A Look Back On Shirley Chisholm's Historic 1968 House Victory
Country Music and Race: Something Seems Missing in Ken Burns’ Latest
Remembering Influential Documentary Photographer Robert Frank
Danny Glover, Ta-Nehisi Coates to Testify at House Slavery Reparations Hearing
SF Arts Commission First City Department to Adopt Formal Racial Equity Policy
Google Arts and Culture #Selfie App Inherits Art World Disparities
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He had been attempting to move their pontoon boat, since it was blocking the ferry from docking in its regular space.\u003c/p>\n\u003cp>Video \u003ca href=\"https://youtu.be/-YUSZW5Px6o\">from various bystanders around the dock\u003c/a> captured it all: The co-captain throwing his hat in the air, once a white man pushed him harshly; a different Black man whaling on people with a folding chair, including a white woman who was just sitting on the ground by then; a young Black man on a boat close by who jumped into the water and swam with amazing speed to the scene, jumping up to throw hands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8JdLnCp17Jc\u003c/p>\n\u003cp>And, in moments, Black Twitter \u003ca href=\"https://www.npr.org/2023/08/09/1192866104/montgomery-brawl-doesnt-constitute-hate-crime-charges-police-chief-says\">jumped to life\u003c/a> (I know the social media platform is renamed X, but — for the purposes of this piece — I’m using the term to describe people being Black across lots of social media platforms. Harrumph).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/blackkingkofi/status/1688604623727112192\u003c/p>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\n\u003cp>https://twitter.com/Pleightx/status/1688924617937981440\u003c/p>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\n\u003cp>https://twitter.com/WUTangKids/status/1689044660977635329\u003c/p>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>[aside postid='arts_13932753']I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>[aside postid='arts_13931436']I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\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=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"When you've built a career around explaining racism to people, what happens when you find a moment you don't want to explain?","status":"publish","parent":0,"modified":1705005170,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":965},"headData":{"title":"Montgomery Boat Brawl: Memes and a Cultural Moment | KQED","description":"When you've built a career around explaining racism to people, what happens when you find a moment you don't want to explain?","ogTitle":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","ogDescription":"","ogImgId":"","twTitle":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","twDescription":"","twImgId":"","socialTitle":"Montgomery Boat Brawl: Memes and a Cultural Moment %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","datePublished":"2023-08-10T18:54:30.000Z","dateModified":"2024-01-11T20:32:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"@Josh_Moon","nprByline":"Eric Deggans","nprImageAgency":"Screenshot by NPR","nprStoryId":"1193091939","nprApiLink":"http://api.npr.org/query?id=1193091939&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/08/10/1193091939/montgomery-brawl-memes?ft=nprml&f=1193091939","nprRetrievedStory":"1","nprPubDate":"Thu, 10 Aug 2023 11:49:00 -0400","nprStoryDate":"Thu, 10 Aug 2023 11:37:11 -0400","nprLastModifiedDate":"Thu, 10 Aug 2023 11:49:50 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932939/ive-spent-my-career-explaining-race-but-hit-a-wall-with-montgomery-brawl-memes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you’ve built a career around explaining race and racism to people, what happens when you find a moment you just don’t want to explain?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932887","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That time came for me this week, as memes were rocketing around social media connected \u003ca href=\"https://www.npr.org/2023/08/07/1192460342/montgomery-riverfront-brawl\">to the brawl in Montgomery, Ala\u003c/a>., where a crowd of mostly-Black bystanders ran to help a Black riverboat co-captain who was being assaulted by a group of white people. He had been attempting to move their pontoon boat, since it was blocking the ferry from docking in its regular space.\u003c/p>\n\u003cp>Video \u003ca href=\"https://youtu.be/-YUSZW5Px6o\">from various bystanders around the dock\u003c/a> captured it all: The co-captain throwing his hat in the air, once a white man pushed him harshly; a different Black man whaling on people with a folding chair, including a white woman who was just sitting on the ground by then; a young Black man on a boat close by who jumped into the water and swam with amazing speed to the scene, jumping up to throw hands.\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/8JdLnCp17Jc'\n title='//www.youtube.com/embed/8JdLnCp17Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, in moments, Black Twitter \u003ca href=\"https://www.npr.org/2023/08/09/1192866104/montgomery-brawl-doesnt-constitute-hate-crime-charges-police-chief-says\">jumped to life\u003c/a> (I know the social media platform is renamed X, but — for the purposes of this piece — I’m using the term to describe people being Black across lots of social media platforms. Harrumph).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1688604623727112192"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1688924617937981440"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1689044660977635329"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932753","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931436","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\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=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932939/ive-spent-my-career-explaining-race-but-hit-a-wall-with-montgomery-brawl-memes","authors":["byline_arts_13932939"],"categories":["arts_1","arts_2303","arts_75"],"tags":["arts_2305","arts_3650","arts_3652","arts_8491"],"affiliates":["arts_137"],"featImg":"arts_13932940","label":"arts_137"},"arts_13874570":{"type":"posts","id":"arts_13874570","meta":{"index":"posts_1591205157","site":"arts","id":"13874570","score":null,"sort":[1581034053000]},"guestAuthors":[],"slug":"author-l-l-mckinney-barnes-noble-diverse-editions-are-literary-blackface","title":"Author L.L. McKinney: Barnes & Noble 'Diverse Editions' are 'Literary Blackface'","publishDate":1581034053,"format":"standard","headTitle":"Author L.L. McKinney: Barnes & Noble ‘Diverse Editions’ are ‘Literary Blackface’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>“There are so many ways to get this right, they had to look for a way to get this wrong.”\u003c/p>\n\u003cp>That’s author L.L. McKinney’s response to Barnes & Noble’s “Diverse Editions” campaign. McKinney’s most recent book, \u003cem>A Dream So Dark,\u003c/em> is a sequel to \u003cem>\u003ca href=\"https://www.npr.org/books/titles/651940128/a-blade-so-black\" target=\"_blank\" rel=\"noopener noreferrer\">A Blade So Black\u003c/a>\u003c/em>, a contemporary retelling of \u003cem>Alice in Wonderland\u003c/em> with a black female lead.\u003c/p>\n\u003cp>The bookselling chain announced this month that they were going to release classic books with new covers that reimagined protagonists as characters of color. These included \u003cem>Frankenstein\u003c/em>, \u003cem>Peter Pan\u003c/em> and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> among others—almost all books by white authors, about characters presumed to be white.