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"content": "\u003cp>This week, Prince Harry and Meghan Markle started new lives in Canada after their establishment-shaking decision to step down from their positions as senior members of the royal family. Based on early photos, they aren’t just putting on a united front: they look pretty damn thrilled about the whole thing.\u003c/p>\n\u003cp>https://twitter.com/TMZ/status/1219632876918054913\u003c/p>\n\u003cp>https://twitter.com/Waynetipsy/status/1219647482818453506\u003c/p>\n\u003cp>The couple’s body language and smiles display a remarkable amount of relief, given the surprisingly harsh “Megxit” terms handed down to them from Queen Elizabeth II over the weekend.\u003c/p>\n\u003cp>The queen’s personal statement regarding her rebellious grandson’s stepping back from royal duties was, on the face of it, both warm and supportive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/B7eJp7tJcXU/?utm_source=ig_embed\u003c/p>\n\u003cp>But the official terms released by Buckingham Palace told a different story entirely.\u003c/p>\n\u003cp>Harry and Meghan are no longer permitted to perform—or receive payment for—any royal duties, despite the fact that their \u003ca href=\"https://www.kqed.org/arts/13872986/prince-harrys-rejection-of-the-royal-lifestyle-is-only-his-latest-rebellious-move\" target=\"_blank\" rel=\"noopener noreferrer\">exit statement\u003c/a> suggested the couple wanted to continue to “honor [their] duty to The Queen [and] the Commonwealth,” and “continue to collaborate” with the royal family.\u003c/p>\n\u003cp>On top of that, Harry and Meghan are required to pay back £2.4 million ($3.1 million) of public funds used to renovate their royal residence, Frogmore Cottage. This despite the fact that it will continue to be their base in England. [aside postid='arts_13872986']\u003c/p>\n\u003cp>Where we really get a sense of the true feelings of Buckingham Palace, though, is with the decision to strip Harry and Meghan of their “His” and “Her Royal Highness” titles. That might not sound like a big deal to Americans, and the Palace has tried to pass it off as being a consequence of “no longer [being] working members of the Royal Family,” but when it happened to Harry’s mother Princess Diana, during her 1996 divorce from Prince Charles, it was widely understood to be an act of cruelty.\u003c/p>\n\u003cp>In 2018, looking back on those events, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/princess-diana-stripped-title-after-13753411\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Daily Mirror\u003c/em> recalled\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Losing the HRH meant it was no longer necessary for friends or staff to bow or curtsy in Diana’s presence. More humiliating, though, was that she herself would now have to curtsy to her husband, her two sons, and a whole host of minor royals… Diana was reportedly so upset by losing the HRH that Prince William, then 14, told her: ‘Don’t worry Mummy, I will give it back to you one day when I am King.'”\u003c/p>\u003c/blockquote>\n\u003cp>For Prince Harry—royal by blood—to be stripped of his HRH is astonishing even under these circumstances, and comes with a subtext that speaks volumes about how the queen \u003cem>really\u003c/em> feels about all this. [aside postid='pop_103656']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How both Harry and Meghan have carried on as if they don’t have a care in the world speaks volumes about just how much they wanted out. It suggests that not only would they do just about anything to \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/01/meghan-sues-mail-on-sunday-for-publishing-letter-to-her-father\" target=\"_blank\" rel=\"noopener noreferrer\">get away\u003c/a> from Britain’s notoriously invasive tabloid news media, but that they really couldn’t care less about the royal regulations that Harry was raised to uphold.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But the official terms released by Buckingham Palace told a different story entirely.\u003c/p>\n\u003cp>Harry and Meghan are no longer permitted to perform—or receive payment for—any royal duties, despite the fact that their \u003ca href=\"https://www.kqed.org/arts/13872986/prince-harrys-rejection-of-the-royal-lifestyle-is-only-his-latest-rebellious-move\" target=\"_blank\" rel=\"noopener noreferrer\">exit statement\u003c/a> suggested the couple wanted to continue to “honor [their] duty to The Queen [and] the Commonwealth,” and “continue to collaborate” with the royal family.\u003c/p>\n\u003cp>On top of that, Harry and Meghan are required to pay back £2.4 million ($3.1 million) of public funds used to renovate their royal residence, Frogmore Cottage. This despite the fact that it will continue to be their base in England. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where we really get a sense of the true feelings of Buckingham Palace, though, is with the decision to strip Harry and Meghan of their “His” and “Her Royal Highness” titles. That might not sound like a big deal to Americans, and the Palace has tried to pass it off as being a consequence of “no longer [being] working members of the Royal Family,” but when it happened to Harry’s mother Princess Diana, during her 1996 divorce from Prince Charles, it was widely understood to be an act of cruelty.\u003c/p>\n\u003cp>In 2018, looking back on those events, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/princess-diana-stripped-title-after-13753411\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Daily Mirror\u003c/em> recalled\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Losing the HRH meant it was no longer necessary for friends or staff to bow or curtsy in Diana’s presence. More humiliating, though, was that she herself would now have to curtsy to her husband, her two sons, and a whole host of minor royals… Diana was reportedly so upset by losing the HRH that Prince William, then 14, told her: ‘Don’t worry Mummy, I will give it back to you one day when I am King.'”\u003c/p>\u003c/blockquote>\n\u003cp>For Prince Harry—royal by blood—to be stripped of his HRH is astonishing even under these circumstances, and comes with a subtext that speaks volumes about how the queen \u003cem>really\u003c/em> feels about all this. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How both Harry and Meghan have carried on as if they don’t have a care in the world speaks volumes about just how much they wanted out. It suggests that not only would they do just about anything to \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/01/meghan-sues-mail-on-sunday-for-publishing-letter-to-her-father\" target=\"_blank\" rel=\"noopener noreferrer\">get away\u003c/a> from Britain’s notoriously invasive tabloid news media, but that they really couldn’t care less about the royal regulations that Harry was raised to uphold.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Date Like a Celebrity: Try to Act Like a Regular Person, Mostly Fail",
"headTitle": "How to Date Like a Celebrity: Try to Act Like a Regular Person, Mostly Fail | KQED",
"content": "\u003cp>In \u003ca href=\"https://www.gq.com/story/diplo-profile-february-2020\" target=\"_blank\" rel=\"noopener noreferrer\">this month’s \u003cem>GQ\u003c/em>\u003c/a>, Sia talked frankly about inviting her friend and collaborator Diplo into a friends-with-benefits agreement. “This year I wrote him a text,” the Aussie singer-songwriter explained, “and I said, ‘Hey, listen, you’re like one of five people that I’m sexually attracted to, and now that I’ve decided to be single for the rest of my life and I just adopted a son, I don’t have time for a relationship… If you’re interested in some no-strings sex, then hit me up.'”\u003c/p>\n\u003cp>In the same article, Diplo confessed that he’d been “guilty of meeting girls on” Instagram, but that “any girlfriend would end up breaking up with me because I’m so busy, and I’m just a bad boyfriend.” The DJ explained that, at this point in his life, true love to him can only be about his children. “My kids, they love me. And they can’t escape me… My job is to be good to them.” [aside postid='arts_13873341']\u003c/p>\n\u003cp>(No word on whether Diplo ever took Sia up on her generous offer, but she did mention, “Much of our relationship is just being spent trying not to have sex so that we wouldn’t ruin our business relationship.” So probably not.)\u003c/p>\n\u003cp>These revelations from two wildly attractive and successful people are a pretty solid indication that attempting to date while famous is not at all what it’s cracked up to be. In an age where meeting partners through dating apps is increasingly common—the number of \u003ca href=\"https://news.stanford.edu/2019/08/21/online-dating-popular-way-u-s-couples-meet/\" target=\"_blank\" rel=\"noopener noreferrer\">couples who met online\u003c/a> rose from 22 percent in 2009 to 39 percent in 2017—what options do celebrities actually have?\u003c/p>\n\u003cp>In 2018, \u003ca href=\"https://swipelife.tinder.com/post/10-celebrities-who-have-used-dating-apps\" target=\"_blank\" rel=\"noopener noreferrer\">Laverne Cox admitted\u003c/a> that she, like a regular mortal, used Tinder. “I feel like if you want to date, you have to be on the apps to be in the game,” she told \u003cem>Access\u003c/em>. Hilary Duff set a precedent in 2015, calling Tinder “\u003ca href=\"https://www.latimes.com/entertainment/gossip/la-et-mg-hilary-duff-tinder-dating-20150428-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">wildly addicting\u003c/a>.” \u003ca href=\"https://www.etonline.com/news/214990_exclusive_chelsea_handler_on_embracing_singledom_and_using_tinder_to_hook_up_i_m_on_all_those_apps\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Handler agreed\u003c/a>, telling \u003cem>ET\u003c/em>, “I like to hook up, so when I go to London or New York or if I’m out of town and I want, I’ll do that … I’m on Tinder [and] all that stuff. I’m a regular person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trying to be a regular person while inherently recognizable doesn’t always work out, though. Last year, Sharon Stone demonstrated the pitfalls of celebrities trying to date like the rest of the world after she was kicked off Bumble. Users reported her account, thinking it was a fake profile, and Stone was forced to take to Twitter to get the decision reversed.\u003c/p>\n\u003cp>https://twitter.com/sharonstone/status/1211521841417736193?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>In 2016, \u003ca href=\"https://www.thetimes.co.uk/article/zac-efron-take-me-seriously-2qn22pzt7\" target=\"_blank\" rel=\"noopener noreferrer\">Zac Efron told\u003c/a> the U.K. \u003cem>Times\u003c/em> that even when he was on Tinder, “nobody swiped” him, presumably because “they thought [his] profile was fake.”\u003c/p>\n\u003cp>So how\u003cem> do\u003c/em> celebrities make love connections while the rest of us are swiping?\u003c/p>\n\u003cp>At 61, Madonna continues to use her tried and true method—searching within her own team. Her first child, Lourdes, was the product of a brief relationship with \u003ca href=\"https://www.imdb.com/name/nm0502458/\" target=\"_blank\" rel=\"noopener noreferrer\">her personal trainer\u003c/a> in the mid ’90s, and now she’s romancing a 25-year-old dancer from her touring crew named Ahlamalik Williams. (Madge is not the only one guilty of such a move—let’s not forget that Jennifer Lopez dated one of her \u003ca href=\"https://www.nickiswift.com/22969/really-went-wrong-j-lo-casper-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">backing dancers\u003c/a>, Casper Smart, for five years.)\u003c/p>\n\u003cp>https://www.instagram.com/p/B6vM1CzB6fg/\u003c/p>\n\u003cp>More commonly, celebs seem to resort to social media as a dating tool. \u003cem>Modern Family\u003c/em>‘s \u003ca href=\"https://www.eonline.com/news/988948/the-true-story-of-how-twitter-helped-lead-sarah-hyland-to-her-forever-love\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Hyland met her beau\u003c/a>, Wells Adams, after publicly expressing interest in the Season 12 \u003cem>Bachelorette\u003c/em> contestant via Twitter. But the app of choice for most celebs appears to be Instagram. It was the catalyst for Mandy Moore meeting her musician husband Taylor Goldsmith; it’s where Ricky Martin found his husband, Jwan Yosef; and it’s where “\u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a26959074/sophie-turner-may-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">one fine day, out of the blue\u003c/a>,” Joe Jonas slid into Sophie Turner’s DMs. Having met his current boyfriend the same way, Antoni from \u003cem>Queer Eye \u003c/em>recently \u003ca href=\"https://www.youtube.com/watch?v=X1NioJKAHmE\" target=\"_blank\" rel=\"noopener noreferrer\">noted\u003c/a> that Instagram is, “like, the 2019 way.”