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"content": "\u003cp>Fatima Khazi is having a hard time at school—she’s in a new country, in a new city, her classmates make fun of how she speaks, they wrinkle their noses at the way her food smells, and on top of all that, she isn’t doing well in her classes. But Fatima is thrilled to escape for the weekend and go camping with her family. [aside postid='arts_13891275']\u003c/p>\n\u003cp>Ambreen Tariq’s new children’s book, \u003cem>Fatima’s Great Outdoors \u003c/em>is a story about an Indian immigrant family’s first time exploring the outdoors, and it’s as much a story about curiosity and adventure as it is about trying to assimilate as an immigrant in this country. Tariq says Fatima’s story is her own story. “Every moment in that book is real. Every snippet, every story.”\u003c/p>\n\u003cp>Tariq’s family moved from India to Minnesota during harsh winter months when she was just eight years old, and transitioning to a new life in a new country was challenging. She says she had a desire to fit in and be like everybody else. “I think this is a very universal immigrant feeling … And that really is Fatima’s experience.” While Fatima’s family might have sung Mohammad Rafi’s Hindi songs on the car ride to the campground, and eaten samosas along the way, Fatima makes her father promise that they will eat bacon for breakfast, “just like the other American families.” Tariq recalls begging her own parents to get beef bacon from the Halal butcher for their family camping trips growing up. “And yes, it was just a small thing when it comes to bacon … But for Fatima it’s a very big deal. It’s a moment where she feels like she’s doing it. She is actually camping like everybody else and enjoying it.”\u003c/p>\n\u003cfigure id=\"attachment_13894934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png\" alt=\"Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip.\" width=\"800\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1536x934.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1920x1168.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM.png 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tariq says that while nature is central to cultures throughout the world, “America has its own unique way of doing it. It’s very categorized.” According to the National Park Service’s most recent 10-year survey, \u003ca href=\"https://abcnews.go.com/Politics/americas-national-parks-face-existential-crisis-race/story?id=71528972\" target=\"_blank\" rel=\"noopener noreferrer\">77 percent\u003c/a> of those who visited the country’s 419 national parks were white. A lack of diversity in outdoor spaces is one of the reasons Tariq was compelled to write this book and start an online community called “\u003ca href=\"https://www.instagram.com/brownpeoplecamping/\" target=\"_blank\" rel=\"noopener noreferrer\">Brown People Camping\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13894932\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe\" alt=\"A childhood photo of a young Ambreen inspired the creation of Fatima.\" width=\"200\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc-160x156.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">This photo of a young Ambreen inspired the creation of Fatima. \u003ccite>(Courtesy of Ambreen Tariq)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says there are many complex reasons that America’s outdoor spaces are primarily occupied by white people, like financial barriers to acquiring gear and outdoor know-how. “But there’s also a very deep and dark history in this country around feeling confident and safe being in remote places.” She cited the fact that many national parks sit on\u003ca href=\"https://www.npr.org/2019/02/24/697028570/overcoming-a-long-bitter-relationship-grand-canyon-and-tribes-mark-centennial\" target=\"_blank\" rel=\"noopener noreferrer\"> stolen Native American land\u003c/a>, or that Black people have\u003ca href=\"https://www.theguardian.com/environment/2018/jul/13/hiking-african-american-racism-nature\" target=\"_blank\" rel=\"noopener noreferrer\"> historically faced violence\u003c/a> in the woods. And for immigrants, she says, imagery like “Confederate flags and other things that happen in remote places” may signal that people of color aren’t safe or welcome in such places. “All of those reasons aside, this book is about saying, get out there, find your joy, find your safe space, build your community and do it the way you love it, because the outdoors is for everyone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tariq says she hopes more children of all backgrounds get the chance to experience the outdoors as she did. “For me and for Fatima what happens in that shining little moment when they enter that campground, it is just about them being curious and having fun.” She says for children like herself who didn’t have a privileged upbringing, that exposure can be especially formative. “When we went camping, we used to rent bikes, we would ride around the campground, we would meet strangers, we would meet other little kids and become sudden friends. We would go swimming in the lake. That’s not what our life was like when we were latchkey kids, came home, let ourselves in, made dinner for ourselves. You know, ‘don’t ever open the door. Don’t talk to a stranger.'”\u003c/p>\n\u003cp>While having parents with multiple jobs meant growing up quickly, in many ways, camping was just the opposite for Tariq. She hopes \u003cem>Fatima’s Great Outdoors \u003c/em>encourages more families to engage with nature in a meaningful way. “Other immigrant kids, other kids in general, especially city kids, could benefit from [nature] so much because it opens up another part of your mind and heart. It allows you to be curious. And a type of confidence that’s not really allowed on a daily basis. And that changes someone.”\u003c/p>\n\u003cfigure id=\"attachment_13894929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg\" alt=\"The cover of 'Fatima's Great Outdoors,' by Ambreen Tariq and Stevie Lewis shows a family around a campfire.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1265x1536.jpg 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1687x2048.jpg 1687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1920x2331.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fatima’s Great Outdoors,’ by Ambreen Tariq and Stevie Lewis. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Patrick Jarenwattananon and adapted for the Web by Jonaki Mehta and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Camping+Is+An+Adventure+For+All+Americans+In+%27Fatima%27s+Great+Outdoors%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fatima Khazi is having a hard time at school—she’s in a new country, in a new city, her classmates make fun of how she speaks, they wrinkle their noses at the way her food smells, and on top of all that, she isn’t doing well in her classes. But Fatima is thrilled to escape for the weekend and go camping with her family. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ambreen Tariq’s new children’s book, \u003cem>Fatima’s Great Outdoors \u003c/em>is a story about an Indian immigrant family’s first time exploring the outdoors, and it’s as much a story about curiosity and adventure as it is about trying to assimilate as an immigrant in this country. Tariq says Fatima’s story is her own story. “Every moment in that book is real. Every snippet, every story.”\u003c/p>\n\u003cp>Tariq’s family moved from India to Minnesota during harsh winter months when she was just eight years old, and transitioning to a new life in a new country was challenging. She says she had a desire to fit in and be like everybody else. “I think this is a very universal immigrant feeling … And that really is Fatima’s experience.” While Fatima’s family might have sung Mohammad Rafi’s Hindi songs on the car ride to the campground, and eaten samosas along the way, Fatima makes her father promise that they will eat bacon for breakfast, “just like the other American families.” Tariq recalls begging her own parents to get beef bacon from the Halal butcher for their family camping trips growing up. “And yes, it was just a small thing when it comes to bacon … But for Fatima it’s a very big deal. It’s a moment where she feels like she’s doing it. She is actually camping like everybody else and enjoying it.”\u003c/p>\n\u003cfigure id=\"attachment_13894934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png\" alt=\"Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip.\" width=\"800\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1536x934.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1920x1168.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM.png 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tariq says that while nature is central to cultures throughout the world, “America has its own unique way of doing it. It’s very categorized.” According to the National Park Service’s most recent 10-year survey, \u003ca href=\"https://abcnews.go.com/Politics/americas-national-parks-face-existential-crisis-race/story?id=71528972\" target=\"_blank\" rel=\"noopener noreferrer\">77 percent\u003c/a> of those who visited the country’s 419 national parks were white. A lack of diversity in outdoor spaces is one of the reasons Tariq was compelled to write this book and start an online community called “\u003ca href=\"https://www.instagram.com/brownpeoplecamping/\" target=\"_blank\" rel=\"noopener noreferrer\">Brown People Camping\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13894932\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe\" alt=\"A childhood photo of a young Ambreen inspired the creation of Fatima.\" width=\"200\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc-160x156.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">This photo of a young Ambreen inspired the creation of Fatima. \u003ccite>(Courtesy of Ambreen Tariq)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says there are many complex reasons that America’s outdoor spaces are primarily occupied by white people, like financial barriers to acquiring gear and outdoor know-how. “But there’s also a very deep and dark history in this country around feeling confident and safe being in remote places.” She cited the fact that many national parks sit on\u003ca href=\"https://www.npr.org/2019/02/24/697028570/overcoming-a-long-bitter-relationship-grand-canyon-and-tribes-mark-centennial\" target=\"_blank\" rel=\"noopener noreferrer\"> stolen Native American land\u003c/a>, or that Black people have\u003ca href=\"https://www.theguardian.com/environment/2018/jul/13/hiking-african-american-racism-nature\" target=\"_blank\" rel=\"noopener noreferrer\"> historically faced violence\u003c/a> in the woods. And for immigrants, she says, imagery like “Confederate flags and other things that happen in remote places” may signal that people of color aren’t safe or welcome in such places. “All of those reasons aside, this book is about saying, get out there, find your joy, find your safe space, build your community and do it the way you love it, because the outdoors is for everyone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tariq says she hopes more children of all backgrounds get the chance to experience the outdoors as she did. “For me and for Fatima what happens in that shining little moment when they enter that campground, it is just about them being curious and having fun.” She says for children like herself who didn’t have a privileged upbringing, that exposure can be especially formative. “When we went camping, we used to rent bikes, we would ride around the campground, we would meet strangers, we would meet other little kids and become sudden friends. We would go swimming in the lake. That’s not what our life was like when we were latchkey kids, came home, let ourselves in, made dinner for ourselves. You know, ‘don’t ever open the door. Don’t talk to a stranger.'”\u003c/p>\n\u003cp>While having parents with multiple jobs meant growing up quickly, in many ways, camping was just the opposite for Tariq. She hopes \u003cem>Fatima’s Great Outdoors \u003c/em>encourages more families to engage with nature in a meaningful way. “Other immigrant kids, other kids in general, especially city kids, could benefit from [nature] so much because it opens up another part of your mind and heart. It allows you to be curious. And a type of confidence that’s not really allowed on a daily basis. And that changes someone.”\u003c/p>\n\u003cfigure id=\"attachment_13894929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg\" alt=\"The cover of 'Fatima's Great Outdoors,' by Ambreen Tariq and Stevie Lewis shows a family around a campfire.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1265x1536.jpg 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1687x2048.jpg 1687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1920x2331.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fatima’s Great Outdoors,’ by Ambreen Tariq and Stevie Lewis. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Patrick Jarenwattananon and adapted for the Web by Jonaki Mehta and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Camping+Is+An+Adventure+For+All+Americans+In+%27Fatima%27s+Great+Outdoors%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe it’s for the best. If Season 4 of \u003cem>The Handmaid’s Tale\u003c/em> had arrived last summer when it was supposed to, it’s quite possible that the on-screen stress would have tipped some of us over the edge. After all, in real life, we had our own restricted movements, weird face coverings, social justice uprisings, and—checks notes—\u003cem>fear of imminent death\u003c/em> to contend with.\u003c/p>\n\u003cp>Now we have a new (read: less frightening for women) administration in place, and vaccines slowly do the job of reducing our confinement, it’s once again mentally safe to return to Gilead. And return we shall on Wednesday, April 28, when Season 4 of \u003cem>The Handmaid’s Tale\u003c/em> finally hits Hulu.\u003c/p>\n\u003cp>A brand new trailer dropped yesterday and—blessed be the fruit!—it has everything we want from this dystopia. Close-ups of the bags under June’s eyes! Fred Waterford being quietly sinister! Marthas kicking the crap out of enemies! Mrs. Waterford in fancy prison! Aunt Lydia taking a bar to the neck! Moira walking with purpose! Janine doing shaky-voice-stress-face! Luke crying a bit! And Nick doing … absolutely nothing! Oh, and there’s a bunch of explosions too. Don’t expect any neat conclusions though—\u003cem>The Handmaid’s Tale\u003c/em> has already been renewed for a fifth season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rg_160Be71g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sp7Lhdc4-vw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. [aside postid='arts_13866441']\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\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/sp7Lhdc4-vw'\n title='//www.youtube.com/embed/sp7Lhdc4-vw'\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>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>These days, most BART riders spend their travel time staring at their phones—and understandably so. In an increasingly digitized world accelerated by the isolation of the pandemic, our lives have migrated almost entirely online. \u003c/p>\n\u003cp>But now, BART riders are able to use touchless Short Story Dispensers to receive free one-, three- and five-minute reads at Richmond, Fruitvale, and Pleasant Hill Stations, with another one coming soon to Montgomery Street Station. Local writers will have the chance to have their work published and distributed as part of the project after the one-year pilot, sponsored by the BART Communications Department and Art Program, is up and running. \u003c/p>\n\u003cp>The kiosks are COVID-safe and touchless—a story is dispensed by simply holding your finger above a sensor—and the stories are printed on recyclable paper. Readers are encouraged to collect the stories.