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"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>. 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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",
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"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>\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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"title": "As Burning Man Goes Virtual, Organizers Try to Capture the Communal Aspect",
"headTitle": "As Burning Man Goes Virtual, Organizers Try to Capture the Communal Aspect | KQED",
"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>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "The MTV VMAs In 2020: 10 Takeaways | KQED",
"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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"title": "'Class Action Park' Remembers the Perils of a Really Good Time",
"headTitle": "‘Class Action Park’ Remembers the Perils of a Really Good Time | KQED",
"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>\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>“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>\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. 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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. 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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. 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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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"content": "\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZGcmvrTX9M\u003c/p>\n\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\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/AZGcmvrTX9M'\n title='//www.youtube.com/embed/AZGcmvrTX9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. [aside postid='pop_107915']\u003c/p>\n\u003cp>As Reggie explains his reasons in an emotional speech, tears well up in his eyes. His language is rough, but his eyes reveal something more: He’s feeling guilty and defensive.\u003c/p>\n\u003cp>Or look at his work on NBC’s hit drama \u003cem>This Is Us\u003c/em>, where Brown plays tightly wound Randall Pearson, a Black man adopted by a white family. In a scene with his adoptive mother that Brown says was one of his most challenging this past season, Randall uses his status as a good son—and the fact that he forgave her for hiding the identity of his biological father—to pressure her into enrolling in an Alzheimer’s clinical trial she has resisted joining.\u003c/p>\n\u003cp>Again, Brown’s eyes reveal a lot: the reluctance to manipulate someone he loves—and the resolve to push her into doing something that might save her life. A tear rolled down his face as punctuation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. [aside postid='pop_102572']\u003c/p>\n\u003cp>Ask how he’s coping amid all the discussions on race kicked off by the killing by police of Black people like George Floyd and Breonna Taylor and Brown hesitates—repeating the question a few times while recalling an emotional discussion he had on the Tulsa race massacre with his 9-year-old son.\u003c/p>\n\u003cp>“How do I feel? I feel like it’s 2020 and a lot of the conversations that we’ve had historically are still as present,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\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=Sterling+K.+Brown%3A+Black+Actors+Have+Waited+%27A+Long+Time+To+Be+Fully+Recognized%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. \u003c/p>\u003c/div>",
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"content": "\u003cp>Bill S. Preston Esquire and Ted “Theodore” Logan have been to heaven and hell, the past and the future. They’ve befriended Abraham Lincoln and Joan of Arc. They’ve bested the Grim Reaper in a game of Battleship.\u003c/p>\n\u003cp>Now, nearly 30 years after we last saw them, the duo reunite in the new movie, \u003cem>Bill & Ted Face the Music.\u003c/em>\u003c/p>\n\u003cp>“We were excited by the idea that we first heard from the writers,” says Alex Winter, who plays Bill, “and then we had to set about actually finding these guys again.” How did they do that? “Magic,” Winter jokes.\u003c/p>\n\u003cp>Keanu Reeves, who plays Ted, chimes in: “Working on the script, and working with the director Dean Parisot, the writers, Chris Matheson and Ed Solomon were really collaborative with is. And Alex and I just internally kind of rehearsing with each other, and just got to that first day—and the first shot we had to get in the phone booth, and there we were. And here we go.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1gPGeAYo3yU\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting into character as Bill and Ted, 30 years on\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Winter: There was kind of a two pronged approach to the preparation. There was figuring out who these guys were at this point in their lives in a very kind of story-driven way. And as Keanu said, that was about he and I working together and looking at just the actual circumstances of these guys in their lives. And that was fun. But then there was a whole kind of physical preparation because there was this crazy narrative of us acting opposite all these different versions of ourselves. And so finding the physicality of present day Bill and Ted, and then finding the physicality of all these different versions of us, took a little bit of time too, but it was fun.\u003c/p>\n\u003cp>Reeves: We really were reacting to the writers and their idea that our characters 30 years ago had this destiny and they didn’t fulfill it. So this idea of where are they now? It was like, who are these guys now? They’re offered another kind of chance, but that’s even more, in a Bill and Ted way, ridiculous, you know, and I thought that model felt like a worthwhile and funny idea.\u003c/p>\n\u003cp>\u003cstrong>Reeves on what playing Bill taught him about comedy, and whether people confused him with the character\u003c/strong>\u003c/p>\n\u003cp>I was from the critics and journalists, but not by the industry. But in terms of, I guess, comedy—you just can’t play funny. You know, you have to play the real of it. And then hopefully the funny will come after that. But that’s not to say that there are techniques and skills and … timing. I think you just have to do it, you have to practice, and you have to consider it.