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"content": "\u003cp>Darren Aronofsky has already made several indelibly \u003ca href=\"https://www.kqed.org/arts/tag/new-york\">New York\u003c/a> movies. But loveable as was the subterranean monochrome paranoia of \u003cem>Pi\u003c/em> and charming as we all consider the pupil-dilating tragedy of his bleak Brighton Beach-set \u003cem>Requiem for a Dream\u003c/em>, Aronofsky’s latest, \u003cem>Caught Stealing\u003c/em>, is easily the director’s most affectionate portrait of his hometown.\u003c/p>\n\u003cp>That, too, may be a funny way to describe a movie where bodies get brutalized, corpses accumulate and even the cat comes away with a limp. But \u003cem>Caught Stealing\u003c/em>, a terrific caper starring \u003ca href=\"https://www.kqed.org/arts/13960011/the-bikeriders-movie-review-austin-butler-danny-lyon-real-life-vandals\">Austin Butler\u003c/a> as a Lower East Side man inadvertently drawn into a nightmarish crime world, is a period movie. It’s set in 1998. And no amount of blood can detract from the overwhelming endearment Aronofsky has for ’90s New York.\u003c/p>\n\u003cp>[aside postid='arts_13980517']Butler plays Hank Thompson: a former baseball player who can’t play anymore; a bartender who, after some of the early events of the movie, can’t drink anymore; and a devoted \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-giants\">San Francisco Giants\u003c/a> fan surrounded by Mets fans. As his not-quite girlfriend Yvonne (\u003ca href=\"https://www.kqed.org/arts/13962666/blink-twice-movie-review-zoe-kravitz-channing-tatum-naomi-ackie-alia-shawkat\">Zoë Kravitz\u003c/a>) says, he’s “a good country boy” who calls his mom in California every day. They end every call with “Go Giants!”\u003c/p>\n\u003cp>Hank is far from the first regular guy to be ensnared in underground crime syndicates, but there are a number of things that distinguish \u003cem>Caught Stealing\u003c/em>. First, his troubles stem, like they do for so many New Yorkers, from his neighbor. Russ (Matt Smith), the mohawked Brit \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> who lives next door, rushes out to fly to London, and he leaves Hank his cat to take care of.\u003c/p>\n\u003cp>Soon, though, a pair of Russian gang skinheads (Yuri Kolokolnikov, Nikita Kukushkin) are banging on Russ’ door and quickly after, pummeling Hank, too. Their beating of Hank is unexpectedly brutal, and the first sign that \u003cem>Caught Stealing\u003c/em> is going for something a little different. When Hank wakes up in the hospital, he’s down a kidney and told he can’t drink alcohol ever again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Hank, it’s not his first blush with alcohol-connected fatality. In flashbacks that replay as Hank’s nightmares, we see him as a hotshot high-school baseball player, soon to be drafted into the pros. While drinking and driving, he careens off the road to avoid a cow, driving straight into a pole. His buddy is dead, and Hank’s knee won’t ever be the same.\u003c/p>\n\u003cp>Meanwhile, the Russian mob interest continues to spiral, drawing in a police detective (\u003ca href=\"https://www.kqed.org/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject\">Regina King\u003c/a>, always good), the skinheads’ boss, Colorado (\u003ca href=\"https://www.kqed.org/arts/13953317/live-review-bad-bunny-gets-in-his-feels-at-san-franciscos-chase-center\">Bad Bunny\u003c/a>), and a pair of Orthodox Jewish brothers (Liev Schreiber and Vincent D’Onofrio). The question that keeps coming up is whether Hank can hack it in this world. Is he a killer? He doesn’t think so, even though he has killed. As King’s detective says, “I thought maybe you played real ball.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6mIvD-GN-p4\u003c/p>\n\u003cp>For Butler, the role flashes his talent better than \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915163/baz-luhrmanns-elvis-is-all-sequins-no-soul\">Elvis\u003c/a>\u003c/em> ever did. Aronofsky captures the sweet kid in him, with the hint of something a little more. If it once appeared that Butler might be trapped in his breakthrough role, \u003cem>Caught Stealing\u003c/em> shows how he can carry a movie in a much less adorned performance.\u003c/p>\n\u003cp>For Aronofsky, little in his recent filmography (\u003ca href=\"https://www.kqed.org/arts/13918748/brendan-fraser-comeback-the-whale-fatphobia-hollywood-abuse\">\u003cem>The Whale\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003cem>Mother!\u003c/em>\u003c/a>) suggested that an \u003cem>After Hours\u003c/em>-like New York odyssey was coming next from him. It’s a little shaggy and you’ll occasionally yearn for a bit more humor along the way. But \u003cem>Caught Stealing\u003c/em>, based on Charlie Huston’s 2004 novel, is a ride, foremost, in ’90s nostalgia.\u003c/p>\n\u003cp>[aside postid='arts_13980452']The looming Twin Towers are a regular reminder that this was a long time ago, indeed, even if the New York of Aronofsky’s movie seems achingly familiar to some of us. That goes for places the movie rushes past, like Kim’s Video and Shea Stadium, the Alphabet City bars of the film and the now-bygone concerns of cell phone minutes running low. Hank has another neighbor, too, whom he and Yvonne mock for how he describes his job as “building websites.”\u003c/p>\n\u003cp>Late summer is always a funny time in movie theaters, but that goes especially for this year. We’ve somehow had not one but two excellent New York movies, both rich in baseball fandom, in \u003cem>Caught Stealing\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/tag/spike-lee\">Spike Lee\u003c/a>’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13980104/highest-2-lowest-new-spike-lee-film-review-denzel-washington\">Highest 2 Lowest\u003c/a>\u003c/em>. Hollywood seemingly has little idea what to do with genre movies from auteur filmmakers that aren’t obvious awards fodder. These are movies that might not be home runs, but their directors most definitely stretch them for extra bases.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Caught Stealing’ is released nationwide on Aug. 29, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Darren Aronofsky has already made several indelibly \u003ca href=\"https://www.kqed.org/arts/tag/new-york\">New York\u003c/a> movies. But loveable as was the subterranean monochrome paranoia of \u003cem>Pi\u003c/em> and charming as we all consider the pupil-dilating tragedy of his bleak Brighton Beach-set \u003cem>Requiem for a Dream\u003c/em>, Aronofsky’s latest, \u003cem>Caught Stealing\u003c/em>, is easily the director’s most affectionate portrait of his hometown.\u003c/p>\n\u003cp>That, too, may be a funny way to describe a movie where bodies get brutalized, corpses accumulate and even the cat comes away with a limp. But \u003cem>Caught Stealing\u003c/em>, a terrific caper starring \u003ca href=\"https://www.kqed.org/arts/13960011/the-bikeriders-movie-review-austin-butler-danny-lyon-real-life-vandals\">Austin Butler\u003c/a> as a Lower East Side man inadvertently drawn into a nightmarish crime world, is a period movie. It’s set in 1998. And no amount of blood can detract from the overwhelming endearment Aronofsky has for ’90s New York.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Butler plays Hank Thompson: a former baseball player who can’t play anymore; a bartender who, after some of the early events of the movie, can’t drink anymore; and a devoted \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-giants\">San Francisco Giants\u003c/a> fan surrounded by Mets fans. As his not-quite girlfriend Yvonne (\u003ca href=\"https://www.kqed.org/arts/13962666/blink-twice-movie-review-zoe-kravitz-channing-tatum-naomi-ackie-alia-shawkat\">Zoë Kravitz\u003c/a>) says, he’s “a good country boy” who calls his mom in California every day. They end every call with “Go Giants!”\u003c/p>\n\u003cp>Hank is far from the first regular guy to be ensnared in underground crime syndicates, but there are a number of things that distinguish \u003cem>Caught Stealing\u003c/em>. First, his troubles stem, like they do for so many New Yorkers, from his neighbor. Russ (Matt Smith), the mohawked Brit \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> who lives next door, rushes out to fly to London, and he leaves Hank his cat to take care of.\u003c/p>\n\u003cp>Soon, though, a pair of Russian gang skinheads (Yuri Kolokolnikov, Nikita Kukushkin) are banging on Russ’ door and quickly after, pummeling Hank, too. Their beating of Hank is unexpectedly brutal, and the first sign that \u003cem>Caught Stealing\u003c/em> is going for something a little different. When Hank wakes up in the hospital, he’s down a kidney and told he can’t drink alcohol ever again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Hank, it’s not his first blush with alcohol-connected fatality. In flashbacks that replay as Hank’s nightmares, we see him as a hotshot high-school baseball player, soon to be drafted into the pros. While drinking and driving, he careens off the road to avoid a cow, driving straight into a pole. His buddy is dead, and Hank’s knee won’t ever be the same.\u003c/p>\n\u003cp>Meanwhile, the Russian mob interest continues to spiral, drawing in a police detective (\u003ca href=\"https://www.kqed.org/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject\">Regina King\u003c/a>, always good), the skinheads’ boss, Colorado (\u003ca href=\"https://www.kqed.org/arts/13953317/live-review-bad-bunny-gets-in-his-feels-at-san-franciscos-chase-center\">Bad Bunny\u003c/a>), and a pair of Orthodox Jewish brothers (Liev Schreiber and Vincent D’Onofrio). The question that keeps coming up is whether Hank can hack it in this world. Is he a killer? He doesn’t think so, even though he has killed. As King’s detective says, “I thought maybe you played real ball.”\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/6mIvD-GN-p4'\n title='//www.youtube.com/embed/6mIvD-GN-p4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Butler, the role flashes his talent better than \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915163/baz-luhrmanns-elvis-is-all-sequins-no-soul\">Elvis\u003c/a>\u003c/em> ever did. Aronofsky captures the sweet kid in him, with the hint of something a little more. If it once appeared that Butler might be trapped in his breakthrough role, \u003cem>Caught Stealing\u003c/em> shows how he can carry a movie in a much less adorned performance.\u003c/p>\n\u003cp>For Aronofsky, little in his recent filmography (\u003ca href=\"https://www.kqed.org/arts/13918748/brendan-fraser-comeback-the-whale-fatphobia-hollywood-abuse\">\u003cem>The Whale\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003cem>Mother!\u003c/em>\u003c/a>) suggested that an \u003cem>After Hours\u003c/em>-like New York odyssey was coming next from him. It’s a little shaggy and you’ll occasionally yearn for a bit more humor along the way. But \u003cem>Caught Stealing\u003c/em>, based on Charlie Huston’s 2004 novel, is a ride, foremost, in ’90s nostalgia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The looming Twin Towers are a regular reminder that this was a long time ago, indeed, even if the New York of Aronofsky’s movie seems achingly familiar to some of us. That goes for places the movie rushes past, like Kim’s Video and Shea Stadium, the Alphabet City bars of the film and the now-bygone concerns of cell phone minutes running low. Hank has another neighbor, too, whom he and Yvonne mock for how he describes his job as “building websites.”\u003c/p>\n\u003cp>Late summer is always a funny time in movie theaters, but that goes especially for this year. We’ve somehow had not one but two excellent New York movies, both rich in baseball fandom, in \u003cem>Caught Stealing\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/tag/spike-lee\">Spike Lee\u003c/a>’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13980104/highest-2-lowest-new-spike-lee-film-review-denzel-washington\">Highest 2 Lowest\u003c/a>\u003c/em>. Hollywood seemingly has little idea what to do with genre movies from auteur filmmakers that aren’t obvious awards fodder. These are movies that might not be home runs, but their directors most definitely stretch them for extra bases.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Caught Stealing’ is released nationwide on Aug. 29, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
"headTitle": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic | KQED",
"content": "\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>[aside postid='arts_13930279']“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>[aside postid='arts_13931389']Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>[aside postid='arts_13931196']Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "My Taxi Driver Was a Hero When I Needed It Most",