[aside postID='arts_11597242']\u003c/p>\n\u003cp>The program is operating in partnership with Short Édition, a French publishing house that specializes in poetry, short stories, and flash fiction. Founded in 2011 and expanding their reach to the United States in 2018, Short Édition created the Short Story Dispenser in 2016, printing and distributing their one, three, and five minute stories in public spaces around the world with the aim of uplifting literature in a digital age. \u003c/p>\n\u003cp>The first dispenser in the country \u003ca href=\"https://www.kqed.org/arts/11597242/a-short-story-vending-machine-dispensing-free-stimulation\" rel=\"noopener noreferrer\" target=\"_blank\">was installed at Café Zoetrope\u003c/a> in San Francisco’s North Beach. Filmmaker Francis Ford Coppola, the owner of the cafe, read about the concept in \u003cem>The New Yorker\u003c/em> and was enamored with it, and has found that cafe customers love it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They are fascinated, trying to figure out how, and why, something can exist to give them a gift, a literary gift, without depositing a coin,” Coppola told BART. He is now an investor in the company. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The arts have been a source of relief for many throughout the past year, and BART officials hope that this can be one small way to improve the day to day lives of their riders. “The opportunity to bring micro fiction into BART, providing creative moments as part of the transit experience,” said Art Program Manager Jennifer Easton, “is even more compelling as the Bay Area emerges from the pandemic.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, most BART riders spend their travel time staring at their phones—and understandably so. In an increasingly digitized world accelerated by the isolation of the pandemic, our lives have migrated almost entirely online. \u003c/p>\n\u003cp>But now, BART riders are able to use touchless Short Story Dispensers to receive free one-, three- and five-minute reads at Richmond, Fruitvale, and Pleasant Hill Stations, with another one coming soon to Montgomery Street Station. Local writers will have the chance to have their work published and distributed as part of the project after the one-year pilot, sponsored by the BART Communications Department and Art Program, is up and running. \u003c/p>\n\u003cp>The kiosks are COVID-safe and touchless—a story is dispensed by simply holding your finger above a sensor—and the stories are printed on recyclable paper. Readers are encouraged to collect the stories.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The program is operating in partnership with Short Édition, a French publishing house that specializes in poetry, short stories, and flash fiction. Founded in 2011 and expanding their reach to the United States in 2018, Short Édition created the Short Story Dispenser in 2016, printing and distributing their one, three, and five minute stories in public spaces around the world with the aim of uplifting literature in a digital age. \u003c/p>\n\u003cp>The first dispenser in the country \u003ca href=\"https://www.kqed.org/arts/11597242/a-short-story-vending-machine-dispensing-free-stimulation\" rel=\"noopener noreferrer\" target=\"_blank\">was installed at Café Zoetrope\u003c/a> in San Francisco’s North Beach. Filmmaker Francis Ford Coppola, the owner of the cafe, read about the concept in \u003cem>The New Yorker\u003c/em> and was enamored with it, and has found that cafe customers love it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They are fascinated, trying to figure out how, and why, something can exist to give them a gift, a literary gift, without depositing a coin,” Coppola told BART. He is now an investor in the company. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The arts have been a source of relief for many throughout the past year, and BART officials hope that this can be one small way to improve the day to day lives of their riders. “The opportunity to bring micro fiction into BART, providing creative moments as part of the transit experience,” said Art Program Manager Jennifer Easton, “is even more compelling as the Bay Area emerges from the pandemic.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beverly Cleary, Creator Of Ramona Quimby, Dies At 104",
"headTitle": "Beverly Cleary, Creator Of Ramona Quimby, Dies At 104 | KQED",
"content": "\u003cfigure id=\"attachment_13894745\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg\" alt=\"Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse).\" width=\"640\" height=\"987\" class=\"size-large wp-image-13894745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-768x1184.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707.jpg 1328w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse). \u003ccite>(Terry Smith/Time)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Children’s author Beverly Cleary died Thursday in Carmel, Calif. She was 104 years old. Cleary was the creator of some of the most authentic characters in children’s literature — Henry Huggins, Ralph S. Mouse and the irascible Ramona Quimby.\u003c/p>\n\u003cp>Generations of readers tore around the playground, learned to write in cursive, rebelled against tuna fish sandwiches, and acquired all the glorious scrapes and bruises of childhood right along with Ramona.\u003c/p>\n\u003cp>Cleary’s simple idea — to write about the kids in her own neighborhood — ensured that her books have never gone out of print.\u003c/p>\n\u003cp>“I think children want to read about normal, everyday kids. That’s what I wanted to read about when I was growing up,” Cleary told NPR’s Linda Wertheimer in 1999. “I wanted to read about the sort of boys and girls that I knew in my neighborhood and in my school. And in my childhood, many years ago, children’s books seemed to be about English children, or pioneer children. And that wasn’t what I wanted to read. And I think children like to find themselves in books.”\u003c/p>\n\u003cp>Her writing style — clear, direct, uncomplicated — mirrored the author’s own trajectory. Cleary was still a young girl when she decided to become a children’s book author. By the 1940s she’d become a children’s librarian in Portland, Ore., and she remembers boys in particular would ask her: “Where are the books about kids like us?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There weren’t any, so she sat down and wrote \u003ca href=\"http://www.npr.org/books/titles/311886766/henry-huggins\">Henry Huggins,\u003c/a> her first book about a regular little boy on Klickitat Street in Portland.\u003cem> Henry Huggins \u003c/em>was a hit upon first printing, but her readers wanted to hear more about the little girl who lived just up the street.\u003c/p>\n\u003cp>Ramona Quimby, the most famous of all of Cleary’s characters, was unforgettable. Mischievous, spunky and a hater of spelling, Ramona would be the first to tell you \u003ca href=\"http://www.npr.org/books/titles/311886444/ramona-the-pest\">she’s \u003cem>not\u003c/em> a pest\u003c/a> — no matter what anyone (especially her older sister Beezus) says. In the opening chapter of \u003cem>Ramona the Pest\u003c/em>, Ramona responds to her big sister:\u003c/p>\n\u003cblockquote>\n\u003cp>“I’m not acting like a pest, I’m singing and skipping,” said Ramona, who had only recently learned to skip with both feet. Ramona did not think she was a pest. No matter what others said, she never thought she was a pest. People who called her a pest were always bigger, so they could be unfair.\u003c/p>\n\u003c/blockquote>\n\u003cp>Cleary’s memories are cinematically detailed. In her autobiography \u003ca href=\"http://www.npr.org/books/titles/311887530/a-girl-from-yamhill-a-memoir\">A Girl From Yamhill\u003c/a>, she writes about clamping around on tin can stilts and yelling “pieface!” at the neighbor. She was an only child, who grew up in Portland during the Depression and still remembers when her father lost his job.\u003c/p>\n\u003cp>“I was embarrassed” she recalled. “I didn’t know how to talk to my father. I know he felt so terrible at that time that I just — I guess I felt equally terrible. And I think adults sometimes don’t think about how children are feeling about the adult problems.”\u003c/p>\n\u003cp>Cleary used her crystal clear recall to capture the tribulations of young children exquisitely in her books. “I’m just lucky. I do have very clear memories of childhood,” Cleary said. “I find that many people don’t, but I’m just very fortunate.”\u003c/p>\n\u003cp>Barbara Lalicki, who edited the 1999 Ramona book, \u003cem>Ramona’s World, \u003c/em>says Cleary steered the entire field of children’s writing away from fantasy and historical fiction. She was a “pioneer,” Lalicki says, in this “rooted-in-reality kind of book for children.”\u003c/p>\n\u003cp>Cleary’s books racked up awards, and were constantly reprinted and re-illustrated. Librarians kept shelves devoted entirely to Cleary’s books, and teachers read the books aloud to their students.\u003c/p>\n\u003cp>For about 30 years — despite objections from publishers who wanted her focus on writing more books — Cleary answered all of her fan mail herself. “I learned a lot from children’s letters,” Cleary said. “\u003ca href=\"http://www.npr.org/books/titles/311887036/dear-mr-henshaw\">Dear Mr. Henshaw\u003c/a> came about because two different boys from different parts of the country asked me to write a book about a boy whose parents were divorced. And so I wrote \u003cem>Dear Mr. Henshaw\u003c/em>, and it won the Newbery.”\u003c/p>\n\u003cp>Longtime children’s librarian Nancy Pearl remembers hearing “a wonderful, possibly apocryphal story” about Cleary going to speak to a class of second or third graders: “This little boy kept raising his hand, he had so much to ask her, and he said to her, ‘Mrs. Cleary, I understand how you write your books. … But where do you get your paper?’ … I think that’s how involved kids get in those books.”\u003c/p>\n\u003cp>Even with all the modern day distractions — videogames, music, movies and more — Cleary believed kids would keep on reading. “I don’t think anything takes the place of reading,” Cleary said in 2006. In one letter, a little girl said that reading in her room by herself was “like having a little television set in your head.”\u003c/p>\n\u003cp>Decades after they were written, Cleary’s books still ring true for children. “I think deep down inside children are all the same,” she said. “They want two loving parents and they would prefer a house with a neighborhood they can play in. They want teachers that they can like. I don’t think children have changed that much. It’s the world that has changed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Beverly Cleary, with her honest, straight-talking heroes and heroines, certainly changed it for the better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beverly+Cleary%2C+Creator+Of+Ramona+Quimby%2C+Dies+At+104&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13894745\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg\" alt=\"Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse).\" width=\"640\" height=\"987\" class=\"size-large wp-image-13894745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-768x1184.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707.jpg 1328w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse). \u003ccite>(Terry Smith/Time)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Children’s author Beverly Cleary died Thursday in Carmel, Calif. She was 104 years old. Cleary was the creator of some of the most authentic characters in children’s literature — Henry Huggins, Ralph S. Mouse and the irascible Ramona Quimby.\u003c/p>\n\u003cp>Generations of readers tore around the playground, learned to write in cursive, rebelled against tuna fish sandwiches, and acquired all the glorious scrapes and bruises of childhood right along with Ramona.\u003c/p>\n\u003cp>Cleary’s simple idea — to write about the kids in her own neighborhood — ensured that her books have never gone out of print.\u003c/p>\n\u003cp>“I think children want to read about normal, everyday kids. That’s what I wanted to read about when I was growing up,” Cleary told NPR’s Linda Wertheimer in 1999. “I wanted to read about the sort of boys and girls that I knew in my neighborhood and in my school. And in my childhood, many years ago, children’s books seemed to be about English children, or pioneer children. And that wasn’t what I wanted to read. And I think children like to find themselves in books.”\u003c/p>\n\u003cp>Her writing style — clear, direct, uncomplicated — mirrored the author’s own trajectory. Cleary was still a young girl when she decided to become a children’s book author. By the 1940s she’d become a children’s librarian in Portland, Ore., and she remembers boys in particular would ask her: “Where are the books about kids like us?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There weren’t any, so she sat down and wrote \u003ca href=\"http://www.npr.org/books/titles/311886766/henry-huggins\">Henry Huggins,\u003c/a> her first book about a regular little boy on Klickitat Street in Portland.\u003cem> Henry Huggins \u003c/em>was a hit upon first printing, but her readers wanted to hear more about the little girl who lived just up the street.\u003c/p>\n\u003cp>Ramona Quimby, the most famous of all of Cleary’s characters, was unforgettable. Mischievous, spunky and a hater of spelling, Ramona would be the first to tell you \u003ca href=\"http://www.npr.org/books/titles/311886444/ramona-the-pest\">she’s \u003cem>not\u003c/em> a pest\u003c/a> — no matter what anyone (especially her older sister Beezus) says. In the opening chapter of \u003cem>Ramona the Pest\u003c/em>, Ramona responds to her big sister:\u003c/p>\n\u003cblockquote>\n\u003cp>“I’m not acting like a pest, I’m singing and skipping,” said Ramona, who had only recently learned to skip with both feet. Ramona did not think she was a pest. No matter what others said, she never thought she was a pest. People who called her a pest were always bigger, so they could be unfair.\u003c/p>\n\u003c/blockquote>\n\u003cp>Cleary’s memories are cinematically detailed. In her autobiography \u003ca href=\"http://www.npr.org/books/titles/311887530/a-girl-from-yamhill-a-memoir\">A Girl From Yamhill\u003c/a>, she writes about clamping around on tin can stilts and yelling “pieface!” at the neighbor. She was an only child, who grew up in Portland during the Depression and still remembers when her father lost his job.\u003c/p>\n\u003cp>“I was embarrassed” she recalled. “I didn’t know how to talk to my father. I know he felt so terrible at that time that I just — I guess I felt equally terrible. And I think adults sometimes don’t think about how children are feeling about the adult problems.”\u003c/p>\n\u003cp>Cleary used her crystal clear recall to capture the tribulations of young children exquisitely in her books. “I’m just lucky. I do have very clear memories of childhood,” Cleary said. “I find that many people don’t, but I’m just very fortunate.”