\u003c/p>\n\u003cp>\u003cstrong>On the fact that \u003cem>Face the Music\u003c/em> will be one of the first pandemic-era films shown in theaters.\u003c/strong>\u003c/p>\n\u003cp>Winter: I think that the industry is rightly very concerned about the cinema experience, but also they’re very concerned about the economics for exhibitors who, you know—keep the movie business alive and we want the exhibitors to stay afloat at the same time. We want people to be safe in a pandemic. And people need to be given an option to watch this movie safely at home. So we feel really good about the fact that the studio is willing to throw in behind that rollout plan. But we are also looking forward to a world in which the movie experience is back.\u003c/p>\n\u003cp>Reeves: I mean, I think everyone’s going to put all the protocols in place to make it as safe as possible for people who do feel comfortable. That opportunity presents itself if they want to go to the cinema. And it’s also on pay per view or streaming. So there’s that option as well.\u003c/p>\n\u003cp>\u003cstrong>On what they want audiences to get out of the return of Bill and Ted\u003c/strong>\u003c/p>\n\u003cp>Reeves: Wow, just to laugh, to enjoy the ride, to, you know, feel good, feel positive and to share that, spread that around.\u003c/p>\n\u003cp>Winter: People have a an inclination to be weighed down by the gravitas of what’s going on in the world at the moment. But I do think that cinema gives you an outlet for certain emotions in a collective way. And the film doesn’t take itself seriously. It’s not trying to present a message, but it has themes, and the themes are quite sweet and lovely. And the theme of this movie is very much about the whole world coming together and helping one another. But it’s also, there’s a lot of whimsy, and I think an hour and a half of genuine, open-hearted, innocent whimsy may not be the worst thing for people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Danny Hensel and Ed McNulty, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+Heinous+At+All%3A+Bill+And+Ted+Are+Back+To+%27Face+The+Music%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill S. Preston Esquire and Ted “Theodore” Logan have been to heaven and hell, the past and the future. They’ve befriended Abraham Lincoln and Joan of Arc. They’ve bested the Grim Reaper in a game of Battleship.\u003c/p>\n\u003cp>Now, nearly 30 years after we last saw them, the duo reunite in the new movie, \u003cem>Bill & Ted Face the Music.\u003c/em>\u003c/p>\n\u003cp>“We were excited by the idea that we first heard from the writers,” says Alex Winter, who plays Bill, “and then we had to set about actually finding these guys again.” How did they do that? “Magic,” Winter jokes.\u003c/p>\n\u003cp>Keanu Reeves, who plays Ted, chimes in: “Working on the script, and working with the director Dean Parisot, the writers, Chris Matheson and Ed Solomon were really collaborative with is. And Alex and I just internally kind of rehearsing with each other, and just got to that first day—and the first shot we had to get in the phone booth, and there we were. And here we go.”\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/1gPGeAYo3yU'\n title='//www.youtube.com/embed/1gPGeAYo3yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting into character as Bill and Ted, 30 years on\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter: There was kind of a two pronged approach to the preparation. There was figuring out who these guys were at this point in their lives in a very kind of story-driven way. And as Keanu said, that was about he and I working together and looking at just the actual circumstances of these guys in their lives. And that was fun. But then there was a whole kind of physical preparation because there was this crazy narrative of us acting opposite all these different versions of ourselves. And so finding the physicality of present day Bill and Ted, and then finding the physicality of all these different versions of us, took a little bit of time too, but it was fun.\u003c/p>\n\u003cp>Reeves: We really were reacting to the writers and their idea that our characters 30 years ago had this destiny and they didn’t fulfill it. So this idea of where are they now? It was like, who are these guys now? They’re offered another kind of chance, but that’s even more, in a Bill and Ted way, ridiculous, you know, and I thought that model felt like a worthwhile and funny idea.\u003c/p>\n\u003cp>\u003cstrong>Reeves on what playing Bill taught him about comedy, and whether people confused him with the character\u003c/strong>\u003c/p>\n\u003cp>I was from the critics and journalists, but not by the industry. But in terms of, I guess, comedy—you just can’t play funny. You know, you have to play the real of it. And then hopefully the funny will come after that. But that’s not to say that there are techniques and skills and … timing. I think you just have to do it, you have to practice, and you have to consider it.\u003c/p>\n\u003cp>\u003cstrong>On the fact that \u003cem>Face the Music\u003c/em> will be one of the first pandemic-era films shown in theaters.\u003c/strong>\u003c/p>\n\u003cp>Winter: I think that the industry is rightly very concerned about the cinema experience, but also they’re very concerned about the economics for exhibitors who, you know—keep the movie business alive and we want the exhibitors to stay afloat at the same time. We want people to be safe in a pandemic. And people need to be given an option to watch this movie safely at home. So we feel really good about the fact that the studio is willing to throw in behind that rollout plan. But we are also looking forward to a world in which the movie experience is back.\u003c/p>\n\u003cp>Reeves: I mean, I think everyone’s going to put all the protocols in place to make it as safe as possible for people who do feel comfortable. That opportunity presents itself if they want to go to the cinema. And it’s also on pay per view or streaming. So there’s that option as well.