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"title": "Remastered 'Tony Hawk' Games Land a High-Scoring Trick",
"headTitle": "Remastered ‘Tony Hawk’ Games Land a High-Scoring Trick | KQED",
"content": "\u003cp>One of my favorite maps in \u003cem>Tony Hawk’s Pro Skater 2\u003c/em> is Venice Beach.\u003c/p>\n\u003cp>When I was a kid, I would skate around the prettiest parts of the map, near the sand, hopping up onto a low wall and grinding across it, sticking the landing and zooming off to ride up a halfpipe. There were a lot of crashing waves, seagulls, and Papa Roach playing in the background.\u003c/p>\n\u003cp>The release of the original \u003cem>Pro Skater\u003c/em> games brought skateboarding to a wider audience, and I was that wider audience. I could never skate in the real world because I’m a klutz, but I could at least get a feel for how awesome it was by landing cool tricks in Tony Hawk’s digital world. Anytime I saw a kid skateboarding in a parking lot, I immediately thought of him.\u003c/p>\n\u003cp>Those games, released in 1999 and 2000 for the first-generation PlayStation, haven’t aged well. Like other games from that era, the blocky, flatly-colored environment of the original Venice level lacks any true detail or realism—so I haven’t revisited it much.\u003c/p>\n\u003cp>But developer Vicarious Visions and publisher Activision have just released a remastered version that condenses both \u003cem>Pro Skater \u003c/em>\u003cem>1\u003c/em> and \u003cem>2\u003c/em> into a single game with modern graphics, bringing it up to speed for today’s gamers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My old favorite Venice is laid out the same, but everything has a completely new, shinier look. When you skate up to a high area, the palm trees stretch out as far as the eye can see, leading to a huge mountain in the horizon. It’s the same game, but so much better, and it makes exploring the map way more rewarding.\u003c/p>\n\u003cp>For me, the magic of the game is multiplayer, which lets you face off against friends in competitions to see who can land the most complex tricks. But my absolute favorite thing to do with friends is mess around in Free Skate mode, where you can explore the maps and practice without any time limit.\u003c/p>\n\u003cfigure id=\"attachment_13886144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png\" alt=\"Japanese Olympian Aori Nishimura is one of the new playable characters in 'Pro Skater 1+2.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese Olympian Aori Nishimura is one of the new playable characters in ‘Pro Skater 1+2.’ \u003ccite>(Courtesy of Activision)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, I would sit next to my friend in his living room for hours playing Free Skate mode, listen to the amazing soundtrack, and showing off cool jumps, spins, and secret spots around the map. It takes some practice to be good, just like in real life, and that makes it even more satisfying when you finally land an intricate trick after trying dozens of times.\u003c/p>\n\u003cp>Playing multiplayer with my boyfriend, going absolutely nuts when one of us landed a complex combo worth tens of thousands of points, sent me right back to those childhood afternoons.\u003c/p>\n\u003cp>If you played the original games a lot, you’ll feel right at home with the remake. The controls are slightly different because new mechanics have been added from later titles, but if you haven’t touched a \u003cem>Pro Skater\u003c/em> game since 2000, you’ll still be able to play. It took me a little while to get used to the game again, but my boyfriend picked up the controller and got a high score on his first try, as if no time had passed from his glory days years ago.\u003c/p>\n\u003cp>What hasn’t changed are the settings. You’re still skating around places like New York City and Malibu, and empty warehouses and malls. You unlock new maps by achieving different goals—in the originals, players collected things like tapes, floating fire hydrants, and the letters “SKATE”—those things remain the same.\u003c/p>\n\u003cp>Music was a huge part of \u003cem>Pro Skater\u003c/em> for me. It’s where I first heard of a lot of bands I like today: Papa Roach, Rage Against the Machine, and Dead Kennedys. Songs from the original soundtrack are still there, but now alongside 37 new tracks that fully fit into the game, from artists like Machine Gun Kelly, Sublime, and Billy Talent.\u003c/p>\n\u003cp>The developers applied that same philosophy to the lineup of playable pro skaters, keeping the originals while making sure to bring in a diverse group of today’s pros, including Leo Baker, Nyjah Huston, Tyshawn Jones, Aori Nishimura, and Shane O’Neill.\u003c/p>\n\u003cp>And there’s a welcome addition in the form of challenges. Money isn’t lying around the map like it did in the originals, instead, you’re tasked to complete a specific goal in exchange for in-game currency that you can spend on cosmetics and clothes for your character. You can also build your own skate parks and share them with other players over the internet, which was a feature introduced in 2015’s \u003cem>Pro Skater 5\u003c/em>—I’m really excited to see artistically-minded players take that feature and run with it.\u003c/p>\n\u003cp>\u003cem>Tony Hawk’s Pro Skater 1+2\u003c/em> strikes an amazing balance between old and new content. This isn’t just a high-def clone of a beloved old game—I feel like I’m playing the same game from my childhood, with all the warm fuzzies of nostalgia \u003cem>and\u003c/em> all the best parts of the later games. I don’t think the old games ever fully lost their magic, but the remake makes them really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remastered+%27Tony+Hawk%27+Games+Land+A+High-Scoring+Trick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite maps in \u003cem>Tony Hawk’s Pro Skater 2\u003c/em> is Venice Beach.\u003c/p>\n\u003cp>When I was a kid, I would skate around the prettiest parts of the map, near the sand, hopping up onto a low wall and grinding across it, sticking the landing and zooming off to ride up a halfpipe. There were a lot of crashing waves, seagulls, and Papa Roach playing in the background.\u003c/p>\n\u003cp>The release of the original \u003cem>Pro Skater\u003c/em> games brought skateboarding to a wider audience, and I was that wider audience. I could never skate in the real world because I’m a klutz, but I could at least get a feel for how awesome it was by landing cool tricks in Tony Hawk’s digital world. Anytime I saw a kid skateboarding in a parking lot, I immediately thought of him.\u003c/p>\n\u003cp>Those games, released in 1999 and 2000 for the first-generation PlayStation, haven’t aged well. Like other games from that era, the blocky, flatly-colored environment of the original Venice level lacks any true detail or realism—so I haven’t revisited it much.\u003c/p>\n\u003cp>But developer Vicarious Visions and publisher Activision have just released a remastered version that condenses both \u003cem>Pro Skater \u003c/em>\u003cem>1\u003c/em> and \u003cem>2\u003c/em> into a single game with modern graphics, bringing it up to speed for today’s gamers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My old favorite Venice is laid out the same, but everything has a completely new, shinier look. When you skate up to a high area, the palm trees stretch out as far as the eye can see, leading to a huge mountain in the horizon. It’s the same game, but so much better, and it makes exploring the map way more rewarding.\u003c/p>\n\u003cp>For me, the magic of the game is multiplayer, which lets you face off against friends in competitions to see who can land the most complex tricks. But my absolute favorite thing to do with friends is mess around in Free Skate mode, where you can explore the maps and practice without any time limit.\u003c/p>\n\u003cfigure id=\"attachment_13886144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png\" alt=\"Japanese Olympian Aori Nishimura is one of the new playable characters in 'Pro Skater 1+2.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese Olympian Aori Nishimura is one of the new playable characters in ‘Pro Skater 1+2.’ \u003ccite>(Courtesy of Activision)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, I would sit next to my friend in his living room for hours playing Free Skate mode, listen to the amazing soundtrack, and showing off cool jumps, spins, and secret spots around the map. It takes some practice to be good, just like in real life, and that makes it even more satisfying when you finally land an intricate trick after trying dozens of times.\u003c/p>\n\u003cp>Playing multiplayer with my boyfriend, going absolutely nuts when one of us landed a complex combo worth tens of thousands of points, sent me right back to those childhood afternoons.\u003c/p>\n\u003cp>If you played the original games a lot, you’ll feel right at home with the remake. The controls are slightly different because new mechanics have been added from later titles, but if you haven’t touched a \u003cem>Pro Skater\u003c/em> game since 2000, you’ll still be able to play. It took me a little while to get used to the game again, but my boyfriend picked up the controller and got a high score on his first try, as if no time had passed from his glory days years ago.\u003c/p>\n\u003cp>What hasn’t changed are the settings. You’re still skating around places like New York City and Malibu, and empty warehouses and malls. You unlock new maps by achieving different goals—in the originals, players collected things like tapes, floating fire hydrants, and the letters “SKATE”—those things remain the same.