrifying street ballet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A lot of this is packed into the movie’s transporting opening sequence, which brings us into this pan-Latino barrio in Washington Heights. Miranda pops up in a small role as a vendor, selling shaved ice out of a pushcart, but our real guide to this Upper Manhattan neighborhood is Usnavi de la Vega, played by a terrific Anthony Ramos.\u003c/p>\n\u003cp>Usnavi owns a popular corner bodega that’s especially prized for its café con leche. As he raps about the challenges of running his scrappy little business in a place that’s rapidly being gentrified, he’s joined by a chorus of voices from the neighborhood singing about their own struggles to get by.\u003c/p>\n\u003cp>As much as he loves Washington Heights and the people who live there, Usnavi longs to return to the beaches of the Dominican Republic where he grew up. He hopes his teenage cousin Sonny, played by Gregory Diaz IV, might come with him, but Sonny, an undocumented immigrant, dreams of becoming a U.S. citizen in a subplot that ties into recent headlines. One of the more poignant insights of \u003cem>In the Heights\u003c/em> is that everyone has a different concept of home.\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/U0CL-ZSuCrQ'\n title='//www.youtube.com/embed/U0CL-ZSuCrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Usnavi has a long-standing crush on Vanessa, played by an excellent Melissa Barrera, who’s hoping to move downtown and become a fashion designer. Leslie Grace plays their friend Nina, an academic superstar who’s just had a rough year at Stanford, where she feels she doesn’t belong. But her father, Kevin—a nice turn by Jimmy Smits—wants Nina to stick with it: If she can’t get out of the Heights and succeed, he thinks, what hope is there for anyone else?\u003c/p>\n\u003cp>Kevin, who immigrated to New York from Puerto Rico decades ago, runs a cab company that’s one of the few remaining Latino-owned businesses in the area. As rents go up and people and businesses are forced out, the community gets a shot of excitement when Usnavi finds out that someone bought a winning lottery ticket for a $96,000 jackpot from his bodega.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I saw \u003cem>In the Heights\u003c/em> onstage in Los Angeles back in 2010, and while the screenwriter \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129379017\" target=\"_blank\" rel=\"noopener noreferrer\">Quiara Alegría Hudes\u003c/a> has made some smart tweaks and trims to her original book for the musical, some of the material’s basic weaknesses persist here. The various romantic and aspirational subplots are engrossing enough, but feel thinly stretched at more than two hours. Washington Heights looks more vivid and immediate on-screen than it did onstage, but in some ways the simplistic, relentlessly upbeat nature of the story seems all the more glaring.\u003c/p>\n\u003cp>Still, there’s nothing wrong with staying upbeat right now, and the director Jon M. Chu is very much up to the task. Chu previously directed \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, and he’s good at squeezing resonant ideas about generational conflict and cultural confusion into a deft, crowd-pleasing package. It’s worth noting that Chu also made two entries in the \u003cem>Step Up\u003c/em> dance-movie franchise, and while I sometimes wish he would slow down the editing and let the musical numbers breathe more, the sheer dynamism of his filmmaking is pretty hard to resist.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> may not be a great movie, but it’s a pretty great moviegoing experience. There are lovely moments here, like when Benny and Nina do a surreal, gravity-defying dance along the side of an apartment building. There are also exhilarating ones, like when the neighborhood, reeling from a heat-wave-triggered blackout, pulls together to throw the mother of all block parties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there’s a knockout solo from Abuela Claudia, the neighborhood’s adopted grandmother, played by Olga Merediz, wonderfully reprising her Tony-nominated role. Claudia’s big number is called “Paciencia y Fe,” or “Patience and Faith,” values she’s clung to since she moved from Cuba back in the ’40s. She’s the living embodiment of this movie’s loving and enduring spirit.\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=%27In+The+Heights%27+Is+A+Spirited%2C+Socially+Undistanced%2C+Summer+Crowd+Pleaser&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Bachelor' Host Chris Harrison Exits Franchise After 'Woke Police' Controversy",