\u003c/p>\n\u003cp>\u003cstrong>On what they want audiences to get out of the return of Bill and Ted\u003c/strong>\u003c/p>\n\u003cp>Reeves: Wow, just to laugh, to enjoy the ride, to, you know, feel good, feel positive and to share that, spread that around.\u003c/p>\n\u003cp>Winter: People have a an inclination to be weighed down by the gravitas of what’s going on in the world at the moment. But I do think that cinema gives you an outlet for certain emotions in a collective way. And the film doesn’t take itself seriously. It’s not trying to present a message, but it has themes, and the themes are quite sweet and lovely. And the theme of this movie is very much about the whole world coming together and helping one another. But it’s also, there’s a lot of whimsy, and I think an hour and a half of genuine, open-hearted, innocent whimsy may not be the worst thing for people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Danny Hensel and Ed McNulty, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+Heinous+At+All%3A+Bill+And+Ted+Are+Back+To+%27Face+The+Music%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The writer and director Michael Almereyda is making some of the most thoughtful and inventive biographical dramas of any filmmaker working today.\u003c/p>\n\u003cp>He’s fascinated by the lives of scientists and intellectuals, but rather than merely rattling off their accomplishments, he uses the medium of cinema itself to explore how their minds actually worked. A few years ago he directed \u003ca href=\"https://www.npr.org/2015/10/23/451111456/experimenter-revisits-a-decades-old-trial-of-free-will-and-compassion\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Experimenter\u003c/em>\u003c/a>, a portrait of the controversial researcher \u003ca href=\"https://www.npr.org/2013/08/28/209559002/taking-a-closer-look-at-milgrams-shocking-obedience-study\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Milgram\u003c/a> that played its own sly psychological games with the audience.\u003c/p>\n\u003cp>Almereyda’s new film, \u003cem>Tesla\u003c/em>, is a quieter, moodier affair than \u003cem>Experimenter\u003c/em>, but it has the same invigorating playfulness. It unfolds as a series of funny-sad vignettes from the life of Nikola Tesla, the Serbian-American inventor who has often been relegated to a historical footnote—as the younger, hipper rival to Thomas Edison. But Tesla, played here by a superb \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Ethan Hawke\u003c/a>, looms ever larger these days in the public imagination. He’s been a character in novels, video games and quite a few movies, like \u003ca href=\"https://www.npr.org/2019/10/24/771307612/the-current-war-director-s-cut-shines-at-low-but-steady-wattage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Current War\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6359512\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>The Prestige\u003c/em>\u003c/a>\u003cem>,\u003c/em> in which he was played by none other than David Bowie.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>doesn’t follow the usual cradle-to-the-grave biopic trajectory. There are oddball comic asides, like the scene where Tesla and Edison attack each other with ice-cream cones; needless-to-say, the movie tells us, that didn’t really happen. Sometimes a narrator interrupts the action to run Google searches on the characters, a nifty little fact-checking device that also underscores the story’s relevance. It connects Tesla, a pioneer in the field of wireless communications, directly to the internet technology we use today.\u003c/p>\n\u003cp>Aside from the occasional leaps forward and backward, the movie is told in mostly chronological order. It begins in the 1880s, not long after Tesla, who was born in what is now Croatia, has emigrated to New York City. There, he gets a job working for Edison, played with snappish wit and a rich vein of melancholy by Kyle MacLachlan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tesla is developing a new project, a motor that uses alternating current—a more efficient system of harnessing electrical power than Edison’s direct-current method. Edison feels threatened and refuses to support Tesla’s work, as the younger man bitterly notes in a letter to a friend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e4U-23TOKms\u003c/p>\n\u003cp>Edison is just one of many powerful older men with whom Tesla will cross paths over the course of his tumultuous career. \u003ca href=\"https://www.npr.org/2015/09/24/443070367/comic-jim-gaffigan-on-stand-up-faith-and-opening-for-the-pope\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Gaffigan\u003c/a> gives an enjoyably big-hearted performance as the engineer and entrepreneur George Westinghouse, who funds the Tesla motor and makes it a force to be reckoned with.\u003c/p>\n\u003cp>Later, Tesla finds a chillier patron in the banker J.P. Morgan, who gives him the modern-day equivalent of $4 million to build a wireless communications system, only to balk when the project leads Tesla into ever more bizarre realms of study. At one point, Tesla comes to believe he might be receiving secret transmissions from Mars.\u003c/p>\n\u003cp>Hawke, who starred in Almereyda’s offbeat Shakespeare adaptations \u003cem>Hamlet \u003c/em>and \u003cem>Cymbeline\u003c/em>, gives a beautifully internalized performance as Tesla. He nails the essence of a deep thinker who likes his solitude and who’s more comfortable at home with his notebooks than he is out and about in society.\u003c/p>\n\u003cp>The movie does hand a prominent role to Anne Morgan, J.P. Morgan’s daughter, memorably played by Eve Hewson. She becomes a close friend of Tesla’s as well as a kind of stand-in for the audience. Through her tender yet sharply perceptive gaze, we come to appreciate this man’s genius, but we also register the pride and short-sightedness that will again and again prove to be his undoing.