\u003c/p>\n\u003cp>Music was a huge part of \u003cem>Pro Skater\u003c/em> for me. It’s where I first heard of a lot of bands I like today: Papa Roach, Rage Against the Machine, and Dead Kennedys. Songs from the original soundtrack are still there, but now alongside 37 new tracks that fully fit into the game, from artists like Machine Gun Kelly, Sublime, and Billy Talent.\u003c/p>\n\u003cp>The developers applied that same philosophy to the lineup of playable pro skaters, keeping the originals while making sure to bring in a diverse group of today’s pros, including Leo Baker, Nyjah Huston, Tyshawn Jones, Aori Nishimura, and Shane O’Neill.\u003c/p>\n\u003cp>And there’s a welcome addition in the form of challenges. Money isn’t lying around the map like it did in the originals, instead, you’re tasked to complete a specific goal in exchange for in-game currency that you can spend on cosmetics and clothes for your character. You can also build your own skate parks and share them with other players over the internet, which was a feature introduced in 2015’s \u003cem>Pro Skater 5\u003c/em>—I’m really excited to see artistically-minded players take that feature and run with it.\u003c/p>\n\u003cp>\u003cem>Tony Hawk’s Pro Skater 1+2\u003c/em> strikes an amazing balance between old and new content. This isn’t just a high-def clone of a beloved old game—I feel like I’m playing the same game from my childhood, with all the warm fuzzies of nostalgia \u003cem>and\u003c/em> all the best parts of the later games. I don’t think the old games ever fully lost their magic, but the remake makes them really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remastered+%27Tony+Hawk%27+Games+Land+A+High-Scoring+Trick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Controversial Movie 'Cuties' Calls Out the Hypersexualization of Young Girls",
"headTitle": "Controversial Movie ‘Cuties’ Calls Out the Hypersexualization of Young Girls | KQED",
"content": "\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. She dove into research, interviewing more than one hundred adolescent girls over the course of a year and a half.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M0O7lLe4SmA\u003c/p>\n\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. She dove into research, interviewing more than one hundred adolescent girls over the course of a year and a half.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\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/M0O7lLe4SmA'\n title='//www.youtube.com/embed/M0O7lLe4SmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\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/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Feels Good Man' Traces Pepe the Frog From Hate Symbol to Democracy Icon",
"headTitle": "‘Feels Good Man’ Traces Pepe the Frog From Hate Symbol to Democracy Icon | KQED",
"content": "\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZEiqZWw5vYs\u003c/p>\n\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\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/ZEiqZWw5vYs'\n title='//www.youtube.com/embed/ZEiqZWw5vYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\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 it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dictionary.com Just (Re)defined Thousands of Words About Identity",
"headTitle": "Dictionary.com Just (Re)defined Thousands of Words About Identity | KQED",
"content": "\u003cp>Anyone grasping for the right word or phrase to describe life in 2020 now has a larger lexicon to work with.\u003c/p>\n\u003cp>Dictionary.com has updated thousands of entries and added hundreds of words in its largest release to date, a reflection of the ways in which society and language have evolved even in just the past few months.\u003c/p>\n\u003cp>The digital dictionary \u003ca href=\"https://www.prnewswire.com/news-releases/dictionarycom-issues-its-largest-release-with-more-than-15k-updates-301120251.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> earlier this week that it updated more than 15,000 entries and added 650 brand new terms. Many of the revisions deal with language related to identity and topics like race and ethnicity, gender and sexuality and health and wellness.\u003c/p>\n\u003cp>“The work of a dictionary is more than just adding new words. It’s an ongoing effort to ensure that how we define words reflects changes in language—and life,” said John Kelly, senior editor at Dictionary.com. “Our revisions are putting people, in all their rich humanity, first, and we’re extremely proud of that.”\u003c/p>\n\u003cp>The new additions range from social media slang like “\u003ca href=\"https://www.dictionary.com/browse/goat\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT\u003c/a>” and “\u003ca href=\"https://www.dictionary.com/browse/janky\" target=\"_blank\" rel=\"noopener noreferrer\">janky\u003c/a>” to cultural touchstones like “\u003ca href=\"https://www.dictionary.com/browse/maga\" target=\"_blank\" rel=\"noopener noreferrer\">MAGA\u003c/a>” and “\u003ca href=\"https://www.dictionary.com/browse/me-too\" target=\"_blank\" rel=\"noopener noreferrer\">MeToo\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the major site-wide changes to existing entries have to do with race and ethnicity, like capitalizing the word “Black” in reference to people, which the company says it is doing “as a mark of respect and recognition that’s in line with capitalizing other cultures and ethnicities.”\u003c/p>\n\u003cp>Examples of entirely new terms in this category include \u003ca href=\"https://www.dictionary.com/browse/afro-latino?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">Afro-Latino\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/brownface?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">brownface\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/filipinx?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">Filipinx\u003c/a> and \u003ca href=\"https://www.dictionary.com/browse/whitesplain\" target=\"_blank\" rel=\"noopener noreferrer\">whitesplain\u003c/a>.\u003c/p>\n\u003cp>Another dictionary-wide change replaces references to “homosexual” with “gay, gay man or gay woman,” and references to “homosexuality” with “gay sexual orientation.” The company said these updates were informed by recommendations from the organization \u003ca href=\"https://www.glaad.org/\" target=\"_blank\" rel=\"noopener noreferrer\">GLAAD\u003c/a>, and affect more than 50 entries.\u003c/p>\n\u003cp>It has also refined the definitions for a number of other words related to LGBTQ identity, such as \u003ca href=\"https://www.dictionary.com/browse/asexual?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">asexual\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/deadname?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">deadname\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/pride?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> and \u003ca href=\"https://www.dictionary.com/browse/themself?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">themself\u003c/a>.\u003c/p>\n\u003cp>The site has updated the language it uses to describe suicide and addiction, in an effort to help destigmatize them. For example, it replaced all instances of “commit suicide” with “die by suicide” or “end one’s life,” language that mental health professionals and suicide prevention specialists prefer.\u003c/p>\n\u003cp>It also updated the entry for “addict” to begin with “a person addicted to” or “a habitual user of,” and made similar tweaks to the definition of “alcoholic.”\u003c/p>\n\u003cp>“These changes foreground the fact that people who have addictions are human beings, first and foremost,” it explained in a press release.\u003c/p>\n\u003cp>In another sign of the times, the dictionary has introduced a slew of new phrases related to the environment and technology, including \u003ca href=\"https://www.dictionary.com/browse/ecoanxiety\" target=\"_blank\" rel=\"noopener noreferrer\">ecoanxiety\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/bombogenesis\" target=\"_blank\" rel=\"noopener noreferrer\">bombogenesis\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/cap-and-trade\" target=\"_blank\" rel=\"noopener noreferrer\">cap and trade\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/natural-language-processing\" target=\"_blank\" rel=\"noopener noreferrer\">natural language processing\u003c/a> and \u003ca href=\"https://www.dictionary.com/browse/techlash\" target=\"_blank\" rel=\"noopener noreferrer\">techlash\u003c/a>.\u003c/p>\n\u003cp>It’s also defined and articulated the differences between emotional support animals, assistance animals and other similar designations.\u003c/p>\n\u003cp>And of course, there are buzzy new additions drawn largely from popular and internet culture. Some roll off the tongue: \u003ca href=\"https://www.dictionary.com/browse/zhuzh\" target=\"_blank\" rel=\"noopener noreferrer\">zhuzh\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/ish\" target=\"_blank\" rel=\"noopener noreferrer\">ish\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/jabroni\" target=\"_blank\" rel=\"noopener noreferrer\">jabroni\u003c/a>. Others describe familiar phenomena: \u003ca href=\"https://www.dictionary.com/browse/gender-reveal\" target=\"_blank\" rel=\"noopener noreferrer\">gender reveal\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/information-bubble\" target=\"_blank\" rel=\"noopener noreferrer\">information bubble\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/nothingburger\" target=\"_blank\" rel=\"noopener noreferrer\">nothingburger\u003c/a>.