"headTitle": "My Taxi Driver Was a Hero When I Needed It Most | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, recounting a seemingly hopeless quest to retrieve a lost bag in New York City, editor Gabe Meline remains in awe at the kindness of strangers.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here I was, in a city of 8 million people, after 12 hours of travel, standing on Lexington Avenue and hoping for a New York miracle. I’d only been in Manhattan for an hour, and already I was flagging down a taxi late at night and shouting “Follow that cab!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg\" alt=\"\" width=\"160\" height=\"181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Well, more accurately: “Follow that little dot on this tiny map.” Meaning the GPS-enabled dot moving around a screen as part of the Find My iPhone feature. The dot indicating that somewhere out there, in one of New York City’s other 13,000 taxi cabs, sat my daughter’s blue bag that she’d left behind, containing her diary, school laptop, notebooks, iPhone and AirPods she’d bought with her saved-up allowance.\u003c/p>\n\u003cp>The daughter who at that very moment was curled up on the hotel bed, regretting her thoughtlessness, in tears.\u003c/p>\n\u003cp>I was a small-town dad in a huge, unfamiliar metropolis, with maybe half an idea of what I was doing, at best. But I couldn’t stand to see her crying. I had to get that bag back.\u003c/p>\n\u003cp>An explanation is in order: at the airport terminal, we’d had to switch to another taxicab to get a ride into Manhattan. Our first taxi driver quoted us a fare higher than what dispatch told us it should cost, and when I asked why, he promptly threw us out of his cab. He and I exchanged some four-letter words, and we piled into the next waiting taxi.\u003c/p>\n\u003cp>It wasn’t until getting to our hotel, an hour later, that we realized the first taxi driver had sped away with the bag inside.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13922261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/taxi.nyc_.bag_.jpg\" alt=\"a blue handbag, sitting against a white linen background\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/taxi.nyc_.bag_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/taxi.nyc_.bag_-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>I called Central Taxi Hold at JFK for help. “You got the medallion number?” the director asked. I didn’t. “Well, tell us the credit card number you used for your fare, and we can trace the medallion number,” he said. No dice: we hadn’t ridden in the taxi, let alone paid any fare. “Oh, well then… you may be waitin’ for it to turn up in lost and found. \u003cem>If\u003c/em> he turns it in, that is.”\u003c/p>\n\u003cp>While I called 311, my wife remembered she’d set up tracking on our daughter’s phone in case of emergencies, and pulled up its map, excited to discover a little dot that refreshed every 15 seconds or so, traveling around the streets of midtown. Talking to the woman working 311, after we’d exhausted all possible options, I offhandedly remarked, “I’m half-tempted to get another cab and have them chase after this dot on the map.”\u003c/p>\n\u003cp>“Well,” she said, “that’s probably what a New Yorker would do.”\u003c/p>\n\u003cp>Challenge accepted.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13922258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/NYC.taxi_.map_.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/NYC.taxi_.map_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/NYC.taxi_.map_-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first taxi driver that pulled over laughed at my wild goose chase, but the second said, “Yeah. Get in.” His name was Gani. And so began our three-hour hunt for the missing bag.\u003c/p>\n\u003cp>After a couple rounds in Manhattan, we followed the dot across the Queensboro Bridge into Queens. All the way back to JFK. We scanned the traffic around us and closely trailed the dot as our getaway taxi driver bypassed Central Taxi Hold, went straight to a terminal, picked up a fare, and — to my despair — quickly got on the freeway and headed again into Manhattan.\u003c/p>\n\u003cp>I was carsick from staring at a phone, and operating on three hours of sleep the night before. I texted my wife and daughter: “If we can’t catch him in Manhattan I may have to give up for the night. I can’t go all the way out to JFK again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13922256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Texts.nyc_.taxi_.jpg\" alt=\"\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Texts.nyc_.taxi_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Texts.nyc_.taxi_-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Texts.nyc_.taxi_-768x471.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Gani had other plans. Up to that point, our conversation had been about how to intercept the cab. I learned all about New York’s taxicab regulations, many of which our getaway cab driver was brazenly ignoring, which didn’t fill me with hope.\u003c/p>\n\u003cp>But while driving around Manhattan for the second time, Gani asked about my daughter. “She’s 13,” I said. Old enough that she doesn’t cry anymore, I said. Except for tonight.\u003c/p>\n\u003cp>I looked up and noticed that the fare meter wasn’t running anymore. The dot on the map headed across the Queensboro Bridge yet again, and Gani followed. I assured him that it was OK to call it a night and drop me off at the hotel, but he wasn’t having it. “We will get your bag back,” he said confidently, pulling onto the bridge onramp. “We should be able to stop him at the airport this time.”\u003c/p>\n\u003cp>We did not stop him at the airport.\u003c/p>\n\u003cp>[ad fullwidth]\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\">B\u003c/span>ut we did happen to spot a good luck omen when we returned to JFK, outside an airport terminal: the woman who’d been working dispatch two hours earlier. Gani jerked the steering wheel to pull over while I quickly hopped out, pen and notebook in hand, to barrage her with questions. Did she remember us, having to switch cabs? Did she know the driver? Could she tell us anything to help get our bag back?\u003c/p>\n\u003cp>In short order, we had the cab driver’s phone number and medallion number. Central Taxi Hold ran the number, and discovered that he wasn’t even supposed to be on the clock that night. Probably working side jobs and illegally pocketing the fares.\u003c/p>\n\u003cp>With renewed vigor, Gani again followed the dot as it moved along the freeway, back toward Manhattan for the second time since our chase began. We called the phone number repeatedly — no answer. This rogue taxi driver was clearly avoiding us; he’d had our bag for five hours, and seemed to have no intention of turning it in to lost and found.\u003c/p>\n\u003cp>Gani tried another tact via text: “We have your medallion number and we know where you are.” He picked up our next call. And so, just when I had lost all faith, it was over in a flash.\u003c/p>\n\u003cp>At around midnight on 34th and 1st, the runaway cab driver pulled over, handed us the bag, and drove off. I checked the contents; all there. Incredible. Out of all the far-fetched, improbable plans, ours had actually worked. “I … I can’t believe that really happened,” I muttered from the passenger seat.\u003c/p>\n\u003cp>Gani just laughed — and, slapping his palm on the steering wheel, announced: “Welcome to New York!”\u003c/p>\n\u003cfigure id=\"attachment_13922257\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Nyc.Taxi_.finale.jpg\" alt=\"A man and a teenage girl, holding a small blue bag, pose together outside a yellow taxicab on the busy streets on New York City\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Nyc.Taxi_.finale.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Nyc.Taxi_.finale-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Gani and the author’s daughter, reunited at last with her lost bag. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>[ad floatright]\u003c/p>\n",
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"excerpt": "How a three-hour taxicab chase around New York City restored my faith in human kindness.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, recounting a seemingly hopeless quest to retrieve a lost bag in New York City, editor Gabe Meline remains in awe at the kindness of strangers.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here I was, in a city of 8 million people, after 12 hours of travel, standing on Lexington Avenue and hoping for a New York miracle. I’d only been in Manhattan for an hour, and already I was flagging down a taxi late at night and shouting “Follow that cab!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg\" alt=\"\" width=\"160\" height=\"181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Well, more accurately: “Follow that little dot on this tiny map.” Meaning the GPS-enabled dot moving around a screen as part of the Find My iPhone feature. The dot indicating that somewhere out there, in one of New York City’s other 13,000 taxi cabs, sat my daughter’s blue bag that she’d left behind, containing her diary, school laptop, notebooks, iPhone and AirPods she’d bought with her saved-up allowance.\u003c/p>\n\u003cp>The daughter who at that very moment was curled up on the hotel bed, regretting her thoughtlessness, in tears.\u003c/p>\n\u003cp>I was a small-town dad in a huge, unfamiliar metropolis, with maybe half an idea of what I was doing, at best. But I couldn’t stand to see her crying. I had to get that bag back.\u003c/p>\n\u003cp>An explanation is in order: at the airport terminal, we’d had to switch to another taxicab to get a ride into Manhattan. Our first taxi driver quoted us a fare higher than what dispatch told us it should cost, and when I asked why, he promptly threw us out of his cab. He and I exchanged some four-letter words, and we piled into the next waiting taxi.\u003c/p>\n\u003cp>It wasn’t until getting to our hotel, an hour later, that we realized the first taxi driver had sped away with the bag inside.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13922261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/taxi.nyc_.bag_.jpg\" alt=\"a blue handbag, sitting against a white linen background\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/taxi.nyc_.bag_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/taxi.nyc_.bag_-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>I called Central Taxi Hold at JFK for help. “You got the medallion number?” the director asked. I didn’t. “Well, tell us the credit card number you used for your fare, and we can trace the medallion number,” he said. No dice: we hadn’t ridden in the taxi, let alone paid any fare. “Oh, well then… you may be waitin’ for it to turn up in lost and found. \u003cem>If\u003c/em> he turns it in, that is.”\u003c/p>\n\u003cp>While I called 311, my wife remembered she’d set up tracking on our daughter’s phone in case of emergencies, and pulled up its map, excited to discover a little dot that refreshed every 15 seconds or so, traveling around the streets of midtown. Talking to the woman working 311, after we’d exhausted all possible options, I offhandedly remarked, “I’m half-tempted to get another cab and have them chase after this dot on the map.”\u003c/p>\n\u003cp>“Well,” she said, “that’s probably what a New Yorker would do.”\u003c/p>\n\u003cp>Challenge accepted.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13922258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/NYC.taxi_.map_.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/NYC.taxi_.map_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/NYC.taxi_.map_-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first taxi driver that pulled over laughed at my wild goose chase, but the second said, “Yeah. Get in.” His name was Gani. And so began our three-hour hunt for the missing bag.\u003c/p>\n\u003cp>After a couple rounds in Manhattan, we followed the dot across the Queensboro Bridge into Queens. All the way back to JFK. We scanned the traffic around us and closely trailed the dot as our getaway taxi driver bypassed Central Taxi Hold, went straight to a terminal, picked up a fare, and — to my despair — quickly got on the freeway and headed again into Manhattan.\u003c/p>\n\u003cp>I was carsick from staring at a phone, and operating on three hours of sleep the night before. I texted my wife and daughter: “If we can’t catch him in Manhattan I may have to give up for the night. I can’t go all the way out to JFK again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13922256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Texts.nyc_.taxi_.jpg\" alt=\"\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Texts.nyc_.taxi_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Texts.nyc_.taxi_-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Texts.nyc_.taxi_-768x471.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Gani had other plans. Up to that point, our conversation had been about how to intercept the cab. I learned all about New York’s taxicab regulations, many of which our getaway cab driver was brazenly ignoring, which didn’t fill me with hope.\u003c/p>\n\u003cp>But while driving around Manhattan for the second time, Gani asked about my daughter. “She’s 13,” I said. Old enough that she doesn’t cry anymore, I said. Except for tonight.