\u003c/p>\n\u003cp>The risk of appearing thirsty in a public forum is real, however, as Lindsay Lohan found out last year. She was accused of hitting on newly-single Liam Hemsworth via Instagram after she left a prayer hands emoji on some surfing photos he posted. Lohan later attributed the comment to her work with a \u003ca href=\"https://www.foundationwow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">surf therapy organization\u003c/a> in Australia, but her attacks on \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/lindsay-lohan-shades-cody-simpson-over-miley-cyrus-romance/\" target=\"_blank\" rel=\"noopener noreferrer\">Hemsworth’s ex-wife Miley Cyrus\u003c/a> during the same period suggested otherwise.\u003c/p>\n\u003cp>Then there was New York Islanders hockey star Anthony Beauvillier, who saw fit to \u003ca href=\"https://twitter.com/titobeauvi21/status/1209992434354139136\" target=\"_blank\" rel=\"noopener noreferrer\">tweet “Hi” at Anna Kendrick\u003c/a> in December. After he received no reply, Twitter hilariously stepped in and acted as wingman, publicly thanking Beauvillier for performing \u003ca href=\"https://www.boredpanda.com/hockey-player-anthony-beauvillier-tweets-at-anna-kendrick/?utm_source=google&utm_medium=organic&utm_campaign=organic\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly ridiculous (and obviously false) feats\u003c/a>. These included performing open heart surgery, rescuing people from burning buildings and saving the world from errant asteroids. It may not have got him a date, but Kendrick at least got a laugh out of it.\u003c/p>\n\u003cp>https://twitter.com/AnnaKendrick47/status/1210616282179080192?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1210616282179080192&ref_url=https%3A%2F%2Fwww.cnn.com%2F2019%2F12%2F28%2Fus%2Fanna-kendrick-beauvillier-nhl-twitter-trnd%2Findex.html\u003c/p>\n\u003cp>A \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> by Stanford University sociology professor \u003ca href=\"https://profiles.stanford.edu/michael-rosenfeld\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rosenfeld\u003c/a> showed that the days of meeting spouses through family have been \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">in decline since 1940\u003c/a>, and meeting through friends has been on the way out since 1995. In other words, famous or not, we’re all basically on our own when it comes to making romance happen. So next time you’re complaining about your latest batch of matches, take a moment to think about the poor famous people still trying to get dates with regular Joes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They may be prettier and richer than the rest of us, but they’re impossibly conspicuous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.gq.com/story/diplo-profile-february-2020\" target=\"_blank\" rel=\"noopener noreferrer\">this month’s \u003cem>GQ\u003c/em>\u003c/a>, Sia talked frankly about inviting her friend and collaborator Diplo into a friends-with-benefits agreement. “This year I wrote him a text,” the Aussie singer-songwriter explained, “and I said, ‘Hey, listen, you’re like one of five people that I’m sexually attracted to, and now that I’ve decided to be single for the rest of my life and I just adopted a son, I don’t have time for a relationship… If you’re interested in some no-strings sex, then hit me up.'”\u003c/p>\n\u003cp>In the same article, Diplo confessed that he’d been “guilty of meeting girls on” Instagram, but that “any girlfriend would end up breaking up with me because I’m so busy, and I’m just a bad boyfriend.” The DJ explained that, at this point in his life, true love to him can only be about his children. “My kids, they love me. And they can’t escape me… My job is to be good to them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(No word on whether Diplo ever took Sia up on her generous offer, but she did mention, “Much of our relationship is just being spent trying not to have sex so that we wouldn’t ruin our business relationship.” So probably not.)\u003c/p>\n\u003cp>These revelations from two wildly attractive and successful people are a pretty solid indication that attempting to date while famous is not at all what it’s cracked up to be. In an age where meeting partners through dating apps is increasingly common—the number of \u003ca href=\"https://news.stanford.edu/2019/08/21/online-dating-popular-way-u-s-couples-meet/\" target=\"_blank\" rel=\"noopener noreferrer\">couples who met online\u003c/a> rose from 22 percent in 2009 to 39 percent in 2017—what options do celebrities actually have?\u003c/p>\n\u003cp>In 2018, \u003ca href=\"https://swipelife.tinder.com/post/10-celebrities-who-have-used-dating-apps\" target=\"_blank\" rel=\"noopener noreferrer\">Laverne Cox admitted\u003c/a> that she, like a regular mortal, used Tinder. “I feel like if you want to date, you have to be on the apps to be in the game,” she told \u003cem>Access\u003c/em>. Hilary Duff set a precedent in 2015, calling Tinder “\u003ca href=\"https://www.latimes.com/entertainment/gossip/la-et-mg-hilary-duff-tinder-dating-20150428-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">wildly addicting\u003c/a>.” \u003ca href=\"https://www.etonline.com/news/214990_exclusive_chelsea_handler_on_embracing_singledom_and_using_tinder_to_hook_up_i_m_on_all_those_apps\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Handler agreed\u003c/a>, telling \u003cem>ET\u003c/em>, “I like to hook up, so when I go to London or New York or if I’m out of town and I want, I’ll do that … I’m on Tinder [and] all that stuff. I’m a regular person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trying to be a regular person while inherently recognizable doesn’t always work out, though. Last year, Sharon Stone demonstrated the pitfalls of celebrities trying to date like the rest of the world after she was kicked off Bumble. Users reported her account, thinking it was a fake profile, and Stone was forced to take to Twitter to get the decision reversed.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In 2016, \u003ca href=\"https://www.thetimes.co.uk/article/zac-efron-take-me-seriously-2qn22pzt7\" target=\"_blank\" rel=\"noopener noreferrer\">Zac Efron told\u003c/a> the U.K. \u003cem>Times\u003c/em> that even when he was on Tinder, “nobody swiped” him, presumably because “they thought [his] profile was fake.”\u003c/p>\n\u003cp>So how\u003cem> do\u003c/em> celebrities make love connections while the rest of us are swiping?\u003c/p>\n\u003cp>At 61, Madonna continues to use her tried and true method—searching within her own team. Her first child, Lourdes, was the product of a brief relationship with \u003ca href=\"https://www.imdb.com/name/nm0502458/\" target=\"_blank\" rel=\"noopener noreferrer\">her personal trainer\u003c/a> in the mid ’90s, and now she’s romancing a 25-year-old dancer from her touring crew named Ahlamalik Williams. (Madge is not the only one guilty of such a move—let’s not forget that Jennifer Lopez dated one of her \u003ca href=\"https://www.nickiswift.com/22969/really-went-wrong-j-lo-casper-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">backing dancers\u003c/a>, Casper Smart, for five years.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More commonly, celebs seem to resort to social media as a dating tool. \u003cem>Modern Family\u003c/em>‘s \u003ca href=\"https://www.eonline.com/news/988948/the-true-story-of-how-twitter-helped-lead-sarah-hyland-to-her-forever-love\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Hyland met her beau\u003c/a>, Wells Adams, after publicly expressing interest in the Season 12 \u003cem>Bachelorette\u003c/em> contestant via Twitter. But the app of choice for most celebs appears to be Instagram. It was the catalyst for Mandy Moore meeting her musician husband Taylor Goldsmith; it’s where Ricky Martin found his husband, Jwan Yosef; and it’s where “\u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a26959074/sophie-turner-may-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">one fine day, out of the blue\u003c/a>,” Joe Jonas slid into Sophie Turner’s DMs. Having met his current boyfriend the same way, Antoni from \u003cem>Queer Eye \u003c/em>recently \u003ca href=\"https://www.youtube.com/watch?v=X1NioJKAHmE\" target=\"_blank\" rel=\"noopener noreferrer\">noted\u003c/a> that Instagram is, “like, the 2019 way.”\u003c/p>\n\u003cp>The risk of appearing thirsty in a public forum is real, however, as Lindsay Lohan found out last year. She was accused of hitting on newly-single Liam Hemsworth via Instagram after she left a prayer hands emoji on some surfing photos he posted. Lohan later attributed the comment to her work with a \u003ca href=\"https://www.foundationwow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">surf therapy organization\u003c/a> in Australia, but her attacks on \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/lindsay-lohan-shades-cody-simpson-over-miley-cyrus-romance/\" target=\"_blank\" rel=\"noopener noreferrer\">Hemsworth’s ex-wife Miley Cyrus\u003c/a> during the same period suggested otherwise.\u003c/p>\n\u003cp>Then there was New York Islanders hockey star Anthony Beauvillier, who saw fit to \u003ca href=\"https://twitter.com/titobeauvi21/status/1209992434354139136\" target=\"_blank\" rel=\"noopener noreferrer\">tweet “Hi” at Anna Kendrick\u003c/a> in December. After he received no reply, Twitter hilariously stepped in and acted as wingman, publicly thanking Beauvillier for performing \u003ca href=\"https://www.boredpanda.com/hockey-player-anthony-beauvillier-tweets-at-anna-kendrick/?utm_source=google&utm_medium=organic&utm_campaign=organic\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly ridiculous (and obviously false) feats\u003c/a>. These included performing open heart surgery, rescuing people from burning buildings and saving the world from errant asteroids. It may not have got him a date, but Kendrick at least got a laugh out of it.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> by Stanford University sociology professor \u003ca href=\"https://profiles.stanford.edu/michael-rosenfeld\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rosenfeld\u003c/a> showed that the days of meeting spouses through family have been \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">in decline since 1940\u003c/a>, and meeting through friends has been on the way out since 1995. In other words, famous or not, we’re all basically on our own when it comes to making romance happen. So next time you’re complaining about your latest batch of matches, take a moment to think about the poor famous people still trying to get dates with regular Joes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They may be prettier and richer than the rest of us, but they’re impossibly conspicuous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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\">R\u003c/span>ight before Dr. Martin Luther King, Jr. was assassinated in 1968, he worked for over a year on something called the Poor People’s Campaign. The plan, in short, was to organize economically disenfranchised folks of all races, from all across the nation, and have them set up camp on Washington DC’s National Mall. King’s hope was that the visible public encampment would show the need for “radical wealth redistribution,” since economic inequality in America was, and still is, a national emergency.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>“There is nothing wrong with the traffic law which says you have to stop for the red light,” King said, during \u003ca href=\"https://www.youtube.com/watch?v=WWcD4xt7Mnk\" target=\"_blank\" rel=\"noopener noreferrer\">a radio broadcast\u003c/a> prior to the launch of the campaign. However, King added, “when a fire is raging, the fire truck goes right through that red light, and normal traffic had better get out of its way.” He explained that oppressive conditions had created “a fire raging now for the Negroes and the poor of this society,” and subsequently, the country would “need brigades of ambulance drivers that will ignore the red lights of the present system, until the emergency is solved.”\u003c/p>\n\u003cp>The current housing system in California, and especially the Bay Area, is a red light. Housing insecurity continues to spread like wildfire. It’s time to disregard the stop signs and send in all the fire trucks and ambulances we can muster.\u003c/p>\n\u003cfigure id=\"attachment_13873362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg\" alt=\"Resurrection City in 1968, on the National Mall in Washington D.C.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resurrection City in 1968, on the National Mall in Washington D.C. \u003ccite>(Henry Zbyszynski / CC 2.0)\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 we’ve seen in near-daily headlines, the alarms have been ringing for some time now. The sprawling tent cities alone are a wailing siren.\u003c/p>\n\u003cp>In Oakland, Mayor Libby Schaaf responded by housing people in Tuff Sheds, small buildings originally designed for storage and garden tools. In September of last year, President Trump threatened sanctions by the Environmental Protection Agency against San Francisco, saying, “They have to clean it up. We can’t have our cities going to hell.” A year earlier, a similar sentiment was shared by an official from the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a>, calling conditions in the Bay Area “cruel and inhuman.”