\u003c/p>\n\u003cp>The company says many of the additions this fall build off of terms that gained traction this spring and summer.\u003c/p>\n\u003cp>The coronavirus pandemic brought viral load and social distance to the site in April, while nationwide protests against racial injustice and police violence have helped introduce \u003ca href=\"https://www.dictionary.com/e/black-lives-matter-protest-words-search-trends/\" target=\"_blank\" rel=\"noopener noreferrer\">highly-searched\u003c/a> phrases like Antifa and Black Lives Matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Change, no doubt, is a prevailing theme of 2020,” the company acknowledged. “And change is fundamental to the work of a dictionary.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dictionary.com%27s+Largest+Update+%28Re%29defines+Thousands+Of+Words%2C+Focusing+On+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone grasping for the right word or phrase to describe life in 2020 now has a larger lexicon to work with.\u003c/p>\n\u003cp>Dictionary.com has updated thousands of entries and added hundreds of words in its largest release to date, a reflection of the ways in which society and language have evolved even in just the past few months.\u003c/p>\n\u003cp>The digital dictionary \u003ca href=\"https://www.prnewswire.com/news-releases/dictionarycom-issues-its-largest-release-with-more-than-15k-updates-301120251.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> earlier this week that it updated more than 15,000 entries and added 650 brand new terms. Many of the revisions deal with language related to identity and topics like race and ethnicity, gender and sexuality and health and wellness.\u003c/p>\n\u003cp>“The work of a dictionary is more than just adding new words. It’s an ongoing effort to ensure that how we define words reflects changes in language—and life,” said John Kelly, senior editor at Dictionary.com. “Our revisions are putting people, in all their rich humanity, first, and we’re extremely proud of that.”\u003c/p>\n\u003cp>The new additions range from social media slang like “\u003ca href=\"https://www.dictionary.com/browse/goat\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT\u003c/a>” and “\u003ca href=\"https://www.dictionary.com/browse/janky\" target=\"_blank\" rel=\"noopener noreferrer\">janky\u003c/a>” to cultural touchstones like “\u003ca href=\"https://www.dictionary.com/browse/maga\" target=\"_blank\" rel=\"noopener noreferrer\">MAGA\u003c/a>” and “\u003ca href=\"https://www.dictionary.com/browse/me-too\" target=\"_blank\" rel=\"noopener noreferrer\">MeToo\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the major site-wide changes to existing entries have to do with race and ethnicity, like capitalizing the word “Black” in reference to people, which the company says it is doing “as a mark of respect and recognition that’s in line with capitalizing other cultures and ethnicities.”\u003c/p>\n\u003cp>Examples of entirely new terms in this category include \u003ca href=\"https://www.dictionary.com/browse/afro-latino?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">Afro-Latino\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/brownface?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">brownface\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/filipinx?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">Filipinx\u003c/a> and \u003ca href=\"https://www.dictionary.com/browse/whitesplain\" target=\"_blank\" rel=\"noopener noreferrer\">whitesplain\u003c/a>.\u003c/p>\n\u003cp>Another dictionary-wide change replaces references to “homosexual” with “gay, gay man or gay woman,” and references to “homosexuality” with “gay sexual orientation.” The company said these updates were informed by recommendations from the organization \u003ca href=\"https://www.glaad.org/\" target=\"_blank\" rel=\"noopener noreferrer\">GLAAD\u003c/a>, and affect more than 50 entries.\u003c/p>\n\u003cp>It has also refined the definitions for a number of other words related to LGBTQ identity, such as \u003ca href=\"https://www.dictionary.com/browse/asexual?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">asexual\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/deadname?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">deadname\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/pride?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> and \u003ca href=\"https://www.dictionary.com/browse/themself?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">themself\u003c/a>.\u003c/p>\n\u003cp>The site has updated the language it uses to describe suicide and addiction, in an effort to help destigmatize them. For example, it replaced all instances of “commit suicide” with “die by suicide” or “end one’s life,” language that mental health professionals and suicide prevention specialists prefer.\u003c/p>\n\u003cp>It also updated the entry for “addict” to begin with “a person addicted to” or “a habitual user of,” and made similar tweaks to the definition of “alcoholic.”\u003c/p>\n\u003cp>“These changes foreground the fact that people who have addictions are human beings, first and foremost,” it explained in a press release.\u003c/p>\n\u003cp>In another sign of the times, the dictionary has introduced a slew of new phrases related to the environment and technology, including \u003ca href=\"https://www.dictionary.com/browse/ecoanxiety\" target=\"_blank\" rel=\"noopener noreferrer\">ecoanxiety\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/bombogenesis\" target=\"_blank\" rel=\"noopener noreferrer\">bombogenesis\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/cap-and-trade\" target=\"_blank\" rel=\"noopener noreferrer\">cap and trade\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/natural-language-processing\" target=\"_blank\" rel=\"noopener noreferrer\">natural language processing\u003c/a> and \u003ca href=\"https://www.dictionary.com/browse/techlash\" target=\"_blank\" rel=\"noopener noreferrer\">techlash\u003c/a>.\u003c/p>\n\u003cp>It’s also defined and articulated the differences between emotional support animals, assistance animals and other similar designations.\u003c/p>\n\u003cp>And of course, there are buzzy new additions drawn largely from popular and internet culture. Some roll off the tongue: \u003ca href=\"https://www.dictionary.com/browse/zhuzh\" target=\"_blank\" rel=\"noopener noreferrer\">zhuzh\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/ish\" target=\"_blank\" rel=\"noopener noreferrer\">ish\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/jabroni\" target=\"_blank\" rel=\"noopener noreferrer\">jabroni\u003c/a>. Others describe familiar phenomena: \u003ca href=\"https://www.dictionary.com/browse/gender-reveal\" target=\"_blank\" rel=\"noopener noreferrer\">gender reveal\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/information-bubble\" target=\"_blank\" rel=\"noopener noreferrer\">information bubble\u003c/a>, \u003ca href=\"https://www.dictionary.com/browse/nothingburger\" target=\"_blank\" rel=\"noopener noreferrer\">nothingburger\u003c/a>.\u003c/p>\n\u003cp>The company says many of the additions this fall build off of terms that gained traction this spring and summer.\u003c/p>\n\u003cp>The coronavirus pandemic brought viral load and social distance to the site in April, while nationwide protests against racial injustice and police violence have helped introduce \u003ca href=\"https://www.dictionary.com/e/black-lives-matter-protest-words-search-trends/\" target=\"_blank\" rel=\"noopener noreferrer\">highly-searched\u003c/a> phrases like Antifa and Black Lives Matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Change, no doubt, is a prevailing theme of 2020,” the company acknowledged. “And change is fundamental to the work of a dictionary.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dictionary.com%27s+Largest+Update+%28Re%29defines+Thousands+Of+Words%2C+Focusing+On+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'America's Got Talent' Winners, V Unbeatable, Are Struggling in Lockdown",