\u003c/p>\n\u003cp>I looked up and noticed that the fare meter wasn’t running anymore. The dot on the map headed across the Queensboro Bridge yet again, and Gani followed. I assured him that it was OK to call it a night and drop me off at the hotel, but he wasn’t having it. “We will get your bag back,” he said confidently, pulling onto the bridge onramp. “We should be able to stop him at the airport this time.”\u003c/p>\n\u003cp>We did not stop him at the airport.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\">B\u003c/span>ut we did happen to spot a good luck omen when we returned to JFK, outside an airport terminal: the woman who’d been working dispatch two hours earlier. Gani jerked the steering wheel to pull over while I quickly hopped out, pen and notebook in hand, to barrage her with questions. Did she remember us, having to switch cabs? Did she know the driver? Could she tell us anything to help get our bag back?\u003c/p>\n\u003cp>In short order, we had the cab driver’s phone number and medallion number. Central Taxi Hold ran the number, and discovered that he wasn’t even supposed to be on the clock that night. Probably working side jobs and illegally pocketing the fares.\u003c/p>\n\u003cp>With renewed vigor, Gani again followed the dot as it moved along the freeway, back toward Manhattan for the second time since our chase began. We called the phone number repeatedly — no answer. This rogue taxi driver was clearly avoiding us; he’d had our bag for five hours, and seemed to have no intention of turning it in to lost and found.\u003c/p>\n\u003cp>Gani tried another tact via text: “We have your medallion number and we know where you are.” He picked up our next call. And so, just when I had lost all faith, it was over in a flash.\u003c/p>\n\u003cp>At around midnight on 34th and 1st, the runaway cab driver pulled over, handed us the bag, and drove off. I checked the contents; all there. Incredible. Out of all the far-fetched, improbable plans, ours had actually worked. “I … I can’t believe that really happened,” I muttered from the passenger seat.\u003c/p>\n\u003cp>Gani just laughed — and, slapping his palm on the steering wheel, announced: “Welcome to New York!”\u003c/p>\n\u003cfigure id=\"attachment_13922257\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Nyc.Taxi_.finale.jpg\" alt=\"A man and a teenage girl, holding a small blue bag, pose together outside a yellow taxicab on the busy streets on New York City\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Nyc.Taxi_.finale.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Nyc.Taxi_.finale-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Gani and the author’s daughter, reunited at last with her lost bag. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003c/p>\u003c/div>",
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"title": "Some are Calling the Buffalo Suspect a 'Teenager.' Is That a Privilege of His Race?",
"headTitle": "Some are Calling the Buffalo Suspect a ‘Teenager.’ Is That a Privilege of His Race? | KQED",
"content": "\u003cp>When news broke of the white supremacist 18-year-old suspect behind the mass shooting in Buffalo, N.Y., Saturday in which 10 people died and three others were injured, certain news organizations and commentators have variously described the suspect as a \u003ca href=\"https://www.nytimes.com/live/2022/05/14/nyregion/buffalo-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">man\u003c/a>, as a \u003ca href=\"https://www.theguardian.com/us-news/2022/may/14/buffalo-shooting-supermarket-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">teenager\u003c/a> and as a \u003ca href=\"https://twitter.com/DaveSFoley/status/1525860224732741633?s=20&t=KUXbLj4ogQwUGcENNItYXQ\" target=\"_blank\" rel=\"noopener noreferrer\">child\u003c/a>.\u003c/p>\n\u003cp>Critics are asking: If the suspect had been Black, would he have been described and treated similarly?\u003c/p>\n\u003cp>\u003ca href=\"https://www.apa.org/news/press/releases/2014/03/black-boys-older\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://genderjusticeandopportunity.georgetown.edu/wp-content/uploads/2020/06/girlhood-interrupted.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> shows that Black children—from those as young as 5 to the end of their teens—are often perceived to be and are treated as older than their actual physical and developmental age. As a result, these children are frequently judged to be more adult-like and less innocent than white peers.\u003c/p>\n\u003cp>[aside postID='arts_13862605,arts_13881199,arts_13913116']That difference in perception is reflected repeatedly in the media. When Michael Brown, Black and 18 years old, was shot by a white police officer in Ferguson, Mo. in 2014, the AP referred to Brown as a \u003ca href=\"https://pbs.twimg.com/media/FSzpeXeXoAABr7W.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">“man”\u003c/a>; after the Buffalo shooting Saturday, the same news organization referred to the suspect as a \u003ca href=\"https://twitter.com/thrasherxy/status/1525851085461766144/photo/2\" target=\"_blank\" rel=\"noopener noreferrer\">“white teenager,”\u003c/a> as scholar and journalist Steven Thrasher pointed out on Twitter.\u003c/p>\n\u003cp>At least certain people who are vaguely college-aged often enjoy the benefits of being perceived as young and in need of adult protection—not just by the media, but also by law enforcement. After Dylann Roof—a white 21-year-old—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/10/509166866/jury-sentences-dylann-roof-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">murdered\u003c/a> nine Black churchgoers in Charleston, S.C. in 2015, police bought him a \u003ca href=\"https://abc7.com/dylann-roof-south-carolina-church-shooting-emanuel-african-methodist-episcopal/801013/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger King meal\u003c/a> after he was taken into custody. When Kyle Rittenhouse—white and 17 years old—\u003ca href=\"https://www.google.com/search?q=kyle+rittenhouse+npr&rlz=1C1GCEJ_enUS883US883&sxsrf=ALiCzsZv6TJB52IkizY7WN5HV05ElO0ZVg%3A1652711137575&ei=4V6CYtjeIrq4ytMP-N6C-Aw&ved=0ahUKEwiY05XinOT3AhU6nHIEHXivAM8Q4dUDCA4&uact=5&oq=kyle+rittenhouse+npr&gs_lcp=Cgdnd3Mtd2l6EAM6CggAELEDEIMBEEM6CwgAEIAEELEDEIMBOggIABCABBCxAzoFCAAQgARKBAhBGAFKBAhGGABQ5gJYtAVgzAZoAXAAeACAAUqIAfYBkgEBNJgBAKABAcABAQ&sclient=gws-wiz\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot\u003c/a> two people in Kenosha, Wisc. in 2020, he was taken into police custody without incident or injury. In Buffalo, some in the Black community are \u003ca href=\"https://buffalonews.com/news/local/buffalo-police-credited-with-saving-lives-but-gunmans-surrender-is-questioned/article_62d1ccf0-d482-11ec-8318-1fb2a0621b4c.html\" target=\"_blank\" rel=\"noopener noreferrer\">already asking\u003c/a> how the suspect in Saturday’s shooting was able to surrender to police peacefully.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, critics are naming well-known younger Black victims killed by police—like 12-year-old \u003ca href=\"https://www.npr.org/2020/12/29/951277146/justice-department-declines-to-prosecute-cleveland-officers-who-killed-tamir-ric\" target=\"_blank\" rel=\"noopener noreferrer\">Tamir Rice\u003c/a> and 23-year-old \u003ca href=\"https://www.npr.org/2021/09/01/1033289263/elijah-mcclain-death-officers-paramedics-charged\" target=\"_blank\" rel=\"noopener noreferrer\">Eljah McClain\u003c/a>—who did not enjoy such consideration.\u003c/p>\n\u003cp>The Buffalo suspect straddles both life stages, in that liminal time of young adulthood. When he was still legally a child, there were concerns about the suspect in the Buffalo shooting—enough that state police \u003ca href=\"https://www.npr.org/2022/05/15/1099009422/buffalo-shooting-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">referred\u003c/a> him for a mental health evaluation last year, when police say he made a shooting threat against his high school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a community vigil held Sunday, the Rev. Tim Brown underscored that the racist views of the Buffalo suspect were shaped when he was still a child, NPR’s Quil Lawrence \u003ca href=\"https://www.npr.org/2022/05/16/1099070372/black-buffalo-community-is-tired-of-hearing-promises-when-the-killings-dont-stop\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>. “The indoctrination of a boy to kill people that don’t look like him is only because somebody is having a conversation that divides our people as a race and as humanity,” Brown said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/2022/05/16/1099137936/some-are-calling-the-buffalo-suspect-a-teenager-is-that-a-privilege-of-his-race\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Some+are+calling+the+Buffalo+suspect+a+%27teenager.%27+Is+that+a+privilege+of+his+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news broke of the white supremacist 18-year-old suspect behind the mass shooting in Buffalo, N.Y., Saturday in which 10 people died and three others were injured, certain news organizations and commentators have variously described the suspect as a \u003ca href=\"https://www.nytimes.com/live/2022/05/14/nyregion/buffalo-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">man\u003c/a>, as a \u003ca href=\"https://www.theguardian.com/us-news/2022/may/14/buffalo-shooting-supermarket-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">teenager\u003c/a> and as a \u003ca href=\"https://twitter.com/DaveSFoley/status/1525860224732741633?s=20&t=KUXbLj4ogQwUGcENNItYXQ\" target=\"_blank\" rel=\"noopener noreferrer\">child\u003c/a>.\u003c/p>\n\u003cp>Critics are asking: If the suspect had been Black, would he have been described and treated similarly?\u003c/p>\n\u003cp>\u003ca href=\"https://www.apa.org/news/press/releases/2014/03/black-boys-older\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://genderjusticeandopportunity.georgetown.edu/wp-content/uploads/2020/06/girlhood-interrupted.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> shows that Black children—from those as young as 5 to the end of their teens—are often perceived to be and are treated as older than their actual physical and developmental age. As a result, these children are frequently judged to be more adult-like and less innocent than white peers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That difference in perception is reflected repeatedly in the media. When Michael Brown, Black and 18 years old, was shot by a white police officer in Ferguson, Mo. in 2014, the AP referred to Brown as a \u003ca href=\"https://pbs.twimg.com/media/FSzpeXeXoAABr7W.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">“man”\u003c/a>; after the Buffalo shooting Saturday, the same news organization referred to the suspect as a \u003ca href=\"https://twitter.com/thrasherxy/status/1525851085461766144/photo/2\" target=\"_blank\" rel=\"noopener noreferrer\">“white teenager,”\u003c/a> as scholar and journalist Steven Thrasher pointed out on Twitter.\u003c/p>\n\u003cp>At least certain people who are vaguely college-aged often enjoy the benefits of being perceived as young and in need of adult protection—not just by the media, but also by law enforcement. After Dylann Roof—a white 21-year-old—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/10/509166866/jury-sentences-dylann-roof-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">murdered\u003c/a> nine Black churchgoers in Charleston, S.C. in 2015, police bought him a \u003ca href=\"https://abc7.com/dylann-roof-south-carolina-church-shooting-emanuel-african-methodist-episcopal/801013/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger King meal\u003c/a> after he was taken into custody. When Kyle Rittenhouse—white and 17 years old—\u003ca href=\"https://www.google.com/search?q=kyle+rittenhouse+npr&rlz=1C1GCEJ_enUS883US883&sxsrf=ALiCzsZv6TJB52IkizY7WN5HV05ElO0ZVg%3A1652711137575&ei=4V6CYtjeIrq4ytMP-N6C-Aw&ved=0ahUKEwiY05XinOT3AhU6nHIEHXivAM8Q4dUDCA4&uact=5&oq=kyle+rittenhouse+npr&gs_lcp=Cgdnd3Mtd2l6EAM6CggAELEDEIMBEEM6CwgAEIAEELEDEIMBOggIABCABBCxAzoFCAAQgARKBAhBGAFKBAhGGABQ5gJYtAVgzAZoAXAAeACAAUqIAfYBkgEBNJgBAKABAcABAQ&sclient=gws-wiz\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot\u003c/a> two people in Kenosha, Wisc. in 2020, he was taken into police custody without incident or injury. In Buffalo, some in the Black community are \u003ca href=\"https://buffalonews.com/news/local/buffalo-police-credited-with-saving-lives-but-gunmans-surrender-is-questioned/article_62d1ccf0-d482-11ec-8318-1fb2a0621b4c.html\" target=\"_blank\" rel=\"noopener noreferrer\">already asking\u003c/a> how the suspect in Saturday’s shooting was able to surrender to police peacefully.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, critics are naming well-known younger Black victims killed by police—like 12-year-old \u003ca href=\"https://www.npr.org/2020/12/29/951277146/justice-department-declines-to-prosecute-cleveland-officers-who-killed-tamir-ric\" target=\"_blank\" rel=\"noopener noreferrer\">Tamir Rice\u003c/a> and 23-year-old \u003ca href=\"https://www.npr.org/2021/09/01/1033289263/elijah-mcclain-death-officers-paramedics-charged\" target=\"_blank\" rel=\"noopener noreferrer\">Eljah McClain\u003c/a>—who did not enjoy such consideration.