\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.nytimes.com/interactive/2019/12/17/us/oakland-california-homeless-camp.html\">two New York Times\u003c/a> reporters compared and contrasted conditions in the Bay Area versus those of a slum in Central America. They found two advantages to living in a “shanty village” outside of Mexico City over being homeless on High Street in East Oakland: stability and running water.\u003c/p>\n\u003cp>As if those signs of distress aren’t loud enough, just last week Governor Gavin Newsom signed \u003ca href=\"https://www.gov.ca.gov/2020/01/08/governor-newsom-previews-1-billion-in-budget-proposal-to-jump-start-new-homeless-fund-and-provide-behavioral-health-services-signs-order-to-accelerate-state-action-to-fight-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">an executive order\u003c/a> that “requires state agencies to take urgent and immediate action” to find space on state property where shelters can be built; the deadline is Jan. 31, and the order is supported by over $1 billion in funding. According to Governor Newsom, “the State of California is treating (homelessness) as a real emergency—because it is one.”\u003c/p>\n\u003cfigure id=\"attachment_13873365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg\" alt=\"Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland, which they've occupied since November, despite an eviction order. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland. \u003ccite>(Kate Wolffe/KQED)\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>o on Nov. 18, when Dominique Walker, Sameerah Karim and the Moms 4 Housing collective \u003ca href=\"https://www.kqed.org/news/11793299/moms-4-housing-in-oakland-vow-to-fight-potential-eviction\" target=\"_blank\" rel=\"noopener noreferrer\">took up residency in a vacant two-story house\u003c/a> on the 2900 block of Magnolia Street in West Oakland, they constituted, in essence, an emergency response vehicle racing toward a burning fire.\u003c/p>\n\u003cp>Their assertion that “\u003ca href=\"https://www.kqed.org/news/11793704/west-oakland-housing-human-right-moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">housing is a human right\u003c/a>” was driven by morality, while their occupation of the house completely disregarded the red light of the legal housing system.\u003c/p>\n\u003cp>They stayed in the house for nearly two months before being legally evicted last week and \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">forcibly removed\u003c/a> this week. Although it appears they’ve lost the battle to live in the home that’s legally owned by Wedgewood, the country’s biggest “\u003ca href=\"https://www.huffpost.com/entry/a-working-class-family-co_b_9551862?guccounter=1\" target=\"_blank\" rel=\"noopener noreferrer\">fix and flip\u003c/a>” investment company, their action brought awareness to a major component of the housing emergency: the fact that it’s sometimes more profitable for property owners to keep a house empty than to rent it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As of last year, \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">there were 4,071 unhoused people in Oakland, and 4,366 vacant homes\u003c/a>.\u003c/p>\n\u003cp>Combine that with the fact that in 2019, the average rent for an apartment in Oakland rose to \u003ca href=\"https://www.rentcafe.com/average-rent-market-trends/us/ca/oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">$2,905\u003c/a>, a 7% increase from the previous year. Meanwhile, on Jan. 1, 2020, Oakland’s minimum wage rose only slightly, from $13.80 to $14.14.\u003c/p>\n\u003cp>Add on the context that Oakland’s homeless population rose \u003ca href=\"https://www.kqed.org/forum/2010101872510/oakland-homelessness-increases-47-in-two-years\" target=\"_blank\" rel=\"noopener noreferrer\">47%\u003c/a> between 2017 and 2019, just for flavor.\u003c/p>\n\u003cp>And then add the not-so-secret ingredient: the fact that \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70%\u003c/a> of the unhoused population in Oakland is African American, while the city’s total population is around 25% African American, and declining.\u003c/p>\n\u003cp>You see why there’s a big-ass emergency cake in the oven. But Oakland isn’t the only bakery that’s on fire.\u003c/p>\n\u003cp>In California as a whole, black folks account for only \u003ca href=\"https://calmatters.org/explainers/californias-homelessness-crisis-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5%\u003c/a> of the total population in this state, but roughly 30% of unhoused people. And nationally, African Americans account for only \u003ca href=\"https://endhomelessness.org/homelessness-in-america/what-causes-homelessness/inequality/\" target=\"_blank\" rel=\"noopener noreferrer\">13%\u003c/a> of the total population, but account for 40% of unhoused individuals in the United States.\u003c/p>\n\u003cp>I look at those numbers, and I think about the other stories I’ve read, like how the City of Detroit, America’s largest majority African American city, erroneously \u003ca href=\"https://www.revealnews.org/episodes/the-lost-homes-of-detroit/\" target=\"_blank\" rel=\"noopener noreferrer\">over-taxed its homeowners\u003c/a>. And the story of \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/09/this-land-was-our-land/594742/\">black farmers in the Mississippi delta\u003c/a> being duped out of the deeds to their land. How “\u003ca href=\"https://features.propublica.org/black-land-loss/heirs-property-rights-why-black-families-lose-land-south/\" target=\"_blank\" rel=\"noopener noreferrer\">heirs property\u003c/a>” clauses conned folks of color in the Carolinas. The history of redlining and the subprime mortgage crisis. And how last July, \u003ca href=\"https://www.curbed.com/2018/3/13/17101142/black-homeownership-fair-housing-act\">home ownership among African Americans\u003c/a> fell to roughly the same rate it was when President Johnson signed the Fair Housing Act, not long after MLK’s assassination.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WWcD4xt7Mnk\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\">D\u003c/span>r. King never got to see the Poor People’s Campaign come to fruition. But after his death, the action was carried out under the guidance of Southern Christian Leadership Conference’s new president, Ralph Abernathy. The first people to occupy the space known as Resurrection City were a caravan of women’s groups, \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/poor-peoples-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">led by Coretta Scott King\u003c/a>.\u003c/p>\n\u003cp>King \u003ca href=\"https://www.theatlantic.com/magazine/archive/2018/02/coretta-scott-king/552557/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> started her trek to the capital after rallying people while standing on the very balcony where her husband was assassinated, telling the crowd that she wanted an America “where not some but all of God’s children have food, where not some but all of God’s children have decent housing, where not some but all of God’s children have a guaranteed annual income in keeping with the principles of liberty and grace.”\u003c/p>\n\u003cp>That sure sounds like an obvious precursor to the moral argument presented by Moms 4 Housing.\u003c/p>\n\u003cp>In the 50-plus years since Martin Luther King, Jr. made his ambulance analogy, homelessness, inequality and class division have proven to be, as they say, \u003cem>as American as apple pie.\u003c/em> Or rather, as American as the electric stoplight, which was actually invented here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\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\">R\u003c/span>ight before Dr. Martin Luther King, Jr. was assassinated in 1968, he worked for over a year on something called the Poor People’s Campaign. The plan, in short, was to organize economically disenfranchised folks of all races, from all across the nation, and have them set up camp on Washington DC’s National Mall. King’s hope was that the visible public encampment would show the need for “radical wealth redistribution,” since economic inequality in America was, and still is, a national emergency.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>“There is nothing wrong with the traffic law which says you have to stop for the red light,” King said, during \u003ca href=\"https://www.youtube.com/watch?v=WWcD4xt7Mnk\" target=\"_blank\" rel=\"noopener noreferrer\">a radio broadcast\u003c/a> prior to the launch of the campaign. However, King added, “when a fire is raging, the fire truck goes right through that red light, and normal traffic had better get out of its way.” He explained that oppressive conditions had created “a fire raging now for the Negroes and the poor of this society,” and subsequently, the country would “need brigades of ambulance drivers that will ignore the red lights of the present system, until the emergency is solved.”\u003c/p>\n\u003cp>The current housing system in California, and especially the Bay Area, is a red light. Housing insecurity continues to spread like wildfire. It’s time to disregard the stop signs and send in all the fire trucks and ambulances we can muster.\u003c/p>\n\u003cfigure id=\"attachment_13873362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg\" alt=\"Resurrection City in 1968, on the National Mall in Washington D.C.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resurrection City in 1968, on the National Mall in Washington D.C. \u003ccite>(Henry Zbyszynski / CC 2.0)\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 we’ve seen in near-daily headlines, the alarms have been ringing for some time now. The sprawling tent cities alone are a wailing siren.\u003c/p>\n\u003cp>In Oakland, Mayor Libby Schaaf responded by housing people in Tuff Sheds, small buildings originally designed for storage and garden tools. In September of last year, President Trump threatened sanctions by the Environmental Protection Agency against San Francisco, saying, “They have to clean it up. We can’t have our cities going to hell.” A year earlier, a similar sentiment was shared by an official from the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a>, calling conditions in the Bay Area “cruel and inhuman.”\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.nytimes.com/interactive/2019/12/17/us/oakland-california-homeless-camp.html\">two New York Times\u003c/a> reporters compared and contrasted conditions in the Bay Area versus those of a slum in Central America. They found two advantages to living in a “shanty village” outside of Mexico City over being homeless on High Street in East Oakland: stability and running water.\u003c/p>\n\u003cp>As if those signs of distress aren’t loud enough, just last week Governor Gavin Newsom signed \u003ca href=\"https://www.gov.ca.gov/2020/01/08/governor-newsom-previews-1-billion-in-budget-proposal-to-jump-start-new-homeless-fund-and-provide-behavioral-health-services-signs-order-to-accelerate-state-action-to-fight-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">an executive order\u003c/a> that “requires state agencies to take urgent and immediate action” to find space on state property where shelters can be built; the deadline is Jan. 31, and the order is supported by over $1 billion in funding. According to Governor Newsom, “the State of California is treating (homelessness) as a real emergency—because it is one.”\u003c/p>\n\u003cfigure id=\"attachment_13873365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg\" alt=\"Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland, which they've occupied since November, despite an eviction order. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland. \u003ccite>(Kate Wolffe/KQED)\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>o on Nov. 18, when Dominique Walker, Sameerah Karim and the Moms 4 Housing collective \u003ca href=\"https://www.kqed.org/news/11793299/moms-4-housing-in-oakland-vow-to-fight-potential-eviction\" target=\"_blank\" rel=\"noopener noreferrer\">took up residency in a vacant two-story house\u003c/a> on the 2900 block of Magnolia Street in West Oakland, they constituted, in essence, an emergency response vehicle racing toward a burning fire.\u003c/p>\n\u003cp>Their assertion that “\u003ca href=\"https://www.kqed.org/news/11793704/west-oakland-housing-human-right-moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">housing is a human right\u003c/a>” was driven by morality, while their occupation of the house completely disregarded the red light of the legal housing system.