"headTitle": "‘America’s Got Talent’ Winners, V Unbeatable, Are Struggling in Lockdown | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>V Unbeatable is a Mumbai-based acrobatic dance troupe whose members range in age from 12 to 28 and come from the city’s slums. \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/18/834284156/dancing-their-way-from-the-slums-of-mumbai-to-america-s-got-talent-trophy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>NPR wrote about them\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> after they won \u003c/em>\u003c/strong>\u003cstrong>America’s Got Talent: The Champions\u003c/strong>\u003cstrong>\u003cem> this February. They’d hoped the win would help improve the financial situation of their families and open doors to new opportunities. But the pandemic was declared just weeks after their triumphant return home. So what are they doing now?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The dancers were basking in the glory of their spectacular victory when India went under a strict coronavirus lockdown in late March. Daily rehearsals—where all two dozen would gather to practice acrobatic moves together—were suspended. The shows where they were scheduled to perform were canceled, so their source of income dried up. They couldn’t even celebrate properly, says the group’s 28-year-old choreographer Swapnil Bhoir.\u003c/p>\n\u003cp>“What was supposed to be the best time of our lives became the toughest time of our lives,” says Bhoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9aES5hKpoYo\u003c/p>\n\u003cp>India is recording around 80,000 fresh COVID-19 infections daily—the highest single-day tally in the world. Its total caseload of about 4 million cases is the third highest in the world behind the U.S. and Brazil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mumbai, India’s financial capital and the dancers’ hometown, has been hit particularly hard. The virus spread quickly through the city’s slums, where physical distancing is next to impossible and sanitation is scarce. Mumbai has \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/mybmc/status/1301181868566614016__;!!Iwwt!Gfoo5DbTYCjQ41sv_Aj9ghPK2T8MPPS576P_UWYXkaplPe1iUrwJ-zNhNyYP%24\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> nearly 150,000 confirmed COVID-19 cases and more than 7000 deaths as of 2 September.\u003c/p>\n\u003cp>Most of the dancers and their families have been confined to their cramped, mostly one-room homes in the slums of northern Mumbai. No one from the team has tested positive yet, says Bhoir.\u003c/p>\n\u003cp>The nationwide lockdown has now been partially eased but large gatherings are still banned and the dancers are not able to practice the human pyramids and group gymnastics that had wowed fans around the world. Suburban trains in Mumbai are also only running for essential workers so the dancers can’t travel for rehearsals.\u003c/p>\n\u003cp>Bhoir has spent the last few months fielding anxious calls from his younger teammates. “They keep asking me, when will things go back to normal? When can we start dancing again?” says Bhoir.\u003c/p>\n\u003cp>To keep them engaged, Bhoir and other senior members of the team have been giving the dancers weekly quizzes about the history of hip-hop. Some of them have been making and uploading \u003ca href=\"https://www.instagram.com/p/CBqSZDPAXmC/?igshid=1kim21e8uckg5\" target=\"_blank\" rel=\"noopener noreferrer\">short dance videos\u003c/a> on social media. It keeps them busy, says Bhoir, and hopefully away from negative thoughts.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBqSZDPAXmC/\u003c/p>\n\u003cp>Meanwhile, there’s plenty of reason for the dancers to worry. When India went under lockdown and shut down its economy, tens of millions of people lost their jobs. Poor day laborers—including many of the dancers’ parents—were hit the hardest.\u003c/p>\n\u003cp>“My father is a tailor and my mother sells snacks outside the railway station but because of the lockdown both of them have lost their jobs,” 17-year-old dancer Nikhil Patlekar says in a \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/v_unbeatable/status/1267122156233580551__;!!Iwwt!EvUmLdnGQH-iJnfxMFsPcJenPKkDKjpKK1EkJ1YGwAknE-X7dQaRoqMTO4zm%24\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> posted by the group in May. “My family’s situation is very bad.”\u003c/p>\n\u003cp>“My nights are sleepless, I cry. I’m scared that all our hard work over the years might go down the drain,” the group’s 28-year-old co-founder Om Prakash Chauhan says in the video.\u003c/p>\n\u003cp>One of the dancers, 18-year-old Suraj Soni, is selling vegetables on the streets of Mumbai to make ends meet. Others have moved back to their villages with their families.\u003c/p>\n\u003cp>“Even after becoming an international artist, there’s been no progress. It’s back to square one,” laments Bhoir.\u003c/p>\n\u003cp>V Unbeatable is no stranger to adversity. In 2015, one of their co-founders, Vikas Gupta, suffered a fatal accident while practicing a stunt. The dancers were devastated but refused to give up. They pay homage to Gupta whenever they perform. Their costumes have “Vikas” written on the back.\u003c/p>\n\u003cp>The group bounced back after that tragedy, and Bhoir is confident they’ll bounce back after this one too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You may win or achieve something great but that doesn’t mean your life is set,” says Bhoir. “Sometimes you have to start from zero again, and we’re prepared to do that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+V+Unbeatable%2C+Mumbai+Dancers+Who+Won+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>V Unbeatable is a Mumbai-based acrobatic dance troupe whose members range in age from 12 to 28 and come from the city’s slums. \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/18/834284156/dancing-their-way-from-the-slums-of-mumbai-to-america-s-got-talent-trophy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>NPR wrote about them\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> after they won \u003c/em>\u003c/strong>\u003cstrong>America’s Got Talent: The Champions\u003c/strong>\u003cstrong>\u003cem> this February. They’d hoped the win would help improve the financial situation of their families and open doors to new opportunities. But the pandemic was declared just weeks after their triumphant return home. So what are they doing now?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The dancers were basking in the glory of their spectacular victory when India went under a strict coronavirus lockdown in late March. Daily rehearsals—where all two dozen would gather to practice acrobatic moves together—were suspended. The shows where they were scheduled to perform were canceled, so their source of income dried up. They couldn’t even celebrate properly, says the group’s 28-year-old choreographer Swapnil Bhoir.\u003c/p>\n\u003cp>“What was supposed to be the best time of our lives became the toughest time of our lives,” says Bhoir.\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/9aES5hKpoYo'\n title='//www.youtube.com/embed/9aES5hKpoYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>India is recording around 80,000 fresh COVID-19 infections daily—the highest single-day tally in the world. Its total caseload of about 4 million cases is the third highest in the world behind the U.S. and Brazil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mumbai, India’s financial capital and the dancers’ hometown, has been hit particularly hard. The virus spread quickly through the city’s slums, where physical distancing is next to impossible and sanitation is scarce. Mumbai has \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/mybmc/status/1301181868566614016__;!!Iwwt!Gfoo5DbTYCjQ41sv_Aj9ghPK2T8MPPS576P_UWYXkaplPe1iUrwJ-zNhNyYP%24\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> nearly 150,000 confirmed COVID-19 cases and more than 7000 deaths as of 2 September.\u003c/p>\n\u003cp>Most of the dancers and their families have been confined to their cramped, mostly one-room homes in the slums of northern Mumbai. No one from the team has tested positive yet, says Bhoir.\u003c/p>\n\u003cp>The nationwide lockdown has now been partially eased but large gatherings are still banned and the dancers are not able to practice the human pyramids and group gymnastics that had wowed fans around the world. Suburban trains in Mumbai are also only running for essential workers so the dancers can’t travel for rehearsals.\u003c/p>\n\u003cp>Bhoir has spent the last few months fielding anxious calls from his younger teammates. “They keep asking me, when will things go back to normal? When can we start dancing again?” says Bhoir.\u003c/p>\n\u003cp>To keep them engaged, Bhoir and other senior members of the team have been giving the dancers weekly quizzes about the history of hip-hop. Some of them have been making and uploading \u003ca href=\"https://www.instagram.com/p/CBqSZDPAXmC/?igshid=1kim21e8uckg5\" target=\"_blank\" rel=\"noopener noreferrer\">short dance videos\u003c/a> on social media. It keeps them busy, says Bhoir, and hopefully away from negative thoughts.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meanwhile, there’s plenty of reason for the dancers to worry. When India went under lockdown and shut down its economy, tens of millions of people lost their jobs. Poor day laborers—including many of the dancers’ parents—were hit the hardest.\u003c/p>\n\u003cp>“My father is a tailor and my mother sells snacks outside the railway station but because of the lockdown both of them have lost their jobs,” 17-year-old dancer Nikhil Patlekar says in a \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/v_unbeatable/status/1267122156233580551__;!!Iwwt!EvUmLdnGQH-iJnfxMFsPcJenPKkDKjpKK1EkJ1YGwAknE-X7dQaRoqMTO4zm%24\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> posted by the group in May. “My family’s situation is very bad.”\u003c/p>\n\u003cp>“My nights are sleepless, I cry. I’m scared that all our hard work over the years might go down the drain,” the group’s 28-year-old co-founder Om Prakash Chauhan says in the video.\u003c/p>\n\u003cp>One of the dancers, 18-year-old Suraj Soni, is selling vegetables on the streets of Mumbai to make ends meet. Others have moved back to their villages with their families.\u003c/p>\n\u003cp>“Even after becoming an international artist, there’s been no progress. It’s back to square one,” laments Bhoir.\u003c/p>\n\u003cp>V Unbeatable is no stranger to adversity. In 2015, one of their co-founders, Vikas Gupta, suffered a fatal accident while practicing a stunt. The dancers were devastated but refused to give up. They pay homage to Gupta whenever they perform. Their costumes have “Vikas” written on the back.