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"content": "\u003cp>In nearly twenty years hosting the different dating series in \u003cem>The Bachelor \u003c/em>franchise, host Chris Harrison has handled everything from confronting rule-breaking contestants to chasing down \u003cem>Bachelor\u003c/em> star \u003ca href=\"https://www.kqed.org/arts/13895730\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Underwood\u003c/a> after he hopped a fence and tried to quit the show.\u003c/p>\n\u003cp>But today it is Harrison who is leaving. ABC and producers of \u003cem>The Bachelor\u003c/em> and its spin offs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise,\u003c/em> have confirmed that the host is gone for good after fumbling a race-related controversy from the mothership program.\u003c/p>\n\u003cp>ABC Entertainment and Warner Horizon, the show’s distributor and producer, acknowledged Harrison’s departure today in a terse joint statement: “Chris Harrison is stepping aside as host of \u003cem>The Bachelor\u003c/em> franchise. We are thankful for his many contributions over the past 20 years and wish him all the best on his new journey.”\u003c/p>\n\u003cp>[aside postid='arts_13893077']Harrison, 49, issued a more optimistic statement on his Instagram page, noting “I’ve had a truly incredible run as host of \u003cem>The Bachelor\u003c/em> franchise and now I’m excited to start a new chapter. I’m so grateful to Bachelor Nation for all of the memories we’ve made together. While my two-decade journey is wrapping up, the friendships I’ve made will last a lifetime.”\u003c/p>\n\u003cp>Representatives from ABC, Warner Horizon and Harrison did not otherwise respond to requests for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The website Deadline \u003ca href=\"https://deadline.com/2021/06/chris-harrison-leaving-the-bachelor-franchise-controversy-1234771200\" target=\"_blank\" rel=\"noopener noreferrer\">reported Harrison’s ouster\u003c/a>, saying it came after intense negotiations culminating in a “midrange, eight-figure payoff” which would ensure the former host said little about the issue after the news was released.\u003c/p>\n\u003cp>Harrison has hosted \u003cem>The Bachelor\u003c/em> and its spinoff shows since the series debuted in 2002. But he was sidelined in February, \u003ca href=\"https://www.youtube.com/watch?v=9hmY1gSAuRk\" target=\"_blank\" rel=\"noopener noreferrer\">after an interview\u003c/a> where he downplayed the significance of news that contestant Rachael Kirkconnell had once attended a party themed around the antebellum South, a period when slavery still existed.\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> was featuring its first Black star, Matt James. As the news about Kirkconnell spread, fans questioned whether the series had vetted its white contestants well enough to exclude contestants with racist issues in their past.\u003c/p>\n\u003cp>[aside postid='arts_13894064']But Harrison derisively dubbed Kirkconnell’s critics the “woke police,” until a widespread backlash led him to issue an apology and step away from his hosting duties. “What I now realize I have done is cause harm by wrongly speaking in a manner that perpetuates racism and for that I am so deeply sorry,” he said in one of two apologies \u003ca href=\"https://www.instagram.com/p/CLIjt2IgzOo/\" target=\"_blank\" rel=\"noopener noreferrer\">posted on Instagram\u003c/a>.\u003c/p>\n\u003cp>His initial comments were seen as emblematic of the show’s ongoing \u003ca href=\"https://www.npr.org/2021/03/16/977841254/the-bachelors-cluelessness-about-race-comes-to-a-head-in-season-finale\" target=\"_blank\" rel=\"noopener noreferrer\">cluelessness about diversity\u003c/a> issues, as it struggled to feature non-white stars and respect their perspectives.\u003c/p>\n\u003cp>And the controversy over Kirkconnell—who James had picked as the season’s winner during episodes pre-taped last year—eventually overshadowed the season finale in March. James wound up rejecting Kirkconnell during the program’s \u003cem>After the Rose\u003c/em> special, which was hosted by former NFL player and author Emmanuel Acho. (he has since told \u003cem>People\u003c/em> magazine he is once again “\u003ca href=\"https://people.com/tv/matt-james-says-hes-pursuing-a-relationship-with-rachael-kirkconnell-focusing-on-it/\" target=\"_blank\" rel=\"noopener noreferrer\">pursuing a relationship\u003c/a>” with her.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harrison’s departure was initially characterized as a temporary stepping aside. But news that former \u003cem>Bachelorett\u003c/em>e stars Tayshia Adams and Kaitlyn Bristowe would host the edition of \u003cem>The Bachelorette\u003c/em> that debuted Monday (and that guest hosts, including comic David Spade, \u003ca href=\"https://people.com/tv/david-spade-guest-host-bachelor-in-paradise-amid-chris-harrison-break-from-franchise-source/\" target=\"_blank\" rel=\"noopener noreferrer\">would lead this year’s edition\u003c/a> of \u003cem>Bachelor in Paradise\u003c/em>) led to speculation about his long-term future with the franchise.\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=%27The+Bachelor%27+Host+Chris+Harrison+Exits+Franchise+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In nearly twenty years hosting the different dating series in \u003cem>The Bachelor \u003c/em>franchise, host Chris Harrison has handled everything from confronting rule-breaking contestants to chasing down \u003cem>Bachelor\u003c/em> star \u003ca href=\"https://www.kqed.org/arts/13895730\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Underwood\u003c/a> after he hopped a fence and tried to quit the show.