\u003c/p>\n\u003cp>They stayed in the house for nearly two months before being legally evicted last week and \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">forcibly removed\u003c/a> this week. Although it appears they’ve lost the battle to live in the home that’s legally owned by Wedgewood, the country’s biggest “\u003ca href=\"https://www.huffpost.com/entry/a-working-class-family-co_b_9551862?guccounter=1\" target=\"_blank\" rel=\"noopener noreferrer\">fix and flip\u003c/a>” investment company, their action brought awareness to a major component of the housing emergency: the fact that it’s sometimes more profitable for property owners to keep a house empty than to rent it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As of last year, \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">there were 4,071 unhoused people in Oakland, and 4,366 vacant homes\u003c/a>.\u003c/p>\n\u003cp>Combine that with the fact that in 2019, the average rent for an apartment in Oakland rose to \u003ca href=\"https://www.rentcafe.com/average-rent-market-trends/us/ca/oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">$2,905\u003c/a>, a 7% increase from the previous year. Meanwhile, on Jan. 1, 2020, Oakland’s minimum wage rose only slightly, from $13.80 to $14.14.\u003c/p>\n\u003cp>Add on the context that Oakland’s homeless population rose \u003ca href=\"https://www.kqed.org/forum/2010101872510/oakland-homelessness-increases-47-in-two-years\" target=\"_blank\" rel=\"noopener noreferrer\">47%\u003c/a> between 2017 and 2019, just for flavor.\u003c/p>\n\u003cp>And then add the not-so-secret ingredient: the fact that \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70%\u003c/a> of the unhoused population in Oakland is African American, while the city’s total population is around 25% African American, and declining.\u003c/p>\n\u003cp>You see why there’s a big-ass emergency cake in the oven. But Oakland isn’t the only bakery that’s on fire.\u003c/p>\n\u003cp>In California as a whole, black folks account for only \u003ca href=\"https://calmatters.org/explainers/californias-homelessness-crisis-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5%\u003c/a> of the total population in this state, but roughly 30% of unhoused people. And nationally, African Americans account for only \u003ca href=\"https://endhomelessness.org/homelessness-in-america/what-causes-homelessness/inequality/\" target=\"_blank\" rel=\"noopener noreferrer\">13%\u003c/a> of the total population, but account for 40% of unhoused individuals in the United States.\u003c/p>\n\u003cp>I look at those numbers, and I think about the other stories I’ve read, like how the City of Detroit, America’s largest majority African American city, erroneously \u003ca href=\"https://www.revealnews.org/episodes/the-lost-homes-of-detroit/\" target=\"_blank\" rel=\"noopener noreferrer\">over-taxed its homeowners\u003c/a>. And the story of \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/09/this-land-was-our-land/594742/\">black farmers in the Mississippi delta\u003c/a> being duped out of the deeds to their land. How “\u003ca href=\"https://features.propublica.org/black-land-loss/heirs-property-rights-why-black-families-lose-land-south/\" target=\"_blank\" rel=\"noopener noreferrer\">heirs property\u003c/a>” clauses conned folks of color in the Carolinas. The history of redlining and the subprime mortgage crisis. And how last July, \u003ca href=\"https://www.curbed.com/2018/3/13/17101142/black-homeownership-fair-housing-act\">home ownership among African Americans\u003c/a> fell to roughly the same rate it was when President Johnson signed the Fair Housing Act, not long after MLK’s assassination.\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/WWcD4xt7Mnk'\n title='//www.youtube.com/embed/WWcD4xt7Mnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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>r. King never got to see the Poor People’s Campaign come to fruition. But after his death, the action was carried out under the guidance of Southern Christian Leadership Conference’s new president, Ralph Abernathy. The first people to occupy the space known as Resurrection City were a caravan of women’s groups, \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/poor-peoples-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">led by Coretta Scott King\u003c/a>.\u003c/p>\n\u003cp>King \u003ca href=\"https://www.theatlantic.com/magazine/archive/2018/02/coretta-scott-king/552557/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> started her trek to the capital after rallying people while standing on the very balcony where her husband was assassinated, telling the crowd that she wanted an America “where not some but all of God’s children have food, where not some but all of God’s children have decent housing, where not some but all of God’s children have a guaranteed annual income in keeping with the principles of liberty and grace.”\u003c/p>\n\u003cp>That sure sounds like an obvious precursor to the moral argument presented by Moms 4 Housing.\u003c/p>\n\u003cp>In the 50-plus years since Martin Luther King, Jr. made his ambulance analogy, homelessness, inequality and class division have proven to be, as they say, \u003cem>as American as apple pie.\u003c/em> Or rather, as American as the electric stoplight, which was actually invented here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "YouTube Star Nikkie de Jager Blackmailed Into Coming Out as Trans",
"headTitle": "YouTube Star Nikkie de Jager Blackmailed Into Coming Out as Trans | KQED",
"content": "\u003cp>YouTube beauty vlogger Nikkie de Jager, best known as \u003ca href=\"https://www.youtube.com/channel/UCzTKskwIc_-a0cGvCXA848Q\" target=\"_blank\" rel=\"noopener noreferrer\">NikkieTutorials\u003c/a>, was forced to come out to her 12.7 million subscribers this week after blackmailers threatened to reveal her trans status, she said.\u003c/p>\n\u003cp>The 17-minute Jan. 13 video, simply titled “\u003ca href=\"https://www.youtube.com/watch?v=QOOw2E_qAsE\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Coming Out\u003c/a>,” constitutes an emotional roller coaster as Nikkie talks candidly about her childhood sense of being female, her ultra-supportive mother and her teenage transition. Throughout, she expresses her nervousness about coming out, her joy at finally doing so and, most of all, her newfound feeling of liberation.\u003c/p>\n\u003cp>Toward the end of the video, she addresses the blackmail. “I’ve always wanted to share this side of myself with you. I just wanted to do it under my conditions,” she explains. “But… I have been blackmailed by people who wanted to leak my story to the press. At first it was frightening… It is vile and it is gross… They said they wanted to leak it because I’m lying or that I don’t want to tell my truth, or because they feel like I’m too scared for people to know who I truly am. I’m not scared.”\u003c/p>\n\u003cp>At press time, the video has received 17 million views in 20 hours, with fans overwhelmingly expressing love and support. @DyedLittlePrincess said, “I cried so much watching this. I’m so sorry your choice to announce this to the world was taken from you but you are such an incredibly strong, beautiful and inspirational woman. We love you endlessly.” @TinyKraken posted, “2014: I love this goddess and everything she does. 2020: I love this goddess and everything she does.” After the video posted, the number of subscribers on the NikkieTutorials page increased.\u003c/p>\n\u003cp>In the short clip, Nikkie—who has previously collaborated with the likes of Marc Jacobs Beauty, Sephora and Maybelline—succeeded in succinctly encapsulating both the difficulties trans people can face in their personal lives (she notes that she did not tell her fiancé sooner because she feared losing him), and the beauty and grace that accompanies outwardly becoming your authentic self. (By the end of the clip, Nikkie is laughing infectiously and singing Kesha’s “\u003ca href=\"https://www.youtube.com/watch?v=lXyA4MXKIKo\" target=\"_blank\" rel=\"noopener noreferrer\">Woman\u003c/a>.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you feel like you’re trapped and there’s no way out,” Nikkie concludes, “know that it gets better. Trust me. It gets better.”\u003c/p>\n\u003cp>You can watch Nikkie’s coming out video in full below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QOOw2E_qAsE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>YouTube beauty vlogger Nikkie de Jager, best known as \u003ca href=\"https://www.youtube.com/channel/UCzTKskwIc_-a0cGvCXA848Q\" target=\"_blank\" rel=\"noopener noreferrer\">NikkieTutorials\u003c/a>, was forced to come out to her 12.7 million subscribers this week after blackmailers threatened to reveal her trans status, she said.\u003c/p>\n\u003cp>The 17-minute Jan. 13 video, simply titled “\u003ca href=\"https://www.youtube.com/watch?v=QOOw2E_qAsE\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Coming Out\u003c/a>,” constitutes an emotional roller coaster as Nikkie talks candidly about her childhood sense of being female, her ultra-supportive mother and her teenage transition. Throughout, she expresses her nervousness about coming out, her joy at finally doing so and, most of all, her newfound feeling of liberation.\u003c/p>\n\u003cp>Toward the end of the video, she addresses the blackmail. “I’ve always wanted to share this side of myself with you. I just wanted to do it under my conditions,” she explains. “But… I have been blackmailed by people who wanted to leak my story to the press. At first it was frightening… It is vile and it is gross… They said they wanted to leak it because I’m lying or that I don’t want to tell my truth, or because they feel like I’m too scared for people to know who I truly am. I’m not scared.”\u003c/p>\n\u003cp>At press time, the video has received 17 million views in 20 hours, with fans overwhelmingly expressing love and support. @DyedLittlePrincess said, “I cried so much watching this. I’m so sorry your choice to announce this to the world was taken from you but you are such an incredibly strong, beautiful and inspirational woman. We love you endlessly.” @TinyKraken posted, “2014: I love this goddess and everything she does. 2020: I love this goddess and everything she does.” After the video posted, the number of subscribers on the NikkieTutorials page increased.\u003c/p>\n\u003cp>In the short clip, Nikkie—who has previously collaborated with the likes of Marc Jacobs Beauty, Sephora and Maybelline—succeeded in succinctly encapsulating both the difficulties trans people can face in their personal lives (she notes that she did not tell her fiancé sooner because she feared losing him), and the beauty and grace that accompanies outwardly becoming your authentic self. (By the end of the clip, Nikkie is laughing infectiously and singing Kesha’s “\u003ca href=\"https://www.youtube.com/watch?v=lXyA4MXKIKo\" target=\"_blank\" rel=\"noopener noreferrer\">Woman\u003c/a>.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you feel like you’re trapped and there’s no way out,” Nikkie concludes, “know that it gets better. Trust me. It gets better.”\u003c/p>\n\u003cp>You can watch Nikkie’s coming out video in full below:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QOOw2E_qAsE'\n title='//www.youtube.com/embed/QOOw2E_qAsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "The Oscar Nominations: In With The Old, And 'Congratulations To Those Men'",
"headTitle": "The Oscar Nominations: In With The Old, And ‘Congratulations To Those Men’ | KQED",