\u003c/p>\n\u003cp>The group bounced back after that tragedy, and Bhoir is confident they’ll bounce back after this one too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You may win or achieve something great but that doesn’t mean your life is set,” says Bhoir. “Sometimes you have to start from zero again, and we’re prepared to do that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+V+Unbeatable%2C+Mumbai+Dancers+Who+Won+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Burning Man—the dazzling, days-long, annual arts and lovefest drawing 70,000 to the dusty Nevada desert—was cancelled this year. But organizers are trying to capture the quintessential, communal arts experience online.\u003c/p>\n\u003cp>For this year’s theme, \u003ca href=\"https://kindling.burningman.org/multiverse/\" target=\"_blank\" rel=\"noopener noreferrer\">Multiverse\u003c/a>, teams have created 2D and 3D virtual experiences. The program runs Aug. 30-Sept. 6.\u003c/p>\n\u003cp>The chaos and creativity of Burning Man usually involves thousands of artists and volunteers trekking to the vast, windy, barren desert to build enormous, eye-popping, often whimsical sculptures. This year, you can turn on your webcam or virtual-reality headset to attend an art class or DJ dance party—or even join a virtual \u003ca href=\"https://kindling.burningman.org/events/gratitude-circle-group-hug-with-halcyon/\" target=\"_blank\" rel=\"noopener noreferrer\">group hug\u003c/a>.\u003c/p>\n\u003cp>In the desert, the Burning Man Temple is typically a place spacious enough for people to walk into and reflect, grieve or leave an offering. This year, you can \u003cem>sort of\u003c/em> do that at the \u003ca href=\"https://kindling.burningman.org/multiverse/temple/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereal Empyrean Experience\u003c/a> with a mobile device, desktop, or VR headset.\u003c/p>\n\u003cp>Ed Cooke, one of the creators of \u003ca href=\"https://sparklever.se/\" target=\"_blank\" rel=\"noopener noreferrer\">SparkleVerse\u003c/a>, says that to recreate the desert experience, burners—as attendees are called—have set up tents in their living rooms and dressed up in costumes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Getting up and dancing in front of your screen, bothering to put on a costume, jumping around, these things are extraordinarily powerful in terms of taking you into new realms of experience,” he says. “Radical self-expression” is one of Burning Man’s 10 Principles.\u003c/p>\n\u003cp>Cooke admits that online he doesn’t experience “the sense of awe of the scale of things” he experiences in the desert, but he’s convinced the kind of joyful, communal experience he’s had there in the past can be achieved virtually.\u003c/p>\n\u003cp>Other burners are having none of it. “It’s not the same thing,” says Douglas Wolk, who’s been going to Burning Man for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13885767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-800x450.jpg\" alt=\"BRCvr was created by Athena Demos, Doug Jacobson and Greg Edwards, who are longtime burners.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9.jpg 1464w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BRCvr was created by Athena Demos, Doug Jacobson and Greg Edwards, who are longtime burners. \u003ccite>(Kye Horton/Burning Man)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wolk says he keeps going back to Burning Man because he believes in its principles such as no advertising and immediacy, which organizers describe as seeking “to overcome barriers that stand between us and a recognition of our inner selves, the reality of those around us, participation in society, and contact with a natural world exceeding human powers.”\u003c/p>\n\u003cp>Wolk says, when everyone is off the grid together, the relationships are unlike anything else. “All kinds of people meet in this difficult, sometimes frustrating environment and they’re pretty much all there to help each other,” he says. “It’s really not the same thing to be sitting in front of your computer.”\u003c/p>\n\u003cp>Longtime Burning Man artist Jennifer Lewin has mixed feelings about this year’s virtual festival. While she thinks it’s “a very interesting experiment,” she misses the opportunity to “test the limits” of her large, interactive, public sculptures.\u003c/p>\n\u003cp>With the dust, heat, wind and thousands of people ready to play, “Burning Man is the best place possible for me to go to test interactive sculptures, says Lewin. “If your work can survive Burning Man, it can survive anywhere.”\u003c/p>\n\u003cp>Computer images of Lewin’s work \u003ca href=\"https://journal.burningman.org/2020/03/burning-man-arts/brc-art/2020-honoraria-announcement/attachment/cosmos-by-jen-lewin/\" target=\"_blank\" rel=\"noopener noreferrer\">Cosmos\u003c/a>, now on display in Tokyo, are in the \u003ca href=\"https://www.instagram.com/p/CEpSeE1FlxQ/\" target=\"_blank\" rel=\"noopener noreferrer\">DustyMultiverse\u003c/a> this year. Lewin says, while they are “perfect conceptualizations” of the work, they don’t face any “real world problems.”\u003c/p>\n\u003cp>Burning Man curators know they can’t fully replicate the uniquely communal and physical experience of Black Rock City. Kim Cook, director of creative initiatives at Burning Man Project, says the goal this year is “connection and creativity and sharing experiences.” With some 90 events taking place around the world, she says “the ethos of Burning Man is not restricted to one location.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The culmination of the festival is the burning of the giant sculpture of the Burning Man. This year organizers will stream videos of people doing burns in their backyards, fire dancing, or even just lighting candles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Burning+Man+Goes+Virtual%2C+Organizers+Try+To+Capture+The+Communal+Aspect&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Getting up and dancing in front of your screen, bothering to put on a costume, jumping around, these things are extraordinarily powerful in terms of taking you into new realms of experience,” he says. “Radical self-expression” is one of Burning Man’s 10 Principles.\u003c/p>\n\u003cp>Cooke admits that online he doesn’t experience “the sense of awe of the scale of things” he experiences in the desert, but he’s convinced the kind of joyful, communal experience he’s had there in the past can be achieved virtually.\u003c/p>\n\u003cp>Other burners are having none of it. “It’s not the same thing,” says Douglas Wolk, who’s been going to Burning Man for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13885767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-800x450.jpg\" alt=\"BRCvr was created by Athena Demos, Doug Jacobson and Greg Edwards, who are longtime burners.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/brcvr-playa-wide-shot_wide-0e86c5bb1e765ac633d607e8deda837d7da879d9.jpg 1464w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BRCvr was created by Athena Demos, Doug Jacobson and Greg Edwards, who are longtime burners. \u003ccite>(Kye Horton/Burning Man)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wolk says he keeps going back to Burning Man because he believes in its principles such as no advertising and immediacy, which organizers describe as seeking “to overcome barriers that stand between us and a recognition of our inner selves, the reality of those around us, participation in society, and contact with a natural world exceeding human powers.”\u003c/p>\n\u003cp>Wolk says, when everyone is off the grid together, the relationships are unlike anything else. “All kinds of people meet in this difficult, sometimes frustrating environment and they’re pretty much all there to help each other,” he says. “It’s really not the same thing to be sitting in front of your computer.”\u003c/p>\n\u003cp>Longtime Burning Man artist Jennifer Lewin has mixed feelings about this year’s virtual festival. While she thinks it’s “a very interesting experiment,” she misses the opportunity to “test the limits” of her large, interactive, public sculptures.\u003c/p>\n\u003cp>With the dust, heat, wind and thousands of people ready to play, “Burning Man is the best place possible for me to go to test interactive sculptures, says Lewin. “If your work can survive Burning Man, it can survive anywhere.”\u003c/p>\n\u003cp>Computer images of Lewin’s work \u003ca href=\"https://journal.burningman.org/2020/03/burning-man-arts/brc-art/2020-honoraria-announcement/attachment/cosmos-by-jen-lewin/\" target=\"_blank\" rel=\"noopener noreferrer\">Cosmos\u003c/a>, now on display in Tokyo, are in the \u003ca href=\"https://www.instagram.com/p/CEpSeE1FlxQ/\" target=\"_blank\" rel=\"noopener noreferrer\">DustyMultiverse\u003c/a> this year. Lewin says, while they are “perfect conceptualizations” of the work, they don’t face any “real world problems.”\u003c/p>\n\u003cp>Burning Man curators know they can’t fully replicate the uniquely communal and physical experience of Black Rock City. Kim Cook, director of creative initiatives at Burning Man Project, says the goal this year is “connection and creativity and sharing experiences.” With some 90 events taking place around the world, she says “the ethos of Burning Man is not restricted to one location.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The culmination of the festival is the burning of the giant sculpture of the Burning Man. This year organizers will stream videos of people doing burns in their backyards, fire dancing, or even just lighting candles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Burning+Man+Goes+Virtual%2C+Organizers+Try+To+Capture+The+Communal+Aspect&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The MTV VMAs In 2020: 10 Takeaways",