\u003c/p>\n\u003cp>But today it is Harrison who is leaving. ABC and producers of \u003cem>The Bachelor\u003c/em> and its spin offs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise,\u003c/em> have confirmed that the host is gone for good after fumbling a race-related controversy from the mothership program.\u003c/p>\n\u003cp>ABC Entertainment and Warner Horizon, the show’s distributor and producer, acknowledged Harrison’s departure today in a terse joint statement: “Chris Harrison is stepping aside as host of \u003cem>The Bachelor\u003c/em> franchise. We are thankful for his many contributions over the past 20 years and wish him all the best on his new journey.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison, 49, issued a more optimistic statement on his Instagram page, noting “I’ve had a truly incredible run as host of \u003cem>The Bachelor\u003c/em> franchise and now I’m excited to start a new chapter. I’m so grateful to Bachelor Nation for all of the memories we’ve made together. While my two-decade journey is wrapping up, the friendships I’ve made will last a lifetime.”\u003c/p>\n\u003cp>Representatives from ABC, Warner Horizon and Harrison did not otherwise respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The website Deadline \u003ca href=\"https://deadline.com/2021/06/chris-harrison-leaving-the-bachelor-franchise-controversy-1234771200\" target=\"_blank\" rel=\"noopener noreferrer\">reported Harrison’s ouster\u003c/a>, saying it came after intense negotiations culminating in a “midrange, eight-figure payoff” which would ensure the former host said little about the issue after the news was released.\u003c/p>\n\u003cp>Harrison has hosted \u003cem>The Bachelor\u003c/em> and its spinoff shows since the series debuted in 2002. But he was sidelined in February, \u003ca href=\"https://www.youtube.com/watch?v=9hmY1gSAuRk\" target=\"_blank\" rel=\"noopener noreferrer\">after an interview\u003c/a> where he downplayed the significance of news that contestant Rachael Kirkconnell had once attended a party themed around the antebellum South, a period when slavery still existed.\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> was featuring its first Black star, Matt James. As the news about Kirkconnell spread, fans questioned whether the series had vetted its white contestants well enough to exclude contestants with racist issues in their past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Harrison derisively dubbed Kirkconnell’s critics the “woke police,” until a widespread backlash led him to issue an apology and step away from his hosting duties. “What I now realize I have done is cause harm by wrongly speaking in a manner that perpetuates racism and for that I am so deeply sorry,” he said in one of two apologies \u003ca href=\"https://www.instagram.com/p/CLIjt2IgzOo/\" target=\"_blank\" rel=\"noopener noreferrer\">posted on Instagram\u003c/a>.\u003c/p>\n\u003cp>His initial comments were seen as emblematic of the show’s ongoing \u003ca href=\"https://www.npr.org/2021/03/16/977841254/the-bachelors-cluelessness-about-race-comes-to-a-head-in-season-finale\" target=\"_blank\" rel=\"noopener noreferrer\">cluelessness about diversity\u003c/a> issues, as it struggled to feature non-white stars and respect their perspectives.\u003c/p>\n\u003cp>And the controversy over Kirkconnell—who James had picked as the season’s winner during episodes pre-taped last year—eventually overshadowed the season finale in March. James wound up rejecting Kirkconnell during the program’s \u003cem>After the Rose\u003c/em> special, which was hosted by former NFL player and author Emmanuel Acho. (he has since told \u003cem>People\u003c/em> magazine he is once again “\u003ca href=\"https://people.com/tv/matt-james-says-hes-pursuing-a-relationship-with-rachael-kirkconnell-focusing-on-it/\" target=\"_blank\" rel=\"noopener noreferrer\">pursuing a relationship\u003c/a>” with her.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harrison’s departure was initially characterized as a temporary stepping aside. But news that former \u003cem>Bachelorett\u003c/em>e stars Tayshia Adams and Kaitlyn Bristowe would host the edition of \u003cem>The Bachelorette\u003c/em> that debuted Monday (and that guest hosts, including comic David Spade, \u003ca href=\"https://people.com/tv/david-spade-guest-host-bachelor-in-paradise-amid-chris-harrison-break-from-franchise-source/\" target=\"_blank\" rel=\"noopener noreferrer\">would lead this year’s edition\u003c/a> of \u003cem>Bachelor in Paradise\u003c/em>) led to speculation about his long-term future with the franchise.\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=%27The+Bachelor%27+Host+Chris+Harrison+Exits+Franchise+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a lot of Pride Month reading lists out there right now—and yes, you should absolutely read \u003ca href=\"https://www.npr.org/2013/12/28/257375561/a-young-seminarian-found-comfort-in-giovannis-melancholy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Giovanni’s Room\u003c/em>\u003c/a> if you haven’t already—but we wanted to go beyond the classics, and maybe find some new ones.