"content": "\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This morning, Prince Harry and Meghan Markle—more formally known as the Duke and Duchess of Sussex—very politely threw a middle finger in the direction of the British establishment and announced they’d be ditching the royal coffers, leaving the U.K. to live in North America half the time, and striking out on their own. (They said a bunch of stuff about still supporting the Queen too, but whatever.)\u003c/p>\n\u003cp>https://www.instagram.com/p/B7EaGS_Jpb9/\u003c/p>\n\u003cp>Though definitely unexpected, the fact that Harry is seeking independence from the most famous family in Britain, and pulling a move this rebellious, is actually a totally Harry thing to do. From the time he was tiny, his mother Princess Diana referred to him as the “\u003ca href=\"https://pagesix.com/2016/12/22/unseen-princess-diana-letter-says-harry-was-naughty,/\" target=\"_blank\" rel=\"noopener noreferrer\">naughty\u003c/a>” one, and he’s breezed through several pretty major scandals since adolescence.\u003c/p>\n\u003cp>When Harry was 20, photos leaked of him at a costume party \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1481148/Prince-Harry-faces-outcry-at-Nazi-outfit.html\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a Nazi uniform\u003c/a>—a move that, while deeply offensive, could also be interpreted as self-deprecation, given his family’s loose ties with both Hitler and the Nazi party. (The Queen’s husband, Prince Philip, grew up with sisters who were \u003ca href=\"https://www.theguardian.com/uk-news/2019/dec/01/princess-alice--saved--my-famils-from-nazis-in-wartime-greece\" target=\"_blank\" rel=\"noopener noreferrer\">married to SS officers\u003c/a>, and Prince \u003ca href=\"https://www.biography.com/news/edward-viii-wallis-simpson-nazi-sympathizers-hitler\" target=\"_blank\" rel=\"noopener noreferrer\">Edward VIII was friends with Hitler\u003c/a>.)\u003c/p>\n\u003cp>Just two years after the Nazi incident, Harry was caught on camera at another party, this time \u003ca href=\"https://www.tmz.com/2012/08/21/prince-harry-naked-photos-nude-vegas-hotel-party/\" target=\"_blank\" rel=\"noopener noreferrer\">completely nude\u003c/a> inside a Las Vegas hotel room. Both incidents got him into serious hot water with senior members of his family, not to mention the British press. But, probably because he’s unlikely to ever be king, Harry basically got away with it. Even his very sweet marriage to American actress Meghan Markle upended centuries of royal tradition. [aside postid='arts_13866072']\u003c/p>\n\u003cp>This latest step away from his family, however—especially after his and Meghan’s unprecedented (and \u003ca href=\"https://www.cheatsheet.com/entertainment/prince-harry-staff-unhappy-lawsuit.html/\" target=\"_blank\" rel=\"noopener noreferrer\">controversial\u003c/a>) lawsuit against a prominent British newspaper—is laced with some fairly serious irony.\u003c/p>\n\u003cp>In 1936, when King Edward VIII was informed by the British establishment that, as sovereign, he wouldn’t be permitted to marry his divorced American girlfriend, Wallis Simpson, he ditched his crown and promptly ran off to live in France with her.\u003c/p>\n\u003cp>If it weren’t for that momentous decision, Prince Harry’s great-granddad would never have been forced to take over as king, and subsequently no one outside of Britain would probably ever have even heard of William and Harry. If Edward had stayed in charge, the brothers would have been mere cousins to those in line for the throne, and would have had much quieter lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is a strange circularity about the fact that Harry is only in the position of being a prominent royal because of a divorced American woman. And now his, at least partial, escape from that role is being prompted by none other than a divorced American woman.\u003c/p>\n\u003cp>If royal watchers have learned anything about Prince Harry over the last 35 years, it’s that he is very much his mother’s son. And just like Diana, he will seek freedom, independence and fun wherever he can grab it. If he and Meghan can succeed in financially untangling themselves from the royals, it will set a precedent that could cause major shockwaves in how the Windsor family operates for generations to come. If anyone has the chutzpah to do it, it’s Prince Harry.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though definitely unexpected, the fact that Harry is seeking independence from the most famous family in Britain, and pulling a move this rebellious, is actually a totally Harry thing to do. From the time he was tiny, his mother Princess Diana referred to him as the “\u003ca href=\"https://pagesix.com/2016/12/22/unseen-princess-diana-letter-says-harry-was-naughty,/\" target=\"_blank\" rel=\"noopener noreferrer\">naughty\u003c/a>” one, and he’s breezed through several pretty major scandals since adolescence.\u003c/p>\n\u003cp>When Harry was 20, photos leaked of him at a costume party \u003ca href=\"https://www.telegraph.co.uk/news/uknews/1481148/Prince-Harry-faces-outcry-at-Nazi-outfit.html\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a Nazi uniform\u003c/a>—a move that, while deeply offensive, could also be interpreted as self-deprecation, given his family’s loose ties with both Hitler and the Nazi party. (The Queen’s husband, Prince Philip, grew up with sisters who were \u003ca href=\"https://www.theguardian.com/uk-news/2019/dec/01/princess-alice--saved--my-famils-from-nazis-in-wartime-greece\" target=\"_blank\" rel=\"noopener noreferrer\">married to SS officers\u003c/a>, and Prince \u003ca href=\"https://www.biography.com/news/edward-viii-wallis-simpson-nazi-sympathizers-hitler\" target=\"_blank\" rel=\"noopener noreferrer\">Edward VIII was friends with Hitler\u003c/a>.)\u003c/p>\n\u003cp>Just two years after the Nazi incident, Harry was caught on camera at another party, this time \u003ca href=\"https://www.tmz.com/2012/08/21/prince-harry-naked-photos-nude-vegas-hotel-party/\" target=\"_blank\" rel=\"noopener noreferrer\">completely nude\u003c/a> inside a Las Vegas hotel room. Both incidents got him into serious hot water with senior members of his family, not to mention the British press. But, probably because he’s unlikely to ever be king, Harry basically got away with it. Even his very sweet marriage to American actress Meghan Markle upended centuries of royal tradition. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This latest step away from his family, however—especially after his and Meghan’s unprecedented (and \u003ca href=\"https://www.cheatsheet.com/entertainment/prince-harry-staff-unhappy-lawsuit.html/\" target=\"_blank\" rel=\"noopener noreferrer\">controversial\u003c/a>) lawsuit against a prominent British newspaper—is laced with some fairly serious irony.\u003c/p>\n\u003cp>In 1936, when King Edward VIII was informed by the British establishment that, as sovereign, he wouldn’t be permitted to marry his divorced American girlfriend, Wallis Simpson, he ditched his crown and promptly ran off to live in France with her.\u003c/p>\n\u003cp>If it weren’t for that momentous decision, Prince Harry’s great-granddad would never have been forced to take over as king, and subsequently no one outside of Britain would probably ever have even heard of William and Harry. If Edward had stayed in charge, the brothers would have been mere cousins to those in line for the throne, and would have had much quieter lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is a strange circularity about the fact that Harry is only in the position of being a prominent royal because of a divorced American woman. And now his, at least partial, escape from that role is being prompted by none other than a divorced American woman.\u003c/p>\n\u003cp>If royal watchers have learned anything about Prince Harry over the last 35 years, it’s that he is very much his mother’s son. And just like Diana, he will seek freedom, independence and fun wherever he can grab it. If he and Meghan can succeed in financially untangling themselves from the royals, it will set a precedent that could cause major shockwaves in how the Windsor family operates for generations to come. If anyone has the chutzpah to do it, it’s Prince Harry.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nearly every woman who uses birth control has a story about the worst birth control-related thing that’s ever happened to her. In my friend group alone, there have been contraception-induced blood clots, never-ending periods, severe bouts of depression, and even a stroke and subsequent lawsuit. I too have had several “worsts” over the years, but a brand new personal record was set last month at what was supposed to be a routine OB/GYN appointment.\u003c/p>\n\u003cp>Afterwards at home, emotionally drained, in a significant amount of pain and desperately looking for distraction, I made the mistake of opening Twitter. I was greeted by this:\u003c/p>\n\u003cp>https://twitter.com/bader_diedrich/status/1197600303928922112\u003c/p>\n\u003cp>On any other day, it may not have even registered. But this happened to be the day I had attempted, unsuccessfully, to get an IUD implanted. Multiple women had warned me in advance that this would be a very painful procedure, and ultimately the process involved agonizing forced cervical dilation, two injections into my cervix, and bleeding and cramping so awful that it gave me insight into what childbirth might be like. At the end of it all, the process failed for reasons I won’t bore you with. When I apologized for crying, my doctor reassured me that other women often have similar responses—or simply just pass out—during the procedure.\u003c/p>\n\u003cp>And then, the “hard pass” tweet above. Needless to say, coming home to the sight of multiple men, including ones that consider themselves feminist allies (both Patton Oswalt and Cameron Kasky “liked” Diedrich Bader’s tweet) gleefully acting as if getting a single, external birth control injection was a preposterous proposition didn’t just feel like a slap in the face. It felt like a metaphor for how birth control is treated across the board in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/the_tevvster/status/1331353778579267586\u003c/p>\n\u003cp>Since the arrival of the very first FDA-approved birth control pill in 1960, the burden of avoiding unwanted pregnancy has fallen almost entirely on the shoulders of women. In the \u003ca href=\"https://www.guttmacher.org/fact-sheet/contraceptive-use-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">United States in 2014\u003c/a>, over 13 million women were using some form of hormonal birth control, versus 5 million condom users.\u003c/p>\n\u003cp>The right to access the pill was hard-fought (between 1965 and 1972, only married couples had permission to use it) and sparked a wave of newfound liberation for women once it was available to all. All these years later, there is a leftover sense—exacerbated by increasingly \u003ca href=\"https://www.kqed.org/pop/79915/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out\" target=\"_blank\" rel=\"noopener noreferrer\">draconian restrictions\u003c/a> on women’s reproductive healthcare—that women should be grateful to have access to birth control at all.\u003c/p>\n\u003cp>And since we’re so busy desperately hanging onto whatever bodily autonomy we can grasp, we rarely stop to ask why the onus of birth control is, outside of condoms and vasectomies, entirely on us. This despite the plethora of side effects (well-documented since the \u003ca href=\"https://www.nwhn.org/pill-hearings/\" target=\"_blank\" rel=\"noopener noreferrer\">1970 Senate hearings about pill safety\u003c/a>) and physical trauma that we suffer in the process of using it.\u003c/p>\n\u003cp>As modern inequality goes, the division of responsibility between men and women when it comes to contraception is woefully under-examined. A trial for injectable birth control for men \u003ca href=\"https://www.npr.org/sections/health-shots/2016/11/03/500549503/male-birth-control-study-killed-after-men-complain-about-side-effects\" target=\"_blank\" rel=\"noopener noreferrer\">was halted\u003c/a> in 2016 because subjects complained of side effects like muscle aches, acne and mood changes—all things women routinely abide with all forms of hormonal contraception. The abandonment of the study constituted a major disappointment for millions of women, especially given how long it took to even get a trial for men at all.\u003c/p>\n\u003cp>At the time, one researcher named \u003ca href=\"https://www.bbc.com/news/health-47691567\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Pacey told the BBC\u003c/a> that, “Unfortunately, so far, there has been very little pharmaceutical company interest in bringing a male contraceptive pill to the market, for reasons that I don’t fully understand but I suspect are more down to business than science.”\u003c/p>\n\u003cp>As Bader’s tweet proved, many men seem to have no idea of the physical, mental and financial strain that contraception routinely places on women. Just months ago, one male acquaintance even told me that birth control was mostly designed for women because it’s “easier for women’s bodies to deal with.” When I pushed back, he couldn’t explain how or why he believed this.\u003c/p>\n\u003cp>Truthfully, that misconception is not entirely his fault either. Women’s birth control burdens are grossly under-acknowledged, under-discussed and under-depicted in American pop culture. And while we have seen increasingly frank and realistic depictions of abortion on TV in recent years—thanks to shows like \u003cem>Shrill\u003c/em>, \u003cem>Dear White People\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>GLOW\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>—women’s contraceptive issues remain pretty much out of the picture.\u003c/p>\n\u003cp>Granted, \u003cem>Master of None\u003c/em>‘s premiere did feature a magnificently awkward first-date Plan B purchase, and \u003cem>Shrill\u003c/em> brilliantly depicted the high cost of morning-after pills (main character Annie always paid for them, not her boyfriend). But emergency contraception is no reflection of what women most regularly put up with.\u003c/p>\n\u003cp>Evaluating passing mentions of women’s birth control on TV, they tend to either remind women how lucky we are to have access to it (like the \u003ca href=\"https://www.vulture.com/2013/06/mad-men-a-history-of-peggy-and-joan.html\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Mad Men\u003c/em>\u003c/a> when Joan tells Peggy about a medication with a side effect that acts like the pill), or they gloss over side effects completely. In a \u003ca href=\"https://www.imdb.com/title/tt2510746/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 episode\u003c/a> of \u003cem>The Mindy Project\u003c/em>, for example, when a college student tells Dr. Lahiri, “I heard that birth control makes you fat and cranky,” the doc simply quips back, “So does pregnancy.”