\u003c/p>\n\u003cp>Black authors took to Twitter to express their criticism of the project, many of them, including McKinney, calling it “literary blackface.”\u003c/p>\n\u003cp>Barnes & Noble \u003ca href=\"https://twitter.com/BNBuzz/status/1225120163692937218\" target=\"_blank\" rel=\"noopener noreferrer\">released a statement on Twitter\u003c/a> on Wednesday, the day the book covers were supposed to be displayed at their Fifth Avenue store in Manhattan, saying they were no longer going forward with the campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the statement, the chain said “it was a project inspired by outwork with schools and was created in part to raise awareness and discussion during Black History Month, in which Barnes & Noble stores nationally will continue to highlight a wide selection of books to celebrate black history and great literature from writers of color.”\u003c/p>\n\u003cp>But what was supposed to be a celebration of diversity to kick off Black History Month turned into a moment where black writers weren’t actually part of that celebration. [aside postid='pop_109548']\u003c/p>\n\u003cp>Out of the 12 books chosen for the campaign, only one was written by a black author—\u003cem>The Count of Monte Cristo\u003c/em>, by Alexandre Dumas.\u003c/p>\n\u003cp>“It’s still a story by a white author, featuring a white character, told via the white gaze,” McKinney says. “And none of this has changed within the contents of the story itself. They’re essentially just slapping a cover on it to ‘celebrate diversity.’ But a lot of us felt that you’re just trying to cash in on the fact that it’s Black History Month, and now all of a sudden, black faces and brown faces will sell books. Just maybe one, two years ago, people were saying in meetings, ‘Yeah, you can’t put black people on covers. It’s not going to sell the book.'”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what Barnes & Noble could have done instead\u003c/strong>\u003c/p>\n\u003cp>Feature black people, that’s the beginning and end of it. If you’re wanting to put a spin on classics, feature classics that are by black and brown authors. Like Zora Neale Hurston. Toni Morrison. Give their covers updates and put them on your tables. Or if you want to do this thing where you connect to the ideas of the classic canon, we are out there writing reimaginings and retellings and putting ourselves in the narratives of these stories. Like \u003cem>Pride & Prejudice\u003c/em>. Like \u003cem>Alice in Wonderland\u003c/em>. Like \u003cem>Wizard of Oz\u003c/em>. We’re doing that, so feature those books if that’s the angle you want to go.\u003c/p>\n\u003cp>\u003cstrong>On diversity in book publishing\u003c/strong>\u003c/p>\n\u003cp>No one thinks they’re capable of making mistakes at this level. Especially mistakes like this. Because if you did think that that was a thing that could happen, you would have things in place and people in place to be able to prevent it from happening, right? I’ve been that person, you know, that one black voice, that one person of color in the room or maybe there are two or three of us who says, maybe this isn’t a good idea. But then we’re shouted down or talked over, so it rolls out. This definitely says that there were no people of color in the room to make those decisions. And if they were, no one listened to them.\u003c/p>\n\u003cp>\u003cstrong>On representation \u003c/strong>\u003c/p>\n\u003cp>I am of the camp of if you want good representation, you let those people speak for themselves. You set up the microphone, you check the levels, you get everything together, and then you get out of the way. Especially if you’re someone who has the resources to do that. And then we can take it from there. That’s what I think good representation is. It mostly comes from within the communities that are attempting to be represented because nobody knows it like us, right?\u003c/p>\n\u003cp>There are people who do do the work and they take the care and they show the research and they’re very sensitive to the nature, not only of the representation, but the context around the bad representation that has come before it. Cause you’re not just representing us in that moment, right? You’re fighting against this narrative that has been developed for decades and people don’t even take that into account. They’re just like, “Oh, well, you know, let me write this down and get this out there.” And maybe I don’t play into, you know, this sharp thing that people are aware of right now, but you miss the connotation of like maybe minstrelsy you know, from decades ago, that’s still very much felt in our community. So I think that good representation happens when we’re allowed to take the mic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Justine Kenin and adapted for the Web by Brianna Scott.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+L.L.+McKinney%3A+Barnes+%26+Noble+%27Diverse+Editions%27+Are+%27Literary+Blackface%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Barnes & Noble suspended its campaign to reissue classic books with covers depicting protagonists as people of color after many authors, including McKinney, criticized the initiative.","status":"publish","parent":0,"modified":1705021335,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":960},"headData":{"title":"Author L.L. McKinney: Barnes & Noble 'Diverse Editions' are 'Literary Blackface' | KQED","description":"Barnes & Noble suspended its campaign to reissue classic books with covers depicting protagonists as people of color after many authors, including McKinney, criticized the initiative.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Author L.L. McKinney: Barnes & Noble 'Diverse Editions' are 'Literary Blackface'","datePublished":"2020-02-07T00:07:33.000Z","dateModified":"2024-01-12T01:02:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Audie Cornish","nprImageAgency":"TBWIAChiatDay","nprStoryId":"803473296","nprApiLink":"http://api.npr.org/query?id=803473296&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/02/06/803473296/author-l-l-mckinney-barnes-noble-diverse-editions-are-literary-blackface?ft=nprml&f=803473296","nprRetrievedStory":"1","nprPubDate":"Thu, 06 Feb 2020 18:22:00 -0500","nprStoryDate":"Thu, 06 Feb 2020 18:21:00 -0500","nprLastModifiedDate":"Thu, 06 Feb 2020 18:32:36 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/02/20200206_atc_bn_diversity_controversy.mp3?orgId=1&topicId=1161&d=250&p=2&story=803473296&ft=nprml&f=803473296","nprAudioM3u":"http://api.npr.org/m3u/1803508871-46e470.m3u?orgId=1&topicId=1161&d=250&p=2&story=803473296&ft=nprml&f=803473296","templateType":"standard","featuredImageType":"standard","path":"/arts/13874570/author-l-l-mckinney-barnes-noble-diverse-editions-are-literary-blackface","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/02/20200206_atc_bn_diversity_controversy.mp3?orgId=1&topicId=1161&d=250&p=2&story=803473296&ft=nprml&f=803473296","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are so many ways to get this right, they had to look for a way to get this wrong.”\u003c/p>\n\u003cp>That’s author L.L. McKinney’s response to Barnes & Noble’s “Diverse Editions” campaign. McKinney’s most recent book, \u003cem>A Dream So Dark,\u003c/em> is a sequel to \u003cem>\u003ca href=\"https://www.npr.org/books/titles/651940128/a-blade-so-black\" target=\"_blank\" rel=\"noopener noreferrer\">A Blade So Black\u003c/a>\u003c/em>, a contemporary retelling of \u003cem>Alice in Wonderland\u003c/em> with a black female lead.