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>has been a long time in the making. Almereyda wrote the script decades earlier, but it languished for years until the financing at last came together. Watching the finished movie, I couldn’t help but feel that Almereyda empathizes instinctively with Tesla. Not because the director sees himself as some sort of fellow visionary, but because he knows that in science as well as in filmmaking, bold thinkers often run afoul of naysaying benefactors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>is a deeply unconventional movie, but never in a self-congratulatory way. The gifted cinematographer Sean Price Williams gives the interiors a rich amber glow, cast initially by candles and later by electric bulbs: A world that might have seemed stiff and static is instead wildly in flux. The movie is a hypnotic experience. You might be thrown by some of the weirder touches, like the wildly anachronistic scene in which Tesla stands in front of a microphone and sings a 1985 British pop hit, but I loved its crazy daring. It reminds us what a modern creature Tesla was, a figure from the past who never stopped pointing the way to the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wild+And+Daring%2C+%27Tesla%27+Captures+The+Spirit+Of+An+Unorthodox+Inventor+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The writer and director Michael Almereyda is making some of the most thoughtful and inventive biographical dramas of any filmmaker working today.\u003c/p>\n\u003cp>He’s fascinated by the lives of scientists and intellectuals, but rather than merely rattling off their accomplishments, he uses the medium of cinema itself to explore how their minds actually worked. A few years ago he directed \u003ca href=\"https://www.npr.org/2015/10/23/451111456/experimenter-revisits-a-decades-old-trial-of-free-will-and-compassion\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Experimenter\u003c/em>\u003c/a>, a portrait of the controversial researcher \u003ca href=\"https://www.npr.org/2013/08/28/209559002/taking-a-closer-look-at-milgrams-shocking-obedience-study\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Milgram\u003c/a> that played its own sly psychological games with the audience.\u003c/p>\n\u003cp>Almereyda’s new film, \u003cem>Tesla\u003c/em>, is a quieter, moodier affair than \u003cem>Experimenter\u003c/em>, but it has the same invigorating playfulness. It unfolds as a series of funny-sad vignettes from the life of Nikola Tesla, the Serbian-American inventor who has often been relegated to a historical footnote—as the younger, hipper rival to Thomas Edison. But Tesla, played here by a superb \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Ethan Hawke\u003c/a>, looms ever larger these days in the public imagination. He’s been a character in novels, video games and quite a few movies, like \u003ca href=\"https://www.npr.org/2019/10/24/771307612/the-current-war-director-s-cut-shines-at-low-but-steady-wattage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Current War\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6359512\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>The Prestige\u003c/em>\u003c/a>\u003cem>,\u003c/em> in which he was played by none other than David Bowie.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>doesn’t follow the usual cradle-to-the-grave biopic trajectory. There are oddball comic asides, like the scene where Tesla and Edison attack each other with ice-cream cones; needless-to-say, the movie tells us, that didn’t really happen. Sometimes a narrator interrupts the action to run Google searches on the characters, a nifty little fact-checking device that also underscores the story’s relevance. It connects Tesla, a pioneer in the field of wireless communications, directly to the internet technology we use today.\u003c/p>\n\u003cp>Aside from the occasional leaps forward and backward, the movie is told in mostly chronological order. It begins in the 1880s, not long after Tesla, who was born in what is now Croatia, has emigrated to New York City. There, he gets a job working for Edison, played with snappish wit and a rich vein of melancholy by Kyle MacLachlan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tesla is developing a new project, a motor that uses alternating current—a more efficient system of harnessing electrical power than Edison’s direct-current method. Edison feels threatened and refuses to support Tesla’s work, as the younger man bitterly notes in a letter to a friend.\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/e4U-23TOKms'\n title='//www.youtube.com/embed/e4U-23TOKms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Edison is just one of many powerful older men with whom Tesla will cross paths over the course of his tumultuous career. \u003ca href=\"https://www.npr.org/2015/09/24/443070367/comic-jim-gaffigan-on-stand-up-faith-and-opening-for-the-pope\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Gaffigan\u003c/a> gives an enjoyably big-hearted performance as the engineer and entrepreneur George Westinghouse, who funds the Tesla motor and makes it a force to be reckoned with.\u003c/p>\n\u003cp>Later, Tesla finds a chillier patron in the banker J.P. Morgan, who gives him the modern-day equivalent of $4 million to build a wireless communications system, only to balk when the project leads Tesla into ever more bizarre realms of study. At one point, Tesla comes to believe he might be receiving secret transmissions from Mars.\u003c/p>\n\u003cp>Hawke, who starred in Almereyda’s offbeat Shakespeare adaptations \u003cem>Hamlet \u003c/em>and \u003cem>Cymbeline\u003c/em>, gives a beautifully internalized performance as Tesla. He nails the essence of a deep thinker who likes his solitude and who’s more comfortable at home with his notebooks than he is out and about in society.\u003c/p>\n\u003cp>The movie does hand a prominent role to Anne Morgan, J.P. Morgan’s daughter, memorably played by Eve Hewson. She becomes a close friend of Tesla’s as well as a kind of stand-in for the audience. Through her tender yet sharply perceptive gaze, we come to appreciate this man’s genius, but we also register the pride and short-sightedness that will again and again prove to be his undoing.