\u003c/p>\n\u003cp>Truth be told, television has been doing a terrible job of reflecting women’s reproductive realities for decades. Teens watching sitcoms from the ’90s, for example, might be left with the impression that women’s contraception of choice back then was the diaphragm. \u003cem>Sex and the City\u003c/em>, \u003cem>Friends\u003c/em>, \u003cem>Felicity \u003c/em>and \u003cem>Seinfeld\u003c/em> all had diaphragm storylines at a time when \u003ca href=\"https://www.cdc.gov/NCHS/data/series/sr_23/sr23_029.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">less than 1%\u003c/a> of American women actually used them.\u003c/p>\n\u003cp>And while \u003cem>Seinfeld\u003c/em>‘s “sponge-worthy” episode remains one of the series’ funniest, even in 1995 it seemed like an odd choice for the thoroughly modern Elaine Benes. “Each episode, even the \u003cem>Sex and the City\u003c/em> episode,” notes \u003ca href=\"https://www.vice.com/en_us/article/jpg9qd/90s-sitcoms-were-strangely-obsessed-with-this-unpopular-form-of-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vice\u003c/em> \u003c/a>journalist Kaleigh Rogers, “was written by a man who perhaps just didn’t have as keen of an awareness that diaphragms weren’t really a thing any more.”\u003c/p>\n\u003cp>And therein lies the problem. There still aren’t enough female voices in writers’ rooms or on TV, and the ones that are there aren’t, for the most part, concerning themselves with this topic. The fact that \u003cem>Shrill—\u003c/em>an exception to the rule\u003cem>—\u003c/em>managed to cause a full-blown \u003ca href=\"https://www.glamour.com/story/what-shrill-gets-right-and-wrong-about-the-morning-after-pill-weight-limit\" target=\"_blank\" rel=\"noopener noreferrer\">internet panic\u003c/a> with its revelation that emergency contraception is “only dosed for women 175 pounds and under” speaks volumes about TV characters’ need to be having this conversation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Birth control as the near-exclusive domain of women wasn’t an idea conceived by pop culture, but it’s not an assumption that’s getting any pushback from it, either. And as long as TV continues to ignore daily birth control realities for women, it halts the national conversation, helps stall progress at the pharmaceutical level, and keeps men in the dark.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly every woman who uses birth control has a story about the worst birth control-related thing that’s ever happened to her. In my friend group alone, there have been contraception-induced blood clots, never-ending periods, severe bouts of depression, and even a stroke and subsequent lawsuit. I too have had several “worsts” over the years, but a brand new personal record was set last month at what was supposed to be a routine OB/GYN appointment.\u003c/p>\n\u003cp>Afterwards at home, emotionally drained, in a significant amount of pain and desperately looking for distraction, I made the mistake of opening Twitter. I was greeted by this:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On any other day, it may not have even registered. But this happened to be the day I had attempted, unsuccessfully, to get an IUD implanted. Multiple women had warned me in advance that this would be a very painful procedure, and ultimately the process involved agonizing forced cervical dilation, two injections into my cervix, and bleeding and cramping so awful that it gave me insight into what childbirth might be like. At the end of it all, the process failed for reasons I won’t bore you with. When I apologized for crying, my doctor reassured me that other women often have similar responses—or simply just pass out—during the procedure.\u003c/p>\n\u003cp>And then, the “hard pass” tweet above. Needless to say, coming home to the sight of multiple men, including ones that consider themselves feminist allies (both Patton Oswalt and Cameron Kasky “liked” Diedrich Bader’s tweet) gleefully acting as if getting a single, external birth control injection was a preposterous proposition didn’t just feel like a slap in the face. It felt like a metaphor for how birth control is treated across the board in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Since the arrival of the very first FDA-approved birth control pill in 1960, the burden of avoiding unwanted pregnancy has fallen almost entirely on the shoulders of women. In the \u003ca href=\"https://www.guttmacher.org/fact-sheet/contraceptive-use-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">United States in 2014\u003c/a>, over 13 million women were using some form of hormonal birth control, versus 5 million condom users.\u003c/p>\n\u003cp>The right to access the pill was hard-fought (between 1965 and 1972, only married couples had permission to use it) and sparked a wave of newfound liberation for women once it was available to all. All these years later, there is a leftover sense—exacerbated by increasingly \u003ca href=\"https://www.kqed.org/pop/79915/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out\" target=\"_blank\" rel=\"noopener noreferrer\">draconian restrictions\u003c/a> on women’s reproductive healthcare—that women should be grateful to have access to birth control at all.\u003c/p>\n\u003cp>And since we’re so busy desperately hanging onto whatever bodily autonomy we can grasp, we rarely stop to ask why the onus of birth control is, outside of condoms and vasectomies, entirely on us. This despite the plethora of side effects (well-documented since the \u003ca href=\"https://www.nwhn.org/pill-hearings/\" target=\"_blank\" rel=\"noopener noreferrer\">1970 Senate hearings about pill safety\u003c/a>) and physical trauma that we suffer in the process of using it.\u003c/p>\n\u003cp>As modern inequality goes, the division of responsibility between men and women when it comes to contraception is woefully under-examined. A trial for injectable birth control for men \u003ca href=\"https://www.npr.org/sections/health-shots/2016/11/03/500549503/male-birth-control-study-killed-after-men-complain-about-side-effects\" target=\"_blank\" rel=\"noopener noreferrer\">was halted\u003c/a> in 2016 because subjects complained of side effects like muscle aches, acne and mood changes—all things women routinely abide with all forms of hormonal contraception. The abandonment of the study constituted a major disappointment for millions of women, especially given how long it took to even get a trial for men at all.\u003c/p>\n\u003cp>At the time, one researcher named \u003ca href=\"https://www.bbc.com/news/health-47691567\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Pacey told the BBC\u003c/a> that, “Unfortunately, so far, there has been very little pharmaceutical company interest in bringing a male contraceptive pill to the market, for reasons that I don’t fully understand but I suspect are more down to business than science.”\u003c/p>\n\u003cp>As Bader’s tweet proved, many men seem to have no idea of the physical, mental and financial strain that contraception routinely places on women. Just months ago, one male acquaintance even told me that birth control was mostly designed for women because it’s “easier for women’s bodies to deal with.” When I pushed back, he couldn’t explain how or why he believed this.\u003c/p>\n\u003cp>Truthfully, that misconception is not entirely his fault either. Women’s birth control burdens are grossly under-acknowledged, under-discussed and under-depicted in American pop culture. And while we have seen increasingly frank and realistic depictions of abortion on TV in recent years—thanks to shows like \u003cem>Shrill\u003c/em>, \u003cem>Dear White People\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>GLOW\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>—women’s contraceptive issues remain pretty much out of the picture.\u003c/p>\n\u003cp>Granted, \u003cem>Master of None\u003c/em>‘s premiere did feature a magnificently awkward first-date Plan B purchase, and \u003cem>Shrill\u003c/em> brilliantly depicted the high cost of morning-after pills (main character Annie always paid for them, not her boyfriend). But emergency contraception is no reflection of what women most regularly put up with.\u003c/p>\n\u003cp>Evaluating passing mentions of women’s birth control on TV, they tend to either remind women how lucky we are to have access to it (like the \u003ca href=\"https://www.vulture.com/2013/06/mad-men-a-history-of-peggy-and-joan.html\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Mad Men\u003c/em>\u003c/a> when Joan tells Peggy about a medication with a side effect that acts like the pill), or they gloss over side effects completely. In a \u003ca href=\"https://www.imdb.com/title/tt2510746/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 episode\u003c/a> of \u003cem>The Mindy Project\u003c/em>, for example, when a college student tells Dr. Lahiri, “I heard that birth control makes you fat and cranky,” the doc simply quips back, “So does pregnancy.”\u003c/p>\n\u003cp>Truth be told, television has been doing a terrible job of reflecting women’s reproductive realities for decades. Teens watching sitcoms from the ’90s, for example, might be left with the impression that women’s contraception of choice back then was the diaphragm. \u003cem>Sex and the City\u003c/em>, \u003cem>Friends\u003c/em>, \u003cem>Felicity \u003c/em>and \u003cem>Seinfeld\u003c/em> all had diaphragm storylines at a time when \u003ca href=\"https://www.cdc.gov/NCHS/data/series/sr_23/sr23_029.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">less than 1%\u003c/a> of American women actually used them.\u003c/p>\n\u003cp>And while \u003cem>Seinfeld\u003c/em>‘s “sponge-worthy” episode remains one of the series’ funniest, even in 1995 it seemed like an odd choice for the thoroughly modern Elaine Benes. “Each episode, even the \u003cem>Sex and the City\u003c/em> episode,” notes \u003ca href=\"https://www.vice.com/en_us/article/jpg9qd/90s-sitcoms-were-strangely-obsessed-with-this-unpopular-form-of-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vice\u003c/em> \u003c/a>journalist Kaleigh Rogers, “was written by a man who perhaps just didn’t have as keen of an awareness that diaphragms weren’t really a thing any more.”\u003c/p>\n\u003cp>And therein lies the problem. There still aren’t enough female voices in writers’ rooms or on TV, and the ones that are there aren’t, for the most part, concerning themselves with this topic. The fact that \u003cem>Shrill—\u003c/em>an exception to the rule\u003cem>—\u003c/em>managed to cause a full-blown \u003ca href=\"https://www.glamour.com/story/what-shrill-gets-right-and-wrong-about-the-morning-after-pill-weight-limit\" target=\"_blank\" rel=\"noopener noreferrer\">internet panic\u003c/a> with its revelation that emergency contraception is “only dosed for women 175 pounds and under” speaks volumes about TV characters’ need to be having this conversation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Birth control as the near-exclusive domain of women wasn’t an idea conceived by pop culture, but it’s not an assumption that’s getting any pushback from it, either. And as long as TV continues to ignore daily birth control realities for women, it halts the national conversation, helps stall progress at the pharmaceutical level, and keeps men in the dark.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-raiders-leave-oakland-and-to-hell-with-your-feelings",
"title": "The Raiders Leave Oakland, and To Hell With Your Feelings",