\u003c/p>\n\u003cp>The bookselling chain announced this month that they were going to release classic books with new covers that reimagined protagonists as characters of color. These included \u003cem>Frankenstein\u003c/em>, \u003cem>Peter Pan\u003c/em> and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> among others—almost all books by white authors, about characters presumed to be white.\u003c/p>\n\u003cp>Black authors took to Twitter to express their criticism of the project, many of them, including McKinney, calling it “literary blackface.”\u003c/p>\n\u003cp>Barnes & Noble \u003ca href=\"https://twitter.com/BNBuzz/status/1225120163692937218\" target=\"_blank\" rel=\"noopener noreferrer\">released a statement on Twitter\u003c/a> on Wednesday, the day the book covers were supposed to be displayed at their Fifth Avenue store in Manhattan, saying they were no longer going forward with the campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the statement, the chain said “it was a project inspired by outwork with schools and was created in part to raise awareness and discussion during Black History Month, in which Barnes & Noble stores nationally will continue to highlight a wide selection of books to celebrate black history and great literature from writers of color.”\u003c/p>\n\u003cp>But what was supposed to be a celebration of diversity to kick off Black History Month turned into a moment where black writers weren’t actually part of that celebration. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_109548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Out of the 12 books chosen for the campaign, only one was written by a black author—\u003cem>The Count of Monte Cristo\u003c/em>, by Alexandre Dumas.\u003c/p>\n\u003cp>“It’s still a story by a white author, featuring a white character, told via the white gaze,” McKinney says. “And none of this has changed within the contents of the story itself. They’re essentially just slapping a cover on it to ‘celebrate diversity.’ But a lot of us felt that you’re just trying to cash in on the fact that it’s Black History Month, and now all of a sudden, black faces and brown faces will sell books. Just maybe one, two years ago, people were saying in meetings, ‘Yeah, you can’t put black people on covers. It’s not going to sell the book.'”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what Barnes & Noble could have done instead\u003c/strong>\u003c/p>\n\u003cp>Feature black people, that’s the beginning and end of it. If you’re wanting to put a spin on classics, feature classics that are by black and brown authors. Like Zora Neale Hurston. Toni Morrison. Give their covers updates and put them on your tables. Or if you want to do this thing where you connect to the ideas of the classic canon, we are out there writing reimaginings and retellings and putting ourselves in the narratives of these stories. Like \u003cem>Pride & Prejudice\u003c/em>. Like \u003cem>Alice in Wonderland\u003c/em>. Like \u003cem>Wizard of Oz\u003c/em>. We’re doing that, so feature those books if that’s the angle you want to go.\u003c/p>\n\u003cp>\u003cstrong>On diversity in book publishing\u003c/strong>\u003c/p>\n\u003cp>No one thinks they’re capable of making mistakes at this level. Especially mistakes like this. Because if you did think that that was a thing that could happen, you would have things in place and people in place to be able to prevent it from happening, right? I’ve been that person, you know, that one black voice, that one person of color in the room or maybe there are two or three of us who says, maybe this isn’t a good idea. But then we’re shouted down or talked over, so it rolls out. This definitely says that there were no people of color in the room to make those decisions. And if they were, no one listened to them.\u003c/p>\n\u003cp>\u003cstrong>On representation \u003c/strong>\u003c/p>\n\u003cp>I am of the camp of if you want good representation, you let those people speak for themselves. You set up the microphone, you check the levels, you get everything together, and then you get out of the way. Especially if you’re someone who has the resources to do that. And then we can take it from there. That’s what I think good representation is. It mostly comes from within the communities that are attempting to be represented because nobody knows it like us, right?\u003c/p>\n\u003cp>There are people who do do the work and they take the care and they show the research and they’re very sensitive to the nature, not only of the representation, but the context around the bad representation that has come before it. Cause you’re not just representing us in that moment, right? You’re fighting against this narrative that has been developed for decades and people don’t even take that into account. They’re just like, “Oh, well, you know, let me write this down and get this out there.” And maybe I don’t play into, you know, this sharp thing that people are aware of right now, but you miss the connotation of like maybe minstrelsy you know, from decades ago, that’s still very much felt in our community. So I think that good representation happens when we’re allowed to take the mic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Justine Kenin and adapted for the Web by Brianna Scott.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+L.L.+McKinney%3A+Barnes+%26+Noble+%27Diverse+Editions%27+Are+%27Literary+Blackface%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874570/author-l-l-mckinney-barnes-noble-diverse-editions-are-literary-blackface","authors":["byline_arts_13874570"],"categories":["arts_73"],"tags":["arts_4096","arts_4566","arts_3650","arts_3652"],"affiliates":["arts_137"],"featImg":"arts_13874571","label":"arts_137"},"arts_13869430":{"type":"posts","id":"arts_13869430","meta":{"index":"posts_1591205157","site":"arts","id":"13869430","score":null,"sort":[1572973299000]},"guestAuthors":[],"slug":"a-look-back-on-shirley-chisholms-historic-1968-house-victory","title":"A Look Back On Shirley Chisholm's Historic 1968 House Victory","publishDate":1572973299,"format":"standard","headTitle":"A Look Back On Shirley Chisholm’s Historic 1968 House Victory | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Editor’s Note: This story \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\" target=\"_blank\" rel=\"noopener\">originally appeared\u003c/a> on November 6, 2018. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Shirley Chisholm’s celebrated win on election night, Nov. 5, 1968, still resonates with today’s election cycle, 50 years later. She became the first black woman ever elected to the U.S. House of Representatives. Over the years, her victory is often cited as inspiration for women running for public office.\u003c/p>\n\u003cp>This election season has been nicknamed “The Year of the Woman” because a record number of women have run and won seats in national and statewide races.\u003c/p>\n\u003cp>\u003cstrong>Campaign gets little attention\u003c/strong>\u003c/p>\n\u003cp>In 1968, Chisholm defeated James Farmer for New York’s 14th Congressional District. She was a New York State assemblywoman, elected in 1964 after leaving behind a career in education, first as a nursery school teacher and later a consultant to New York City’s Division of Day Care. Farmer, a black man and civil rights leader, ran as a Republican.\u003c/p>\n\u003cp>The reapportioned 12th Congressional District was largely made up of Brooklyn’s Bedford-Stuyvesant community and a few other parts of the borough. Bed-Stuy’s residents were mostly African-American and Puerto Rican. It was also Chisholm’s home.