\u003c/p>\n\u003cp>The Buffalo suspect straddles both life stages, in that liminal time of young adulthood. When he was still legally a child, there were concerns about the suspect in the Buffalo shooting—enough that state police \u003ca href=\"https://www.npr.org/2022/05/15/1099009422/buffalo-shooting-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">referred\u003c/a> him for a mental health evaluation last year, when police say he made a shooting threat against his high school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a community vigil held Sunday, the Rev. Tim Brown underscored that the racist views of the Buffalo suspect were shaped when he was still a child, NPR’s Quil Lawrence \u003ca href=\"https://www.npr.org/2022/05/16/1099070372/black-buffalo-community-is-tired-of-hearing-promises-when-the-killings-dont-stop\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>. “The indoctrination of a boy to kill people that don’t look like him is only because somebody is having a conversation that divides our people as a race and as humanity,” Brown said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/2022/05/16/1099137936/some-are-calling-the-buffalo-suspect-a-teenager-is-that-a-privilege-of-his-race\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Some+are+calling+the+Buffalo+suspect+a+%27teenager.%27+Is+that+a+privilege+of+his+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Some 300 young musicians from around the country are in New York for Jazz at Lincoln Center’s annual \u003ca href=\"https://2022.jazz.org/essentially-ellington\" target=\"_blank\" rel=\"noopener noreferrer\">Essentially Ellington High School Jazz Band Competition and Festival\u003c/a>. They’re attending workshops and jam sessions, meeting professional musicians and competing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/skylartang_/\" target=\"_blank\" rel=\"noopener noreferrer\">Skylar Tang\u003c/a>, 16, has already won her award. The Bay Area trumpet player is the winner of the Dr. J. Douglas White Composition and Arranging Contest, an honor bestowed on an original composition written and arranged for big bands by a high school student.\u003c/p>\n\u003cp>https://www.instagram.com/p/CWsM-YLpVz2/\u003c/p>\n\u003cp>Tang said the vibe of her winning piece, \u003cem>Kaleidoscope,\u003c/em> is kind of “frantic,” a bit like her life right now. “There’s a lot of stress in the tune. I go to school. I have assessments and tests. Maybe that has something to do with it,” she said.\u003c/p>\n\u003cp>It took her about seven months to create her work. Composing for big band is “quite a process,” Tang said. As a result of her win, she’ll receive $1,000 and a composing and arranging lesson with Grammy winner and longtime Jazz at Lincoln Center Orchestra member, Ted Nash. The orchestra also recorded Tang’s piece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To determine the winner, Nash listened for “several factors like the strength of their thematic material, their harmony, their use of the instruments, the overall feeling of the music.”\u003c/p>\n\u003cp>[aside postID='arts_13912562,arts_13912656,arts_13912364']Tang’s entry was remarkable for its maturity, Nash said. “You have the melody, you have solos, you have backgrounds, you have a development, sometimes we call it a ‘shout chorus,'” he said. “She has all of these important elements in the piece, but it’s deeply personal as well.”\u003c/p>\n\u003cp>Nash is thrilled that students have come from all over the country to participate in the Essentially Ellington Festival. “We’ve gone through a period where people weren’t that interested in big bands,” he said.\u003c/p>\n\u003cp>Nash credited Wynton Marsalis, managing and artistic Director of Jazz at Lincoln Center, with reversing that trend by “understanding the importance of having an orchestral vision and orchestral voice in jazz.”\u003c/p>\n\u003cp>Tang said she’s inspired by all kinds of music from different time periods, videos of which she devours on the internet. Her training began with classical piano when she was a little girl; she started playing in her school jazz bands in sixth grade. She said she “absolutely loves” trumpet player Roy Hargrove and admires contemporary artists like pianist Aaron Parks and drummers and composers Terri Lynne Carrington and Kendrick Scott Oracle.\u003c/p>\n\u003cp>https://www.instagram.com/p/CLUztcrhQRh/\u003c/p>\n\u003cp>During quarantine, Tang learned how to make split screen videos to share her cover arrangements online. In her \u003ca href=\"https://www.youtube.com/watch?v=ol6qzbhEEic\" target=\"_blank\" rel=\"noopener noreferrer\">cover\u003c/a> of \u003cem>Do You Wanna Do Nothing With Me\u003c/em> by Lawrence, she plays trumpet, guitar, drums and keyboards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s what I love about music. It’s about creating. It’s about expressing yourself and it’s about innovation,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+says+big+band+jazz+is+for+old+people%3F+Not+this+teenage+composer.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>For decades, it was almost impossible to hear a piece of music written by \u003ca href=\"https://www.wisemusicclassical.com/composer/4938/Florence-Price/\" target=\"_blank\" rel=\"noopener noreferrer\">Florence Price\u003c/a>. Price was a Black, female composer who died in 1953. But a group of New York City middle school students had the opportunity to quite literally write Florence Price’s history. Their book, titled \u003ca href=\"https://www.kaufmanmusiccenter.org/mch/event/florence-price-book-launch-concert/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Who Is Florence Price?\u003c/em>\u003c/a>, is now out and available in stores.\u003c/p>\n\u003cfigure id=\"attachment_13906807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png\" alt=\"Book cover featuring an illustration of a Black woman wearing a green dress playing the piano.\" width=\"800\" height=\"1084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-768x1041.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM.png 986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Who Is Florence Price?,’ by students of the Special Music School at Kaufman Music Center, New York..\u003c/figcaption>\u003c/figure>\n\u003cp>The kids attend \u003ca href=\"https://www.kaufmanmusiccenter.org/sms/\" target=\"_blank\" rel=\"noopener noreferrer\">Special Music School\u003c/a>, a K-12 public school in Manhattan that teaches high-level music instruction alongside academics. Shannon Potts is an English teacher there.\u003c/p>\n\u003cp>“Our children are musicians, so whether or not we intentionally draw it together, they bring music into the classroom every day in the most delightful ways,” Potts says. “So if you’re talking about themes and poetry, immediately a child will qualify it with the way that a theme repeats in music.”\u003c/p>\n\u003cp>Potts assigned her sixth, seventh and eighth grade students to study Florence Price—a composer born in Little Rock, Arkansas in 1887. She was the first Black woman to have her music played by a major American orchestra: the Chicago Symphony Orchestra performed her Symphony No. 1 in 1933 and her Piano Concerto in One Movement the next year. In 1939, at her \u003ca href=\"https://www.npr.org/2019/08/30/748757267/lift-every-voice-marian-anderson-florence-b-price-and-the-sound-of-black-sisterh\" target=\"_blank\" rel=\"noopener noreferrer\">famed Lincoln Memorial concert\u003c/a>, the contralto Marian Anderson included Price’s arrangement of the spiritual “My Soul is Anchored in the Lord.”\u003c/p>\n\u003cp>Despite Price’s talent and drive, most classical music performers and gatekeepers put her aside, and her work failed to gain traction with the large, almost exclusively white institutions that could have catapulted her to mainstream renown. As she herself wrote in a letter to famed conductor Serge Koussevitzky, “I have two handicaps—those of sex and race.” She was not wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5t5nMxqxTO4\u003c/p>\n\u003cp>Recently, though, there’s been a blossoming of interest in Price’s work. A recording of her symphonies by the Philadelphia Orchestra was just \u003ca href=\"https://www.grammy.com/grammys/news/2022-grammys-complete-winners-nominees-nominations-list\" target=\"_blank\" rel=\"noopener noreferrer\">nominated\u003c/a> for a Grammy. In the months ahead, \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MORGAN-CONDUCTS-PRICE-3\" target=\"_blank\" rel=\"noopener noreferrer\">her music will be performed by the San Francisco Symphony\u003c/a>, the Atlanta Symphony Orchestra and the Chicago Symphony Orchestra.\u003c/p>\n\u003cp>When the students began researching Price, however, they realized that although there were a \u003ca href=\"https://www.newyorker.com/magazine/2018/02/05/the-rediscovery-of-florence-price\" target=\"_blank\" rel=\"noopener noreferrer\">few materials\u003c/a> written about her life for grown-ups, there was nothing aimed at kids.\u003c/p>\n\u003cp>That gave Potts had an idea: She would have her students write and illustrate their own book about Florence Price, and about how her music was rediscovered. As the kids’ book begins:\u003c/p>\n\u003cblockquote>\u003cp>“In 2009, a couple bought an old house outside of Chicago. In the attic, they found boxes filled with yellowed sheets of music. Every piece was written by the same woman, Florence Price. ‘Who is Florence Price?’ they wondered…\u003c/p>\n\u003cp>Florence’s mind was filled with music, but she had a big question. She was a girl and her skin was a different color than so many of the composers she knew about. Could she grow up to be a famous composer, too? When Florence was only 11, her first piece was published. Was it possible that Florence’s music could change things?”\u003c/p>\u003c/blockquote>\n\u003cp>Special Music School is a partnership between the New York City Board of Education and a performing arts center called the \u003ca href=\"https://www.kaufmanmusiccenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaufman Music Center\u003c/a>, whose executive director is Kate Sheeran. Sheeran was extremely enthusiastic about the students’ work.\u003c/p>\n\u003cp>“This beautiful book emerged that they wrote together, 45 of them together,” Sheeran recalls. “I found out about it when they brought it down to my office, and I was just floored.”\u003c/p>\n\u003cp>Sheeran was so impressed that she ordered a small, self-published print run of their work. She sent it around to various people in the classical music community—including Robert Thompson, the president of \u003ca href=\"https://www.wisemusicclassical.com/composer/4938/Florence-Price/\" target=\"_blank\" rel=\"noopener noreferrer\">G. Schirmer, the company that publishes Florence Price’s music\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13881675,arts_13892514,arts_13874853']“I think it’s one of the few moments in my job where I had to cancel the next meeting and I was just kind of filled with tears,” Thompson recalls. “It was just an incredibly beautiful moment.” Thompson agreed to publish the book; all royalties will go to Kaufman Music Center, which is a non-profit organization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2iYxGHhCuqg\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Beato\u003c/a> is a 14-year-old violinist from Queens. She was also one of the lead illustrators of \u003cem>Who Is Florence Price?\u003c/em> and she says that Price has been a personal inspiration. “Her music has been out there, performed by major orchestras,” Beato says, “and she’s a woman of color, which even now—it’s like difficult to get your music shown to the world.”\u003c/p>\n\u003cp>Writing the book was a process of discovery, says \u003ca href=\"https://www.youtube.com/watch?v=dlUudUD2Vkk\" target=\"_blank\" rel=\"noopener noreferrer\">Cobie Buckmire\u003c/a>, a 13-year-old pianist from Brooklyn. “I didn’t even know who she was before I started this,” he notes. “All the other famous composers are white men like Mozart, Beethoven, Bach.”\u003c/p>\n\u003cp>Hazel Peebles, a 13-year-old violist from Harlem, says that you can hear Price’s personal history in her music. “It really is beautiful,” Peebles observes. “She worked in some of her history, some of her Black background into the music. I really just love that and appreciate that.”\u003c/p>\n\u003cp>What the students learned in creating this book goes far beyond music, Kate Sheeran says. “They’re also seeing that they can have a voice in shaping who writes history and who tells stories,” she says, “and that we don’t have to just accept the way music is presented to us or the way music history is presented to us—that they too can shape that. And that, to me, is the most exciting thing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pSmTa8hvd5U&t=1s\u003c/p>\n\u003cp>“We talk about representation in literature all the time,” Potts observes. “For kids to be able to become authors and activists in a way, to disrupt the story of the way that classical music is being told. They no longer, as a diverse population, become victims of a largely white society. They control the narrative. They can rewrite it. And this project, in the way it’s been received, really shows them that when they speak up, the world is ready to hear them.