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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\">I\u003c/span>’ve got some strong words for Mark Davis’ haircut and the thinking that goes on under it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>Of course, I’m more concerned about his thinking than I am the haircut. (I’ve already \u003ca href=\"https://www.espn.com/nfl/story/_/id/13735322/are-mark-davis-raiders-leaving-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">read\u003c/a> about him driving his minivan hundreds of miles to a barber in Palm Springs so he can get… whatever he calls that thing on his head.)\u003c/p>\n\u003cp>I get that moving the Raiders to Las Vegas is a money move. Nevada offered a stadium that’ll be paid for by tax revenue. The City of Oakland didn’t, and rightfully so. With thousands of people sleeping on the streets, paying to build a sports franchise’s new stadium would’ve been the ultimate example of helping the rich get richer. Plus, the City of Oakland is \u003ca href=\"https://www.newsweek.com/raiders-leave-vegas-oakland-owes-stadium-debt-1995-574930\" target=\"_blank\" rel=\"noopener noreferrer\">still in debt\u003c/a> after enticing the Raiders to move back from Los Angeles in 1995.\u003c/p>\n\u003cp>So now that the final Raiders game has been played at the Coliseum, it’s become a reality: they’re throwing a hail mary across the state line. And I can’t be mad, because at the end of the day, it’s a business. And you know how \u003cem>we\u003c/em> do business in America—with an all-encompassing phrase that I’m surprised isn’t a Fortune 500 company’s slogan:\u003c/p>\n\u003cp>\u003cem>To hell with your feelings. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0189-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\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\">B\u003c/span>ut football, the most brutal of major American sports, is a game largely built on feelings. The players emote like thespians. The coaches yell like drunk stepfathers. And the owners are often shown in their box seats, hands folded over their mouths, like a member of the choir praying during the sermon.\u003c/p>\n\u003cp>But the greatest feelings come from the fans. They show up on Sundays and paint their faces, get inebriated and scream their hearts out. It’s like going to church, the bar and to war at the same time.\u003c/p>\n\u003cp>Every stadium is a bit different, from what I hear. I’ve only been to Raiders games. But I can guarantee you that Oakland’s tailgate scene is unlike any other.\u003c/p>\n\u003cp>On Sunday, I saw social media updates of folks there at daybreak, with lit barbecue grills and liquor bottles bigger than the Lombardi trophy. As they rang in the final Raiders game in Oakland, many of the posts were emotional personal connections: the worker who’s losing their longtime job at the stadium, \u003ca href=\"https://abc7news.com/sports/raiders-fan-who-went-to-1st-coliseum-game-needs-ticket-for-oakland-finale/5756266/\" target=\"_blank\" rel=\"noopener noreferrer\">the story\u003c/a> of the guy who went to the first game in Oakland and scored a last-minute ticket to this one, stories of friendships and connections made.\u003c/p>\n\u003cp>I wasn’t there on Sunday. Instead, I was down in Nickerson Gardens in Watts, where I gave a head-nod to a brother in a Los Angeles Raiders cap. That emotional connection reverberates throughout Raider Nation, and reaches all places the sun shines.\u003c/p>\n\u003cfigure id=\"attachment_13871656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0100-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Returning from my trip, I watched the game via livestream on my phone in the back of a Flixbus during a 10-hour ride. I don’t even like the NFL, but I watched.\u003c/p>\n\u003cp>I used to love football. I was a diehard Raiders fan. But then so many things happened that made me realize just how much of a business football is: Michael Vick’s treatment (to this day \u003ca href=\"https://www.cbssports.com/nfl/news/thousands-sign-petition-asking-nfl-to-remove-michael-vick-as-pro-bowl-captain-call-out-sponsors/\" target=\"_blank\" rel=\"noopener noreferrer\">he’s still catching flak\u003c/a> for his involvement in dog fighting, a crime he served time for). The fact that there are confirmed domestic abusers in the league, and Colin Kaepernick isn’t (and that the tryout a few weeks ago was \u003ca href=\"https://www.theroot.com/stephen-a-smith-s-ego-and-hairline-suffers-2-inch-setb-1840416456\" target=\"_blank\" rel=\"noopener noreferrer\">a sham\u003c/a>). Worst of all, the cover-up of concussions and other health issues players face during and after their time in the league.\u003c/p>\n\u003cp>A few weeks ago, former Raiders offensive lineman \u003ca href=\"https://www.nytimes.com/2019/10/26/sports/football/jets-osemele-injury.html\">Kelechi Osemele\u003c/a> was cut by the Jets after opting to have shoulder surgery in the middle of the season instead of taking painkillers and playing with a torn labrum. Before the surgery, as reported by the \u003cem>New York Times\u003c/em>, the Pro Bowl player told the team he was in intense pain, and they docked his pay for the time that he sat on the bench.\u003c/p>\n\u003cp>How can you support a league that notoriously doesn’t support its players?\u003c/p>\n\u003cfigure id=\"attachment_13871651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0701-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, it’s too much of an emotional investment. I spent chunks of my life yelling at the TV. If I told you how many times the Raiders let me down over the years, you’d either offer me a hug or a shot of tequila out of pity. Maybe both.\u003c/p>\n\u003cp>The list of instances would include the \u003ca href=\"https://bleacherreport.com/articles/2852540-antonio-brown-released-by-raiders-after-mike-mayock-incident-drama\" target=\"_blank\" rel=\"noopener noreferrer\">Antonio Brown\u003c/a> saga from this summer. Trading superstar \u003ca href=\"https://www.nbcsports.com/chicago/bears/bears-history-changed-forever-one-year-ago-today-khalil-mack-trade\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Mack\u003c/a> last year. Remember \u003ca href=\"https://en.wikipedia.org/wiki/Tuck_Rule_Game\" target=\"_blank\" rel=\"noopener noreferrer\">the Tuck Rule game\u003c/a>? I don’t, only because I’ve successfully erased it from my memory.\u003c/p>\n\u003cp>There was, of course, the loss to Tampa Bay (coached by Jon Gruden the year after he left the Raiders) in Super Bowl XXXVII, and the backstory that Pro Bowl lineman \u003ca href=\"https://www.si.com/nfl/2015/12/15/untold-super-bowl-barret-robbins-raiders\" target=\"_blank\" rel=\"noopener noreferrer\">Barret Robbins\u003c/a> suffered a manic episode on the eve of the big game.\u003c/p>\n\u003cp>Derek Carr breaking his leg right before the playoffs in 2016. \u003ca href=\"https://bleacherreport.com/articles/1033798-10-worst-draft-flops-in-oakland-raiders-history#slide10\" target=\"_blank\" rel=\"noopener noreferrer\">Numerous draft busts\u003c/a>, like Robert Gallery and JaMarcus Russell—I still laugh at the story of Russell studying \u003ca href=\"https://bleacherreport.com/articles/2804453-david-diehl-raiders-gave-jamarcus-russell-blank-tapes-to-see-if-qb-watched-film\" target=\"_blank\" rel=\"noopener noreferrer\">blank tapes\u003c/a>.\u003c/p>\n\u003cp>And on a smaller, more game-to-game letdown, there’s the penalties. So many penalties. Oh, and Mark Davis’ haircut. Man, there are so many ways the Raiders have let us down over the years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there had to be some highlight moments. Otherwise, people including myself wouldn’t care this much.\u003c/p>\n\u003cp>I loved seeing Rod Woodson, Randy Moss and Warren Sapp play in Oakland. Marshawn went dumb on the sidelines. Napoleon Kaufman, my favorite player, had a career full of highlights, and now is a pastor in Livermore.\u003c/p>\n\u003cp>And although he left for a few years to play with the Packers, Charles Woodson eventually came back to the town to work with the team; he was there to light the Davis torch on this final Sunday in Oakland.\u003c/p>\n\u003cp>There’s a reason people tossed litter on the field, started fights and booed as Sunday’s game ultimately ended in a 20-16 loss to the bottom-feeding Jacksonville Jaguars. The reason: people care.\u003c/p>\n\u003cfigure id=\"attachment_13871655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0817-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\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\">T\u003c/span>he last game I went to was the one that Marshawn got kicked out of, against Kansas City. That’s how I’ll remember the Raiders. Fun. Exciting. Underdogs. But man, there’s a nation of people who love them with all of their hearts, and many of those are my loved ones. Be it Rita Cecaci, \u003ca href=\"https://www.kqed.org/arts/13840416/the-first-of-the-oakland-raiders-cheerleaders\" target=\"_blank\" rel=\"noopener noreferrer\">one of the first Raiderettes\u003c/a>, or Malcolm Turner, who \u003ca href=\"https://www.kqed.org/arts/13849783/buy-your-weed-from-black-owned-dispensaries\" target=\"_blank\" rel=\"noopener noreferrer\">works at Blunts & Moore\u003c/a> across the street, they’re family.\u003c/p>\n\u003cp>Malcolm recently told me, “If \u003cem>you\u003c/em> moved to Las Vegas, I’d still love you.” But I know Sunday hurt him, as it did so many others. Even as one who doesn’t care about the NFL, it hurt me too, if only for knowing what the Raiders mean to this city.\u003c/p>\n\u003cp>So when I see an interview \u003ca href=\"https://twitter.com/CamCleve2/status/1206420458486128640\" target=\"_blank\" rel=\"noopener noreferrer\">like this one\u003c/a> with Mark Davis and his Moe-from-The-Three-Stooges haircut, and his lack of any real feelings for Oakland, I don’t think about the Raiderettes or the championships. I don’t think of Eldridge Dickey, the first African American to be drafted in the first round as a quarterback, or Fritz Pollard, the first African American coach in league history.\u003c/p>\n\u003cfigure id=\"attachment_13871654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0440-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No, what I think about is the fact that Al Davis once acquired a 25% ownership of Oakland’s failing Eastmont Mall for $5,000, and he used it as a million-dollar tax haven, according to a \u003ca href=\"https://www.upi.com/Archives/1983/05/31/Raiders-owner-involved-in-lucrative-Teamsters-deal/7355423201600/\" target=\"_blank\" rel=\"noopener noreferrer\">1983 \u003cem>Chicago Tribune\u003c/em> article\u003c/a>. The deal was a part of a partnership with Allen Glick, a businessman who the Justice Department said was a frontman for an organized crime family—and of course, he owned casinos and hotels in Las Vegas, according to \u003ca href=\"https://www.nytimes.com/1981/12/13/magazine/al-davis-tackles-pro-football.html\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Fitting. Forty years later, and Davis’ son is still making money by sucking resources out of Oakland, and working with Vegas to do it.\u003c/p>\n\u003cp>They should change their slogan from ‘Just Win Baby’, to ‘Just Biz, Baby.’\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\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\">I\u003c/span>’ve got some strong words for Mark Davis’ haircut and the thinking that goes on under it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>Of course, I’m more concerned about his thinking than I am the haircut. (I’ve already \u003ca href=\"https://www.espn.com/nfl/story/_/id/13735322/are-mark-davis-raiders-leaving-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">read\u003c/a> about him driving his minivan hundreds of miles to a barber in Palm Springs so he can get… whatever he calls that thing on his head.)\u003c/p>\n\u003cp>I get that moving the Raiders to Las Vegas is a money move. Nevada offered a stadium that’ll be paid for by tax revenue. The City of Oakland didn’t, and rightfully so. With thousands of people sleeping on the streets, paying to build a sports franchise’s new stadium would’ve been the ultimate example of helping the rich get richer. Plus, the City of Oakland is \u003ca href=\"https://www.newsweek.com/raiders-leave-vegas-oakland-owes-stadium-debt-1995-574930\" target=\"_blank\" rel=\"noopener noreferrer\">still in debt\u003c/a> after enticing the Raiders to move back from Los Angeles in 1995.\u003c/p>\n\u003cp>So now that the final Raiders game has been played at the Coliseum, it’s become a reality: they’re throwing a hail mary across the state line. And I can’t be mad, because at the end of the day, it’s a business. And you know how \u003cem>we\u003c/em> do business in America—with an all-encompassing phrase that I’m surprised isn’t a Fortune 500 company’s slogan:\u003c/p>\n\u003cp>\u003cem>To hell with your feelings. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0189-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0189.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\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\">B\u003c/span>ut football, the most brutal of major American sports, is a game largely built on feelings. The players emote like thespians. The coaches yell like drunk stepfathers. And the owners are often shown in their box seats, hands folded over their mouths, like a member of the choir praying during the sermon.\u003c/p>\n\u003cp>But the greatest feelings come from the fans. They show up on Sundays and paint their faces, get inebriated and scream their hearts out. It’s like going to church, the bar and to war at the same time.\u003c/p>\n\u003cp>Every stadium is a bit different, from what I hear. I’ve only been to Raiders games. But I can guarantee you that Oakland’s tailgate scene is unlike any other.\u003c/p>\n\u003cp>On Sunday, I saw social media updates of folks there at daybreak, with lit barbecue grills and liquor bottles bigger than the Lombardi trophy. As they rang in the final Raiders game in Oakland, many of the posts were emotional personal connections: the worker who’s losing their longtime job at the stadium, \u003ca href=\"https://abc7news.com/sports/raiders-fan-who-went-to-1st-coliseum-game-needs-ticket-for-oakland-finale/5756266/\" target=\"_blank\" rel=\"noopener noreferrer\">the story\u003c/a> of the guy who went to the first game in Oakland and scored a last-minute ticket to this one, stories of friendships and connections made.