\u003c/p>\n\u003cp>Chisholm labeled Farmer “an outsider” during the campaign, because he lived in Manhattan. Among her tactics, she spoke in Spanish to Spanish speakers, a language she had developed fluency in as a schoolteacher. She took her campaign to the streets, literally, riding on a truck with a loudspeaker. Making multiple stops, she regularly kicked off her remarks by saying, “This is Fighting Shirley Chisholm.”\u003c/p>\n\u003cp>The contest between two black candidates garnered little media attention outside Brooklyn. In Susan Brownmiller’s 1970 biography of Chisholm, she described the candidate as distraught over the lack of coverage. Chisholm was concerned that only \u003cem>The Amsterdam News,\u003c/em> a black newspaper, seemed interested in covering her near the end of the campaign.\u003c/p>\n\u003cp>But when the final votes were tallied, voters chose Chisholm by better than a 2-to-1 margin over Farmer.\u003c/p>\n\u003cp>Still, media attention remained scant about Chisholm’s surprising win. Richard Nixon’s narrow win over Vice President Hubert Humphrey dominated headlines and airwaves. Television, radio and newspapers mentioned Chisholm’s news in one line on air, or in only a paragraph in print.\u003c/p>\n\u003cp>Her victory remarks from the evening are hard to come by. But NPR recently found a recording held by the New York Public Library.\u003c/p>\n\u003cp>“My dear friends, tonight is a very important night,” she told her supporters, “not so much for me, but for you, the people of this community.\u003c/p>\n\u003cp>“After many years of struggle and sacrifices on the part of several of you here this evening, we have at long last been able to elect today a voice that shall be your voice in the halls of the United States Congress.”\u003c/p>\n\u003cp>Within a couple weeks of the election, a national black weekly, \u003cem>Jet\u003c/em> magazine, put Chisholm on the cover. It wasn’t until several months later, when she was a sworn-in member of Congress, that the country began to pay closer attention. In February 1969, \u003cem>Ebony\u003c/em> magazine did a cover story. Later still, she was filmed on the steps of the U.S. Capitol by an NBC News camera crew, answering questions from visiting Brooklyn students from her district.\u003c/p>\n\u003cp>In the NBC documentary \u003cem>The Irrepressible Shirley Chisholm,\u003c/em> a black teenager asks her, “How do you feel being the first black woman in the House of Representatives?”\u003c/p>\n\u003cp>“I have mixed feelings,” Chisholm begins, as she looks at the girl along with her classmates.\u003c/p>\n\u003cp>“First of all, I’m very glad to make history in this country being the first black woman, [but] I don’t get terribly excited about it.”\u003c/p>\n\u003cp>In 2003, some 20 years after Chisholm left Congress, Tavis Smiley asked her which had been a bigger obstacle during her career, being black or being a woman?\u003c/p>\n\u003cp>“I met far more discrimination being a woman than being black when I moved out into the political arena,” she said. “All kinds of meetings and all kinds of groups got together in order to stop me from moving out [into politics]. Because I was very outspoken and very articulate and didn’t take guff off anybody.”\u003c/p>\n\u003cp>\u003cstrong>From assemblywoman to congresswoman\u003c/strong>\u003c/p>\n\u003cp>When Chisholm entered the New York State Assembly in 1964, she helped pass unemployment insurance for domestic workers.\u003c/p>\n\u003cfigure id=\"attachment_13869439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-800x540.jpg\" alt=\"Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She's shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She’s shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins. \u003ccite>(PhotoQuest/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in Congress, she refused to be sidelined. She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.\u003c/p>\n\u003cp>She demanded to be put into positions more relevant to the needs of her constituents back home. She became part of the Veterans Affairs committee. Within three years, she would move on to the Education and Labor Committee.\u003c/p>\n\u003cp>In 2015, President Barack Obama posthumously awarded Chisholm the Presidential Medal of Freedom.\u003c/p>\n\u003cp>“There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>At the ceremony, Obama told the story of Chisholm’s early battles to be taken seriously in Congress.\u003c/p>\n\u003cp>“When Shirley was assigned to the House Agriculture Committee despite the fact that her district was from New York City, she said, ‘Apparently all they know in Washington about Brooklyn was a tree grew there.’ ”\u003c/p>\n\u003cp>Retelling her story drew laughs, in part because it encapsulated Chisholm’s sharp sense of humor and clarity.\u003c/p>\n\u003cp>In 1972, Chisholm made another history-making move.\u003c/p>\n\u003cfigure id=\"attachment_13869438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-800x644.jpg\" alt=\"In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party's nomination for president.\" width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-768x618.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party’s nomination for president. \u003ccite>(Charles Ruppmann/New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She ran for the Democratic Party’s nomination for president. Her dynamic run proved a qualified woman and person of color should and could be taken seriously for the high office.\u003c/p>\n\u003cp>In the 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed,\u003c/em> filmmaker Shola Lynch chronicles Chisholm’s presidential campaign and includes interviews with Chisholm reflecting on her life in public office.\u003c/p>\n\u003cp>During the film, Chisholm talks frankly about her legacy.\u003c/p>\n\u003cp>“I’d like them to say that Shirley Chisholm had guts,” she said.\u003c/p>\n\u003cp>\u003cstrong>The 2018 midterms and Chisholm’s legacy\u003c/strong>\u003c/p>\n\u003cp>Fifty years and one day after Chisholm’s historic 1968 win, Lauren Underwood, from Naperville, Ill., became the first African-American woman to represent her district in Congress. Underwood, like Ayanna Pressley, the first black woman elected to Congress from Massachusetts, cites Chisholm as an inspiration. Likewise, Stacey Abrams, the black candidate who ran for governor of Georgia this year, says she is proud to be part of Chisholm’s legacy.\u003c/p>\n\u003cp>When Chisholm wrapped up her remarks in 1968, she took a moment to share a new reality with her supporters and the Brooklyn residents she was poised to serve.\u003c/p>\n\u003cfigure id=\"attachment_13869437\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg\" alt=\"Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress.\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214-160x119.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress. \u003ccite>(Steven Senne/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“To black and white Americans, although I’m making history this evening, I love to believe that my victory tonight is a symbol of hope for many of us who never dreamt or never believed that we would have had the opportunity to move out [into politics],” she said.\u003c/p>\n\u003cp>“And I want to say, to all of the marvelous people in the 12th Congressional District, black, Puerto Rican and white, that without your support and without your faith in me, and without your going to the polls today and telling the world that we have our voice, I would not have made it.”