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Potts says that the very last lines of her students’ book have already come true, thanks to their hard work and creativity. “Today, Florence’s music can be heard all around the world just like she dreamed of when she was young,” Potts reads. “If someone asks, ‘Who is Florence Price?’, you can tell them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+NYC+kids+have+written+the+history+of+an+overlooked+Black+female+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, it was almost impossible to hear a piece of music written by \u003ca href=\"https://www.wisemusicclassical.com/composer/4938/Florence-Price/\" target=\"_blank\" rel=\"noopener noreferrer\">Florence Price\u003c/a>. Price was a Black, female composer who died in 1953. But a group of New York City middle school students had the opportunity to quite literally write Florence Price’s history. Their book, titled \u003ca href=\"https://www.kaufmanmusiccenter.org/mch/event/florence-price-book-launch-concert/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Who Is Florence Price?\u003c/em>\u003c/a>, is now out and available in stores.\u003c/p>\n\u003cfigure id=\"attachment_13906807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png\" alt=\"Book cover featuring an illustration of a Black woman wearing a green dress playing the piano.\" width=\"800\" height=\"1084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-768x1041.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM.png 986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Who Is Florence Price?,’ by students of the Special Music School at Kaufman Music Center, New York..\u003c/figcaption>\u003c/figure>\n\u003cp>The kids attend \u003ca href=\"https://www.kaufmanmusiccenter.org/sms/\" target=\"_blank\" rel=\"noopener noreferrer\">Special Music School\u003c/a>, a K-12 public school in Manhattan that teaches high-level music instruction alongside academics. Shannon Potts is an English teacher there.\u003c/p>\n\u003cp>“Our children are musicians, so whether or not we intentionally draw it together, they bring music into the classroom every day in the most delightful ways,” Potts says. “So if you’re talking about themes and poetry, immediately a child will qualify it with the way that a theme repeats in music.”\u003c/p>\n\u003cp>Potts assigned her sixth, seventh and eighth grade students to study Florence Price—a composer born in Little Rock, Arkansas in 1887. She was the first Black woman to have her music played by a major American orchestra: the Chicago Symphony Orchestra performed her Symphony No. 1 in 1933 and her Piano Concerto in One Movement the next year. In 1939, at her \u003ca href=\"https://www.npr.org/2019/08/30/748757267/lift-every-voice-marian-anderson-florence-b-price-and-the-sound-of-black-sisterh\" target=\"_blank\" rel=\"noopener noreferrer\">famed Lincoln Memorial concert\u003c/a>, the contralto Marian Anderson included Price’s arrangement of the spiritual “My Soul is Anchored in the Lord.”\u003c/p>\n\u003cp>Despite Price’s talent and drive, most classical music performers and gatekeepers put her aside, and her work failed to gain traction with the large, almost exclusively white institutions that could have catapulted her to mainstream renown. As she herself wrote in a letter to famed conductor Serge Koussevitzky, “I have two handicaps—those of sex and race.” She was not wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s one of the few moments in my job where I had to cancel the next meeting and I was just kind of filled with tears,” Thompson recalls. “It was just an incredibly beautiful moment.” Thompson agreed to publish the book; all royalties will go to Kaufman Music Center, which is a non-profit organization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2iYxGHhCuqg\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Beato\u003c/a> is a 14-year-old violinist from Queens. She was also one of the lead illustrators of \u003cem>Who Is Florence Price?\u003c/em> and she says that Price has been a personal inspiration. “Her music has been out there, performed by major orchestras,” Beato says, “and she’s a woman of color, which even now—it’s like difficult to get your music shown to the world.”\u003c/p>\n\u003cp>Writing the book was a process of discovery, says \u003ca href=\"https://www.youtube.com/watch?v=dlUudUD2Vkk\" target=\"_blank\" rel=\"noopener noreferrer\">Cobie Buckmire\u003c/a>, a 13-year-old pianist from Brooklyn. “I didn’t even know who she was before I started this,” he notes. “All the other famous composers are white men like Mozart, Beethoven, Bach.”\u003c/p>\n\u003cp>Hazel Peebles, a 13-year-old violist from Harlem, says that you can hear Price’s personal history in her music. “It really is beautiful,” Peebles observes. “She worked in some of her history, some of her Black background into the music. I really just love that and appreciate that.”\u003c/p>\n\u003cp>What the students learned in creating this book goes far beyond music, Kate Sheeran says. “They’re also seeing that they can have a voice in shaping who writes history and who tells stories,” she says, “and that we don’t have to just accept the way music is presented to us or the way music history is presented to us—that they too can shape that. And that, to me, is the most exciting thing.”\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/pSmTa8hvd5U'\n title='//www.youtube.com/embed/pSmTa8hvd5U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We talk about representation in literature all the time,” Potts observes. “For kids to be able to become authors and activists in a way, to disrupt the story of the way that classical music is being told. They no longer, as a diverse population, become victims of a largely white society. They control the narrative. They can rewrite it. And this project, in the way it’s been received, really shows them that when they speak up, the world is ready to hear them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Potts says that the very last lines of her students’ book have already come true, thanks to their hard work and creativity. “Today, Florence’s music can be heard all around the world just like she dreamed of when she was young,” Potts reads. “If someone asks, ‘Who is Florence Price?’, you can tell them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+NYC+kids+have+written+the+history+of+an+overlooked+Black+female+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Doctors Blackwell’ Tells the Story of 2 Sisters Who Changed Medicine | KQED",
"content": "\u003cp>In the 1840s, Elizabeth Blackwell was admitted to a U.S. medical school—in part because the male students thought her application was part of an elaborate prank. She persisted and got her degree, becoming the first American woman to do so. A few years later, her younger sister Emily followed in her footsteps, earning her own medical degree from the institution that would become Case Western Reserve University in Cleveland.\u003c/p>\n\u003cp>Biographer Janice Nimura tells the sisters’ story in the new book, \u003cem>The Doctors Blackwell. \u003c/em>Nimura says Elizabeth was “greeted with everything from rejection to hilarity” during her years at Geneva Medical College in upstate New York.\u003c/p>\n\u003cp>“There was the basic idea that a woman’s sphere did not include anything professional,” Nimura says. “The townspeople [of Geneva] basically thought that any woman who wanted to study medicine was either wicked or insane.” [aside postid='arts_13877186']\u003c/p>\n\u003cp>Nimura notes that even after graduation, the Blackwell sisters struggled to find patients. “The idea of a female physician—the very phrase ‘female physician’—connoted an abortionist—someone who worked in the shadows, on the wrong side of the law,” she says.\u003c/p>\n\u003cp>Elizabeth’s career tended to focus on public health and education, while Emily was a more active medical practitioner, functioning as both a surgeon and an obstetrician. In 1857, the sisters helped established the New York Infirmary for Indigent Women and Children. Twelve years later, in 1869, they established the Women’s Medical College in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, both women are regarded as feminist trailblazers, but Nimura notes that they were also “complicated, prickly, sometimes self-contradictory people.” Elizabeth, for instance, regarded the women of her day as trifling gossips and took a dim view of the women’s suffrage movement.\u003c/p>\n\u003cp>“To me, that taught me that it’s really important in this moment to kind of relearn how to admire women,” Nimura says. “To understand that a heroine doesn’t always have to be a Disney princess, but can be a woman with all sorts of rough edges and complications and that we can admire them profoundly anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13891472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg\" alt=\"The book cover of 'The Doctors Blackwell,' by Janice Nimura, featuring the two sisters.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Doctors Blackwell,’ by Janice Nimura \u003ccite>(WW Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the reasons that were given for excluding women from becoming doctors\u003c/strong>\u003c/p>\n\u003cp>There was the idea that if you let a woman go to medical school, she’s going to be sitting in a lecture hall alongside men talking about the human body, and that’s not proper. That’s appalling. Especially when you get to certain systems of the body. … And then there was the idea that medical education increasingly included anatomy and dissection. And the idea of a woman with her hands in a corpse was impossible. No woman worthy of the title “woman” would want to be that person with her hands in a body. So for all those reasons, it was just impossible. It really wasn’t a matter of, “Are you good enough?” it was, “You’re female. This is impossible.”\u003c/p>\n\u003cp>\u003cstrong>On how the professors at Geneva Medical College allowed the students to decide whether or not to accept Elizabeth Blackwell as a medical student \u003c/strong>[aside postid='arts_13879147']\u003c/p>\n\u003cp>The students—recognizing that A) their professors were cowards, and B) this was an opportunity to make serious mischief—had a meeting that night and basically beat any dissenters into submission and presented a unanimous front the next morning that, yes, we definitely want this … “lady” medical student [to study with us]. The students assumed that it was a prank being played by a neighboring medical school. This was a fairly unpolished group of provincial boys, and they were seeing the opportunity for some good fun. And then they sent their response back to their faculty and forgot about it until several weeks later—a young woman walked into the lecture hall.\u003c/p>\n\u003cp>\u003cstrong>On Elizabeth Blackwell not looking favorably on the women’s suffrage movement, which was happening while she was in medical school \u003c/strong>\u003c/p>\n\u003cp>The medical school that she ended up in was in Geneva, N.Y., right near Seneca Falls, in the Finger Lakes. She was right there. And yet she really looked sideways at those women, who really wanted to recruit her to their side. She was doing something very visible and very stunning, and they really wanted her to be part of their movement. She laughed in a way—or at least scorned what they were trying to invite her to do. I think she called the Seneca Falls conference “the Seneca Falls absurdity.” She really believed that there was different work to do first. And she chose medicine because it was an unusually graphic way to prove this idea that women could do what they wanted to do by virtue of toil and talent, not anything to do with their sex.\u003c/p>\n\u003cp>\u003cstrong>On how it was for Emily Blackwell, following in her sister’s footsteps \u003c/strong>\u003c/p>\n\u003cp>Geneva College itself, having given Elizabeth a degree at the top of the class, politely but firmly said, ‘Emily, we are not interested in having you here as a student. We’ve had enough with women medical students.’ The issue was that just at the time that Elizabeth was receiving her medical degree, women’s medical colleges were beginning to open, because there were more than just these two women who were interested in receiving medical degrees.\u003c/p>\n\u003cp>But the world was so horrified at the idea of men and women studying medicine together that in Philadelphia and in Boston, women’s medical colleges had opened. So if you were a woman who wanted to pursue medicine, that was the obvious thing to do. It was much easier for the male medical colleges to reject you because they could say, ‘Why do you need to come here? Go there. That’s for you.’\u003c/p>\n\u003cp>Emily, though, and Elizabeth, did not esteem these women’s medical colleges highly at all. They just concluded that any women’s medical college is going to be, by definition, inferior, mediocre—that a truly impressive degree would only be earned from a men’s medical college. [aside postid='arts_13870056']\u003c/p>\n\u003cp>So Emily was not going to be bested by her sister and take a degree from a women’s medical college. So she struggled and received, I would say, more rejections than Elizabeth, because the Blackwell name was now a thing. But she insisted and eventually found her way to a place at Rush Medical College in Chicago, which was wonderful. And she had a wonderful year there. And she found a wonderful patron among the faculty and was doing great until he decided to take a sabbatical. And the trustees of Rush said, ‘Could you please not come back for the second term? Thanks.’