\u003c/p>\n\u003cp>Barbara Lalicki, who edited the 1999 Ramona book, \u003cem>Ramona’s World, \u003c/em>says Cleary steered the entire field of children’s writing away from fantasy and historical fiction. She was a “pioneer,” Lalicki says, in this “rooted-in-reality kind of book for children.”\u003c/p>\n\u003cp>Cleary’s books racked up awards, and were constantly reprinted and re-illustrated. Librarians kept shelves devoted entirely to Cleary’s books, and teachers read the books aloud to their students.\u003c/p>\n\u003cp>For about 30 years — despite objections from publishers who wanted her focus on writing more books — Cleary answered all of her fan mail herself. “I learned a lot from children’s letters,” Cleary said. “\u003ca href=\"http://www.npr.org/books/titles/311887036/dear-mr-henshaw\">Dear Mr. Henshaw\u003c/a> came about because two different boys from different parts of the country asked me to write a book about a boy whose parents were divorced. And so I wrote \u003cem>Dear Mr. Henshaw\u003c/em>, and it won the Newbery.”\u003c/p>\n\u003cp>Longtime children’s librarian Nancy Pearl remembers hearing “a wonderful, possibly apocryphal story” about Cleary going to speak to a class of second or third graders: “This little boy kept raising his hand, he had so much to ask her, and he said to her, ‘Mrs. Cleary, I understand how you write your books. … But where do you get your paper?’ … I think that’s how involved kids get in those books.”\u003c/p>\n\u003cp>Even with all the modern day distractions — videogames, music, movies and more — Cleary believed kids would keep on reading. “I don’t think anything takes the place of reading,” Cleary said in 2006. In one letter, a little girl said that reading in her room by herself was “like having a little television set in your head.”\u003c/p>\n\u003cp>Decades after they were written, Cleary’s books still ring true for children. “I think deep down inside children are all the same,” she said. “They want two loving parents and they would prefer a house with a neighborhood they can play in. They want teachers that they can like. I don’t think children have changed that much. It’s the world that has changed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Beverly Cleary, with her honest, straight-talking heroes and heroines, certainly changed it for the better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beverly+Cleary%2C+Creator+Of+Ramona+Quimby%2C+Dies+At+104&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated March 26, 2021 at 2:13 PM ET\u003c/strong>\u003c/div>\n\u003cp>Larry McMurtry, a prolific, Pulitzer Prize-winning author and Oscar-winning screenwriter, has died at age 84. He was beloved for riveting and yet unsentimental depictions of the American West in books such as \u003cem>Lonesome Dove\u003c/em> as well as for tales of family drama including \u003cem>Terms of Endearment\u003c/em>.\u003c/p>\n\u003cp>In a statement, his representative Amanda Lundberg said McMurtry “passed away last night, on March 25 of heart failure at 84 years old surrounded by his loved ones who he lived with including long time writing partner Diana Ossana, his wife Norma Faye and their 3 dogs.”\u003c/p>\n\u003cp>In all, McMurtry wrote more than 30 novels as well as over a dozen nonfiction works that spanned memoir, history and essays. He wrote over 20 screenplays and television scripts as well.\u003c/p>\n\u003cp>McMurtry was also famous for his bookstore, \u003ca href=\"https://www.bookedupac.com/\">Booked Up\u003c/a> in Archer City, Texas. Even after selling off more than half of his holdings in 2012, he still had about 200,000 books between his private collection and the store.\u003c/p>\n\u003cp>When he won an Oscar in 2006 for the screenplay adaption of E. Annie Proulx’s short story \u003cem>Brokeback Mountain\u003c/em>, which he co-wrote with Ossana, his longtime writing partner, he thanked booksellers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“From the humblest paperback exchange to the masters of the great bookshops of the world,” he said, “all are contributors to the survival of the culture of the book, a wonderful culture, which we mustn’t lose.”\u003c/p>\n\u003cp>Filmmakers were drawn to McMurtry’s work; his books \u003cem>Hud\u003c/em>, \u003cem>The Last Picture Show \u003c/em>and \u003cem>Terms of Endearment \u003c/em>were all made into films. \u003cem>Lonesome Dove\u003c/em>, his 1985 Pulitzer Prize-winning novel, became a successful TV miniseries in 1989, starring Robert Duvall and Tommy Lee Jones.\u003c/p>\n\u003cp>Born in 1936 on a Texas ranch, McMurtry came to his love of the West through his family. His grandfather broke horses, and his father raised cattle. With his first wife Jo Scott, McMurtry had a son, James McMurtry, now an acclaimed Americana singer-songwriter. Later, in 2011, McMurtry married Norma Faye Kesey, the widow of writer Ken Kesey. \u003c/p>\n\u003cp>“The West is mostly a very beautiful place,” he told NPR’s \u003cem>All Things Considered\u003c/em> in 2014. “There are all those lovely spaces. There are all those running horses. It’s a poetic imagery and it’s been there for a long time.”\u003c/p>\n\u003cp>However, he remained critical of Old West mythologies, \u003ca href=\"https://www.motherjones.com/media/2014/05/larry-mcmurtry-brokeback-mountain-last-kind-words/\" rel=\"noopener noreferrer\" target=\"_blank\">remarking to \u003cem>Mother Jones\u003c/em> in a 2014 interview\u003c/a> that “the Western notion of masculinity goes back a long way. It doesn’t allow for women, and it’s also racist.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McMurtry wanted to scour that landscape of sentimental nostalgia for cowboys, he added. “To me it was hollow and I think it was hollow for my father, although he might not have ever brought that to his conscious mind. He totally loved cowboys and so did most of the cowboys we worked with and that got him through his life. But he knew perfectly well, so did we, that it wouldn’t last another generation, it just was not going to last.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Larry+McMurtry%2C+Novelist+And+Screenwriter+Of+The+West%2C+Has+Died+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated March 26, 2021 at 2:13 PM ET\u003c/strong>\u003c/div>\n\u003cp>Larry McMurtry, a prolific, Pulitzer Prize-winning author and Oscar-winning screenwriter, has died at age 84. He was beloved for riveting and yet unsentimental depictions of the American West in books such as \u003cem>Lonesome Dove\u003c/em> as well as for tales of family drama including \u003cem>Terms of Endearment\u003c/em>.\u003c/p>\n\u003cp>In a statement, his representative Amanda Lundberg said McMurtry “passed away last night, on March 25 of heart failure at 84 years old surrounded by his loved ones who he lived with including long time writing partner Diana Ossana, his wife Norma Faye and their 3 dogs.”\u003c/p>\n\u003cp>In all, McMurtry wrote more than 30 novels as well as over a dozen nonfiction works that spanned memoir, history and essays. He wrote over 20 screenplays and television scripts as well.\u003c/p>\n\u003cp>McMurtry was also famous for his bookstore, \u003ca href=\"https://www.bookedupac.com/\">Booked Up\u003c/a> in Archer City, Texas. Even after selling off more than half of his holdings in 2012, he still had about 200,000 books between his private collection and the store.\u003c/p>\n\u003cp>When he won an Oscar in 2006 for the screenplay adaption of E. Annie Proulx’s short story \u003cem>Brokeback Mountain\u003c/em>, which he co-wrote with Ossana, his longtime writing partner, he thanked booksellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“From the humblest paperback exchange to the masters of the great bookshops of the world,” he said, “all are contributors to the survival of the culture of the book, a wonderful culture, which we mustn’t lose.”\u003c/p>\n\u003cp>Filmmakers were drawn to McMurtry’s work; his books \u003cem>Hud\u003c/em>, \u003cem>The Last Picture Show \u003c/em>and \u003cem>Terms of Endearment \u003c/em>were all made into films. \u003cem>Lonesome Dove\u003c/em>, his 1985 Pulitzer Prize-winning novel, became a successful TV miniseries in 1989, starring Robert Duvall and Tommy Lee Jones.\u003c/p>\n\u003cp>Born in 1936 on a Texas ranch, McMurtry came to his love of the West through his family. His grandfather broke horses, and his father raised cattle. With his first wife Jo Scott, McMurtry had a son, James McMurtry, now an acclaimed Americana singer-songwriter. Later, in 2011, McMurtry married Norma Faye Kesey, the widow of writer Ken Kesey. \u003c/p>\n\u003cp>“The West is mostly a very beautiful place,” he told NPR’s \u003cem>All Things Considered\u003c/em> in 2014. “There are all those lovely spaces. There are all those running horses. It’s a poetic imagery and it’s been there for a long time.”\u003c/p>\n\u003cp>However, he remained critical of Old West mythologies, \u003ca href=\"https://www.motherjones.com/media/2014/05/larry-mcmurtry-brokeback-mountain-last-kind-words/\" rel=\"noopener noreferrer\" target=\"_blank\">remarking to \u003cem>Mother Jones\u003c/em> in a 2014 interview\u003c/a> that “the Western notion of masculinity goes back a long way. It doesn’t allow for women, and it’s also racist.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McMurtry wanted to scour that landscape of sentimental nostalgia for cowboys, he added. “To me it was hollow and I think it was hollow for my father, although he might not have ever brought that to his conscious mind. He totally loved cowboys and so did most of the cowboys we worked with and that got him through his life. But he knew perfectly well, so did we, that it wouldn’t last another generation, it just was not going to last.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Larry+McMurtry%2C+Novelist+And+Screenwriter+Of+The+West%2C+Has+Died+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "from-oakland-to-black-girl-songbook-danyel-smith-stays-true-to-the-town",
"title": "From Oakland to 'Black Girl Songbook,' Danyel Smith Stays True to the Town",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>anyel Smith, one of the premier writers on American culture over the past three decades, tells me the goal of her new podcast series \u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Girl Songbook\u003c/em>\u003c/a> is best exemplified by something that happened in a recent episode.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Last week’s chapter, “\u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr?si=ya5JzRYZQk25gTBnXJULCg\" target=\"_blank\" rel=\"noopener noreferrer\">The Diss-Education of Lauryn Hill\u003c/a>,” took listeners into the world of diss tracks through Smith’s appreciation of Lauryn Hill’s classic “Lost Ones.” As a bit of an aside, Smith asks one of her guests, legendary lyricist MC Lyte, if her speaking voice is the same as her regular voice.\u003c/p>\n\u003cp>MC Lyte tells Smith no—that she only uses her real voice when she’s at home, in the company of family. Lyte, the voice of so many big-name events, commercials, and classic songs, says no one had ever asked her that before.\u003c/p>\n\u003cp>“No one ever asks Black women questions,” says Smith, who boasts a resume showing she knows a thing or two about asking questions. She’s served as editor-at-large at Time Inc., editor at Billboard, and twice as the editor-in-chief of Vibe, where she was both the first African-American and first woman to hold that position.\u003c/p>\n\u003cp>Smith has made a career out of asking athletes, entertainers and specifically Black women in hip-hop and R&B the questions no one else asks them. And with her latest endeavor, as well as her forthcoming book \u003cem>\u003ca href=\"https://www.amazon.com/Shine-Bright-Personal-History-Black/dp/0593132718\" target=\"_blank\" rel=\"noopener noreferrer\">Shine Bright: A Personal History of Black Women in Pop\u003c/a>,\u003c/em> she’s looking to ask more questions and share some of her own stories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BUErg6Shwrz/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith’s story, like most good stories, begins in Oakland.\u003c/p>\n\u003cp>Smith attended Bella Vista Elementary School, and took summer school classes at my own alma mater, Edna M. Brewer Middle School (formerly McChesney Junior High). And though she moved to Los Angeles for high school, she says, the lessons she learned in the Town stayed with her to this day.\u003c/p>\n\u003cp>Growing up, Smith lived across the street from Highland Hospital, on Vallecito Place. Smith also spent time on 31st Street, 13th Avenue and East 24th Street in a neighborhood alternately known as the Twomps, Rollin’ Twenties or Murder Dubbs. That’s the same neighborhood that brought the world longtime journalist and MTV host \u003ca href=\"https://vimeo.com/193387173\" target=\"_blank\" rel=\"noopener noreferrer\">Sway Calloway\u003c/a>.\u003c/p>\n\u003cp>“First of all,” Smith says to me in that tone that’s both joyous and serious, “Sway’s mom and my mom knew each other at Fremont High School.”\u003c/p>\n\u003cp>Smith sincerely values her Oakland roots. On one episode of \u003cem>Black Girl Songbook\u003c/em> she mentions picking blackberries in her great-grandparents’ backyard on 83rd Avenue near East 14th Street. She remembers complaining, “But gram, there’s wasps!”—and getting the advice from her elder, “Well, move quickly.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BCvWCrbyxzT/\u003c/p>\n\u003cp>In addition to family, she soaked up culture from the community. “\u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">SoulBeat\u003c/a> was a lifeline,” Smith says, audibly clapping against a hard surface in the background as she references the old music videos and small-business commercials the Black-owned television station used to air. “It was A. Life. Line.”\u003c/p>\n\u003cp>A music fanatic since the time she saw the Jackson Five perform at the Circle Star Theatre in San Carlos as a kid, Smith eventually gravitated toward hip-hop, which was coming of age just as she was.\u003c/p>\n\u003cp>While San Francisco’s KMEL was pivoting from being an “album oriented rock” radio station to an “urban” station, Smith found culture in the margins: on late-night pirate radio stations and at clubs like the Stargaze in Fremont.\u003c/p>\n\u003cp>During her first stint in college at UC Berkeley, Smith tells me, she’d sweat out the entirety of her hairdo while dancing at parties where a guy named DJ Davey D was on the ones and twos. “All of (Davey D’s) community work over the years is legendary,” says Smith of KPFA’s \u003ca href=\"https://kpfa.org/program/hard-knock-radio/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard Knock Radio\u003c/a> host Davey D. “But let’s not forget that he really did have a reputation in the ’80s for DJing the best parties in all of the Bay Area.”\u003c/p>\n\u003cp>Smith knows about partying. “Back then, I was running around with Digital Underground… I was in these streets,” says Smith, laughing after stressing \u003cem>streets\u003c/em> and bringing back that joyous-yet-serious tone. “People are always like, ‘You were friends with 2Pac?’ I’m like, ‘I was actually friends with \u003cem>Tupac Shakur\u003c/em>.'”\u003c/p>\n\u003cfigure id=\"attachment_13894182\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-1.jpg\" alt=\"Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1-160x213.jpg 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993. \u003ccite>(Carl Posey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a self-described creative Black girl with hustle, Smith worked at a copy store on Oakland’s Piedmont Avenue when she was younger, and later at a more posh position at Saks Fifth Avenue in San Francisco. But writing was calling her.