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"content": "\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\u003c/p>\n\u003cp>https://youtu.be/5D4vjndnB0w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\u003c/p>\n\u003cp>https://youtu.be/WUQXgU-R_wM\u003c/p>\n\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\u003c/p>\n\u003cp>https://youtu.be/zJCdkOpU90g\u003c/p>\n\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. [aside postid='arts_13885461']\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\u003c/p>\n\u003cp>https://youtu.be/4OJEeR8Aj4o\u003c/p>\n\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\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/5D4vjndnB0w'\n title='//www.youtube.com/embed/5D4vjndnB0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\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/WUQXgU-R_wM'\n title='//www.youtube.com/embed/WUQXgU-R_wM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\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/zJCdkOpU90g'\n title='//www.youtube.com/embed/zJCdkOpU90g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\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/4OJEeR8Aj4o'\n title='//www.youtube.com/embed/4OJEeR8Aj4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mqg48h_uKYM\u003c/p>\n\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\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/mqg48h_uKYM'\n title='//www.youtube.com/embed/mqg48h_uKYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Tired Of The Killings': Pro Athletes Refuse To Play To Protest Racial Injustice",
"headTitle": "‘Tired Of The Killings’: Pro Athletes Refuse To Play To Protest Racial Injustice | KQED",
"content": "\u003cp>Professional sports teams in several leagues have taken their most dramatic steps yet in an effort to raise awareness about social justice issues.\u003c/p>\n\u003cp>On Wednesday, the NBA’s Milwaukee Bucks decided not to play their playoff game against the Orlando Magic to protest Sunday’s police shooting of Jacob Blake, a Black man in Wisconsin. Following the Bucks’ decision, the NBA announced all three playoff games scheduled for Wednesday were postponed.\u003c/p>\n\u003cp>According to the league, those three games, including the Houston Rockets vs. Oklahoma City Thunder and Los Angeles Lakers vs. Portland Trailblazers, will be rescheduled.\u003c/p>\n\u003cp>After the NBA’s announcement, the dominoes started to fall.\u003c/p>\n\u003cp>In Major League Baseball, three games were postponed. Another Wisconsin team led the way—the Milwaukee Brewers called off their home game against the Cincinnati Reds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We need to pause and reflect on the events that are causing such pain and hardship to our local community and country,” the Brewers said in a \u003ca href=\"https://twitter.com/Brewers/status/1298782231717195776/photo/1\">statement\u003c/a>. “The entire organization is committed to putting the spotlight on racial injustice, inequality, and the necessity for change.”\u003c/p>\n\u003cp>The Seattle Mariners, a team reportedly with the \u003ca href=\"https://twitter.com/JeffPassan/status/1298744234644828161\">most black players\u003c/a> in the majors, decided not to play San Diego on Wednesday, saying the team stands “with our players as they speak out with their words and actions against social injustice.”\u003c/p>\n\u003cp>The Los Angeles Dodgers and San Francisco Giants also postponed their game.\u003c/p>\n\u003cp>The WNBA postponed its three-game schedule Wednesday night. Major League Soccer called off five games.\u003c/p>\n\u003cp>\u003cstrong>Tired and demanding change \u003c/strong>\u003c/p>\n\u003cp>It all started with the Bucks. The top team in the Eastern Conference was scheduled to play Orlando in Game 5 of their first-round playoff series. The Bucks lead 3-1. Orlando took the court to warm up, but the Bucks didn’t. Soon it became apparent the Milwaukee players weren’t going to come out. The basketballs were put away. The referees left the court.\u003c/p>\n\u003cp>Guard George Hill told Marc Spears of ESPN’s The Undefeated, the Bucks weren’t playing in light of the shooting of Jacob Blake on Sunday. Blake survived, but his family says he was paralyzed after being repeatedly shot in the back while trying to climb into the driver’s side of a vehicle.\u003c/p>\n\u003cp>“We’re tired of the killings and the injustice,” Hill said.\u003c/p>\n\u003cp>The NBA’s most prominent player, LeBron James, was scheduled to play Wednesday with his Los Angeles Lakers hoping to clinch their first-round series against Portland.\u003c/p>\n\u003cp>James, with 47 million Twitter followers, spoke for many athletes when he tweeted an expletive, and then this: “WE DEMAND CHANGE. SICK OF IT.”\u003c/p>\n\u003cp>The day after Blake was shot by police, the Bucks’ Hill echoed another growing sentiment felt by some players—frustration about living in the NBA’s pandemic-protected environment, referred to as the bubble, near Orlando, Fla. [aside postid='arts_13885235']\u003c/p>\n\u003cp>“We can’t do anything,” Hill said in an interview. “First of all, we shouldn’t even came to this damn place, to be honest. I think coming here just took all the focal points off of what the issues are.”\u003c/p>\n\u003cp>That was a concern of some players before they arrived in Florida in early July. Those who’d taken part in nationwide demonstrations against police violence and social inequality following the death of George Floyd, or who’d spoken out on those issues, felt the strength of their messages might be lost as games started and connections to the outside world shrank.\u003c/p>\n\u003cp>In the aftermath of Blake’s shooting, the frustration grew.\u003c/p>\n\u003cp>The bubble has been filled with reminders of social injustice—Black Lives Matter is written on the basketball courts. Most players and coaches are kneeling in protest during the playing of the national anthem and are wearing jerseys and shirts with messages like I Am A Man, Education and How Many More?\u003c/p>\n\u003cp>Toronto Raptors guard Norman Powell was one of those questioning these well-intentioned displays.\u003c/p>\n\u003cp>“Taking a knee for the anthem, that’s not getting the job done,” Powell said. “That’s getting washed out. Something has to happen where you’re forcing these people who can make the change to do something.”\u003c/p>\n\u003cp>The Bucks followed their decision with a \u003ca href=\"https://twitter.com/Bucks/status/1298763794986995718\">statement\u003c/a> aimed at forcing that change.\u003c/p>\n\u003cp>Hill and teammate Sterling Brown read it to reporters.\u003c/p>\n\u003cp>“The past four months have shed a light on the ongoing racial injustices facing our African American communities. Citizens around the country have used their voices and platforms to speak out against these wrongdoings. Over the last few days, in our home state of Wisconsin, we’ve seen the horrendous video of Jacob Blake being shot in the back seven times by a police officer in Kenosha and the additional shooting of protesters. Despite the overwhelming plea for change, there has been no action, so our focus today cannot be on basketball. [aside postid='arts_13884294']\u003c/p>\n\u003cp>“When we take the court and represent Milwaukee and Wisconsin, we are expected to play at a high level, give maximum effort and hold each other accountable. We hold each other to that standard, and in this moment we are demanding the same from lawmakers and law enforcement. We are calling for justice for Jacob Blake and demand for the officers to be held accountable. For this to occur, it is imperative for the Wisconsin state legislature to reconvene after months of inaction and take up meaningful measures to address issues of police accountability, brutality and criminal justice reform. We encourage all citizens to educate themselves, take peaceful and responsible action and remember to vote on Nov. 3.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Reportedly, the NBA Board of Governors is scheduled to meet Thursday morning to discuss next steps inside the bubble. There was talk the league may cancel the rest of the season. But according to Chris Haynes, a senior NBA Insider for Yahoo Sports, “a sizable amount of players [are] advocating to finish the season out since sacrifices were made to enter the bubble, believing the NBA platform is a useful resource in this social climate.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tired+Of+The+Killings%27%3A+Pro+Athletes+Refuse+To+Play+To+Protest+Racial+Injustice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Professional sports teams in several leagues have taken their most dramatic steps yet in an effort to raise awareness about social justice issues.\u003c/p>\n\u003cp>On Wednesday, the NBA’s Milwaukee Bucks decided not to play their playoff game against the Orlando Magic to protest Sunday’s police shooting of Jacob Blake, a Black man in Wisconsin. Following the Bucks’ decision, the NBA announced all three playoff games scheduled for Wednesday were postponed.