\u003c/p>\n\u003cp>And so she was left high and dry and—being just as determined as Elizabeth—managed to get herself to a place at Cleveland Medical College, which is now Case Western, to finish her second term and receive her diploma. She was just as much of a force.\u003c/p>\n\u003cp>\u003cstrong>On Emily’s legacy more in the practice and Elizabeth more as a writer about public health \u003c/strong>\u003c/p>\n\u003cp>They died within months of each other in 1910. There was a huge gathering at the New York Academy of Medicine to honor their lives, and the speakers honored both of them, of course—honored Elizabeth’s pioneering achievement.\u003c/p>\n\u003cp>But none of the speakers had known Elizabeth in the last 40 years because she’d been gone [in England], and all of them had a deeper professional connection to Emily as this major figure in the New York medical scene. And, so, when you read the eulogies that happened that day, the eulogies for Elizabeth were rather more formal, talking about her as if she was sort of an idea more than a person. But the eulogies for Emily were really warm and and deeply respectful and admiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Deborah Franklin adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Doctors+Blackwell%27+Tells+The+Story+Of+2+Pioneering+Sisters+Who+Changed+Medicine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1840s, Elizabeth Blackwell was admitted to a U.S. medical school—in part because the male students thought her application was part of an elaborate prank. She persisted and got her degree, becoming the first American woman to do so. A few years later, her younger sister Emily followed in her footsteps, earning her own medical degree from the institution that would become Case Western Reserve University in Cleveland.\u003c/p>\n\u003cp>Biographer Janice Nimura tells the sisters’ story in the new book, \u003cem>The Doctors Blackwell. \u003c/em>Nimura says Elizabeth was “greeted with everything from rejection to hilarity” during her years at Geneva Medical College in upstate New York.\u003c/p>\n\u003cp>“There was the basic idea that a woman’s sphere did not include anything professional,” Nimura says. “The townspeople [of Geneva] basically thought that any woman who wanted to study medicine was either wicked or insane.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nimura notes that even after graduation, the Blackwell sisters struggled to find patients. “The idea of a female physician—the very phrase ‘female physician’—connoted an abortionist—someone who worked in the shadows, on the wrong side of the law,” she says.\u003c/p>\n\u003cp>Elizabeth’s career tended to focus on public health and education, while Emily was a more active medical practitioner, functioning as both a surgeon and an obstetrician. In 1857, the sisters helped established the New York Infirmary for Indigent Women and Children. Twelve years later, in 1869, they established the Women’s Medical College in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, both women are regarded as feminist trailblazers, but Nimura notes that they were also “complicated, prickly, sometimes self-contradictory people.” Elizabeth, for instance, regarded the women of her day as trifling gossips and took a dim view of the women’s suffrage movement.\u003c/p>\n\u003cp>“To me, that taught me that it’s really important in this moment to kind of relearn how to admire women,” Nimura says. “To understand that a heroine doesn’t always have to be a Disney princess, but can be a woman with all sorts of rough edges and complications and that we can admire them profoundly anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13891472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg\" alt=\"The book cover of 'The Doctors Blackwell,' by Janice Nimura, featuring the two sisters.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Doctors Blackwell,’ by Janice Nimura \u003ccite>(WW Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the reasons that were given for excluding women from becoming doctors\u003c/strong>\u003c/p>\n\u003cp>There was the idea that if you let a woman go to medical school, she’s going to be sitting in a lecture hall alongside men talking about the human body, and that’s not proper. That’s appalling. Especially when you get to certain systems of the body. … And then there was the idea that medical education increasingly included anatomy and dissection. And the idea of a woman with her hands in a corpse was impossible. No woman worthy of the title “woman” would want to be that person with her hands in a body. So for all those reasons, it was just impossible. It really wasn’t a matter of, “Are you good enough?” it was, “You’re female. This is impossible.”\u003c/p>\n\u003cp>\u003cstrong>On how the professors at Geneva Medical College allowed the students to decide whether or not to accept Elizabeth Blackwell as a medical student \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The students—recognizing that A) their professors were cowards, and B) this was an opportunity to make serious mischief—had a meeting that night and basically beat any dissenters into submission and presented a unanimous front the next morning that, yes, we definitely want this … “lady” medical student [to study with us]. The students assumed that it was a prank being played by a neighboring medical school. This was a fairly unpolished group of provincial boys, and they were seeing the opportunity for some good fun. And then they sent their response back to their faculty and forgot about it until several weeks later—a young woman walked into the lecture hall.\u003c/p>\n\u003cp>\u003cstrong>On Elizabeth Blackwell not looking favorably on the women’s suffrage movement, which was happening while she was in medical school \u003c/strong>\u003c/p>\n\u003cp>The medical school that she ended up in was in Geneva, N.Y., right near Seneca Falls, in the Finger Lakes. She was right there. And yet she really looked sideways at those women, who really wanted to recruit her to their side. She was doing something very visible and very stunning, and they really wanted her to be part of their movement. She laughed in a way—or at least scorned what they were trying to invite her to do. I think she called the Seneca Falls conference “the Seneca Falls absurdity.” She really believed that there was different work to do first. And she chose medicine because it was an unusually graphic way to prove this idea that women could do what they wanted to do by virtue of toil and talent, not anything to do with their sex.\u003c/p>\n\u003cp>\u003cstrong>On how it was for Emily Blackwell, following in her sister’s footsteps \u003c/strong>\u003c/p>\n\u003cp>Geneva College itself, having given Elizabeth a degree at the top of the class, politely but firmly said, ‘Emily, we are not interested in having you here as a student. We’ve had enough with women medical students.’ The issue was that just at the time that Elizabeth was receiving her medical degree, women’s medical colleges were beginning to open, because there were more than just these two women who were interested in receiving medical degrees.\u003c/p>\n\u003cp>But the world was so horrified at the idea of men and women studying medicine together that in Philadelphia and in Boston, women’s medical colleges had opened. So if you were a woman who wanted to pursue medicine, that was the obvious thing to do. It was much easier for the male medical colleges to reject you because they could say, ‘Why do you need to come here? Go there. That’s for you.’\u003c/p>\n\u003cp>Emily, though, and Elizabeth, did not esteem these women’s medical colleges highly at all. They just concluded that any women’s medical college is going to be, by definition, inferior, mediocre—that a truly impressive degree would only be earned from a men’s medical college. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Emily was not going to be bested by her sister and take a degree from a women’s medical college. So she struggled and received, I would say, more rejections than Elizabeth, because the Blackwell name was now a thing. But she insisted and eventually found her way to a place at Rush Medical College in Chicago, which was wonderful. And she had a wonderful year there. And she found a wonderful patron among the faculty and was doing great until he decided to take a sabbatical. And the trustees of Rush said, ‘Could you please not come back for the second term? Thanks.’\u003c/p>\n\u003cp>And so she was left high and dry and—being just as determined as Elizabeth—managed to get herself to a place at Cleveland Medical College, which is now Case Western, to finish her second term and receive her diploma. She was just as much of a force.\u003c/p>\n\u003cp>\u003cstrong>On Emily’s legacy more in the practice and Elizabeth more as a writer about public health \u003c/strong>\u003c/p>\n\u003cp>They died within months of each other in 1910. There was a huge gathering at the New York Academy of Medicine to honor their lives, and the speakers honored both of them, of course—honored Elizabeth’s pioneering achievement.\u003c/p>\n\u003cp>But none of the speakers had known Elizabeth in the last 40 years because she’d been gone [in England], and all of them had a deeper professional connection to Emily as this major figure in the New York medical scene. And, so, when you read the eulogies that happened that day, the eulogies for Elizabeth were rather more formal, talking about her as if she was sort of an idea more than a person. But the eulogies for Emily were really warm and and deeply respectful and admiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The New York Public Library's Most Checked-Out Books of All Time",
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"content": "\u003cp>The New York Public Library has been loaning books for a long time—the institution turns 125 this year.\u003c/p>\n\u003cp>To celebrate, the library dug into its records and calculated a list of the 10 books that have been checked out the most in its history.\u003c/p>\n\u003cp>The most-wanted book? \u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FmZCQfeWjeQ\u003c/p>\n\u003cp>The Caldecott Medal-winning tale of a young boy’s encounter with snow has been checked out 485,583 times from the NYPL since it was published in 1962.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It shares qualities with many of the other most-borrowed titles: The beautifully illustrated book has been around a long time, it’s well-known and well-loved, and it’s available in numerous languages.\u003c/p>\n\u003cp>“It is such a relatable story, and pure magic for kids and adults alike,” Andrew Medlar, director of the library’s BookOps selection team, said \u003ca href=\"https://www.nypl.org/press/press-release/january-13-2020/classic-childrens-story-snowy-day-tops-new-york-public-librarys\">in a statement\u003c/a>. “It’s on people’s radar screens, they remember when they first heard it, and they want to share that experience with their kids. And the artwork is just gorgeous.”\u003c/p>\n\u003cp>Children’s books make up a large part of the list. That’s not too surprising—short books can be read faster and are returned more quickly. Even the more adult books on the list, such \u003cem>1984\u003c/em> and \u003cem>To Kill A Mockingbird\u003c/em>, are rather slim.\u003c/p>\n\u003cp>Only one nonfiction book appears on the list: \u003cem>How To Win Friends and Influence People\u003c/em> by Dale Carnegie. The self-help juggernaut was published in 1936.\u003c/p>\n\u003cp>The library also awarded an “honorable mention” to \u003cem>Goodnight Moon\u003c/em> by Margaret Wise Brown. That book might have been a contender for the all-time top spot, but NYPL children’s librarian Anne Carroll Moore so disliked the 1947 book that the library didn’t carry it until 1972. That late entry kept the book off the top 10 list—for now.\u003c/p>\n\u003cp>Here are the top 10:\u003c/p>\n\u003col>\n\u003cli>\u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats: 485,583 checkouts\u003c/li>\n\u003cli>\u003cem>The Cat in the Hat\u003c/em> by Dr. Seuss: 469,650 checkouts\u003c/li>\n\u003cli>\u003cem>1984\u003c/em> by George Orwell: 441,770 checkouts\u003c/li>\n\u003cli>\u003cem>Where the Wild Things Are\u003c/em> by Maurice Sendak: 436,016 checkouts\u003c/li>\n\u003cli>\u003cem>To Kill a Mockingbird\u003c/em> by Harper Lee: 422,912 checkouts\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web\u003c/em> by E.B. White: 337,948 checkouts\u003c/li>\n\u003cli>\u003cem>Fahrenheit 451\u003c/em> by Ray Bradbury: 316,404 checkouts\u003c/li>\n\u003cli>\u003cem>How to Win Friends and Influence People\u003c/em> by Dale Carnegie: 284,524 checkouts\u003c/li>\n\u003cli>\u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em> by J.K. Rowling: 231,022 checkouts\u003c/li>\n\u003cli>\u003cem>The Very Hungry Caterpillar\u003c/em> by Eric Carle: 189,550 checkouts\u003c/li>\n\u003c/ol>\n\u003cfigure id=\"attachment_13873156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873156 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg\" alt=\"Children line up at the Chatham Square Library on Manhattan's Lower East Side in 1911.