\u003c/p>\n\u003cp>“God bless you,” she said, engulfed by the sound of applause around her.\u003c/p>\n\u003cp>Ayanna Pressley of Massachusetts recently paraphrased the words of Brooklyn’s fiery congresswoman.\u003c/p>\n\u003cp>“Shirley Chisholm said she simply wanted to be remembered as a black woman being herself. When more of us do that, we win,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Fifty years ago, Shirley Chisholm became the first African-American woman elected to Congress. As part of our series on significant events from 1968, we examine Chisholm's life and work.","status":"publish","parent":0,"modified":1705021863,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":1451},"headData":{"title":"A Look Back On Shirley Chisholm's Historic 1968 House Victory | KQED","description":"Fifty years ago, Shirley Chisholm became the first African-American woman elected to Congress. As part of our series on significant events from 1968, we examine Chisholm's life and work.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Look Back On Shirley Chisholm's Historic 1968 House Victory","datePublished":"2019-11-05T17:01:39.000Z","dateModified":"2024-01-12T01:11:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Pictorial Parade","nprByline":"Walter Ray Watson","nprImageAgency":"Getty Images","nprStoryId":"664617076","nprApiLink":"http://api.npr.org/query?id=664617076&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory?ft=nprml&f=664617076","nprRetrievedStory":"1","nprPubDate":"Wed, 21 Nov 2018 16:41:00 -0500","nprStoryDate":"Tue, 06 Nov 2018 05:10:00 -0500","nprLastModifiedDate":"Tue, 11 Dec 2018 14:45:06 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/11/20181106_me_a_look_back_on_shirley_chisholms_historic_1968_house_victory.mp3?orgId=1&topicId=1014&aggIds=576782307&d=212&p=3&story=664617076&ft=nprml&f=664617076","nprAudioM3u":"http://api.npr.org/m3u/1664617077-ad5dec.m3u?orgId=1&topicId=1014&aggIds=576782307&d=212&p=3&story=664617076&ft=nprml&f=664617076","audioTrackLength":212,"path":"/arts/13869430/a-look-back-on-shirley-chisholms-historic-1968-house-victory","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/11/20181106_me_a_look_back_on_shirley_chisholms_historic_1968_house_victory.mp3?orgId=1&topicId=1014&aggIds=576782307&d=212&p=3&story=664617076&ft=nprml&f=664617076","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: This story \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\" target=\"_blank\" rel=\"noopener\">originally appeared\u003c/a> on November 6, 2018. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Shirley Chisholm’s celebrated win on election night, Nov. 5, 1968, still resonates with today’s election cycle, 50 years later. She became the first black woman ever elected to the U.S. House of Representatives. Over the years, her victory is often cited as inspiration for women running for public office.\u003c/p>\n\u003cp>This election season has been nicknamed “The Year of the Woman” because a record number of women have run and won seats in national and statewide races.\u003c/p>\n\u003cp>\u003cstrong>Campaign gets little attention\u003c/strong>\u003c/p>\n\u003cp>In 1968, Chisholm defeated James Farmer for New York’s 14th Congressional District. She was a New York State assemblywoman, elected in 1964 after leaving behind a career in education, first as a nursery school teacher and later a consultant to New York City’s Division of Day Care. Farmer, a black man and civil rights leader, ran as a Republican.\u003c/p>\n\u003cp>The reapportioned 12th Congressional District was largely made up of Brooklyn’s Bedford-Stuyvesant community and a few other parts of the borough. Bed-Stuy’s residents were mostly African-American and Puerto Rican. It was also Chisholm’s home.\u003c/p>\n\u003cp>Chisholm labeled Farmer “an outsider” during the campaign, because he lived in Manhattan. Among her tactics, she spoke in Spanish to Spanish speakers, a language she had developed fluency in as a schoolteacher. She took her campaign to the streets, literally, riding on a truck with a loudspeaker. Making multiple stops, she regularly kicked off her remarks by saying, “This is Fighting Shirley Chisholm.”\u003c/p>\n\u003cp>The contest between two black candidates garnered little media attention outside Brooklyn. In Susan Brownmiller’s 1970 biography of Chisholm, she described the candidate as distraught over the lack of coverage. Chisholm was concerned that only \u003cem>The Amsterdam News,\u003c/em> a black newspaper, seemed interested in covering her near the end of the campaign.\u003c/p>\n\u003cp>But when the final votes were tallied, voters chose Chisholm by better than a 2-to-1 margin over Farmer.\u003c/p>\n\u003cp>Still, media attention remained scant about Chisholm’s surprising win. Richard Nixon’s narrow win over Vice President Hubert Humphrey dominated headlines and airwaves. Television, radio and newspapers mentioned Chisholm’s news in one line on air, or in only a paragraph in print.\u003c/p>\n\u003cp>Her victory remarks from the evening are hard to come by. But NPR recently found a recording held by the New York Public Library.\u003c/p>\n\u003cp>“My dear friends, tonight is a very important night,” she told her supporters, “not so much for me, but for you, the people of this community.\u003c/p>\n\u003cp>“After many years of struggle and sacrifices on the part of several of you here this evening, we have at long last been able to elect today a voice that shall be your voice in the halls of the United States Congress.”\u003c/p>\n\u003cp>Within a couple weeks of the election, a national black weekly, \u003cem>Jet\u003c/em> magazine, put Chisholm on the cover. It wasn’t until several months later, when she was a sworn-in member of Congress, that the country began to pay closer attention. In February 1969, \u003cem>Ebony\u003c/em> magazine did a cover story. Later still, she was filmed on the steps of the U.S. Capitol by an NBC News camera crew, answering questions from visiting Brooklyn students from her district.\u003c/p>\n\u003cp>In the NBC documentary \u003cem>The Irrepressible Shirley Chisholm,\u003c/em> a black teenager asks her, “How do you feel being the first black woman in the House of Representatives?”\u003c/p>\n\u003cp>“I have mixed feelings,” Chisholm begins, as she looks at the girl along with her classmates.\u003c/p>\n\u003cp>“First of all, I’m very glad to make history in this country being the first black woman, [but] I don’t get terribly excited about it.”\u003c/p>\n\u003cp>In 2003, some 20 years after Chisholm left Congress, Tavis Smiley asked her which had been a bigger obstacle during her career, being black or being a woman?\u003c/p>\n\u003cp>“I met far more discrimination being a woman than being black when I moved out into the political arena,” she said. “All kinds of meetings and all kinds of groups got together in order to stop me from moving out [into politics]. Because I was very outspoken and very articulate and didn’t take guff off anybody.”\u003c/p>\n\u003cp>\u003cstrong>From assemblywoman to congresswoman\u003c/strong>\u003c/p>\n\u003cp>When Chisholm entered the New York State Assembly in 1964, she helped pass unemployment insurance for domestic workers.\u003c/p>\n\u003cfigure id=\"attachment_13869439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-800x540.jpg\" alt=\"Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She's shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She’s shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins. \u003ccite>(PhotoQuest/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in Congress, she refused to be sidelined. She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.