\u003c/p>\n\u003cp>“I got into journalism because of the murder rate in Oakland,” says Smith, speaking candidly about what was happening around her in 1992—the drugs and violence—and how that year became known for the \u003ca href=\"https://crime-data-explorer.fr.cloud.gov/explorer/agency/CA0010900/crime\" target=\"_blank\" rel=\"noopener noreferrer\">highest number of homicides\u003c/a> Oakland has ever tallied. “I was so tired of the local news counting murders like people were animals,” says Smith.\u003c/p>\n\u003cp>With the assistance of former \u003cem>San Francisco Bay Guardian\u003c/em> Arts Editor Tommy Tompkins and former \u003cem>SF Weekly\u003c/em> Music Editor \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">Ann K. Powers,\u003c/a> she got into the game. “This was when the alternative weeklies of the Bay Area were very helpful,” says Smith, also shouting out \u003cem>LA Weekly\u003c/em> and New York’s \u003cem>Village Voice\u003c/em>. “In many cases, they extended a hand to people of color to get them started writing. I miss those days.”\u003c/p>\n\u003cp>Smith’s call up to the major leagues came through Bill Adler, founding member of Def Jam, longtime journalist and namesake of the \u003ca href=\"https://digital.library.cornell.edu/catalog?f%5Bcollection_tesim%5D%5B%5D=Adler+Hip+Hop+Archive\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Hip-Hop Archive\u003c/a> at Cornell University. He informed Smith of an opening for the R&B Editor at \u003cem>Billboard\u003c/em>. Smith says she went to Oakland’s MacArthur-Broadway Mall (where Kaiser now stands) and got a suit that couldn’t have cost more than $40. “I made up my mind that I was going to get that job,” Smith recalls. “And that’s all she wrote.”\u003c/p>\n\u003cp>In all actuality, she was just getting started writing.\u003c/p>\n\u003cfigure id=\"attachment_13894183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-2-800x951.jpg\" alt=\"Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard's R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi.\" width=\"800\" height=\"951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2.jpg 1077w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard’s R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi. \u003ccite>(Courtesy of Danyel Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith landed big-name interviews with figures like \u003ca href=\"https://books.google.com/books?id=QCgEAAAAMBAJ&pg=PT15&lpg=PT15&dq=danyel+smith+Wesley+Snipes+billboard&source=bl&ots=Cw7IY0bx88&sig=ACfU3U01hWwrbxfYqzB72IPogFG4ONajLw&hl=en&sa=X&ved=2ahUKEwjeqY-6_LjvAhVFDDQIHRLrA0kQ6AEwEnoECAQQAw#v=onepage&q=danyel%20smith%20Wesley%20Snipes%20billboard&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Wesley Snipes,\u003c/a> and was one of the earliest reporters to investigate what eventually proved to be sex crimes committed by \u003ca href=\"https://books.google.com/books?id=dywEAAAAMBAJ&lpg=PA53&vq=kelly&pg=PA52#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>.\u003c/p>\n\u003cp>While Smith held her own, she admits she was “unpolished.” She took notes on how other women carried themselves and dressed, while at the same time, “I brought Oakland with me to every meeting. Good, bad, or otherwise.”\u003c/p>\n\u003cp>Smith tells me about a time an unnamed male boss told her he’d thought she was going to be too hood for the job. “But it seems like you’re doing OK,” Smith recalls him saying. It motivated Smith to dive deeper into her work. She credits a number of women, mentors, who took her under their wing and told her “not to drink out of the finger bowl at Mr. Chow’s.”\u003c/p>\n\u003cp>Because I’m looking clueless while hearing the story, Smith tells me a “finger bowl” is a little fancy container full of warm water for washing your hands at the table. \u003ca href=\"https://www.imdb.com/name/nm2312380/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Cassandra Mills\u003c/a>, the highly regarded manager, higher-up at Giant Records and force behind the success of the \u003cem>New Jack City\u003c/em> soundtrack, had to give Smith a gentle touch on the wrist to tell her not to drink it. “It had a lemon in it,” says Smith. “I was like, ‘Oh, lemon tea for me!’”\u003c/p>\n\u003cp>Years later, she’s not embarrassed about the interaction. “There’s no shame in not coming up around stuff like that,” says Smith, who knows others who’ve had to acclimate to the different world of Manhattan. “I married a guy, Ell, he’s from the projects in Queens. We’ll get through this together.”\u003c/p>\n\u003cp>Ell—or \u003ca href=\"https://twitter.com/ElliottWilson?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Elliott Wilson\u003c/a>, often referred to as the “GOAT” of hip-hop journalism—is the founder of Rap Radar and Chief Content Officer at Tidal.\u003c/p>\n\u003cp>Smith is transparent about their relationship: Wilson is her second husband, and their bond is a product of her taking time to heal from past relationships, Smith says, as well her being intentional about the things she truly wanted in life.\u003c/p>\n\u003cp>In her mid-30s, Smith took time away from work, went back to school and earned her undergraduate and masters degrees and also published a novel, \u003ca href=\"https://www.amazon.com/More-Like-Wrestling-Danyel-Smith/dp/0609809938\">\u003ci>More Like Wrestling,\u003c/i>\u003c/a> which is set in Oakland. She says one day she was at a friend’s birthday party and saw someone she’d known for a while, but had never looked at in \u003cem>that way\u003c/em>.\u003c/p>\n\u003cp>Smith and Wilson have now been married for 16 years.\u003c/p>\n\u003cp>http://www.instagram.com/p/3xkmu4Sx53/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hrough my conversation with Smith, and in listening to her podcast, it’s become pretty clear just how important relationships are to the stories she tells.\u003c/p>\n\u003cp>So far this season, she’s covered her relationship to Whitney Houston as a fan, Whitney’s romantic relationship with Bobby Brown, the sisterhood-esque relationship between Natalie Cole and Whitney Houston, and the familial relationship of Natalie Cole and her father, Nat King Cole.\u003c/p>\n\u003cp>Looking back at her work, it’s a mechanism Smith has used in multiple ways. In retelling the story of a \u003ca href=\"https://www.youtube.com/watch?v=M7r8T0e5icU\">confrontation with Foxy Brown,\u003c/a> she focused on a friendship that shouldn’t have been. \u003ca href=\"https://theundefeated.com/features/simone-biles-most-dominant-athlete-of-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">In writing about Simone Biles\u003c/a>, she focused on the gymnast’s relationship to her sport, as well as other elite athletes. And in one of her more moving pieces, Smith writes candidly about her relationship with herself, as she juxtaposes \u003ca href=\"https://www.npr.org/2020/11/11/933080759/sade-saves-lovers-rock-20th-career-retrospective\" target=\"_blank\" rel=\"noopener noreferrer\">her own growth with Sade’s musical catalog\u003c/a>.\u003c/p>\n\u003cp>“The definition of love in a relationship,” Smith says, “is contributing to the other person’s growth.”\u003c/p>\n\u003cp>Of course, she says, taking care of the other person and staying romantic are in the mix, but “if you’re going to be with a person a long time, you have to be into that person growing into who they’re going to be,” says Smith, “and they have to be into you growing into who you are going to be.”\u003c/p>\n\u003cp>The same philosophy on relationships continually shows up in her work: as the culture has grown, so has she.\u003c/p>\n\u003cp>“I’ve always felt that hip-hop, when I got into it, it was still a subculture,” Smith says. “It wasn’t getting the credit that it deserved for changing culture and changing the world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And as hip-hop, and for that matter Black American entertainment as a whole, continues to get its due credit for changing the world, so too should its key purveyors.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>anyel Smith, one of the premier writers on American culture over the past three decades, tells me the goal of her new podcast series \u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Girl Songbook\u003c/em>\u003c/a> is best exemplified by something that happened in a recent episode.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Last week’s chapter, “\u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr?si=ya5JzRYZQk25gTBnXJULCg\" target=\"_blank\" rel=\"noopener noreferrer\">The Diss-Education of Lauryn Hill\u003c/a>,” took listeners into the world of diss tracks through Smith’s appreciation of Lauryn Hill’s classic “Lost Ones.” As a bit of an aside, Smith asks one of her guests, legendary lyricist MC Lyte, if her speaking voice is the same as her regular voice.\u003c/p>\n\u003cp>MC Lyte tells Smith no—that she only uses her real voice when she’s at home, in the company of family. Lyte, the voice of so many big-name events, commercials, and classic songs, says no one had ever asked her that before.\u003c/p>\n\u003cp>“No one ever asks Black women questions,” says Smith, who boasts a resume showing she knows a thing or two about asking questions. She’s served as editor-at-large at Time Inc., editor at Billboard, and twice as the editor-in-chief of Vibe, where she was both the first African-American and first woman to hold that position.\u003c/p>\n\u003cp>Smith has made a career out of asking athletes, entertainers and specifically Black women in hip-hop and R&B the questions no one else asks them. And with her latest endeavor, as well as her forthcoming book \u003cem>\u003ca href=\"https://www.amazon.com/Shine-Bright-Personal-History-Black/dp/0593132718\" target=\"_blank\" rel=\"noopener noreferrer\">Shine Bright: A Personal History of Black Women in Pop\u003c/a>,\u003c/em> she’s looking to ask more questions and share some of her own stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith’s story, like most good stories, begins in Oakland.\u003c/p>\n\u003cp>Smith attended Bella Vista Elementary School, and took summer school classes at my own alma mater, Edna M. Brewer Middle School (formerly McChesney Junior High). And though she moved to Los Angeles for high school, she says, the lessons she learned in the Town stayed with her to this day.\u003c/p>\n\u003cp>Growing up, Smith lived across the street from Highland Hospital, on Vallecito Place. Smith also spent time on 31st Street, 13th Avenue and East 24th Street in a neighborhood alternately known as the Twomps, Rollin’ Twenties or Murder Dubbs. That’s the same neighborhood that brought the world longtime journalist and MTV host \u003ca href=\"https://vimeo.com/193387173\" target=\"_blank\" rel=\"noopener noreferrer\">Sway Calloway\u003c/a>.\u003c/p>\n\u003cp>“First of all,” Smith says to me in that tone that’s both joyous and serious, “Sway’s mom and my mom knew each other at Fremont High School.”\u003c/p>\n\u003cp>Smith sincerely values her Oakland roots. On one episode of \u003cem>Black Girl Songbook\u003c/em> she mentions picking blackberries in her great-grandparents’ backyard on 83rd Avenue near East 14th Street. She remembers complaining, “But gram, there’s wasps!”—and getting the advice from her elder, “Well, move quickly.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In addition to family, she soaked up culture from the community. “\u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">SoulBeat\u003c/a> was a lifeline,” Smith says, audibly clapping against a hard surface in the background as she references the old music videos and small-business commercials the Black-owned television station used to air. “It was A. Life. Line.”\u003c/p>\n\u003cp>A music fanatic since the time she saw the Jackson Five perform at the Circle Star Theatre in San Carlos as a kid, Smith eventually gravitated toward hip-hop, which was coming of age just as she was.\u003c/p>\n\u003cp>While San Francisco’s KMEL was pivoting from being an “album oriented rock” radio station to an “urban” station, Smith found culture in the margins: on late-night pirate radio stations and at clubs like the Stargaze in Fremont.\u003c/p>\n\u003cp>During her first stint in college at UC Berkeley, Smith tells me, she’d sweat out the entirety of her hairdo while dancing at parties where a guy named DJ Davey D was on the ones and twos. “All of (Davey D’s) community work over the years is legendary,” says Smith of KPFA’s \u003ca href=\"https://kpfa.org/program/hard-knock-radio/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard Knock Radio\u003c/a> host Davey D. “But let’s not forget that he really did have a reputation in the ’80s for DJing the best parties in all of the Bay Area.”\u003c/p>\n\u003cp>Smith knows about partying. “Back then, I was running around with Digital Underground… I was in these streets,” says Smith, laughing after stressing \u003cem>streets\u003c/em> and bringing back that joyous-yet-serious tone. “People are always like, ‘You were friends with 2Pac?’ I’m like, ‘I was actually friends with \u003cem>Tupac Shakur\u003c/em>.'”\u003c/p>\n\u003cfigure id=\"attachment_13894182\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-1.jpg\" alt=\"Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1-160x213.jpg 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993. \u003ccite>(Carl Posey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a self-described creative Black girl with hustle, Smith worked at a copy store on Oakland’s Piedmont Avenue when she was younger, and later at a more posh position at Saks Fifth Avenue in San Francisco. But writing was calling her.\u003c/p>\n\u003cp>“I got into journalism because of the murder rate in Oakland,” says Smith, speaking candidly about what was happening around her in 1992—the drugs and violence—and how that year became known for the \u003ca href=\"https://crime-data-explorer.fr.cloud.gov/explorer/agency/CA0010900/crime\" target=\"_blank\" rel=\"noopener noreferrer\">highest number of homicides\u003c/a> Oakland has ever tallied. “I was so tired of the local news counting murders like people were animals,” says Smith.\u003c/p>\n\u003cp>With the assistance of former \u003cem>San Francisco Bay Guardian\u003c/em> Arts Editor Tommy Tompkins and former \u003cem>SF Weekly\u003c/em> Music Editor \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">Ann K. Powers,\u003c/a> she got into the game. “This was when the alternative weeklies of the Bay Area were very helpful,” says Smith, also shouting out \u003cem>LA Weekly\u003c/em> and New York’s \u003cem>Village Voice\u003c/em>. “In many cases, they extended a hand to people of color to get them started writing. I miss those days.”\u003c/p>\n\u003cp>Smith’s call up to the major leagues came through Bill Adler, founding member of Def Jam, longtime journalist and namesake of the \u003ca href=\"https://digital.library.cornell.edu/catalog?f%5Bcollection_tesim%5D%5B%5D=Adler+Hip+Hop+Archive\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Hip-Hop Archive\u003c/a> at Cornell University. He informed Smith of an opening for the R&B Editor at \u003cem>Billboard\u003c/em>. Smith says she went to Oakland’s MacArthur-Broadway Mall (where Kaiser now stands) and got a suit that couldn’t have cost more than $40. “I made up my mind that I was going to get that job,” Smith recalls. “And that’s all she wrote.”\u003c/p>\n\u003cp>In all actuality, she was just getting started writing.