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children line up at the Chatham Square Library on Manhattan’s Lower East Side in 1911. \u003ccite>(The New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one book on the list is at all recent: the first Harry Potter novel, which was published in the U.S. in 1998. The library says the \u003cem>Sorcerer’s Stone \u003c/em>and Rowling’s subsequent tales of wizarding are always popular but that they experience regular spikes in circulation when new editions or movies come out.\u003c/p>\n\u003cp>From year to year, books on current events prove popular. The library’s \u003ca href=\"https://www.nypl.org/press/press-release/december-18-2019/new-york-public-library-shares-top-checkouts-2019-becoming\">top checkout of 2019\u003c/a> was \u003cem>Becoming\u003c/em>, Michelle Obama’s autobiography.\u003c/p>\n\u003cp>The all-time list includes many titles that people read, treasure and want to share with their children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The books on this list have transcended generations and, much like the Library itself, are as relevant today as they were when they first arrived,” said NYPL President Anthony W. Marx. “This list tells us something about New Yorkers over the last 125 years—what moves them, what excites them, what stands the test of time.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+New+York+Public+Library+Has+Calculated+Its+Most+Checked-Out+Books+Of+All+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The book list offers a valuable snapshot of American reading habits. \"The books on this list have transcended generations,\" the library's president said. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York Public Library has been loaning books for a long time—the institution turns 125 this year.\u003c/p>\n\u003cp>To celebrate, the library dug into its records and calculated a list of the 10 books that have been checked out the most in its history.\u003c/p>\n\u003cp>The most-wanted book? \u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats.\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/FmZCQfeWjeQ'\n title='//www.youtube.com/embed/FmZCQfeWjeQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Caldecott Medal-winning tale of a young boy’s encounter with snow has been checked out 485,583 times from the NYPL since it was published in 1962.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It shares qualities with many of the other most-borrowed titles: The beautifully illustrated book has been around a long time, it’s well-known and well-loved, and it’s available in numerous languages.\u003c/p>\n\u003cp>“It is such a relatable story, and pure magic for kids and adults alike,” Andrew Medlar, director of the library’s BookOps selection team, said \u003ca href=\"https://www.nypl.org/press/press-release/january-13-2020/classic-childrens-story-snowy-day-tops-new-york-public-librarys\">in a statement\u003c/a>. “It’s on people’s radar screens, they remember when they first heard it, and they want to share that experience with their kids. And the artwork is just gorgeous.”\u003c/p>\n\u003cp>Children’s books make up a large part of the list. That’s not too surprising—short books can be read faster and are returned more quickly. Even the more adult books on the list, such \u003cem>1984\u003c/em> and \u003cem>To Kill A Mockingbird\u003c/em>, are rather slim.\u003c/p>\n\u003cp>Only one nonfiction book appears on the list: \u003cem>How To Win Friends and Influence People\u003c/em> by Dale Carnegie. The self-help juggernaut was published in 1936.\u003c/p>\n\u003cp>The library also awarded an “honorable mention” to \u003cem>Goodnight Moon\u003c/em> by Margaret Wise Brown. That book might have been a contender for the all-time top spot, but NYPL children’s librarian Anne Carroll Moore so disliked the 1947 book that the library didn’t carry it until 1972. That late entry kept the book off the top 10 list—for now.\u003c/p>\n\u003cp>Here are the top 10:\u003c/p>\n\u003col>\n\u003cli>\u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats: 485,583 checkouts\u003c/li>\n\u003cli>\u003cem>The Cat in the Hat\u003c/em> by Dr. Seuss: 469,650 checkouts\u003c/li>\n\u003cli>\u003cem>1984\u003c/em> by George Orwell: 441,770 checkouts\u003c/li>\n\u003cli>\u003cem>Where the Wild Things Are\u003c/em> by Maurice Sendak: 436,016 checkouts\u003c/li>\n\u003cli>\u003cem>To Kill a Mockingbird\u003c/em> by Harper Lee: 422,912 checkouts\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web\u003c/em> by E.B. White: 337,948 checkouts\u003c/li>\n\u003cli>\u003cem>Fahrenheit 451\u003c/em> by Ray Bradbury: 316,404 checkouts\u003c/li>\n\u003cli>\u003cem>How to Win Friends and Influence People\u003c/em> by Dale Carnegie: 284,524 checkouts\u003c/li>\n\u003cli>\u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em> by J.K. Rowling: 231,022 checkouts\u003c/li>\n\u003cli>\u003cem>The Very Hungry Caterpillar\u003c/em> by Eric Carle: 189,550 checkouts\u003c/li>\n\u003c/ol>\n\u003cfigure id=\"attachment_13873156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873156 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg\" alt=\"Children line up at the Chatham Square Library on Manhattan's Lower East Side in 1911.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children line up at the Chatham Square Library on Manhattan’s Lower East Side in 1911. \u003ccite>(The New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one book on the list is at all recent: the first Harry Potter novel, which was published in the U.S. in 1998. The library says the \u003cem>Sorcerer’s Stone \u003c/em>and Rowling’s subsequent tales of wizarding are always popular but that they experience regular spikes in circulation when new editions or movies come out.\u003c/p>\n\u003cp>From year to year, books on current events prove popular. The library’s \u003ca href=\"https://www.nypl.org/press/press-release/december-18-2019/new-york-public-library-shares-top-checkouts-2019-becoming\">top checkout of 2019\u003c/a> was \u003cem>Becoming\u003c/em>, Michelle Obama’s autobiography.\u003c/p>\n\u003cp>The all-time list includes many titles that people read, treasure and want to share with their children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The books on this list have transcended generations and, much like the Library itself, are as relevant today as they were when they first arrived,” said NYPL President Anthony W. Marx. “This list tells us something about New Yorkers over the last 125 years—what moves them, what excites them, what stands the test of time.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+New+York+Public+Library+Has+Calculated+Its+Most+Checked-Out+Books+Of+All+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Dance-Maker Called Up as New York Looks for Next Hot Thing in Ballet",
"headTitle": "Bay Area Dance-Maker Called Up as New York Looks for Next Hot Thing in Ballet | KQED",
"content": "\u003cp>“Can hip-hop save ballet?”\u003c/p>\n\u003cp>It was a question recently asked on \u003ca href=\"https://www.bbc.co.uk/sounds/play/m0003rjc?fbclid=IwAR2DqR_u1yNHBEj9Jv5HHkFJn-83XwQFljxOYmrnmSaj2_fIEAVEG9rffA0\" target=\"_blank\" rel=\"noopener\">BBC Radio \u003c/a>by Eric Underwood. The former Royal Ballet soloist was talking with other prominent black dancers about the \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\" target=\"_blank\" rel=\"noopener\">systemic exclusion\u003c/a> of black dancers from the ballet world, and the need to keep the art form relevant. As ballet companies embrace \u003ca href=\"https://www.dancemagazine.com/iabd-auditions-for-dancers-of-color-2630923746.html?rebelltitem=4#rebelltitem4\" target=\"_blank\" rel=\"noopener\">assorted\u003c/a> \u003ca href=\"http://www.balletposition.com/blog/the-strange-case-of-the-missing-choreographers\" target=\"_blank\" rel=\"noopener\">strategies\u003c/a> to become \u003ca href=\"https://sfballet.blog/2019/04/01/marc-brew-creates-quicksilver-on-sf-ballet-school-trainees/?fbclid=IwAR2_-i0l2rQSEVYuCDCF5X5gUMk9Doyjscq5N4Z2TAmJW3n1q480YxGW3v8\" target=\"_blank\" rel=\"noopener\">more inclusive\u003c/a>, perhaps the real question is: can ballet save ballet?\u003c/p>\n\u003cp>It urgently needs a pipeline of new dance-makers, and platforms that give them the freedom to take risks. As Diana Byer, founder and artistic director of the acclaimed \u003ca href=\"https://www.nytimes.com/2018/04/29/arts/dance/new-york-theater-ballet-review-robbins-alston.html\" target=\"_blank\" rel=\"noopener\">New York Theatre Ballet\u003c/a>, and a stalwart champion of new dance-makers, tells me, “It is a constant struggle to find even extremely limited funds to nurture emerging choreographers.” Today, she says, “media drives a specific kind of artist and the texture of the dance scene tends to become one-dimensional.”\u003c/p>\n\u003cfigure id=\"attachment_13854499\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg\" alt=\"\" width=\"800\" height=\"351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-768x337.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1020x448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1200x527.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1920x843.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monica Lima with Bugsy Gabriel, Amanda Treiber, Khadijah Munajj, Giulia Faria, Carmella Lauer, and Michael Scales at the piano in Steven Melendez’ RAPIDLY AND FREELY, WITHOUT CONTROL at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>In this grim climate, Byer has persisted. Last weekend she chose \u003ca href=\"https://www.92y.org/event/dig-dance-ballet?fbclid=IwAR2GoUIHTz-bEOmoMomwM0iMIJSI3_gnQzdFiHJQ_EeEr90Ddkp2wkwXlp4\" target=\"_blank\" rel=\"noopener\">six rising choreographers\u003c/a> to present work at New York’s \u003ca href=\"https://www.92y.org/dance/past-present-future\" target=\"_blank\" rel=\"noopener\">storied 92nd Street Y\u003c/a>. All are current or former dancers with well-known companies (including New York City Ballet, American Ballet Theatre, New York Theatre Ballet, and Oakland Ballet), and all are New York-based—except for \u003ca href=\"http://milissapayne.com\" target=\"_blank\" rel=\"noopener\">Milissa Payne Bradley\u003c/a>, who hails from the Bay Area.\u003c/p>\n\u003cp>It’s unusual for the West Coast to be invited to a New York dance party. New York City likes to think of itself as the world’s dance capital, and every other city in America as “regional.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve followed Payne Bradley’s work since she shoehorned an army of dancers onto the postage-stamp-sized stage at San Francisco’s legendary \u003ca href=\"https://www.huffpost.com/entry/milissa-payne-up-in-the-air_b_3030826\" target=\"_blank\" rel=\"noopener\">Garage\u003c/a> in 2013. The piece she shipped to the 92nd Street Y was tightly conceived and executed, sassy and provocative. It was the first in a two-part series called \u003cem>Enough Said\u003c/em>, developed initially for San Francisco’s \u003ca href=\"https://vimeo.com/194400670\" target=\"_blank\" rel=\"noopener\">West Wave Festival \u003c/a>and the \u003ca href=\"https://www.huffpost.com/entry/in-precarious-times-san-francisco-theater-artists_b_58d4c39ee4b0c0980ac0e4d7\" target=\"_blank\" rel=\"noopener\">Center for New Work \u003c/a>at the Harvey Milk Center for the Arts.\u003c/p>\n\u003cp>In it, Payne Bradley pitted a trio of female dancers, warming up at a ballet barre, against the voices of stand-up comics \u003ca href=\"https://www.youtube.com/watch?v=RGujNhUe4tw\" target=\"_blank\" rel=\"noopener\">Daniel Tosh\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=J-zFQ9fOTSU\" target=\"_blank\" rel=\"noopener\">Mitch Hedberg\u003c/a>, and \u003ca href=\"https://www.kqed.org/forum/2010101867018/metoos-complicated-relationship-with-redemption\" target=\"_blank\" rel=\"noopener\">Louis C.K.\u003c/a> in audio excerpts spliced together from recordings of live routines. In the tightly prescribed and aristocratic vocabulary of classical ballet, a dancer would peel off from the barre to amplify the absurd, throw a little shade, or express their skepticism at some outrage perpetrated by one of the comics. Riffing on Hedberg’s deadpan pronouncements (“rice is great if you’re hungry and want 2,000 of something”), Tosh’s bashing of jingoists in fly-over country, and Louis C.K.’s irreverent musings on God, Payne Bradley deployed the athletic precision of ballet and the ballerina’s cool, collected exterior to add layers of witty commentary to their no-holds-barred social critiques.\u003c/p>\n\u003cfigure id=\"attachment_13854498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854498\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg\" alt=\"\" width=\"800\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1200x487.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1920x780.