\u003c/p>\n\u003cp>She demanded to be put into positions more relevant to the needs of her constituents back home. She became part of the Veterans Affairs committee. Within three years, she would move on to the Education and Labor Committee.\u003c/p>\n\u003cp>In 2015, President Barack Obama posthumously awarded Chisholm the Presidential Medal of Freedom.\u003c/p>\n\u003cp>“There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>At the ceremony, Obama told the story of Chisholm’s early battles to be taken seriously in Congress.\u003c/p>\n\u003cp>“When Shirley was assigned to the House Agriculture Committee despite the fact that her district was from New York City, she said, ‘Apparently all they know in Washington about Brooklyn was a tree grew there.’ ”\u003c/p>\n\u003cp>Retelling her story drew laughs, in part because it encapsulated Chisholm’s sharp sense of humor and clarity.\u003c/p>\n\u003cp>In 1972, Chisholm made another history-making move.\u003c/p>\n\u003cfigure id=\"attachment_13869438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-800x644.jpg\" alt=\"In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party's nomination for president.\" width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-768x618.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party’s nomination for president. \u003ccite>(Charles Ruppmann/New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She ran for the Democratic Party’s nomination for president. Her dynamic run proved a qualified woman and person of color should and could be taken seriously for the high office.\u003c/p>\n\u003cp>In the 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed,\u003c/em> filmmaker Shola Lynch chronicles Chisholm’s presidential campaign and includes interviews with Chisholm reflecting on her life in public office.\u003c/p>\n\u003cp>During the film, Chisholm talks frankly about her legacy.\u003c/p>\n\u003cp>“I’d like them to say that Shirley Chisholm had guts,” she said.\u003c/p>\n\u003cp>\u003cstrong>The 2018 midterms and Chisholm’s legacy\u003c/strong>\u003c/p>\n\u003cp>Fifty years and one day after Chisholm’s historic 1968 win, Lauren Underwood, from Naperville, Ill., became the first African-American woman to represent her district in Congress. Underwood, like Ayanna Pressley, the first black woman elected to Congress from Massachusetts, cites Chisholm as an inspiration. Likewise, Stacey Abrams, the black candidate who ran for governor of Georgia this year, says she is proud to be part of Chisholm’s legacy.\u003c/p>\n\u003cp>When Chisholm wrapped up her remarks in 1968, she took a moment to share a new reality with her supporters and the Brooklyn residents she was poised to serve.\u003c/p>\n\u003cfigure id=\"attachment_13869437\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg\" alt=\"Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress.\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214-160x119.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress. \u003ccite>(Steven Senne/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“To black and white Americans, although I’m making history this evening, I love to believe that my victory tonight is a symbol of hope for many of us who never dreamt or never believed that we would have had the opportunity to move out [into politics],” she said.\u003c/p>\n\u003cp>“And I want to say, to all of the marvelous people in the 12th Congressional District, black, Puerto Rican and white, that without your support and without your faith in me, and without your going to the polls today and telling the world that we have our voice, I would not have made it.”\u003c/p>\n\u003cp>“God bless you,” she said, engulfed by the sound of applause around her.\u003c/p>\n\u003cp>Ayanna Pressley of Massachusetts recently paraphrased the words of Brooklyn’s fiery congresswoman.\u003c/p>\n\u003cp>“Shirley Chisholm said she simply wanted to be remembered as a black woman being herself. When more of us do that, we win,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869430/a-look-back-on-shirley-chisholms-historic-1968-house-victory","authors":["byline_arts_13869430"],"categories":["arts_835","arts_7862","arts_235"],"tags":["arts_596","arts_5826","arts_3650"],"featImg":"arts_13869436","label":"arts"},"arts_13866441":{"type":"posts","id":"arts_13866441","meta":{"index":"posts_1591205157","site":"arts","id":"13866441","score":null,"sort":[1568672398000]},"guestAuthors":[],"slug":"in-ken-burns-country-music-an-optimistic-handling-of-race","title":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest","publishDate":1568672398,"format":"standard","headTitle":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The new PBS documentary offers a too-charitable reading of power and privilege in country music.","status":"publish","parent":0,"modified":1705022138,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1235},"headData":{"title":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED","description":"The new PBS documentary offers a too-charitable reading of power and privilege in country music.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest","datePublished":"2019-09-16T22:19:58.000Z","dateModified":"2024-01-12T01:15:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race","authors":["185"],"categories":["arts_2303","arts_835","arts_74","arts_69"],"tags":["arts_2767","arts_7534","arts_7535","arts_1118","arts_2041","arts_3650"],"featImg":"arts_13866519","label":"arts"},"arts_13866278":{"type":"posts","id":"arts_13866278","meta":{"index":"posts_1591205157","site":"arts","id":"13866278","score":null,"sort":[1568314449000]},"guestAuthors":[],"slug":"remembering-influential-documentary-photographer-robert-frank","title":"Remembering Influential Documentary Photographer Robert Frank","publishDate":1568314449,"format":"standard","headTitle":"Remembering Influential Documentary Photographer Robert Frank | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Influential photographer and filmmaker Robert Frank has died at the age of 94. He died of natural causes on Monday night in Nova Scotia, Canada. His death was confirmed by his longtime friend and gallerist Peter MacGill.\u003c/p>\n\u003cp>He was best known for \u003ca href=\"https://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography\">his 1959 book \u003cem>The Americans\u003c/em>\u003c/a>, a collection of black-and-white photographs he took while road-tripping across the country starting in 1955. Frank’s images were dark, grainy and free from nostalgia; they showed a country at odds with the optimistic views of prosperity that characterized so much American photography at the time.\u003c/p>\n\u003cp>His Leica camera captured gay men in New York, factory workers in Detroit and a segregated trolley in New Orleans — sour and defiant white faces in front and the anguished face of a black man in back.\u003c/p>\n\u003cfigure id=\"attachment_13866280\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866280\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg\" alt=\"Trolley – New Orleans, 1955.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1920x1192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trolley – New Orleans, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Gift of Maria and Lee Friedlander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was savaged — mainstream critics called Frank sloppy and joyless. And Frank remembered the slights.