\u003c/p>\n\u003cp>So we invited author Akwaeke Emezi to tell us about a few books they love that showcase voices you might not have heard before. But first, we asked them about their new book, \u003cem>Dear Senthuran: A Black Spirit Memoir\u003c/em>.\u003c/p>\n\u003cp>“It’s a story of a very specific part of my life, but told through the lens of spirit—like, spirit-first. I wanted to give as much as I could in the book, and there’s a lot in it,” they say. “The parts about the publishing industry are things that I would teach if I taught. I don’t like teaching in general, so I don’t teach workshops. I don’t teach craft. But with \u003cem>Dear Senthuran\u003c/em>, I thought, what would I like to teach if I did teach? And it wasn’t, oh, this is how you structure a story, or this is how you structure a novel. It was things like, this is how you finish a novel.\u003c/p>\n\u003cp>“It’s not as simple as saying, ‘You just force time every day and you sit down and do it.’ There’s a lot more that comes up emotionally and psychologically to be able to finish a book. And so I try to create a balance with that in the memoir, and show while my career looks lovely and shiny on the surface, that these were the things I was dealing with behind the scenes. These were the real costs of being visible and being shiny and being prolific. And it was brutal.”\u003c/p>\n\u003cp>Emezi’s reading recommendations begin with a coming-of-age novel about a young girl growing up in Nigeria in the 1960s, just after the country gained independence from Britain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Under the Udala Trees\u003c/strong>, by Chinelo Okparanta\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898472 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg\" alt=\"\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c-160x242.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“The thing that made this book so special to me is that it’s set during the Biafran war, which is a seminal moment in Nigerian history, especially for Igbo people. Chinelo’s book stands out because it’s a queer story. And so to see a queer story set during that time places queer Nigerians in our own history. And Chinelo Okparanta is an author I have immense respect for, because now you can see a lot of young Nigerian writers, myself included, writing queer literature. But she was really one of the vanguard for it.”\u003c/p>\n\u003cp>\u003cstrong>She Called Me Woman: Nigeria’s Queer Women Speak\u003c/strong>, edited by Azeenarh Mohammed, Chitra Nagarajan and Rafeeat Aliyu\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898473 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg\" alt=\"\" width=\"200\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b-160x256.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“To me, it was such a big deal that the editors had curated this space for people to tell their first hand accounts of what they were dealing with, what they were living with. Quite honestly, when we get to hear accounts of what it is to be Black and queer and from Nigeria, it skews towards men. And so having this book that created a space for the women, that was edited by women, I think it’s hugely important. And for a lot of the queer women who live back home, there really isn’t the space to tell these stories. I think it’s crucial to read these accounts, and not just for queer Nigerian women, but I think it’s crucial for queer Black people. We are often very focused on the queer community in the United States, but the larger queer community is… we’re all connected.”\u003c/p>\n\u003cp>\u003cstrong>of colour\u003c/strong>, by Katherine Agyemaa Agard\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898474 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg\" alt=\"\" width=\"200\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b-160x192.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“It’s written by a queer Black woman from Trinidad and from Ghana. And I love it because Katherine Agyemaa Agard is one of my favorite thinkers and I wanted to recommend it because who we are informs how we think. It informs the work we make; the perspectives we come from as we make that work. Traveling through this book was one of the most surreal, catalyzing experiences I’ve had encountering a book, because it is so many things. And I wanted to recommend it because I think part of me wants people to understand that Black queer literature has a wide spectrum of what it can be.”\u003c/p>\n\u003cp>\u003cstrong>How to Find a Princess\u003c/strong>, by Alyssa Cole\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898475 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg\" alt=\"\" width=\"200\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3-160x253.