\u003c/p>\n\u003cfigure id=\"attachment_13894183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-2-800x951.jpg\" alt=\"Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard's R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi.\" width=\"800\" height=\"951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2.jpg 1077w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard’s R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi. \u003ccite>(Courtesy of Danyel Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith landed big-name interviews with figures like \u003ca href=\"https://books.google.com/books?id=QCgEAAAAMBAJ&pg=PT15&lpg=PT15&dq=danyel+smith+Wesley+Snipes+billboard&source=bl&ots=Cw7IY0bx88&sig=ACfU3U01hWwrbxfYqzB72IPogFG4ONajLw&hl=en&sa=X&ved=2ahUKEwjeqY-6_LjvAhVFDDQIHRLrA0kQ6AEwEnoECAQQAw#v=onepage&q=danyel%20smith%20Wesley%20Snipes%20billboard&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Wesley Snipes,\u003c/a> and was one of the earliest reporters to investigate what eventually proved to be sex crimes committed by \u003ca href=\"https://books.google.com/books?id=dywEAAAAMBAJ&lpg=PA53&vq=kelly&pg=PA52#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>.\u003c/p>\n\u003cp>While Smith held her own, she admits she was “unpolished.” She took notes on how other women carried themselves and dressed, while at the same time, “I brought Oakland with me to every meeting. Good, bad, or otherwise.”\u003c/p>\n\u003cp>Smith tells me about a time an unnamed male boss told her he’d thought she was going to be too hood for the job. “But it seems like you’re doing OK,” Smith recalls him saying. It motivated Smith to dive deeper into her work. She credits a number of women, mentors, who took her under their wing and told her “not to drink out of the finger bowl at Mr. Chow’s.”\u003c/p>\n\u003cp>Because I’m looking clueless while hearing the story, Smith tells me a “finger bowl” is a little fancy container full of warm water for washing your hands at the table. \u003ca href=\"https://www.imdb.com/name/nm2312380/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Cassandra Mills\u003c/a>, the highly regarded manager, higher-up at Giant Records and force behind the success of the \u003cem>New Jack City\u003c/em> soundtrack, had to give Smith a gentle touch on the wrist to tell her not to drink it. “It had a lemon in it,” says Smith. “I was like, ‘Oh, lemon tea for me!’”\u003c/p>\n\u003cp>Years later, she’s not embarrassed about the interaction. “There’s no shame in not coming up around stuff like that,” says Smith, who knows others who’ve had to acclimate to the different world of Manhattan. “I married a guy, Ell, he’s from the projects in Queens. We’ll get through this together.”\u003c/p>\n\u003cp>Ell—or \u003ca href=\"https://twitter.com/ElliottWilson?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Elliott Wilson\u003c/a>, often referred to as the “GOAT” of hip-hop journalism—is the founder of Rap Radar and Chief Content Officer at Tidal.\u003c/p>\n\u003cp>Smith is transparent about their relationship: Wilson is her second husband, and their bond is a product of her taking time to heal from past relationships, Smith says, as well her being intentional about the things she truly wanted in life.\u003c/p>\n\u003cp>In her mid-30s, Smith took time away from work, went back to school and earned her undergraduate and masters degrees and also published a novel, \u003ca href=\"https://www.amazon.com/More-Like-Wrestling-Danyel-Smith/dp/0609809938\">\u003ci>More Like Wrestling,\u003c/i>\u003c/a> which is set in Oakland. She says one day she was at a friend’s birthday party and saw someone she’d known for a while, but had never looked at in \u003cem>that way\u003c/em>.\u003c/p>\n\u003cp>Smith and Wilson have now been married for 16 years.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hrough my conversation with Smith, and in listening to her podcast, it’s become pretty clear just how important relationships are to the stories she tells.\u003c/p>\n\u003cp>So far this season, she’s covered her relationship to Whitney Houston as a fan, Whitney’s romantic relationship with Bobby Brown, the sisterhood-esque relationship between Natalie Cole and Whitney Houston, and the familial relationship of Natalie Cole and her father, Nat King Cole.\u003c/p>\n\u003cp>Looking back at her work, it’s a mechanism Smith has used in multiple ways. In retelling the story of a \u003ca href=\"https://www.youtube.com/watch?v=M7r8T0e5icU\">confrontation with Foxy Brown,\u003c/a> she focused on a friendship that shouldn’t have been. \u003ca href=\"https://theundefeated.com/features/simone-biles-most-dominant-athlete-of-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">In writing about Simone Biles\u003c/a>, she focused on the gymnast’s relationship to her sport, as well as other elite athletes. And in one of her more moving pieces, Smith writes candidly about her relationship with herself, as she juxtaposes \u003ca href=\"https://www.npr.org/2020/11/11/933080759/sade-saves-lovers-rock-20th-career-retrospective\" target=\"_blank\" rel=\"noopener noreferrer\">her own growth with Sade’s musical catalog\u003c/a>.\u003c/p>\n\u003cp>“The definition of love in a relationship,” Smith says, “is contributing to the other person’s growth.”\u003c/p>\n\u003cp>Of course, she says, taking care of the other person and staying romantic are in the mix, but “if you’re going to be with a person a long time, you have to be into that person growing into who they’re going to be,” says Smith, “and they have to be into you growing into who you are going to be.”\u003c/p>\n\u003cp>The same philosophy on relationships continually shows up in her work: as the culture has grown, so has she.\u003c/p>\n\u003cp>“I’ve always felt that hip-hop, when I got into it, it was still a subculture,” Smith says. “It wasn’t getting the credit that it deserved for changing culture and changing the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as hip-hop, and for that matter Black American entertainment as a whole, continues to get its due credit for changing the world, so too should its key purveyors.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Shooting Midnight Cowboy' Turns an Eye to a Dark, Problematic Masterpiece",
"headTitle": "‘Shooting Midnight Cowboy’ Turns an Eye to a Dark, Problematic Masterpiece | KQED",
"content": "\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vS2IdfBkkj0\u003c/p>\n\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\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/vS2IdfBkkj0'\n title='//www.youtube.com/embed/vS2IdfBkkj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic",
"headTitle": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic | KQED",
"content": "\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”[aside postID='arts_13893812']\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/W2WxvoK3LJw\u003c/p>\n\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.[aside postid='arts_13860293']\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\n\u003cp>https://www.instagram.com/p/CEMYnPlBr3N/\u003c/p>\n\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\u003c/a>.\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/W2WxvoK3LJw'\n title='//www.youtube.com/embed/W2WxvoK3LJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>America has been sorted. There are “winner-take-all” places and “left-behind” places—and the two are increasingly isolated, struggling to comprehend the divide.\u003c/p>\n\u003cp>This is the story that unfolds in Alec MacGillis’ \u003cem>Fulfillment: Winning and Losing in One-Click America\u003c/em>. Ostensibly about Amazon, the book is instead an economic history of the country, shaped by an intimate introduction to people living and working in Amazon’s shadow as their home cities and states transform around them.\u003c/p>\n\u003cfigure id=\"attachment_13894073\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-800x1198.jpg\" alt=\"A truck drives down an empty road on the cover of 'Fulfillment: Winning and Losing in One-Click America,' by Alec MacGillis.\" width=\"800\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb.jpg 1702w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fulfillment: Winning and Losing in One-Click America,’ by Alec MacGillis. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That shadow of Amazon forms slowly. MacGillis, a reporter for \u003cem>ProPublica, \u003c/em>devotes much of his writing to intricate portraits: a forklift driver and a salvaged-brick seller from Baltimore, a lawyer-turned-artist and a gospel-choir leader from Seattle, a young politician and a truck driver from Ohio. These personal stories are sweeping and in-depth, and not all connect directly to Amazon. But most bring to light some facet of the company or socioeconomic forces shaping the communities affected by it.\u003c/p>\n\u003cp>The narrative traces how hypergrowth and prosperity clustered in a few places—Seattle, Northern Virginia, Washington, D.C.—in parallel to the regression and often overwrought pursuit of revival by cities that corporate rainmakers bypassed. MacGillis lingers on several historic retrospectives about the decline of companies that once thrived in “left-behind” places: Bethlehem Steel in Baltimore, Md.; National Cash Register in Dayton, Ohio; Bon-Ton in York, Pa.; auto plants and other manufacturing across the states. [aside postid='arts_13874905']\u003c/p>\n\u003cp>Over time, America’s tech economy launched an era where the key to competitiveness became human rather than physical capital. New corporate giants concentrated workers and wealth around themselves, creating a feedback loop that continued to propel already prosperous cities even as they got more expensive. Since the 1970s, MacGillis writes, wages in the very largest cities have grown far faster than in the rest of the country—by 20 percentage points. And lower-wage workers relocating to the costly prosperous cities stood to gain much less than highly educated professionals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Regional inequality was making parts of the country incomprehensible to one another—one world wracked with painkillers, the other tainted by elite-college admission schemes,” MacGillis writes. Amazon, he eventually posits, “was playing an outsized role in this zero-sum sorting.”\u003c/p>\n\u003cp>At the heart of Amazon’s sorting is its internal division. Now the second-largest private U.S. employer, Amazon is now a company with clout in both white-collar and blue-collar work. Employing some 1.3 million people worldwide, it’s run—\u003ca href=\"https://www.npr.org/2021/02/02/963370968/jeff-bezos-to-step-down-as-amazons-ceo\" target=\"_blank\" rel=\"noopener noreferrer\">at least for a few more months\u003c/a>—by one of the wealthiest people in modern history. MacGillis delivers a key insight:\u003c/p>\n\u003cblockquote>\u003cp>“The company had, in a sense, segmented its workforce into classes and spread them across the map: there were its engineering and software-developer towns, there were the datacenter towns, and there were the warehouse towns.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Fulfillment \u003c/em>visits each type of town, punctuating their many pain-points. The erosion of historic Black neighborhoods in Seattle. Anonymous, mass-recruiting fairs for warehouses in struggling suburbs. Deaths and injuries involving forklifts and trucks. A civic battle in Virginia over a power line to Amazon’s data center—a plan that at first intended to seize land from residents of a \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/as-data-centers-bloom-a-century-old-african-american-enclave-is-threatened/2017/07/02/f33db65a-5502-11e7-a204-ad706461fa4f_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">century-old African-American enclave\u003c/a>, but later took a different tack funded partly by new fees on local electric bills. (Amazon, MacGillis notes, sought a discounted rate.)\u003c/p>\n\u003cp>MacGillis lays out, with detail gathered through freedom of information requests, exactly how Amazon methodically built its presence in several communities: playing “the reluctant target rather than the suitor” to receive tax breaks and other financial perks, often demanding total secrecy. A recurrent spotlight falls on Amazon’s tax-avoidance, which MacGillis calls out as contributing to “the unraveling of the civic fabric:” the company’s facilities straining roadways, housing and utilities while eroding the governments’ ability to support them.\u003c/p>\n\u003cp>A critic’s business case against Amazon takes shape in the chapter about the company’s push to become a top provider of office supplies to schools, governments and other organizations. A former pen salesman lays out, at a registered-guests-only expo MacGillis attended in Texas, how Amazon wins at the expense of small sellers: The company collects fees on every item that sells; it bears no cost for items that don’t sell well, but can copycat hot sellers and drive even more demand by pushing prices down, eroding small sellers’ profits while still collecting more fees. [aside postid='arts_13882749']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fulfillment is a functional term for work done inside Amazon’s sprawling warehouses. It is also a promise advertised by Amazon on the buildings “to all who passed by, all who had a longing—for what, exactly, they might still be trying to decide—and now knew from whence it would be delivered to them.” This promise, MacGillis points out, applies less obviously to workers inside. They and other people under Amazon’s shadow are the main subjects of his book: finding and losing jobs, building families and grieving loved ones, growing roots and uprooting, quelling sore limbs with numbing creams and ice—performing and, or, searching for \u003cem>fulfillment.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Amazon%27s+Shadow%2C+An+America+Divided+In+Search+Of+%27Fulfillment%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>“Regional inequality was making parts of the country incomprehensible to one another—one world wracked with painkillers, the other tainted by elite-college admission schemes,” MacGillis writes. Amazon, he eventually posits, “was playing an outsized role in this zero-sum sorting.”\u003c/p>\n\u003cp>At the heart of Amazon’s sorting is its internal division. Now the second-largest private U.S. employer, Amazon is now a company with clout in both white-collar and blue-collar work. Employing some 1.3 million people worldwide, it’s run—\u003ca href=\"https://www.npr.org/2021/02/02/963370968/jeff-bezos-to-step-down-as-amazons-ceo\" target=\"_blank\" rel=\"noopener noreferrer\">at least for a few more months\u003c/a>—by one of the wealthiest people in modern history. MacGillis delivers a key insight:\u003c/p>\n\u003cblockquote>\u003cp>“The company had, in a sense, segmented its workforce into classes and spread them across the map: there were its engineering and software-developer towns, there were the datacenter towns, and there were the warehouse towns.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Fulfillment \u003c/em>visits each type of town, punctuating their many pain-points. The erosion of historic Black neighborhoods in Seattle. Anonymous, mass-recruiting fairs for warehouses in struggling suburbs. Deaths and injuries involving forklifts and trucks. A civic battle in Virginia over a power line to Amazon’s data center—a plan that at first intended to seize land from residents of a \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/as-data-centers-bloom-a-century-old-african-american-enclave-is-threatened/2017/07/02/f33db65a-5502-11e7-a204-ad706461fa4f_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">century-old African-American enclave\u003c/a>, but later took a different tack funded partly by new fees on local electric bills. (Amazon, MacGillis notes, sought a discounted rate.)\u003c/p>\n\u003cp>MacGillis lays out, with detail gathered through freedom of information requests, exactly how Amazon methodically built its presence in several communities: playing “the reluctant target rather than the suitor” to receive tax breaks and other financial perks, often demanding total secrecy. A recurrent spotlight falls on Amazon’s tax-avoidance, which MacGillis calls out as contributing to “the unraveling of the civic fabric:” the company’s facilities straining roadways, housing and utilities while eroding the governments’ ability to support them.\u003c/p>\n\u003cp>A critic’s business case against Amazon takes shape in the chapter about the company’s push to become a top provider of office supplies to schools, governments and other organizations. A former pen salesman lays out, at a registered-guests-only expo MacGillis attended in Texas, how Amazon wins at the expense of small sellers: The company collects fees on every item that sells; it bears no cost for items that don’t sell well, but can copycat hot sellers and drive even more demand by pushing prices down, eroding small sellers’ profits while still collecting more fees. \u003c/p>\u003c/div>",