\u003c/p>\n\u003cp>“The Museum of Modern Art wouldn’t even sell the book,” he told NPR for a story in 1994. “I mean, certain things, one doesn’t forget so easy. But the younger people caught on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the photographs in \u003cem>The Americans\u003c/em> became canon, inspiring legions. \u003ca href=\"https://www.joelmeyerowitz.com/\">Photographer Joel Meyerowitz\u003c/a> remembered watching Frank at work early on.\u003c/p>\n\u003cp>“And it was such an unbelievable and powerful experience watching him twisting, turning, bobbing, weaving,” Meyerowitz said in 1994. “And every time I heard his Leica go ‘click,’ I would see the moment freeze in front of Robert.”\u003c/p>\n\u003cfigure id=\"attachment_13866281\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg\" alt=\"Parade – Hoboken, New Jersey, 1955.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1200x810.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade – Hoboken, New Jersey, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, Robert B. Menschel Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Switzerland in 1924, Frank came to the United States in 1947. Even then, his pictures were seen as too rough, spontaneous, personal. He was turned down by the respected photo agency Magnum.\u003c/p>\n\u003cp>But Frank knew what he wanted to do and he had the training to back up his vision, as the late poet Allen Ginsburg pointed out in 1994.\u003c/p>\n\u003cp>“Robert has this fantastic education since he was 17 as an apprentice to an industrial photographer,” Ginsburg said. “So he knows the chemicals of it. He knows how to light a factory with magnesium flares. So he’s got fantastic discipline which he applies to being able to be spontaneous.”\u003c/p>\n\u003cfigure id=\"attachment_13866282\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg\" alt=\"Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955.\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1200x816.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1920x1306.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, The Robert and Anne Bass Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginsburg was a friend and photography student of Frank. He also starred in Frank’s first film, 1959’s \u003cem>Pull My Daisy\u003c/em>. It was based on part of an unproduced play by Jack Kerouac and featured the author as narrator.\u003c/p>\n\u003cp>\u003cem>Pull My Daisy\u003c/em>, and the other experimental, autobiographical films Robert Frank made, were his reaction to a restlessness he felt around still photography.\u003c/p>\n\u003cp>“In still photography, you have to come up with one good picture, maybe two or three,” he told NPR in 1988. “But that’s only three frames. There’s no rhythm. Still photography isn’t music. Film is really, in a way, based on a rhythm, like music.”\u003c/p>\n\u003cp>Yet Frank’s films shared a lot with his photographs. They were personal; they evoked emotions as much as they told stories. They’re like home movies, and he made more than 20 of them before returning to photography. By then, he was a legend, acknowledged as an inspiration by such noted artists as Ed Ruscha, Lee Friedlander and Garry Winogrand.\u003c/p>\n\u003cp>What comes through in all of Frank’s work is his ability to catch a moment. And that came from truly looking.\u003c/p>\n\u003cp>“Like a boxer trains for a fight, a photographer, by walking the streets, and watching, and taking pictures, and coming home, and going out the next day — same thing again, taking pictures,” Frank said in 2009. “It doesn’t matter how many he takes, or if he takes any at all. It gets you prepared to know what you should take pictures of.”\u003c/p>\n\u003cfigure id=\"attachment_13866283\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg\" alt='\"New York City, 7 Bleecker Street,\" 1993.' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1200x956.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1920x1529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“New York City, 7 Bleecker Street,” 1993. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one 1985 video called “Home Improvements,” he films his own reflection through a glass door. He seems to capture how he saw his work in the voiceover narration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m always looking outside trying to look inside,” Frank says. “Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+Documentary+Photographer+Robert+Frank+Dies+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"In \u003cem>The Americans\u003c/em>, a book of photos taken while road-tripping across the country in the 1950s, his portrait of the United States was dark, grainy and free from nostalgia. He died on Monday night.","status":"publish","parent":0,"modified":1705022164,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":813},"headData":{"title":"Remembering Influential Documentary Photographer Robert Frank | KQED","description":"In The Americans, a book of photos taken while road-tripping across the country in the 1950s, his portrait of the United States was dark, grainy and free from nostalgia. He died on Monday night.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Remembering Influential Documentary Photographer Robert Frank","datePublished":"2019-09-12T18:54:09.000Z","dateModified":"2024-01-12T01:16:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Fred Stein Archive","nprByline":"Tom Cole","nprImageAgency":"Getty Images","nprStoryId":"759386718","nprApiLink":"http://api.npr.org/query?id=759386718&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/pictureshow/2019/09/10/759386718/influential-documentary-photographer-robert-frank-dies-at-94?ft=nprml&f=759386718","nprRetrievedStory":"1","nprPubDate":"Tue, 10 Sep 2019 18:54:00 -0400","nprStoryDate":"Tue, 10 Sep 2019 12:28:00 -0400","nprLastModifiedDate":"Tue, 10 Sep 2019 17:46:30 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/09/20190910_atc_influential_documentary_photographer_robert_frank_dies_at_94.mp3?orgId=1&topicId=1143&d=245&p=2&story=759386718&ft=nprml&f=759386718","nprAudioM3u":"http://api.npr.org/m3u/1759554344-c76e6e.m3u?orgId=1&topicId=1143&d=245&p=2&story=759386718&ft=nprml&f=759386718","audioTrackLength":245,"templateType":"standard","featuredImageType":"standard","path":"/arts/13866278/remembering-influential-documentary-photographer-robert-frank","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/09/20190910_atc_influential_documentary_photographer_robert_frank_dies_at_94.mp3?orgId=1&topicId=1143&d=245&p=2&story=759386718&ft=nprml&f=759386718","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Influential photographer and filmmaker Robert Frank has died at the age of 94. He died of natural causes on Monday night in Nova Scotia, Canada. His death was confirmed by his longtime friend and gallerist Peter MacGill.\u003c/p>\n\u003cp>He was best known for \u003ca href=\"https://www.npr.org/2009/02/13/100688154/americans-the-book-that-changed-photography\">his 1959 book \u003cem>The Americans\u003c/em>\u003c/a>, a collection of black-and-white photographs he took while road-tripping across the country starting in 1955. Frank’s images were dark, grainy and free from nostalgia; they showed a country at odds with the optimistic views of prosperity that characterized so much American photography at the time.\u003c/p>\n\u003cp>His Leica camera captured gay men in New York, factory workers in Detroit and a segregated trolley in New Orleans — sour and defiant white faces in front and the anguished face of a black man in back.