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“I adore Alyssa Cole’s work. And I think that, quite honestly, people need to put a bit more respect on the genre of romance. But I chose this particular book, \u003cem>How to Find a Princess\u003c/em>, because it’s a Black queer love story. And I think that as the world is continually on fire around us, more and more people are looking for books to give them escape. I love romance because I don’t want to read books and see how terrible the world is reflected in the books. I don’t read the kind of books that I write, because if I was to read the type of books that I write, I would be depressed all the time … You need an escape. You need a soft, safe place to land.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Avery Keatley and adapted for the web by Petra Mayer\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=4+Books+To+Broaden+Your+Pride+Month+Reading+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of Pride Month reading lists out there right now—and yes, you should absolutely read \u003ca href=\"https://www.npr.org/2013/12/28/257375561/a-young-seminarian-found-comfort-in-giovannis-melancholy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Giovanni’s Room\u003c/em>\u003c/a> if you haven’t already—but we wanted to go beyond the classics, and maybe find some new ones.\u003c/p>\n\u003cp>So we invited author Akwaeke Emezi to tell us about a few books they love that showcase voices you might not have heard before. But first, we asked them about their new book, \u003cem>Dear Senthuran: A Black Spirit Memoir\u003c/em>.\u003c/p>\n\u003cp>“It’s a story of a very specific part of my life, but told through the lens of spirit—like, spirit-first. I wanted to give as much as I could in the book, and there’s a lot in it,” they say. “The parts about the publishing industry are things that I would teach if I taught. I don’t like teaching in general, so I don’t teach workshops. I don’t teach craft. But with \u003cem>Dear Senthuran\u003c/em>, I thought, what would I like to teach if I did teach? And it wasn’t, oh, this is how you structure a story, or this is how you structure a novel. It was things like, this is how you finish a novel.\u003c/p>\n\u003cp>“It’s not as simple as saying, ‘You just force time every day and you sit down and do it.’ There’s a lot more that comes up emotionally and psychologically to be able to finish a book. And so I try to create a balance with that in the memoir, and show while my career looks lovely and shiny on the surface, that these were the things I was dealing with behind the scenes. These were the real costs of being visible and being shiny and being prolific. And it was brutal.”\u003c/p>\n\u003cp>Emezi’s reading recommendations begin with a coming-of-age novel about a young girl growing up in Nigeria in the 1960s, just after the country gained independence from Britain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Under the Udala Trees\u003c/strong>, by Chinelo Okparanta\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898472 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg\" alt=\"\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c-160x242.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“The thing that made this book so special to me is that it’s set during the Biafran war, which is a seminal moment in Nigerian history, especially for Igbo people. Chinelo’s book stands out because it’s a queer story. And so to see a queer story set during that time places queer Nigerians in our own history. And Chinelo Okparanta is an author I have immense respect for, because now you can see a lot of young Nigerian writers, myself included, writing queer literature. But she was really one of the vanguard for it.”\u003c/p>\n\u003cp>\u003cstrong>She Called Me Woman: Nigeria’s Queer Women Speak\u003c/strong>, edited by Azeenarh Mohammed, Chitra Nagarajan and Rafeeat Aliyu\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898473 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg\" alt=\"\" width=\"200\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b-160x256.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“To me, it was such a big deal that the editors had curated this space for people to tell their first hand accounts of what they were dealing with, what they were living with. Quite honestly, when we get to hear accounts of what it is to be Black and queer and from Nigeria, it skews towards men. And so having this book that created a space for the women, that was edited by women, I think it’s hugely important. And for a lot of the queer women who live back home, there really isn’t the space to tell these stories. I think it’s crucial to read these accounts, and not just for queer Nigerian women, but I think it’s crucial for queer Black people. We are often very focused on the queer community in the United States, but the larger queer community is… we’re all connected.”\u003c/p>\n\u003cp>\u003cstrong>of colour\u003c/strong>, by Katherine Agyemaa Agard\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898474 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg\" alt=\"\" width=\"200\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b-160x192.