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"content": "\u003cp>Ready for a good mystery to distract you from the news cycle? Us too!\u003c/p>\n\u003cp>Enter \u003cem>The Postscript Murders\u003c/em>, which opens with a 90-year-old woman—with a heart condition—found dead.\u003c/p>\n\u003cp>Sad for her friends and loved ones, but hardly newsworthy. Except that it turns out her bookshelves were stuffed with a remarkable number of crime novels, each of which includes a postscript, “PS: For PS.” (The dead woman’s name was Peggy.)\u003c/p>\n\u003cp>Then, the authors of\u003cem> those\u003c/em> novels start dying too. And author Elly Griffiths says the mysterious postscripts point Peggy’s connection to those authors: They hired her to think up murders. “I slightly got the inspiration from my own aunt,” Griffiths says. “She would ring me up and say, ‘Oh Ellen, love, I’ve thought of another good murder for you,’ and I started to think, what if there was such a thing as a murder consultant?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893799 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her aunt’s best murder\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She came up with a very good plot twist for one of my Dr. Ruth Galloway books that involved a stair-lift. And I do remember the book was reviewed in the Financial Times in a really nice review, but they also said “it contains one of the nastiest uses of a stair-lift that I’ve ever heard of.” And I cut that little article out for my aunt, and she was so happy that she framed it. She was so proud of her stair-lift murder.\u003c/p>\n\u003cp>\u003cstrong>On the appeal of a murder mystery\u003c/strong>\u003c/p>\n\u003cp>It is a strange thing, isn’t it? It is a strange thing that lots of people—and me absolutely included—do find reading about these murders quite comforting, really. And of course, there’s absolutely nothing cozy about murder, but I think we do like that sort of puzzle, and unlocking the puzzle. And in this book, the answer to the puzzle lies in books, it lies in golden age mysteries, it lies in readers and in writers. So I hope that will make it, sort of, I don’t know, a comforting and intriguing book to read.\u003c/p>\n\u003cp>\u003cstrong>On our detectives—official and unofficial—taking a road trip to Aberdeen, and whether there’s something about Scotland’s climate and scenery that lends itself to crime fiction\u003c/strong>\u003c/p>\n\u003cp>I think there might well be. You think of those wonderful Scottish crime writers like Ian Rankin and Val McDermid and Denise Mina, and also, you know, Scandinavian noir. So I think there might be something about the cold; about the light. But Aberdeen is a wonderful city, actually, because it’s known as the Granite City, but it’s also called the Silver City, and you can see both sides of it. You know, it’s granite, it’s hard, it’s tough, it’s uncompromising, but in a certain light it’s silvery and beautiful and the coast is just lovely. And the characters do find themselves in a very unsafe safe house on the coast there.\u003c/p>\n\u003cp>\u003cstrong>On how her aunt feels about having inspired a character who gets murdered\u003c/strong>\u003c/p>\n\u003cp>I think she’s okay about it. And I think she likes the whole idea of a murder consultant … Peggy might have been dispatched in the early stages, but she does kind of loom over all the book, and they talk about her a lot. And I think I did draw upon not only my Aunt Marge, but also my mum as well, those characters that seem to know everything. People in the book ask themselves, “How did Peggy know that? How could she have known that? She didn’t travel to those places.” But she knew it all through reading. Both of them were great readers and seemed to acquire all this knowledge through reading, so I think it’s also a book about reading, really, and the power it gives you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Justine Kenin, produced by Mia Venkat and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Books+Hold+The+Key+To+%27The+Postscript+Murders%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ready for a good mystery to distract you from the news cycle? Us too!\u003c/p>\n\u003cp>Enter \u003cem>The Postscript Murders\u003c/em>, which opens with a 90-year-old woman—with a heart condition—found dead.\u003c/p>\n\u003cp>Sad for her friends and loved ones, but hardly newsworthy. Except that it turns out her bookshelves were stuffed with a remarkable number of crime novels, each of which includes a postscript, “PS: For PS.” (The dead woman’s name was Peggy.)\u003c/p>\n\u003cp>Then, the authors of\u003cem> those\u003c/em> novels start dying too. And author Elly Griffiths says the mysterious postscripts point Peggy’s connection to those authors: They hired her to think up murders. “I slightly got the inspiration from my own aunt,” Griffiths says. “She would ring me up and say, ‘Oh Ellen, love, I’ve thought of another good murder for you,’ and I started to think, what if there was such a thing as a murder consultant?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893799 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her aunt’s best murder\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She came up with a very good plot twist for one of my Dr. Ruth Galloway books that involved a stair-lift. And I do remember the book was reviewed in the Financial Times in a really nice review, but they also said “it contains one of the nastiest uses of a stair-lift that I’ve ever heard of.” And I cut that little article out for my aunt, and she was so happy that she framed it. She was so proud of her stair-lift murder.\u003c/p>\n\u003cp>\u003cstrong>On the appeal of a murder mystery\u003c/strong>\u003c/p>\n\u003cp>It is a strange thing, isn’t it? It is a strange thing that lots of people—and me absolutely included—do find reading about these murders quite comforting, really. And of course, there’s absolutely nothing cozy about murder, but I think we do like that sort of puzzle, and unlocking the puzzle. And in this book, the answer to the puzzle lies in books, it lies in golden age mysteries, it lies in readers and in writers. So I hope that will make it, sort of, I don’t know, a comforting and intriguing book to read.\u003c/p>\n\u003cp>\u003cstrong>On our detectives—official and unofficial—taking a road trip to Aberdeen, and whether there’s something about Scotland’s climate and scenery that lends itself to crime fiction\u003c/strong>\u003c/p>\n\u003cp>I think there might well be. You think of those wonderful Scottish crime writers like Ian Rankin and Val McDermid and Denise Mina, and also, you know, Scandinavian noir. So I think there might be something about the cold; about the light. But Aberdeen is a wonderful city, actually, because it’s known as the Granite City, but it’s also called the Silver City, and you can see both sides of it. You know, it’s granite, it’s hard, it’s tough, it’s uncompromising, but in a certain light it’s silvery and beautiful and the coast is just lovely. And the characters do find themselves in a very unsafe safe house on the coast there.\u003c/p>\n\u003cp>\u003cstrong>On how her aunt feels about having inspired a character who gets murdered\u003c/strong>\u003c/p>\n\u003cp>I think she’s okay about it. And I think she likes the whole idea of a murder consultant … Peggy might have been dispatched in the early stages, but she does kind of loom over all the book, and they talk about her a lot. And I think I did draw upon not only my Aunt Marge, but also my mum as well, those characters that seem to know everything. People in the book ask themselves, “How did Peggy know that? How could she have known that? She didn’t travel to those places.” But she knew it all through reading. Both of them were great readers and seemed to acquire all this knowledge through reading, so I think it’s also a book about reading, really, and the power it gives you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Justine Kenin, produced by Mia Venkat and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Books+Hold+The+Key+To+%27The+Postscript+Murders%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With all of the exploitation and abuse in the world, it’s tempting to become numb or cynical. But \u003ca href=\"http://adriennemareebrown.net/\" target=\"_blank\" rel=\"noopener noreferrer\">adrienne maree brown\u003c/a>, a thinker and transformative justice practitioner, is charting a different way forward with love as her guiding principle.\u003c/p>\n\u003cp>Her best-selling 2019 book of essays and interviews, \u003cem>Pleasure\u003c/em> \u003cem>Activism\u003c/em>, argues that joy is an essential part of any movement for justice—a feeling that’s easy to lose sight of while fighting against racism, sexism, economic oppression and all the other -isms. With \u003cem>Pleasure Activism\u003c/em> and her other writing, \u003ca href=\"https://open.spotify.com/episode/7vmhOzJGfLQleC9m1nN7De?si=aYy_vWoNTUOzGSPTAk0zaQ&nd=1\" target=\"_blank\" rel=\"noopener noreferrer\">podcasts\u003c/a>, community organizing and events, brown brings artists and activists of different disciplines and generations into conversation, underscoring the idea that collaboration is essential to finding answers to tough societal problems.\u003c/p>\n\u003cp>With her new book, \u003cem>We Will Not Cancel Us\u003c/em>, brown adds much-needed nuance to the “cancel culture” discourse playing out in mainstream media. The book focuses on ways people can lovingly hold each other accountable within social justice movements when someone causes another person harm. brown begins with the tough admission that online call-outs often start with sincere intentions for accountability but attract a hunger for outrage and spectacle—a result which feeds social media algorithms, but doesn’t necessarily serve the survivors of said harm or the larger goals of building stronger communities and movements.\u003c/p>\n\u003cp>Operating on the idea that no one is disposable, and that abuse is often perpetrated by those who have been abused themselves, brown asks tough-but-sensitive questions that challenge readers to reframe their assumptions about redressing harm.\u003c/p>\n\u003cp>Ahead of the release of her next title, \u003ca href=\"https://www.akpress.org/holding-change.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holding Change: The Way of Emergent Strategy Facilitation and Mediation \u003c/em>\u003c/a>(out April 6 via AK Press), brown discussed the abolitionist and transformative justice principles at the core of her work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>With \u003cem>We Will Not Cancel Us\u003c/em>, you write about the need to build strong communities in the face of oppressive systems. Can you please speak to the importance of that in this time when people are so isolated because of COVID, and so much activism is happening online?\u003c/strong>\u003c/p>\n\u003cp>I think we’re in this really important, beautiful phase where we’re learning so much can happen even at a distance. But it’s a double-edged sword because so much of what is happening is happening on platforms that were not necessarily designed for us to use them to foment change and to bring down systems of harm. They were designed to serve capitalism, which means they want as many clicks and likes and as much engagement as possible. And what gets a lot of engagement is drama.\u003c/p>\n\u003cp>And so a lot of the meta, meta thinking around the book is like, how do we start to retune our attention towards things that are solution-oriented, things that help us build? And this is a hard time for that. We’ve been immersed in a culture of destruction for such a long time.\u003c/p>\n\u003cp>I think it’s really important to also have a sense of, what is the application of call-outs? What is the application of canceling people? What is it we’re actually trying to achieve? And I think what we’re trying to achieve is always stopping harm from happening. And if you follow that trail, does this actually stop the harm from happening? I don’t think so. I think it actually kind of creates these quick and shallow disposals of people.\u003c/p>\n\u003cp>I’m thinking about abolition all the time, trying to understand how we bring it to pass: How do we defund policing? How do we defund the prison system? How do we actually break those patterns in ourselves in order to break them in the larger world? So a lot of it for me is connected to that. [aside postid='arts_113889157]\u003c/p>\n\u003cp>One of the things that was really important to me in the book is that I’m not saying that [call-outs are] never, ever the strategy to use. What I’m trying to introduce is some technology for discernment. Does this call-out actually makes sense for me to engage in? How do I engage in a way that aligns with my abolitionist principles? How do we ensure that the survivors’ needs are actually getting met?\u003c/p>\n\u003cp>What would actually create the boundaries and the spaciousness that we’re trying to give to survivors for their healing, while also helping the person who has created this offense to break the cycle of harm within them? And some of what seems to help is to have a sense that all of us get harmed, and all of us commit harms.\u003c/p>\n\u003cp>\u003cstrong>You write about that dynamic, about how people want to see situations as the angelic victim versus the evil perpetrator. What is the importance of not seeing that as a binary? \u003c/strong>\u003c/p>\n\u003cp>My friend Prentis Hemphill wrote a beautiful essay called “\u003ca href=\"https://prentishemphill.com/blog/2019/7/5/letting-go-of-innocence\" target=\"_blank\" rel=\"noopener noreferrer\">Letting Go of Innocence\u003c/a>” that I referenced in the book, which I think is really important. It’s that this concept of innocence often works against us, where it’s like, ‘Oh, this innocent person was shot by the police.’ And then immediately the other side is like, ‘They weren’t so innocent. They did this, they once called someone a bad name or whatever.’ Is that a reason that person deserved to die like that?\u003c/p>\n\u003cp>You start to interrogate that and you find that everyone has a story that could be told about them that paints then as a victim and a story that could be told about them that paints them as this villain. It becomes very boring and binary. White supremacy has a certain view of who the villain is. Patriarchy has a certain view of who the villain is. Capitalism has a certain view of who the villain is. Ableism has a certain view of who the villain is. And throughout history, we have notoriously been wrong about who the villain actually is, or what concepts are actually villainous concepts to our species.\u003c/p>\n\u003cp>What I’m making a case for is that disposability is a concept that might be the most villainous for our species: to think that there’s some way we can get rid of people who commit harm, and that will remove the harmful behavior and the harmful belief systems from our communities. And when it doesn’t—it hasn’t—at a certain point we have to ask ourselves, what are we doing? And what are some alternative ways we could be spending that time to help us actually stop harm from happening, deepen our relationship with each other and grow movements that can hold difference, that can hold conflict, that can recover from misunderstanding, that can fundamentally make a case that abolition is really possible?\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>We Will Not Cancel Us\u003c/em>, you seem to focus more on the questions we should ask ourselves, without being prescriptive. Is that something you plan to follow up with in your next book? Or was it a conscious choice to resist creating a prescriptive framework? \u003c/strong>\u003c/p>\n\u003cp>I don’t think that we’re quite at the place where we can do a prescriptive framework. I think we’re so early in the experiment of this phase of abolition. That said, I point in the book to resources that I think are able to do a lot more of that. \u003ca href=\"https://www.akpress.org/fumbling-towards-repair.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fumbling Towards Repair\u003c/em>\u003c/a> by Shira Hassan and Mariame Kaba is an incredible resource. It’s a workbook that basically supports people who want to go through a transformative justice process. And Leah Lakshmi Piepzna-Samarasinha [and Ejeris Dixon] put out a book called \u003ca href=\"https://www.akpress.org/beyond-survival.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beyond Survival\u003c/em>\u003c/a> that really is like a grand gathering of transformative justice stories, case studies, lessons from people. Patrisse Cullors is releasing \u003ca href=\"https://www.essence.com/articles/patrisse-cullors-an-abolitionists-handbook/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Abolitionist Handbook\u003c/em>\u003c/a> this year, which which has this 12-step program of what it looks like to actually take abolition on as a practice. [aside postid='arts_13883580']\u003c/p>\n\u003cp>I’m putting out a book this spring called \u003cem>Holding Change\u003c/em>. That includes a whole section on mediation. I want us to grow the capacity as communities to feel like we can be responsible when harm happens in our community, that we can be collectively responsible. Some of us mediate. Some of us hold healing circles for the survivor, some of us healing circles for those who cause harm, that we can feel like we have an abundance of resources.\u003c/p>\n\u003cp>I also want to be realistic that, right now, we don’t [have that]. This pandemic has unveiled for a lot of us just how small our reliable communities are, and how much we need to deepen those relationships so that they can hold change and conflict and differences.\u003c/p>\n\u003cp>\u003cstrong>It seems like creating these networks of support on a person-to-person level is what needs to happen before abolition can be widely seen as a solution on a societal level. \u003c/strong>\u003c/p>\n\u003cp>This is one of the big questions that people always ask with transformative justice and with abolition practices. Can it work at scale?\u003c/p>\n\u003cp>The first interactions I had with the ideas of abolition work were around the system of slavery. [For people living during that time,] it felt impossible that that system could end and there could be some other way of functioning that didn’t rely on Black people being enslaved. And I think we’re in a similar moment now. It’s impossible to imagine what our societies would do, what cultures would do, what communities would do if we didn’t have prisons.\u003c/p>\n\u003cp>[pullquote size='large' citation='adrienne maree brown']What I’m making a case for is that disposability is a concept that might be the most villainous for our species: to think that there’s some way we can get rid of people who commit harm, and that will remove the harmful behavior and the harmful belief systems from our communities. [/pullquote]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2020/12/19/948005131/i-want-us-to-dream-a-little-bigger-noname-and-mariame-kaba-on-art-and-abolition\" target=\"_blank\" rel=\"noopener noreferrer\">Mariame Kaba\u003c/a> has given incredible talks about this, that we’ve had 250 years of this well-funded prison system experiment. And it hasn’t stopped rape. It hasn’t stopped robberies. It hasn’t stopped drugs. It hasn’t stopped anything at all. All of those things that we think of as harm, they continue without the responses they need.\u003c/p>\n\u003cp>I think we are very aware now that a ton of people who are in the prison industrial complex actually need mental health support. I think we are very aware that a ton of people who end up in the prison industrial complex actually need an equitable economy in which to function.\u003c/p>\n\u003cp>And I do think we’re in a place where we don’t need to wait for us to get good at the experiment of mediation before we start those things. So I’m all for the places that are already saying defund the police. Let’s go ahead and start redistributing into other experiments with those resources. One of the other things that Mariame points out—what would it look like if the experiment of transformative justice was as well funded as the experiment of prison? We have no idea what things could look like at scale because we’ve never actually had the resources to even experiment at any kind of scale. We’ve had to argue over every penny.\u003c/p>\n\u003cp>All of that said, I also think that transformative justice is something that happens at an intimate level. It happens in a community that knows each other.\u003c/p>\n\u003cp>I don’t think we’re looking at something like, it’s going to move from this system straight over to that system. I think it’s going to move from being something that we outsource—we think that harm can be pushed and kept far away from us—to something that we take responsibility for intimately. So I look at my community: When is it my turn to mediate? When is it my turn to show up for someone who needs to get out of an abusive dynamic? When is it my turn to show up in community as someone who names that I have caused harm and takes accountability for something that I’ve done?\u003c/p>\n\u003cp>With this piece I felt like that was part of what I had to learn. In the initial essay I wrote [and published online], there are things that I did that were harmful for some of the readers. And in the book, I really made an effort to be accountable for those things that I did and to let the pieces grow with the feedback that I received. That felt important to me to do. And I think we all have to learn, how do we do that? How do we do that even when the stakes are very high?\u003c/p>\n\u003cp>\u003cstrong>Yeah, I love the idea of the book as a living document. How do you think we can shift from the culture we’re in now to one where no one is considered disposable? \u003c/strong>\u003c/p>\n\u003cp>One of the one of the things I love to point to is there’s an organization called \u003ca href=\"http://www.generationfive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Generation Five\u003c/a> based in the Bay Area, and it was created with the goal of ending childhood sexual abuse in five generations. And when I look at almost every social issue that we have, if we look at it with a five generation view—or, as Indigenous teachers often show us, a seven generation view—then I think we can begin to understand that no one is disposable, and it’s going to take us a long time to understand how to actually be in those practices. [aside postid='arts_13893308']\u003c/p>\n\u003cp>One of my other teachers, Danielle Sered, said that no one experiences harm for the first time when they’re doing harm. As a society, as a species, but specifically in our communities, we have to start asking ourselves those questions like, what caused this? Can we get to the root system?\u003c/p>\n\u003cp>And in an ideal world, we stop all the harm first. Then we get time to examine where the harm came from. Then we get time to heal and unwind. Then we can see a society where we no longer have that harm. But we’re not in that ideal world. It’s all happening concurrently.\u003c/p>\n\u003cp>And so part of what I’m offering to people is each of us is going to have to start to address it differently. Each of us is going to have to start to say, in my own life, can I navigate and operate as if no one is disposable?\u003c/p>\n\u003cp>In my own life, I’ve gone through experiences where I could have written call-outs, I could have called for cancellation for people. What I found was I really needed boundaries that I could trust myself to hold and I could trust my community to hold.\u003c/p>\n\u003cp>\u003cstrong>You write about the United States as a culture more oriented towards death than life. But here in Oakland and all over the country, I’ve been really inspired by mutual aid efforts that have sprung up during the pandemic. How do you see that factoring into what you’ve been writing about in these books?\u003c/strong>\u003c/p>\n\u003cp>I want to lift up the book \u003ca href=\"http://www.deanspade.net/mutual-aid-building-solidarity-during-this-crisis-and-the-next/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mutual Aid\u003c/em>\u003c/a> by Dean Spade, which I think is a beautiful examination of this. I think ultimately that mutual aid is going to teach us a ton about how to be in communities that can be accountable to each other, because mutual aid only works when you’re able to say, “I have a need,” [and someone else says] “I have something to offer to that need. Being in conflict is just another need.\u003c/p>\n\u003cp>Going through an abusive situation just creates another need. And if we can stretch far, we can say even the person who’s caused abuse has some unmet need, and they think it can be met through harm and domination and manipulation and gaslighting. And they think that’s going to meet some need in them, but the need is not met. The abuse continues. They just find new people to take it. But mutual aid suggests those needs can be met. Maybe they need a different therapist, maybe they need a different kind of healer or a group of healers, maybe they need to see that people who were structured and shaped to be abusive found another path.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And there’s other writing that I’ve been doing. I wrote a piece on \u003ca href=\"http://adriennemareebrown.net/2019/05/28/relinquishing-the-patriarchy/comment-page-1/\" target=\"_blank\" rel=\"noopener noreferrer\">relinquishing patriarchy\u003c/a>. I wrote a \u003ca href=\"http://adriennemareebrown.net/2020/06/28/a-word-for-white-people-in-two-parts/\" target=\"_blank\" rel=\"noopener noreferrer\">letter to white folks\u003c/a>. I’m really looking at these huge structures that are coming down right now. And it’s time for them to come down. The people who hold those dominant identities need to see that there are examples of people saying, “I’m going to put down the supremacy,” which is a fundamentally mythological state. Human beings are not supreme to each other based on the vagina we came out of. That’s not what determines our worth and our well-being or miraculousness. So to me, that piece feels very important, to just be able to identify that there’s another way possible. If you are born into an abusive identity, there’s another way possible. If you were shaped into being someone who is driven towards conflict, causing harm to other people, there’s another way possible.\u003c/p>\n\n",
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"title": "A Roadmap Away From ‘Cancel Culture’ and Towards Transformative Justice | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With all of the exploitation and abuse in the world, it’s tempting to become numb or cynical. But \u003ca href=\"http://adriennemareebrown.net/\" target=\"_blank\" rel=\"noopener noreferrer\">adrienne maree brown\u003c/a>, a thinker and transformative justice practitioner, is charting a different way forward with love as her guiding principle.\u003c/p>\n\u003cp>Her best-selling 2019 book of essays and interviews, \u003cem>Pleasure\u003c/em> \u003cem>Activism\u003c/em>, argues that joy is an essential part of any movement for justice—a feeling that’s easy to lose sight of while fighting against racism, sexism, economic oppression and all the other -isms. With \u003cem>Pleasure Activism\u003c/em> and her other writing, \u003ca href=\"https://open.spotify.com/episode/7vmhOzJGfLQleC9m1nN7De?si=aYy_vWoNTUOzGSPTAk0zaQ&nd=1\" target=\"_blank\" rel=\"noopener noreferrer\">podcasts\u003c/a>, community organizing and events, brown brings artists and activists of different disciplines and generations into conversation, underscoring the idea that collaboration is essential to finding answers to tough societal problems.\u003c/p>\n\u003cp>With her new book, \u003cem>We Will Not Cancel Us\u003c/em>, brown adds much-needed nuance to the “cancel culture” discourse playing out in mainstream media. The book focuses on ways people can lovingly hold each other accountable within social justice movements when someone causes another person harm. brown begins with the tough admission that online call-outs often start with sincere intentions for accountability but attract a hunger for outrage and spectacle—a result which feeds social media algorithms, but doesn’t necessarily serve the survivors of said harm or the larger goals of building stronger communities and movements.\u003c/p>\n\u003cp>Operating on the idea that no one is disposable, and that abuse is often perpetrated by those who have been abused themselves, brown asks tough-but-sensitive questions that challenge readers to reframe their assumptions about redressing harm.\u003c/p>\n\u003cp>Ahead of the release of her next title, \u003ca href=\"https://www.akpress.org/holding-change.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holding Change: The Way of Emergent Strategy Facilitation and Mediation \u003c/em>\u003c/a>(out April 6 via AK Press), brown discussed the abolitionist and transformative justice principles at the core of her work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>With \u003cem>We Will Not Cancel Us\u003c/em>, you write about the need to build strong communities in the face of oppressive systems. Can you please speak to the importance of that in this time when people are so isolated because of COVID, and so much activism is happening online?