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>has been a long time in the making. Almereyda wrote the script decades earlier, but it languished for years until the financing at last came together. Watching the finished movie, I couldn’t help but feel that Almereyda empathizes instinctively with Tesla. Not because the director sees himself as some sort of fellow visionary, but because he knows that in science as well as in filmmaking, bold thinkers often run afoul of naysaying benefactors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>is a deeply unconventional movie, but never in a self-congratulatory way. The gifted cinematographer Sean Price Williams gives the interiors a rich amber glow, cast initially by candles and later by electric bulbs: A world that might have seemed stiff and static is instead wildly in flux. The movie is a hypnotic experience. You might be thrown by some of the weirder touches, like the wildly anachronistic scene in which Tesla stands in front of a microphone and sings a 1985 British pop hit, but I loved its crazy daring. It reminds us what a modern creature Tesla was, a figure from the past who never stopped pointing the way to the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wild+And+Daring%2C+%27Tesla%27+Captures+The+Spirit+Of+An+Unorthodox+Inventor+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fallout' Tells the Story of the Journalist Who Exposed the 'Hiroshima Cover-Up'",
"headTitle": "‘Fallout’ Tells the Story of the Journalist Who Exposed the ‘Hiroshima Cover-Up’ | KQED",
"content": "\u003cp>When the U.S military dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in August 1945, the American government portrayed the weapons as equivalent to large conventional bombs—and dismissed Japanese reports of radiation sickness as propaganda.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885057 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png\" alt=\"\" width=\"216\" height=\"326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM-160x241.png 160w\" sizes=\"(max-width: 216px) 100vw, 216px\">Military censors restricted access to Hiroshima, but a young journalist named John Hersey managed to get there and write a devastating account of the death, destruction and radiation poisoning he encountered. Author Lesley M.M. Blume tells Hersey’s story in her book, \u003cem>Fallout: The Hiroshima Cover-up and the Reporter Who Revealed it to the World. \u003c/em>\u003c/p>\n\u003cp>She writes that when Hersey, who had covered the war in Europe, arrived in Hiroshima to report on the aftereffects of the bomb a year later, the city was “still just a sort of smoldering wreck.”\u003c/p>\n\u003cp>“Hersey had seen everything from that point, from combat to concentration camps,” Blume says. “But he later said that nothing prepared him for what he saw in Hiroshima.”\u003c/p>\n\u003cp>Hersey wrote a \u003ca href=\"https://www.newyorker.com/magazine/1946/08/31/hiroshima\" target=\"_blank\" rel=\"noopener noreferrer\">30,000-word essay\u003c/a>, telling the story of the bombing and its aftermath from the perspective of six survivors. The article, which was published in its entirety by \u003cem>The New Yorker\u003c/em>, was fundamental in challenging the government’s narrative of nuclear bombs as conventional weapons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It helped create what many experts in the nuclear fields called the ‘nuclear taboo,’ ” Blume says of Hersey’s essay. “The world did not know the truth about what nuclear warfare really looks like on the receiving end, or did not really understand the full nature of these then experimental weapons, until John Hersey got into Hiroshima and reported it to the world.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what Americans knew about the nature of nuclear weapons in 1945\u003c/strong>\u003c/p>\n\u003cp>Americans didn’t know about the bomb—period—until it was detonated over Hiroshima. The Manhattan Project was cloaked in enormous secrecy, even though tens of thousands of people were working on it. … When President Harry Truman announced that America had detonated the world’s first atomic bomb over the Japanese city of Hiroshima, he was announcing not only a new weapon, but the fact that we had entered into the Atomic Age, and Americans had no idea about the nature of these then-experimental weapons—namely, that these are weapons that continue to kill long after detonation. It would take quite a bit of time and reporting to bring that out.\u003c/p>\n\u003cp>Everybody who heard the announcement [from Truman] knew that they were dealing with something totally unprecedented, not just in the war, but in the history of human warfare. What was not stated was the fact that this bomb had radiological qualities, [that] blast survivors on the ground would die in an agonizing way for the days and the weeks and months and years that followed.\u003c/p>\n\u003cp>\u003cstrong>On how military generals focused on physical devastation when they testified before Congress about the effects of the atomic bomb \u003c/strong>\u003c/p>\n\u003cp>In the immediate weeks, very little [was said.] A lot of it was really painted in landscape devastation. Landscape photographs were released to newspapers showing the decimation of Hiroshima and Nagasaki. There were rubble pictures, and also obviously people are seeing the mushroom cloud photos taken from the bombers themselves or from recon missions. But in terms of the radiation—even in Truman’s announcement of the bomb—he’s painting the bombs in conventional terms. He says these bombs are the equivalent to 20,000 tons of TNT. And so Americans, they know that it’s a mega-weapon, but they don’t understand the full nature of the weapons, the radiological effects are not in any way highlighted to the American public, and in the meantime, the U.S. military is scrambling to find out how the radiation of the bombs is affecting the physical landscape, how it’s affecting human beings, because they’re about to send tens of thousands of occupation troops into Japan.\u003c/p>\n\u003cp>\u003cstrong>On America’s PR campaign and cover-up of the radiation aftermath \u003c/strong>\u003c/p>\n\u003cp>[The U.S. military] created a PR campaign to really combat the notion that the U.S. had decimated these populations with a really destructive radiological weapon. Leslie Groves [who directed the Manhattan Project] and Robert Oppenheimer [who directed the Manhattan Project’s laboratory at Los Alamos, N.M.] themselves went to the Trinity site of testing [in New Mexico] and brought a junket of reporters so they could show off the area. And they said that there was no residual radiation whatsoever, and that therefore, any news that was filtering over from Japan were “Tokyo tales.” So right away they went into overdrive to contain that narrative. …\u003c/p>\n\u003cp>The American officials were saying, for the most part, these are the defeated Japanese trying to create international sympathy, to create better terms for themselves and the occupation—ignore them.