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Gilliland, Jonatan Lujan, and Dawn Gierling Milatin in Antonia Franceschi’s SHIFT TRIP at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>An equally riveting piece on the program deployed its score very differently, to dystopian effect. \u003ca href=\"https://www.nytimes.com/2003/12/14/arts/dance-this-week-a-truly-fairy-tale-prince.html\" target=\"_blank\" rel=\"noopener\">Stephen Melendez\u003c/a> positioned his dancers between the sparse, vertiginous chords of Erik Satie’s \u003cem>Ogives \u003c/em>(played live by pianist Michael Scales) that would come crashing down, then trail off. Six dancers made their way, in excruciatingly slow motion, from the piano side of the stage to the far side. Were they prisoners being driven from the shelter of the piano toward some unnameable horror? Or refugees struggling to reach a land of hope?\u003c/p>\n\u003cp>Halfway through their journey, Monica Lima broke away from the pack to roam the perimeter in brief, solo episodes of astonishing breadth and lyricism. She may have been an angel – or a messenger or border patrol agent from the dark side sent to make sure no one got away. The overwhelming impression was one of dread, contrasted with the angel’s serenity. The title of the piece, \u003cem>Rapidly and Freely, Without Control\u003c/em>, seemed freighted with irony.\u003c/p>\n\u003cp>The deliciously eclectic composition, ‘Bird in Paris’ – a nod to Claude Debussy and Charlie Parker, with hints of bluegrass, by the string players of PUBLIQuartet – fueled \u003ca href=\"https://www.abt.org/people/zhong-jing-fang/\" target=\"_blank\" rel=\"noopener\">Zhong-Jing Fang\u003c/a>’s ebullient \u003cem>Prince Street Fantaisie\u003c/em>. Fang illuminated her three young dancers’ vivacious personalities but skated over the complexities of the genre-bending score. (In contrast, her 2017 collaboration with Melendez, in which the pair tackled a \u003ca href=\"https://www.huffpost.com/entry/new-york-theatre-ballet-g_b_9324256\" target=\"_blank\" rel=\"noopener\">Philip Glass suite\u003c/a> arranged for steel drum ensemble, wrung profound emotion from its minimalist score.)\u003c/p>\n\u003cp>\u003ca href=\"https://sanjoyroy.net/2003/03/antonia-franceschi-up-from-the-waste/\" target=\"_blank\" rel=\"noopener\">Antonia Franceschi\u003c/a> mined an electrifying composition by cellist Zoë Martlew for emotional information in \u003cem>Shift Trip\u003c/em>. Downstage, Martlew occasionally drew focus away from the trio of dancers in their skivvies, as her cello bristled, sobbed, scraped, and tangled with a recording that incorporated an array of percussion and sounds like the drone of car horns on a freeway at rush hour. The jagged choreography looked familiar, the rippling ribcages and cool sometimes combative partnering paying homage here and there to George Balanchine and William Forsythe; the score, however, made it seem new.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The magnetic Amanda Treiber proclaimed the arrival of spring in \u003ca href=\"https://afropunk.com/2017/09/male-ballet-dancer-breaking-barriers-moscow-new-york/\" target=\"_blank\" rel=\"noopener\">Gabe Stone Shayer’\u003c/a>s \u003cem>Of her union\u003c/em>, a sprightly, gracious solo inspired by Max Richter’s lush reworking of Vivaldi’s \u003cem>Four Seasons\u003c/em>. Skittering across the space, pointes lightly pricking the ground, arms generously sweeping aside clusters of cloud, Treiber (and Stone Shayer) made us forget for a moment that ballet may be on the verge of annihilation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Can hip-hop save ballet?”\u003c/p>\n\u003cp>It was a question recently asked on \u003ca href=\"https://www.bbc.co.uk/sounds/play/m0003rjc?fbclid=IwAR2DqR_u1yNHBEj9Jv5HHkFJn-83XwQFljxOYmrnmSaj2_fIEAVEG9rffA0\" target=\"_blank\" rel=\"noopener\">BBC Radio \u003c/a>by Eric Underwood. The former Royal Ballet soloist was talking with other prominent black dancers about the \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\" target=\"_blank\" rel=\"noopener\">systemic exclusion\u003c/a> of black dancers from the ballet world, and the need to keep the art form relevant. As ballet companies embrace \u003ca href=\"https://www.dancemagazine.com/iabd-auditions-for-dancers-of-color-2630923746.html?rebelltitem=4#rebelltitem4\" target=\"_blank\" rel=\"noopener\">assorted\u003c/a> \u003ca href=\"http://www.balletposition.com/blog/the-strange-case-of-the-missing-choreographers\" target=\"_blank\" rel=\"noopener\">strategies\u003c/a> to become \u003ca href=\"https://sfballet.blog/2019/04/01/marc-brew-creates-quicksilver-on-sf-ballet-school-trainees/?fbclid=IwAR2_-i0l2rQSEVYuCDCF5X5gUMk9Doyjscq5N4Z2TAmJW3n1q480YxGW3v8\" target=\"_blank\" rel=\"noopener\">more inclusive\u003c/a>, perhaps the real question is: can ballet save ballet?\u003c/p>\n\u003cp>It urgently needs a pipeline of new dance-makers, and platforms that give them the freedom to take risks. As Diana Byer, founder and artistic director of the acclaimed \u003ca href=\"https://www.nytimes.com/2018/04/29/arts/dance/new-york-theater-ballet-review-robbins-alston.html\" target=\"_blank\" rel=\"noopener\">New York Theatre Ballet\u003c/a>, and a stalwart champion of new dance-makers, tells me, “It is a constant struggle to find even extremely limited funds to nurture emerging choreographers.” Today, she says, “media drives a specific kind of artist and the texture of the dance scene tends to become one-dimensional.”\u003c/p>\n\u003cfigure id=\"attachment_13854499\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg\" alt=\"\" width=\"800\" height=\"351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-768x337.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1020x448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1200x527.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1920x843.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monica Lima with Bugsy Gabriel, Amanda Treiber, Khadijah Munajj, Giulia Faria, Carmella Lauer, and Michael Scales at the piano in Steven Melendez’ RAPIDLY AND FREELY, WITHOUT CONTROL at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>In this grim climate, Byer has persisted. Last weekend she chose \u003ca href=\"https://www.92y.org/event/dig-dance-ballet?fbclid=IwAR2GoUIHTz-bEOmoMomwM0iMIJSI3_gnQzdFiHJQ_EeEr90Ddkp2wkwXlp4\" target=\"_blank\" rel=\"noopener\">six rising choreographers\u003c/a> to present work at New York’s \u003ca href=\"https://www.92y.org/dance/past-present-future\" target=\"_blank\" rel=\"noopener\">storied 92nd Street Y\u003c/a>. All are current or former dancers with well-known companies (including New York City Ballet, American Ballet Theatre, New York Theatre Ballet, and Oakland Ballet), and all are New York-based—except for \u003ca href=\"http://milissapayne.com\" target=\"_blank\" rel=\"noopener\">Milissa Payne Bradley\u003c/a>, who hails from the Bay Area.\u003c/p>\n\u003cp>It’s unusual for the West Coast to be invited to a New York dance party. New York City likes to think of itself as the world’s dance capital, and every other city in America as “regional.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve followed Payne Bradley’s work since she shoehorned an army of dancers onto the postage-stamp-sized stage at San Francisco’s legendary \u003ca href=\"https://www.huffpost.com/entry/milissa-payne-up-in-the-air_b_3030826\" target=\"_blank\" rel=\"noopener\">Garage\u003c/a> in 2013. The piece she shipped to the 92nd Street Y was tightly conceived and executed, sassy and provocative. It was the first in a two-part series called \u003cem>Enough Said\u003c/em>, developed initially for San Francisco’s \u003ca href=\"https://vimeo.com/194400670\" target=\"_blank\" rel=\"noopener\">West Wave Festival \u003c/a>and the \u003ca href=\"https://www.huffpost.com/entry/in-precarious-times-san-francisco-theater-artists_b_58d4c39ee4b0c0980ac0e4d7\" target=\"_blank\" rel=\"noopener\">Center for New Work \u003c/a>at the Harvey Milk Center for the Arts.\u003c/p>\n\u003cp>In it, Payne Bradley pitted a trio of female dancers, warming up at a ballet barre, against the voices of stand-up comics \u003ca href=\"https://www.youtube.com/watch?v=RGujNhUe4tw\" target=\"_blank\" rel=\"noopener\">Daniel Tosh\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=J-zFQ9fOTSU\" target=\"_blank\" rel=\"noopener\">Mitch Hedberg\u003c/a>, and \u003ca href=\"https://www.kqed.org/forum/2010101867018/metoos-complicated-relationship-with-redemption\" target=\"_blank\" rel=\"noopener\">Louis C.K.\u003c/a> in audio excerpts spliced together from recordings of live routines. In the tightly prescribed and aristocratic vocabulary of classical ballet, a dancer would peel off from the barre to amplify the absurd, throw a little shade, or express their skepticism at some outrage perpetrated by one of the comics. Riffing on Hedberg’s deadpan pronouncements (“rice is great if you’re hungry and want 2,000 of something”), Tosh’s bashing of jingoists in fly-over country, and Louis C.K.’s irreverent musings on God, Payne Bradley deployed the athletic precision of ballet and the ballerina’s cool, collected exterior to add layers of witty commentary to their no-holds-barred social critiques.\u003c/p>\n\u003cfigure id=\"attachment_13854498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854498\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg\" alt=\"\" width=\"800\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1200x487.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1920x780.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Gilliland, Jonatan Lujan, and Dawn Gierling Milatin in Antonia Franceschi’s SHIFT TRIP at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>An equally riveting piece on the program deployed its score very differently, to dystopian effect. \u003ca href=\"https://www.nytimes.com/2003/12/14/arts/dance-this-week-a-truly-fairy-tale-prince.html\" target=\"_blank\" rel=\"noopener\">Stephen Melendez\u003c/a> positioned his dancers between the sparse, vertiginous chords of Erik Satie’s \u003cem>Ogives \u003c/em>(played live by pianist Michael Scales) that would come crashing down, then trail off. Six dancers made their way, in excruciatingly slow motion, from the piano side of the stage to the far side. Were they prisoners being driven from the shelter of the piano toward some unnameable horror? Or refugees struggling to reach a land of hope?\u003c/p>\n\u003cp>Halfway through their journey, Monica Lima broke away from the pack to roam the perimeter in brief, solo episodes of astonishing breadth and lyricism. She may have been an angel – or a messenger or border patrol agent from the dark side sent to make sure no one got away. The overwhelming impression was one of dread, contrasted with the angel’s serenity. The title of the piece, \u003cem>Rapidly and Freely, Without Control\u003c/em>, seemed freighted with irony.\u003c/p>\n\u003cp>The deliciously eclectic composition, ‘Bird in Paris’ – a nod to Claude Debussy and Charlie Parker, with hints of bluegrass, by the string players of PUBLIQuartet – fueled \u003ca href=\"https://www.abt.org/people/zhong-jing-fang/\" target=\"_blank\" rel=\"noopener\">Zhong-Jing Fang\u003c/a>’s ebullient \u003cem>Prince Street Fantaisie\u003c/em>. Fang illuminated her three young dancers’ vivacious personalities but skated over the complexities of the genre-bending score. (In contrast, her 2017 collaboration with Melendez, in which the pair tackled a \u003ca href=\"https://www.huffpost.com/entry/new-york-theatre-ballet-g_b_9324256\" target=\"_blank\" rel=\"noopener\">Philip Glass suite\u003c/a> arranged for steel drum ensemble, wrung profound emotion from its minimalist score.)\u003c/p>\n\u003cp>\u003ca href=\"https://sanjoyroy.net/2003/03/antonia-franceschi-up-from-the-waste/\" target=\"_blank\" rel=\"noopener\">Antonia Franceschi\u003c/a> mined an electrifying composition by cellist Zoë Martlew for emotional information in \u003cem>Shift Trip\u003c/em>. Downstage, Martlew occasionally drew focus away from the trio of dancers in their skivvies, as her cello bristled, sobbed, scraped, and tangled with a recording that incorporated an array of percussion and sounds like the drone of car horns on a freeway at rush hour. The jagged choreography looked familiar, the rippling ribcages and cool sometimes combative partnering paying homage here and there to George Balanchine and William Forsythe; the score, however, made it seem new.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The magnetic Amanda Treiber proclaimed the arrival of spring in \u003ca href=\"https://afropunk.com/2017/09/male-ballet-dancer-breaking-barriers-moscow-new-york/\" target=\"_blank\" rel=\"noopener\">Gabe Stone Shayer’\u003c/a>s \u003cem>Of her union\u003c/em>, a sprightly, gracious solo inspired by Max Richter’s lush reworking of Vivaldi’s \u003cem>Four Seasons\u003c/em>. Skittering across the space, pointes lightly pricking the ground, arms generously sweeping aside clusters of cloud, Treiber (and Stone Shayer) made us forget for a moment that ballet may be on the verge of annihilation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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