\u003c/p>\n\u003cp>According to the league, those three games, including the Houston Rockets vs. Oklahoma City Thunder and Los Angeles Lakers vs. Portland Trailblazers, will be rescheduled.\u003c/p>\n\u003cp>After the NBA’s announcement, the dominoes started to fall.\u003c/p>\n\u003cp>In Major League Baseball, three games were postponed. Another Wisconsin team led the way—the Milwaukee Brewers called off their home game against the Cincinnati Reds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We need to pause and reflect on the events that are causing such pain and hardship to our local community and country,” the Brewers said in a \u003ca href=\"https://twitter.com/Brewers/status/1298782231717195776/photo/1\">statement\u003c/a>. “The entire organization is committed to putting the spotlight on racial injustice, inequality, and the necessity for change.”\u003c/p>\n\u003cp>The Seattle Mariners, a team reportedly with the \u003ca href=\"https://twitter.com/JeffPassan/status/1298744234644828161\">most black players\u003c/a> in the majors, decided not to play San Diego on Wednesday, saying the team stands “with our players as they speak out with their words and actions against social injustice.”\u003c/p>\n\u003cp>The Los Angeles Dodgers and San Francisco Giants also postponed their game.\u003c/p>\n\u003cp>The WNBA postponed its three-game schedule Wednesday night. Major League Soccer called off five games.\u003c/p>\n\u003cp>\u003cstrong>Tired and demanding change \u003c/strong>\u003c/p>\n\u003cp>It all started with the Bucks. The top team in the Eastern Conference was scheduled to play Orlando in Game 5 of their first-round playoff series. The Bucks lead 3-1. Orlando took the court to warm up, but the Bucks didn’t. Soon it became apparent the Milwaukee players weren’t going to come out. The basketballs were put away. The referees left the court.\u003c/p>\n\u003cp>Guard George Hill told Marc Spears of ESPN’s The Undefeated, the Bucks weren’t playing in light of the shooting of Jacob Blake on Sunday. Blake survived, but his family says he was paralyzed after being repeatedly shot in the back while trying to climb into the driver’s side of a vehicle.\u003c/p>\n\u003cp>“We’re tired of the killings and the injustice,” Hill said.\u003c/p>\n\u003cp>The NBA’s most prominent player, LeBron James, was scheduled to play Wednesday with his Los Angeles Lakers hoping to clinch their first-round series against Portland.\u003c/p>\n\u003cp>James, with 47 million Twitter followers, spoke for many athletes when he tweeted an expletive, and then this: “WE DEMAND CHANGE. SICK OF IT.”\u003c/p>\n\u003cp>The day after Blake was shot by police, the Bucks’ Hill echoed another growing sentiment felt by some players—frustration about living in the NBA’s pandemic-protected environment, referred to as the bubble, near Orlando, Fla. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can’t do anything,” Hill said in an interview. “First of all, we shouldn’t even came to this damn place, to be honest. I think coming here just took all the focal points off of what the issues are.”\u003c/p>\n\u003cp>That was a concern of some players before they arrived in Florida in early July. Those who’d taken part in nationwide demonstrations against police violence and social inequality following the death of George Floyd, or who’d spoken out on those issues, felt the strength of their messages might be lost as games started and connections to the outside world shrank.\u003c/p>\n\u003cp>In the aftermath of Blake’s shooting, the frustration grew.\u003c/p>\n\u003cp>The bubble has been filled with reminders of social injustice—Black Lives Matter is written on the basketball courts. Most players and coaches are kneeling in protest during the playing of the national anthem and are wearing jerseys and shirts with messages like I Am A Man, Education and How Many More?\u003c/p>\n\u003cp>Toronto Raptors guard Norman Powell was one of those questioning these well-intentioned displays.\u003c/p>\n\u003cp>“Taking a knee for the anthem, that’s not getting the job done,” Powell said. “That’s getting washed out. Something has to happen where you’re forcing these people who can make the change to do something.”\u003c/p>\n\u003cp>The Bucks followed their decision with a \u003ca href=\"https://twitter.com/Bucks/status/1298763794986995718\">statement\u003c/a> aimed at forcing that change.\u003c/p>\n\u003cp>Hill and teammate Sterling Brown read it to reporters.\u003c/p>\n\u003cp>“The past four months have shed a light on the ongoing racial injustices facing our African American communities. Citizens around the country have used their voices and platforms to speak out against these wrongdoings. Over the last few days, in our home state of Wisconsin, we’ve seen the horrendous video of Jacob Blake being shot in the back seven times by a police officer in Kenosha and the additional shooting of protesters. Despite the overwhelming plea for change, there has been no action, so our focus today cannot be on basketball. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reportedly, the NBA Board of Governors is scheduled to meet Thursday morning to discuss next steps inside the bubble. There was talk the league may cancel the rest of the season. But according to Chris Haynes, a senior NBA Insider for Yahoo Sports, “a sizable amount of players [are] advocating to finish the season out since sacrifices were made to enter the bubble, believing the NBA platform is a useful resource in this social climate.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tired+Of+The+Killings%27%3A+Pro+Athletes+Refuse+To+Play+To+Protest+Racial+Injustice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In recent years, the image of the American suffragist has been evoked by women in Congress wearing white.\u003c/p>\n\u003cp>But the 100th anniversary of the passage of the 19th Amendment has been an opportunity for some to take a closer look at the stories of the women of the movement—the ones we think we already know, and the ones that have been lost to history.\u003c/p>\n\u003cp>\u003cem>Finish the Fight!: The Brave and Revolutionary Women Who Fought for the Right to Vote\u003c/em> is a picture book by Veronica Chambers and the staff of \u003cem>The New York Times\u003c/em>—and it paints a very different picture of the various women who fought for the right to vote.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the idea for the book\u003c/strong>\u003c/p>\n\u003cp>Well, about a year ago we knew the anniversary of suffrage was coming up and we started asking: What did we know about suffrage? And we kept coming up with the same old names. But we knew that there was a lot that we didn’t know. And once we dove into it, it was really exciting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On one of those names—Frances Ellen Watkins Harper \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885386 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png\" alt=\"\" width=\"280\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM-160x191.png 160w\" sizes=\"(max-width: 280px) 100vw, 280px\">I think that someone like Frances Ellen Watkins Harper was really interesting because she was very different than a Sojourner Truth. You know, she was this woman who was really well-educated, one of the first African-American women to publish a book in the U.S. She gave a speech in 1866 at the National Women’s Rights Convention where she basically said, I don’t think that giving women the ballot is going to do everything for us and that we really have to take the measure of everyone. That was really problematic, I think, to some people in the suffrage movement who were used to Black women being grateful to be there on their terms.\u003c/p>\n\u003cp>\u003cstrong>On the conversation about Black men getting the right to vote versus white women—and leaving women of color out of the discussion\u003c/strong>\u003c/p>\n\u003cp>Frederick Douglass was at the convention for Seneca Falls. But when the 15th Amendment came and really was a question of survival, people thought that if Black men didn’t get the vote, the chance of slavery becoming a de facto practice would be very great. And it was true. I mean, one of the things that politicizes people like Francis Ellen Watkins Harper is the fact that free Black people are being kidnapped and stolen back into slavery. And without a vote, there was really no recourse against it.\u003c/p>\n\u003cp>\u003cstrong>On Latina women and queer women related to the movement\u003c/strong>\u003c/p>\n\u003cp>One of the things that’s super interesting is, one, we didn’t want to just tell the story of queer women as this history of white women, which I think often it does. So we talked about people like Alice Dunbar Nelson, who documented her relationships with both men and women in her diaries.\u003c/p>\n\u003cp>But the other thing is that it’s really tricky to impose our contemporary definition of sexuality and gender onto the 19th century. … You realize is that, one, for women in this movement, whether or not they identified as queer or not, that freedom to love who you want to love is inextricably tied up with voting rights. And so some of these marriages were perhaps sexual, but more importantly, it was that there was a deep friendship and independence because part of what women knew is that if they didn’t get married, they could lose everything. They didn’t have a voice in government without a vote. So whether or not they were unmarried and queer or unmarried and not queer, voting became really important. And the female friendships, the independence of being a woman who can define herself outside of a relationship with a man is very key to the movement—to the suffrage movement overall.