\u003c/p>\n\u003cp>\u003cstrong>On how reporters had limited access to Hiroshima and Nagasaki, and their reports were often censored \u003c/strong>\u003c/p>\n\u003cp>In the early days of the occupation, there obviously would have been enormous interest in trying to get to Hiroshima and Nagasaki … but as the occupation really took hold and became increasingly organized, the reports were intercepted. The last one that came out of Nagasaki was intercepted and lost. There was almost no point in trying to get down there because the obstacles that were put up for reporters were so tremendous by the military censors. … I can’t overstate how restricted your movements were as a reporter, as part of the occupation press corps. … You could not get around, you could not eat. You couldn’t do anything without the permission of the Army. … The control was near total.\u003c/p>\n\u003cp>\u003cstrong>On concerning Japanese reports about “Disease X” affecting blast survivors \u003c/strong>\u003c/p>\n\u003cp>As news started to filter over from Japanese reports about what it was like on Hiroshima and Nagasaki in the aftermath, wire reports started picking up really disturbing information about the totality of the decimation and this sinister … “Disease X” that was ravaging blast survivors. So this news was starting to trickle over early in August of 1945 to Americans.\u003c/p>\n\u003cp>And so the U.S. realized that not only were they going to have to really try to study very quickly how radioactive the atomic cities might have been, as they were bringing in their own occupation troops. But they [also] realized that they had a potential PR disaster on their hands, because the U.S. had just won this horribly hard-earned military victory, and were on the moral high ground, they felt, in defeating the Axis powers. And they had avenged Pearl Harbor. They had avenged Japanese atrocities throughout the Pacific theater in Asia. But then reports that they had decimated a largely civilian population in this excruciating way with an experimental weapon—it was concerning because it might have deprived the U.S. government of [its] moral high ground.\u003c/p>\n\u003cp>\u003cstrong>On how Hiroshima and Nagasaki were seen as souvenir sites for American military \u003c/strong>\u003c/p>\n\u003cp>Hiroshima was seen as a site of just enormous victory for these guys. And a lot of them would go even to ground zero of the bombings in Hiroshima. … They saw it as a souvenir site. It’s essentially a graveyard. There are still remains that are being dug up in Hiroshima and Nagasaki today. But many of them kind of pillaged the ruins to grab a souvenir to bring home. It was the ultimate victory souvenir. So whether it’s a broken teacup to use as an ashtray or what have you, they went and they took their equivalent of selfies at ground zero. At one point in Nagasaki, Marines cleared a football field-sized amount of space in the ruins and they had what they called the “Atomic Bowl,” which was a New Year’s Day football game where they had conscripted Japanese women as cheerleaders. It was an astonishing scene in both cities. They were seen as sites of a victory. And most of the “occupationaires” were totally unrepentant about what had gone down there.\u003c/p>\n\u003cp>\u003cstrong>On Hersey getting a firsthand account from the Rev. Kiyoshi Tanimoto of what the moment of the bombing was like \u003c/strong>\u003c/p>\n\u003cp>Rev. Tanimoto, at the moment of the bombing, was slightly outside of the city. He had been transporting some goods to the outskirts of the city, and he was up on a hill. And so therefore, he had a bird’s-eye view of what happened. He fell to the ground when the actual bomb went off. But then when he got up, he saw that the city had been enveloped in flames and black clouds. And … he saw a procession of survivors starting to straggle out of the city. He was just absolutely horrified by what he had seen and baffled, too, because usually an attack on this level would have been perpetrated by a fleet of bombers. But this was just a single flash.\u003c/p>\n\u003cp>And the survivors who were making their way out of the city and who would not survive for long, I mean, most of them were naked. Some of them had flesh hanging from their bodies. He saw just unspeakable sights as he ran into the city because he had a wife and an infant daughter. He wanted to find his parishioners. The closer he got towards the detonation, the worse the scene was. The ground was just littered with scalded bodies and people who were trying to drag themselves out of the ruins and wouldn’t make it. There were walls of fire that were consuming the areas. The enormous firestorm was starting to consume the city. He, at one point, was picked up by a whirlwind, because winds had been unleashed throughout the city, and … he was lifted up in a red-hot whirlwind. … It was just unbelievable that he survived not only the initial blast, but then [headed] into [the] city center and the extreme trauma of having witnessed what he witnessed. It’s remarkable that he came out of it alive.\u003c/p>\n\u003cp>\u003cstrong>On how Hersey’s reporting changed the world’s perception of nuclear weapons\u003c/strong> [aside postid='arts_13884520']\u003c/p>\n\u003cp>The Japanese could not, for years, tell the world what it had been like to be on the receiving end of nuclear warfare, because they were under such dire press restrictions by the occupation forces. And so it took John Hersey’s reporting to show the world what the true aftermath and the true experience of nuclear warfare looks like. … It changed overnight for many people, what was described by one of Hersey’s contemporaries as the “Fourth of July feeling” about Hiroshima. There was a lot of dark humor about the bombings in Hiroshima. [The essay] just really imbued the event with a sobriety that really hadn’t been there before. And also it just completely deprived the U.S. government of the ability to be able to paint nuclear bombs as conventional weapons. … [Hersey] himself later said the thing that has kept the world safe from another nuclear attack since 1945 has been the memory of what happened in Hiroshima. And he certainly created a cornerstone of that memory.