\u003c/strong>\u003c/p>\n\u003cp>I think we’re in this really important, beautiful phase where we’re learning so much can happen even at a distance. But it’s a double-edged sword because so much of what is happening is happening on platforms that were not necessarily designed for us to use them to foment change and to bring down systems of harm. They were designed to serve capitalism, which means they want as many clicks and likes and as much engagement as possible. And what gets a lot of engagement is drama.\u003c/p>\n\u003cp>And so a lot of the meta, meta thinking around the book is like, how do we start to retune our attention towards things that are solution-oriented, things that help us build? And this is a hard time for that. We’ve been immersed in a culture of destruction for such a long time.\u003c/p>\n\u003cp>I think it’s really important to also have a sense of, what is the application of call-outs? What is the application of canceling people? What is it we’re actually trying to achieve? And I think what we’re trying to achieve is always stopping harm from happening. And if you follow that trail, does this actually stop the harm from happening? I don’t think so. I think it actually kind of creates these quick and shallow disposals of people.\u003c/p>\n\u003cp>I’m thinking about abolition all the time, trying to understand how we bring it to pass: How do we defund policing? How do we defund the prison system? How do we actually break those patterns in ourselves in order to break them in the larger world? So a lot of it for me is connected to that. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things that was really important to me in the book is that I’m not saying that [call-outs are] never, ever the strategy to use. What I’m trying to introduce is some technology for discernment. Does this call-out actually makes sense for me to engage in? How do I engage in a way that aligns with my abolitionist principles? How do we ensure that the survivors’ needs are actually getting met?\u003c/p>\n\u003cp>What would actually create the boundaries and the spaciousness that we’re trying to give to survivors for their healing, while also helping the person who has created this offense to break the cycle of harm within them? And some of what seems to help is to have a sense that all of us get harmed, and all of us commit harms.\u003c/p>\n\u003cp>\u003cstrong>You write about that dynamic, about how people want to see situations as the angelic victim versus the evil perpetrator. What is the importance of not seeing that as a binary? \u003c/strong>\u003c/p>\n\u003cp>My friend Prentis Hemphill wrote a beautiful essay called “\u003ca href=\"https://prentishemphill.com/blog/2019/7/5/letting-go-of-innocence\" target=\"_blank\" rel=\"noopener noreferrer\">Letting Go of Innocence\u003c/a>” that I referenced in the book, which I think is really important. It’s that this concept of innocence often works against us, where it’s like, ‘Oh, this innocent person was shot by the police.’ And then immediately the other side is like, ‘They weren’t so innocent. They did this, they once called someone a bad name or whatever.’ Is that a reason that person deserved to die like that?\u003c/p>\n\u003cp>You start to interrogate that and you find that everyone has a story that could be told about them that paints then as a victim and a story that could be told about them that paints them as this villain. It becomes very boring and binary. White supremacy has a certain view of who the villain is. Patriarchy has a certain view of who the villain is. Capitalism has a certain view of who the villain is. Ableism has a certain view of who the villain is. And throughout history, we have notoriously been wrong about who the villain actually is, or what concepts are actually villainous concepts to our species.\u003c/p>\n\u003cp>What I’m making a case for is that disposability is a concept that might be the most villainous for our species: to think that there’s some way we can get rid of people who commit harm, and that will remove the harmful behavior and the harmful belief systems from our communities. And when it doesn’t—it hasn’t—at a certain point we have to ask ourselves, what are we doing? And what are some alternative ways we could be spending that time to help us actually stop harm from happening, deepen our relationship with each other and grow movements that can hold difference, that can hold conflict, that can recover from misunderstanding, that can fundamentally make a case that abolition is really possible?\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>We Will Not Cancel Us\u003c/em>, you seem to focus more on the questions we should ask ourselves, without being prescriptive. Is that something you plan to follow up with in your next book? Or was it a conscious choice to resist creating a prescriptive framework? \u003c/strong>\u003c/p>\n\u003cp>I don’t think that we’re quite at the place where we can do a prescriptive framework. I think we’re so early in the experiment of this phase of abolition. That said, I point in the book to resources that I think are able to do a lot more of that. \u003ca href=\"https://www.akpress.org/fumbling-towards-repair.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fumbling Towards Repair\u003c/em>\u003c/a> by Shira Hassan and Mariame Kaba is an incredible resource. It’s a workbook that basically supports people who want to go through a transformative justice process. And Leah Lakshmi Piepzna-Samarasinha [and Ejeris Dixon] put out a book called \u003ca href=\"https://www.akpress.org/beyond-survival.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beyond Survival\u003c/em>\u003c/a> that really is like a grand gathering of transformative justice stories, case studies, lessons from people. Patrisse Cullors is releasing \u003ca href=\"https://www.essence.com/articles/patrisse-cullors-an-abolitionists-handbook/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Abolitionist Handbook\u003c/em>\u003c/a> this year, which which has this 12-step program of what it looks like to actually take abolition on as a practice. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m putting out a book this spring called \u003cem>Holding Change\u003c/em>. That includes a whole section on mediation. I want us to grow the capacity as communities to feel like we can be responsible when harm happens in our community, that we can be collectively responsible. Some of us mediate. Some of us hold healing circles for the survivor, some of us healing circles for those who cause harm, that we can feel like we have an abundance of resources.\u003c/p>\n\u003cp>I also want to be realistic that, right now, we don’t [have that]. This pandemic has unveiled for a lot of us just how small our reliable communities are, and how much we need to deepen those relationships so that they can hold change and conflict and differences.\u003c/p>\n\u003cp>\u003cstrong>It seems like creating these networks of support on a person-to-person level is what needs to happen before abolition can be widely seen as a solution on a societal level. \u003c/strong>\u003c/p>\n\u003cp>This is one of the big questions that people always ask with transformative justice and with abolition practices. Can it work at scale?\u003c/p>\n\u003cp>The first interactions I had with the ideas of abolition work were around the system of slavery. [For people living during that time,] it felt impossible that that system could end and there could be some other way of functioning that didn’t rely on Black people being enslaved. And I think we’re in a similar moment now. It’s impossible to imagine what our societies would do, what cultures would do, what communities would do if we didn’t have prisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "What I’m making a case for is that disposability is a concept that might be the most villainous for our species: to think that there’s some way we can get rid of people who commit harm, and that will remove the harmful behavior and the harmful belief systems from our communities. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2020/12/19/948005131/i-want-us-to-dream-a-little-bigger-noname-and-mariame-kaba-on-art-and-abolition\" target=\"_blank\" rel=\"noopener noreferrer\">Mariame Kaba\u003c/a> has given incredible talks about this, that we’ve had 250 years of this well-funded prison system experiment. And it hasn’t stopped rape. It hasn’t stopped robberies. It hasn’t stopped drugs. It hasn’t stopped anything at all. All of those things that we think of as harm, they continue without the responses they need.\u003c/p>\n\u003cp>I think we are very aware now that a ton of people who are in the prison industrial complex actually need mental health support. I think we are very aware that a ton of people who end up in the prison industrial complex actually need an equitable economy in which to function.\u003c/p>\n\u003cp>And I do think we’re in a place where we don’t need to wait for us to get good at the experiment of mediation before we start those things. So I’m all for the places that are already saying defund the police. Let’s go ahead and start redistributing into other experiments with those resources. One of the other things that Mariame points out—what would it look like if the experiment of transformative justice was as well funded as the experiment of prison? We have no idea what things could look like at scale because we’ve never actually had the resources to even experiment at any kind of scale. We’ve had to argue over every penny.\u003c/p>\n\u003cp>All of that said, I also think that transformative justice is something that happens at an intimate level. It happens in a community that knows each other.\u003c/p>\n\u003cp>I don’t think we’re looking at something like, it’s going to move from this system straight over to that system. I think it’s going to move from being something that we outsource—we think that harm can be pushed and kept far away from us—to something that we take responsibility for intimately. So I look at my community: When is it my turn to mediate? When is it my turn to show up for someone who needs to get out of an abusive dynamic? When is it my turn to show up in community as someone who names that I have caused harm and takes accountability for something that I’ve done?\u003c/p>\n\u003cp>With this piece I felt like that was part of what I had to learn. In the initial essay I wrote [and published online], there are things that I did that were harmful for some of the readers. And in the book, I really made an effort to be accountable for those things that I did and to let the pieces grow with the feedback that I received. That felt important to me to do. And I think we all have to learn, how do we do that? How do we do that even when the stakes are very high?\u003c/p>\n\u003cp>\u003cstrong>Yeah, I love the idea of the book as a living document. How do you think we can shift from the culture we’re in now to one where no one is considered disposable? \u003c/strong>\u003c/p>\n\u003cp>One of the one of the things I love to point to is there’s an organization called \u003ca href=\"http://www.generationfive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Generation Five\u003c/a> based in the Bay Area, and it was created with the goal of ending childhood sexual abuse in five generations. And when I look at almost every social issue that we have, if we look at it with a five generation view—or, as Indigenous teachers often show us, a seven generation view—then I think we can begin to understand that no one is disposable, and it’s going to take us a long time to understand how to actually be in those practices. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of my other teachers, Danielle Sered, said that no one experiences harm for the first time when they’re doing harm. As a society, as a species, but specifically in our communities, we have to start asking ourselves those questions like, what caused this? Can we get to the root system?\u003c/p>\n\u003cp>And in an ideal world, we stop all the harm first. Then we get time to examine where the harm came from. Then we get time to heal and unwind. Then we can see a society where we no longer have that harm. But we’re not in that ideal world. It’s all happening concurrently.\u003c/p>\n\u003cp>And so part of what I’m offering to people is each of us is going to have to start to address it differently. Each of us is going to have to start to say, in my own life, can I navigate and operate as if no one is disposable?\u003c/p>\n\u003cp>In my own life, I’ve gone through experiences where I could have written call-outs, I could have called for cancellation for people. What I found was I really needed boundaries that I could trust myself to hold and I could trust my community to hold.\u003c/p>\n\u003cp>\u003cstrong>You write about the United States as a culture more oriented towards death than life. But here in Oakland and all over the country, I’ve been really inspired by mutual aid efforts that have sprung up during the pandemic. How do you see that factoring into what you’ve been writing about in these books?\u003c/strong>\u003c/p>\n\u003cp>I want to lift up the book \u003ca href=\"http://www.deanspade.net/mutual-aid-building-solidarity-during-this-crisis-and-the-next/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mutual Aid\u003c/em>\u003c/a> by Dean Spade, which I think is a beautiful examination of this. I think ultimately that mutual aid is going to teach us a ton about how to be in communities that can be accountable to each other, because mutual aid only works when you’re able to say, “I have a need,” [and someone else says] “I have something to offer to that need. Being in conflict is just another need.\u003c/p>\n\u003cp>Going through an abusive situation just creates another need. And if we can stretch far, we can say even the person who’s caused abuse has some unmet need, and they think it can be met through harm and domination and manipulation and gaslighting. And they think that’s going to meet some need in them, but the need is not met. The abuse continues. They just find new people to take it. But mutual aid suggests those needs can be met. Maybe they need a different therapist, maybe they need a different kind of healer or a group of healers, maybe they need to see that people who were structured and shaped to be abusive found another path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And there’s other writing that I’ve been doing. I wrote a piece on \u003ca href=\"http://adriennemareebrown.net/2019/05/28/relinquishing-the-patriarchy/comment-page-1/\" target=\"_blank\" rel=\"noopener noreferrer\">relinquishing patriarchy\u003c/a>. I wrote a \u003ca href=\"http://adriennemareebrown.net/2020/06/28/a-word-for-white-people-in-two-parts/\" target=\"_blank\" rel=\"noopener noreferrer\">letter to white folks\u003c/a>. I’m really looking at these huge structures that are coming down right now. And it’s time for them to come down. The people who hold those dominant identities need to see that there are examples of people saying, “I’m going to put down the supremacy,” which is a fundamentally mythological state. Human beings are not supreme to each other based on the vagina we came out of. That’s not what determines our worth and our well-being or miraculousness. So to me, that piece feels very important, to just be able to identify that there’s another way possible. If you are born into an abusive identity, there’s another way possible. If you were shaped into being someone who is driven towards conflict, causing harm to other people, there’s another way possible.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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