\u003c/p>\n\u003cp>\u003cstrong>On women who were not supportive of the suffragist movement as it was operating at that time\u003c/strong>\u003c/p>\n\u003cp>We tend to look back and think all women must have been for women voting. And one of the things we looked at was the question of women who were anti-suffrage. It wasn’t that these women felt that women shouldn’t have a voice. There was this feeling that women’s political power was pure outside of traditional structures. So anti-suffrage women were fighting for better working conditions for working women. They were fighting for better child education and child labor laws. A lot of the issues that we care about, child care and early childhood education, there was just this idea that politics and the sort of corridors of Washington and national politics were not the place for women. But it wasn’t that they, in their own way, didn’t feel that there were issues that women could and should weigh in on.\u003c/p>\n\u003cp>\u003cstrong>On thinking about conservative ideology when it comes to women today \u003c/strong>\u003c/p>\n\u003cp>At a time when we are constantly made to feel that we’re so separate and different and fighting for our lives, history can be kind of a powerful reminder that the American experiment, as they talk about in the musical \u003cem>Hamilton\u003c/em>, was just that. And that we are really just in one phase of that experiment and that everything we know about culture and identity and women and voting and perspectives and platforms has a deep history that goes really way back.\u003c/p>\n\u003cp>\u003cstrong>On whether the fight feels finished\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think anyone who’s a woman in this country knows that we don’t get equal pay, that things like child care, which so many suffragists and even women who were anti-suffrage … women who were anti-suffrage still fought for child care for women, you know, all of the things that would give women an equal standing in society. There’s a lot of that still hanging in the balance. And so, I guess my answer is that I hate to think of it solely as a fight, but I think that the question of women’s equality is far from complete in this country.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Finish+The+Fight%27+Paints+A+Different+Picture+Of+Women+Who+Pushed+For+A+Vote&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the image of the American suffragist has been evoked by women in Congress wearing white.\u003c/p>\n\u003cp>But the 100th anniversary of the passage of the 19th Amendment has been an opportunity for some to take a closer look at the stories of the women of the movement—the ones we think we already know, and the ones that have been lost to history.\u003c/p>\n\u003cp>\u003cem>Finish the Fight!: The Brave and Revolutionary Women Who Fought for the Right to Vote\u003c/em> is a picture book by Veronica Chambers and the staff of \u003cem>The New York Times\u003c/em>—and it paints a very different picture of the various women who fought for the right to vote.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the idea for the book\u003c/strong>\u003c/p>\n\u003cp>Well, about a year ago we knew the anniversary of suffrage was coming up and we started asking: What did we know about suffrage? And we kept coming up with the same old names. But we knew that there was a lot that we didn’t know. And once we dove into it, it was really exciting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On one of those names—Frances Ellen Watkins Harper \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885386 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png\" alt=\"\" width=\"280\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM-160x191.png 160w\" sizes=\"(max-width: 280px) 100vw, 280px\">I think that someone like Frances Ellen Watkins Harper was really interesting because she was very different than a Sojourner Truth. You know, she was this woman who was really well-educated, one of the first African-American women to publish a book in the U.S. She gave a speech in 1866 at the National Women’s Rights Convention where she basically said, I don’t think that giving women the ballot is going to do everything for us and that we really have to take the measure of everyone. That was really problematic, I think, to some people in the suffrage movement who were used to Black women being grateful to be there on their terms.\u003c/p>\n\u003cp>\u003cstrong>On the conversation about Black men getting the right to vote versus white women—and leaving women of color out of the discussion\u003c/strong>\u003c/p>\n\u003cp>Frederick Douglass was at the convention for Seneca Falls. But when the 15th Amendment came and really was a question of survival, people thought that if Black men didn’t get the vote, the chance of slavery becoming a de facto practice would be very great. And it was true. I mean, one of the things that politicizes people like Francis Ellen Watkins Harper is the fact that free Black people are being kidnapped and stolen back into slavery. And without a vote, there was really no recourse against it.\u003c/p>\n\u003cp>\u003cstrong>On Latina women and queer women related to the movement\u003c/strong>\u003c/p>\n\u003cp>One of the things that’s super interesting is, one, we didn’t want to just tell the story of queer women as this history of white women, which I think often it does. So we talked about people like Alice Dunbar Nelson, who documented her relationships with both men and women in her diaries.\u003c/p>\n\u003cp>But the other thing is that it’s really tricky to impose our contemporary definition of sexuality and gender onto the 19th century. … You realize is that, one, for women in this movement, whether or not they identified as queer or not, that freedom to love who you want to love is inextricably tied up with voting rights. And so some of these marriages were perhaps sexual, but more importantly, it was that there was a deep friendship and independence because part of what women knew is that if they didn’t get married, they could lose everything. They didn’t have a voice in government without a vote. So whether or not they were unmarried and queer or unmarried and not queer, voting became really important. And the female friendships, the independence of being a woman who can define herself outside of a relationship with a man is very key to the movement—to the suffrage movement overall.\u003c/p>\n\u003cp>\u003cstrong>On women who were not supportive of the suffragist movement as it was operating at that time\u003c/strong>\u003c/p>\n\u003cp>We tend to look back and think all women must have been for women voting. And one of the things we looked at was the question of women who were anti-suffrage. It wasn’t that these women felt that women shouldn’t have a voice. There was this feeling that women’s political power was pure outside of traditional structures. So anti-suffrage women were fighting for better working conditions for working women. They were fighting for better child education and child labor laws. A lot of the issues that we care about, child care and early childhood education, there was just this idea that politics and the sort of corridors of Washington and national politics were not the place for women. But it wasn’t that they, in their own way, didn’t feel that there were issues that women could and should weigh in on.\u003c/p>\n\u003cp>\u003cstrong>On thinking about conservative ideology when it comes to women today \u003c/strong>\u003c/p>\n\u003cp>At a time when we are constantly made to feel that we’re so separate and different and fighting for our lives, history can be kind of a powerful reminder that the American experiment, as they talk about in the musical \u003cem>Hamilton\u003c/em>, was just that. And that we are really just in one phase of that experiment and that everything we know about culture and identity and women and voting and perspectives and platforms has a deep history that goes really way back.\u003c/p>\n\u003cp>\u003cstrong>On whether the fight feels finished\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think anyone who’s a woman in this country knows that we don’t get equal pay, that things like child care, which so many suffragists and even women who were anti-suffrage … women who were anti-suffrage still fought for child care for women, you know, all of the things that would give women an equal standing in society. There’s a lot of that still hanging in the balance. And so, I guess my answer is that I hate to think of it solely as a fight, but I think that the question of women’s equality is far from complete in this country.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Finish+The+Fight%27+Paints+A+Different+Picture+Of+Women+Who+Pushed+For+A+Vote&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "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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"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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"radiolab": {
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},
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"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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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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