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fallout%27+Tells+The+Story+Of+The+Journalist+Who+Exposed+The+%27Hiroshima+Cover-Up%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the U.S military dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in August 1945, the American government portrayed the weapons as equivalent to large conventional bombs—and dismissed Japanese reports of radiation sickness as propaganda.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885057 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png\" alt=\"\" width=\"216\" height=\"326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM-160x241.png 160w\" sizes=\"(max-width: 216px) 100vw, 216px\">Military censors restricted access to Hiroshima, but a young journalist named John Hersey managed to get there and write a devastating account of the death, destruction and radiation poisoning he encountered. Author Lesley M.M. Blume tells Hersey’s story in her book, \u003cem>Fallout: The Hiroshima Cover-up and the Reporter Who Revealed it to the World. \u003c/em>\u003c/p>\n\u003cp>She writes that when Hersey, who had covered the war in Europe, arrived in Hiroshima to report on the aftereffects of the bomb a year later, the city was “still just a sort of smoldering wreck.”\u003c/p>\n\u003cp>“Hersey had seen everything from that point, from combat to concentration camps,” Blume says. “But he later said that nothing prepared him for what he saw in Hiroshima.”\u003c/p>\n\u003cp>Hersey wrote a \u003ca href=\"https://www.newyorker.com/magazine/1946/08/31/hiroshima\" target=\"_blank\" rel=\"noopener noreferrer\">30,000-word essay\u003c/a>, telling the story of the bombing and its aftermath from the perspective of six survivors. The article, which was published in its entirety by \u003cem>The New Yorker\u003c/em>, was fundamental in challenging the government’s narrative of nuclear bombs as conventional weapons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It helped create what many experts in the nuclear fields called the ‘nuclear taboo,’ ” Blume says of Hersey’s essay. “The world did not know the truth about what nuclear warfare really looks like on the receiving end, or did not really understand the full nature of these then experimental weapons, until John Hersey got into Hiroshima and reported it to the world.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what Americans knew about the nature of nuclear weapons in 1945\u003c/strong>\u003c/p>\n\u003cp>Americans didn’t know about the bomb—period—until it was detonated over Hiroshima. The Manhattan Project was cloaked in enormous secrecy, even though tens of thousands of people were working on it. … When President Harry Truman announced that America had detonated the world’s first atomic bomb over the Japanese city of Hiroshima, he was announcing not only a new weapon, but the fact that we had entered into the Atomic Age, and Americans had no idea about the nature of these then-experimental weapons—namely, that these are weapons that continue to kill long after detonation. It would take quite a bit of time and reporting to bring that out.\u003c/p>\n\u003cp>Everybody who heard the announcement [from Truman] knew that they were dealing with something totally unprecedented, not just in the war, but in the history of human warfare. What was not stated was the fact that this bomb had radiological qualities, [that] blast survivors on the ground would die in an agonizing way for the days and the weeks and months and years that followed.\u003c/p>\n\u003cp>\u003cstrong>On how military generals focused on physical devastation when they testified before Congress about the effects of the atomic bomb \u003c/strong>\u003c/p>\n\u003cp>In the immediate weeks, very little [was said.] A lot of it was really painted in landscape devastation. Landscape photographs were released to newspapers showing the decimation of Hiroshima and Nagasaki. There were rubble pictures, and also obviously people are seeing the mushroom cloud photos taken from the bombers themselves or from recon missions. But in terms of the radiation—even in Truman’s announcement of the bomb—he’s painting the bombs in conventional terms. He says these bombs are the equivalent to 20,000 tons of TNT. And so Americans, they know that it’s a mega-weapon, but they don’t understand the full nature of the weapons, the radiological effects are not in any way highlighted to the American public, and in the meantime, the U.S. military is scrambling to find out how the radiation of the bombs is affecting the physical landscape, how it’s affecting human beings, because they’re about to send tens of thousands of occupation troops into Japan.\u003c/p>\n\u003cp>\u003cstrong>On America’s PR campaign and cover-up of the radiation aftermath \u003c/strong>\u003c/p>\n\u003cp>[The U.S. military] created a PR campaign to really combat the notion that the U.S. had decimated these populations with a really destructive radiological weapon. Leslie Groves [who directed the Manhattan Project] and Robert Oppenheimer [who directed the Manhattan Project’s laboratory at Los Alamos, N.M.] themselves went to the Trinity site of testing [in New Mexico] and brought a junket of reporters so they could show off the area. And they said that there was no residual radiation whatsoever, and that therefore, any news that was filtering over from Japan were “Tokyo tales.” So right away they went into overdrive to contain that narrative. …\u003c/p>\n\u003cp>The American officials were saying, for the most part, these are the defeated Japanese trying to create international sympathy, to create better terms for themselves and the occupation—ignore them.