\u003c/p>\n\u003cp>I wasn’t there on Sunday. Instead, I was down in Nickerson Gardens in Watts, where I gave a head-nod to a brother in a Los Angeles Raiders cap. That emotional connection reverberates throughout Raider Nation, and reaches all places the sun shines.\u003c/p>\n\u003cfigure id=\"attachment_13871656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0100-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0100.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Returning from my trip, I watched the game via livestream on my phone in the back of a Flixbus during a 10-hour ride. I don’t even like the NFL, but I watched.\u003c/p>\n\u003cp>I used to love football. I was a diehard Raiders fan. But then so many things happened that made me realize just how much of a business football is: Michael Vick’s treatment (to this day \u003ca href=\"https://www.cbssports.com/nfl/news/thousands-sign-petition-asking-nfl-to-remove-michael-vick-as-pro-bowl-captain-call-out-sponsors/\" target=\"_blank\" rel=\"noopener noreferrer\">he’s still catching flak\u003c/a> for his involvement in dog fighting, a crime he served time for). The fact that there are confirmed domestic abusers in the league, and Colin Kaepernick isn’t (and that the tryout a few weeks ago was \u003ca href=\"https://www.theroot.com/stephen-a-smith-s-ego-and-hairline-suffers-2-inch-setb-1840416456\" target=\"_blank\" rel=\"noopener noreferrer\">a sham\u003c/a>). Worst of all, the cover-up of concussions and other health issues players face during and after their time in the league.\u003c/p>\n\u003cp>A few weeks ago, former Raiders offensive lineman \u003ca href=\"https://www.nytimes.com/2019/10/26/sports/football/jets-osemele-injury.html\">Kelechi Osemele\u003c/a> was cut by the Jets after opting to have shoulder surgery in the middle of the season instead of taking painkillers and playing with a torn labrum. Before the surgery, as reported by the \u003cem>New York Times\u003c/em>, the Pro Bowl player told the team he was in intense pain, and they docked his pay for the time that he sat on the bench.\u003c/p>\n\u003cp>How can you support a league that notoriously doesn’t support its players?\u003c/p>\n\u003cfigure id=\"attachment_13871651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0701-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0701.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, it’s too much of an emotional investment. I spent chunks of my life yelling at the TV. If I told you how many times the Raiders let me down over the years, you’d either offer me a hug or a shot of tequila out of pity. Maybe both.\u003c/p>\n\u003cp>The list of instances would include the \u003ca href=\"https://bleacherreport.com/articles/2852540-antonio-brown-released-by-raiders-after-mike-mayock-incident-drama\" target=\"_blank\" rel=\"noopener noreferrer\">Antonio Brown\u003c/a> saga from this summer. Trading superstar \u003ca href=\"https://www.nbcsports.com/chicago/bears/bears-history-changed-forever-one-year-ago-today-khalil-mack-trade\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Mack\u003c/a> last year. Remember \u003ca href=\"https://en.wikipedia.org/wiki/Tuck_Rule_Game\" target=\"_blank\" rel=\"noopener noreferrer\">the Tuck Rule game\u003c/a>? I don’t, only because I’ve successfully erased it from my memory.\u003c/p>\n\u003cp>There was, of course, the loss to Tampa Bay (coached by Jon Gruden the year after he left the Raiders) in Super Bowl XXXVII, and the backstory that Pro Bowl lineman \u003ca href=\"https://www.si.com/nfl/2015/12/15/untold-super-bowl-barret-robbins-raiders\" target=\"_blank\" rel=\"noopener noreferrer\">Barret Robbins\u003c/a> suffered a manic episode on the eve of the big game.\u003c/p>\n\u003cp>Derek Carr breaking his leg right before the playoffs in 2016. \u003ca href=\"https://bleacherreport.com/articles/1033798-10-worst-draft-flops-in-oakland-raiders-history#slide10\" target=\"_blank\" rel=\"noopener noreferrer\">Numerous draft busts\u003c/a>, like Robert Gallery and JaMarcus Russell—I still laugh at the story of Russell studying \u003ca href=\"https://bleacherreport.com/articles/2804453-david-diehl-raiders-gave-jamarcus-russell-blank-tapes-to-see-if-qb-watched-film\" target=\"_blank\" rel=\"noopener noreferrer\">blank tapes\u003c/a>.\u003c/p>\n\u003cp>And on a smaller, more game-to-game letdown, there’s the penalties. So many penalties. Oh, and Mark Davis’ haircut. Man, there are so many ways the Raiders have let us down over the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there had to be some highlight moments. Otherwise, people including myself wouldn’t care this much.\u003c/p>\n\u003cp>I loved seeing Rod Woodson, Randy Moss and Warren Sapp play in Oakland. Marshawn went dumb on the sidelines. Napoleon Kaufman, my favorite player, had a career full of highlights, and now is a pastor in Livermore.\u003c/p>\n\u003cp>And although he left for a few years to play with the Packers, Charles Woodson eventually came back to the town to work with the team; he was there to light the Davis torch on this final Sunday in Oakland.\u003c/p>\n\u003cp>There’s a reason people tossed litter on the field, started fights and booed as Sunday’s game ultimately ended in a 20-16 loss to the bottom-feeding Jacksonville Jaguars. The reason: people care.\u003c/p>\n\u003cfigure id=\"attachment_13871655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0817-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0817.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\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\">T\u003c/span>he last game I went to was the one that Marshawn got kicked out of, against Kansas City. That’s how I’ll remember the Raiders. Fun. Exciting. Underdogs. But man, there’s a nation of people who love them with all of their hearts, and many of those are my loved ones. Be it Rita Cecaci, \u003ca href=\"https://www.kqed.org/arts/13840416/the-first-of-the-oakland-raiders-cheerleaders\" target=\"_blank\" rel=\"noopener noreferrer\">one of the first Raiderettes\u003c/a>, or Malcolm Turner, who \u003ca href=\"https://www.kqed.org/arts/13849783/buy-your-weed-from-black-owned-dispensaries\" target=\"_blank\" rel=\"noopener noreferrer\">works at Blunts & Moore\u003c/a> across the street, they’re family.\u003c/p>\n\u003cp>Malcolm recently told me, “If \u003cem>you\u003c/em> moved to Las Vegas, I’d still love you.” But I know Sunday hurt him, as it did so many others. Even as one who doesn’t care about the NFL, it hurt me too, if only for knowing what the Raiders mean to this city.\u003c/p>\n\u003cp>So when I see an interview \u003ca href=\"https://twitter.com/CamCleve2/status/1206420458486128640\" target=\"_blank\" rel=\"noopener noreferrer\">like this one\u003c/a> with Mark Davis and his Moe-from-The-Three-Stooges haircut, and his lack of any real feelings for Oakland, I don’t think about the Raiderettes or the championships. I don’t think of Eldridge Dickey, the first African American to be drafted in the first round as a quarterback, or Fritz Pollard, the first African American coach in league history.\u003c/p>\n\u003cfigure id=\"attachment_13871654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/raiders-tailgate-0440-800x533.jpg\" alt=\"Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/raiders-tailgate-0440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raiders fans tailgate for the final Raiders home game at the Oakland Coliseum. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No, what I think about is the fact that Al Davis once acquired a 25% ownership of Oakland’s failing Eastmont Mall for $5,000, and he used it as a million-dollar tax haven, according to a \u003ca href=\"https://www.upi.com/Archives/1983/05/31/Raiders-owner-involved-in-lucrative-Teamsters-deal/7355423201600/\" target=\"_blank\" rel=\"noopener noreferrer\">1983 \u003cem>Chicago Tribune\u003c/em> article\u003c/a>. The deal was a part of a partnership with Allen Glick, a businessman who the Justice Department said was a frontman for an organized crime family—and of course, he owned casinos and hotels in Las Vegas, according to \u003ca href=\"https://www.nytimes.com/1981/12/13/magazine/al-davis-tackles-pro-football.html\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Fitting. Forty years later, and Davis’ son is still making money by sucking resources out of Oakland, and working with Vegas to do it.\u003c/p>\n\u003cp>They should change their slogan from ‘Just Win Baby’, to ‘Just Biz, Baby.’\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "what-is-black-art-in-san-francisco-in-2019",
"title": "What is 'Black Art' in San Francisco in 2019 ?",
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"headTitle": "What is ‘Black Art’ in San Francisco in 2019 ? | KQED",
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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\">A\u003c/span> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\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>t Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\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\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Is it freedom? Originality? Survival? I visited a performance in the city to find out.",
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"title": "What is 'Black Art' in San Francisco in 2019 ? | KQED",
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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\">A\u003c/span> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\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>t Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\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\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "music-for-our-emergency",
"title": "Music For Our Climate Emergency",
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"headTitle": "Music For Our Climate Emergency | KQED",
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"content": "\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpWftLOWXLY\u003c/p>\n\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94bdMSCdw20\u003c/p>\n\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcPDgWMkEiM\u003c/p>\n\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=3u4Pe2YHH-Y&feature=emb_logo\u003c/p>\n\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Po61rjjdUPs\u003c/p>\n\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4W9VYY5QpLg\u003c/p>\n\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\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/zpWftLOWXLY'\n title='//www.youtube.com/embed/zpWftLOWXLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\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/94bdMSCdw20'\n title='//www.youtube.com/embed/94bdMSCdw20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\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/mcPDgWMkEiM'\n title='//www.youtube.com/embed/mcPDgWMkEiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\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/3u4Pe2YHH-Y'\n title='//www.youtube.com/embed/3u4Pe2YHH-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\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/Po61rjjdUPs'\n title='//www.youtube.com/embed/Po61rjjdUPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\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/4W9VYY5QpLg'\n title='//www.youtube.com/embed/4W9VYY5QpLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-black-community-a-target-for-the-tobacco-industry-since-slavery",
"title": "The Black Community: A Target for the Tobacco Industry Since Slavery",
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"headTitle": "The Black Community: A Target for the Tobacco Industry Since Slavery | KQED",
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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\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\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>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/WattTobaccoExhibit.mp3\" Image=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-1.jpg \" Title=\"A New Exhibition Sheds Light on How Big Tobacco Targeted Generations of Black Americans\"]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\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\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "The Black Community: A Target for the Tobacco Industry Since Slavery | KQED",
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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\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\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>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\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\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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