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“It’s written by a queer Black woman from Trinidad and from Ghana. And I love it because Katherine Agyemaa Agard is one of my favorite thinkers and I wanted to recommend it because who we are informs how we think. It informs the work we make; the perspectives we come from as we make that work. Traveling through this book was one of the most surreal, catalyzing experiences I’ve had encountering a book, because it is so many things. And I wanted to recommend it because I think part of me wants people to understand that Black queer literature has a wide spectrum of what it can be.”\u003c/p>\n\u003cp>\u003cstrong>How to Find a Princess\u003c/strong>, by Alyssa Cole\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898475 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg\" alt=\"\" width=\"200\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3-160x253.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“I adore Alyssa Cole’s work. And I think that, quite honestly, people need to put a bit more respect on the genre of romance. But I chose this particular book, \u003cem>How to Find a Princess\u003c/em>, because it’s a Black queer love story. And I think that as the world is continually on fire around us, more and more people are looking for books to give them escape. I love romance because I don’t want to read books and see how terrible the world is reflected in the books. I don’t read the kind of books that I write, because if I was to read the type of books that I write, I would be depressed all the time … You need an escape. You need a soft, safe place to land.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Avery Keatley and adapted for the web by Petra Mayer\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=4+Books+To+Broaden+Your+Pride+Month+Reading+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Anti-Vaccine Film Targeted to Black Americans Spreads False Information",
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"content": "\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>[aside postid='arts_13884294']“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>[aside postid='arts_13894324']According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>[aside postid='arts_13881679']The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>[aside postid='arts_13891832']\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\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=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\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=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rita Moreno on 'West Side Story' and Becoming the Role Model She Needed",
"headTitle": "Rita Moreno on ‘West Side Story’ and Becoming the Role Model She Needed | KQED",
"content": "\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YhSKk-cvblc\u003c/p>\n\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t84GEdvTLVQ\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13881446']I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\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=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\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/YhSKk-cvblc'\n title='//www.youtube.com/embed/YhSKk-cvblc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\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/t84GEdvTLVQ'\n title='//www.youtube.com/embed/t84GEdvTLVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\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=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Listen Carefully: The Tense 'Quiet Place' Sequel Speaks to Our Present Time",
"headTitle": "Listen Carefully: The Tense ‘Quiet Place’ Sequel Speaks to Our Present Time | KQED",
"content": "\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>[aside postid='pop_110691']Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BpdDN9d9Jio\u003c/p>\n\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>[aside postid='pop_6114']It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\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/BpdDN9d9Jio'\n title='//www.youtube.com/embed/BpdDN9d9Jio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
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"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\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=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\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/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\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=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&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": "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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"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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"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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"politicalbreakdown": {
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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