\u003c/p>\n\u003cp>\u003cstrong>On how reporters had limited access to Hiroshima and Nagasaki, and their reports were often censored \u003c/strong>\u003c/p>\n\u003cp>In the early days of the occupation, there obviously would have been enormous interest in trying to get to Hiroshima and Nagasaki … but as the occupation really took hold and became increasingly organized, the reports were intercepted. The last one that came out of Nagasaki was intercepted and lost. There was almost no point in trying to get down there because the obstacles that were put up for reporters were so tremendous by the military censors. … I can’t overstate how restricted your movements were as a reporter, as part of the occupation press corps. … You could not get around, you could not eat. You couldn’t do anything without the permission of the Army. … The control was near total.\u003c/p>\n\u003cp>\u003cstrong>On concerning Japanese reports about “Disease X” affecting blast survivors \u003c/strong>\u003c/p>\n\u003cp>As news started to filter over from Japanese reports about what it was like on Hiroshima and Nagasaki in the aftermath, wire reports started picking up really disturbing information about the totality of the decimation and this sinister … “Disease X” that was ravaging blast survivors. So this news was starting to trickle over early in August of 1945 to Americans.\u003c/p>\n\u003cp>And so the U.S. realized that not only were they going to have to really try to study very quickly how radioactive the atomic cities might have been, as they were bringing in their own occupation troops. But they [also] realized that they had a potential PR disaster on their hands, because the U.S. had just won this horribly hard-earned military victory, and were on the moral high ground, they felt, in defeating the Axis powers. And they had avenged Pearl Harbor. They had avenged Japanese atrocities throughout the Pacific theater in Asia. But then reports that they had decimated a largely civilian population in this excruciating way with an experimental weapon—it was concerning because it might have deprived the U.S. government of [its] moral high ground.\u003c/p>\n\u003cp>\u003cstrong>On how Hiroshima and Nagasaki were seen as souvenir sites for American military \u003c/strong>\u003c/p>\n\u003cp>Hiroshima was seen as a site of just enormous victory for these guys. And a lot of them would go even to ground zero of the bombings in Hiroshima. … They saw it as a souvenir site. It’s essentially a graveyard. There are still remains that are being dug up in Hiroshima and Nagasaki today. But many of them kind of pillaged the ruins to grab a souvenir to bring home. It was the ultimate victory souvenir. So whether it’s a broken teacup to use as an ashtray or what have you, they went and they took their equivalent of selfies at ground zero. At one point in Nagasaki, Marines cleared a football field-sized amount of space in the ruins and they had what they called the “Atomic Bowl,” which was a New Year’s Day football game where they had conscripted Japanese women as cheerleaders. It was an astonishing scene in both cities. They were seen as sites of a victory. And most of the “occupationaires” were totally unrepentant about what had gone down there.\u003c/p>\n\u003cp>\u003cstrong>On Hersey getting a firsthand account from the Rev. Kiyoshi Tanimoto of what the moment of the bombing was like \u003c/strong>\u003c/p>\n\u003cp>Rev. Tanimoto, at the moment of the bombing, was slightly outside of the city. He had been transporting some goods to the outskirts of the city, and he was up on a hill. And so therefore, he had a bird’s-eye view of what happened. He fell to the ground when the actual bomb went off. But then when he got up, he saw that the city had been enveloped in flames and black clouds. And … he saw a procession of survivors starting to straggle out of the city. He was just absolutely horrified by what he had seen and baffled, too, because usually an attack on this level would have been perpetrated by a fleet of bombers. But this was just a single flash.\u003c/p>\n\u003cp>And the survivors who were making their way out of the city and who would not survive for long, I mean, most of them were naked. Some of them had flesh hanging from their bodies. He saw just unspeakable sights as he ran into the city because he had a wife and an infant daughter. He wanted to find his parishioners. The closer he got towards the detonation, the worse the scene was. The ground was just littered with scalded bodies and people who were trying to drag themselves out of the ruins and wouldn’t make it. There were walls of fire that were consuming the areas. The enormous firestorm was starting to consume the city. He, at one point, was picked up by a whirlwind, because winds had been unleashed throughout the city, and … he was lifted up in a red-hot whirlwind. … It was just unbelievable that he survived not only the initial blast, but then [headed] into [the] city center and the extreme trauma of having witnessed what he witnessed. It’s remarkable that he came out of it alive.\u003c/p>\n\u003cp>\u003cstrong>On how Hersey’s reporting changed the world’s perception of nuclear weapons\u003c/strong> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Japanese could not, for years, tell the world what it had been like to be on the receiving end of nuclear warfare, because they were under such dire press restrictions by the occupation forces. And so it took John Hersey’s reporting to show the world what the true aftermath and the true experience of nuclear warfare looks like. … It changed overnight for many people, what was described by one of Hersey’s contemporaries as the “Fourth of July feeling” about Hiroshima. There was a lot of dark humor about the bombings in Hiroshima. [The essay] just really imbued the event with a sobriety that really hadn’t been there before. And also it just completely deprived the U.S. government of the ability to be able to paint nuclear bombs as conventional weapons. … [Hersey] himself later said the thing that has kept the world safe from another nuclear attack since 1945 has been the memory of what happened in Hiroshima. And he certainly created a cornerstone of that memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fallout%27+Tells+The+Story+Of+The+Journalist+Who+Exposed+The+%27Hiroshima+Cover-Up%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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