\u003c/p>\n\u003cfigure id=\"attachment_13866280\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866280\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg\" alt=\"Trolley – New Orleans, 1955.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642-1920x1192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c15302_sbd-rf_custom-18acc0a05aa078146b7ebfd6e0ca625ae855e642.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trolley – New Orleans, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Gift of Maria and Lee Friedlander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was savaged — mainstream critics called Frank sloppy and joyless. And Frank remembered the slights.\u003c/p>\n\u003cp>“The Museum of Modern Art wouldn’t even sell the book,” he told NPR for a story in 1994. “I mean, certain things, one doesn’t forget so easy. But the younger people caught on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the photographs in \u003cem>The Americans\u003c/em> became canon, inspiring legions. \u003ca href=\"https://www.joelmeyerowitz.com/\">Photographer Joel Meyerowitz\u003c/a> remembered watching Frank at work early on.\u003c/p>\n\u003cp>“And it was such an unbelievable and powerful experience watching him twisting, turning, bobbing, weaving,” Meyerowitz said in 1994. “And every time I heard his Leica go ‘click,’ I would see the moment freeze in front of Robert.”\u003c/p>\n\u003cfigure id=\"attachment_13866281\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg\" alt=\"Parade – Hoboken, New Jersey, 1955.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1200x810.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/c12010_sbd_custom-a3ee60b48c9ab452be169c41ba2fc77ac1d027d9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade – Hoboken, New Jersey, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, Robert B. Menschel Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Switzerland in 1924, Frank came to the United States in 1947. Even then, his pictures were seen as too rough, spontaneous, personal. He was turned down by the respected photo agency Magnum.\u003c/p>\n\u003cp>But Frank knew what he wanted to do and he had the training to back up his vision, as the late poet Allen Ginsburg pointed out in 1994.\u003c/p>\n\u003cp>“Robert has this fantastic education since he was 17 as an apprentice to an industrial photographer,” Ginsburg said. “So he knows the chemicals of it. He knows how to light a factory with magnesium flares. So he’s got fantastic discipline which he applies to being able to be spontaneous.”\u003c/p>\n\u003cfigure id=\"attachment_13866282\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg\" alt=\"Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955.\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1200x816.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf-1920x1306.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110215-0032_sbd_custom-9dad814bddcc679596d5ba8650f650062727fadf.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant – U.S. 1 leaving Columbia, South Carolina, 1955. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection, The Robert and Anne Bass Fund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginsburg was a friend and photography student of Frank. He also starred in Frank’s first film, 1959’s \u003cem>Pull My Daisy\u003c/em>. It was based on part of an unproduced play by Jack Kerouac and featured the author as narrator.\u003c/p>\n\u003cp>\u003cem>Pull My Daisy\u003c/em>, and the other experimental, autobiographical films Robert Frank made, were his reaction to a restlessness he felt around still photography.\u003c/p>\n\u003cp>“In still photography, you have to come up with one good picture, maybe two or three,” he told NPR in 1988. “But that’s only three frames. There’s no rhythm. Still photography isn’t music. Film is really, in a way, based on a rhythm, like music.”\u003c/p>\n\u003cp>Yet Frank’s films shared a lot with his photographs. They were personal; they evoked emotions as much as they told stories. They’re like home movies, and he made more than 20 of them before returning to photography. By then, he was a legend, acknowledged as an inspiration by such noted artists as Ed Ruscha, Lee Friedlander and Garry Winogrand.\u003c/p>\n\u003cp>What comes through in all of Frank’s work is his ability to catch a moment. And that came from truly looking.\u003c/p>\n\u003cp>“Like a boxer trains for a fight, a photographer, by walking the streets, and watching, and taking pictures, and coming home, and going out the next day — same thing again, taking pictures,” Frank said in 2009. “It doesn’t matter how many he takes, or if he takes any at all. It gets you prepared to know what you should take pictures of.”\u003c/p>\n\u003cfigure id=\"attachment_13866283\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg\" alt='\"New York City, 7 Bleecker Street,\" 1993.' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1200x956.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57-1920x1529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/r-20110310-0022_sbd_custom-37040bb906d9b16742067295aa616a6584586a57.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“New York City, 7 Bleecker Street,” 1993. \u003ccite>(Robert Frank/National Gallery of Art, Washington, Robert Frank Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one 1985 video called “Home Improvements,” he films his own reflection through a glass door. He seems to capture how he saw his work in the voiceover narration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m always looking outside trying to look inside,” Frank says. “Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+Documentary+Photographer+Robert+Frank+Dies+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13866278/remembering-influential-documentary-photographer-robert-frank","authors":["byline_arts_13866278"],"categories":["arts_75","arts_1564","arts_70"],"tags":["arts_7525","arts_596","arts_822","arts_3650"],"featImg":"arts_13866279","label":"arts"},"arts_13859508":{"type":"posts","id":"arts_13859508","meta":{"index":"posts_1591205157","site":"arts","id":"13859508","score":null,"sort":[1560449030000]},"guestAuthors":[],"slug":"danny-glover-ta-nehisi-coates-to-testify-at-house-slavery-reparations-hearing","title":"Danny Glover, Ta-Nehisi Coates to Testify at House Slavery Reparations Hearing","publishDate":1560449030,"format":"standard","headTitle":"Danny Glover, Ta-Nehisi Coates to Testify at House Slavery Reparations Hearing | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>WASHINGTON (AP) — The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer \u003ca href=\"https://www.kqed.org/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and actor \u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" target=\"_blank\" rel=\"noopener\">Danny Glover\u003c/a> set to testify before a House panel.\u003c/p>\n\u003cp>The House Judiciary Subcommittee on the Constitution, Civil Rights and Civil Liberties is scheduled to hold the hearing next Wednesday, its stated purpose “to examine, through open and constructive discourse, the legacy of the Trans-Atlantic Slave Trade, its continuing impact on the community and the path to restorative justice.” The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.\u003c/p>\n\u003cp>[aside postID='arts_13858829' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LastBlackManinSF.jpg' target='_blank']\u003c/p>\n\u003cp>Former Democratic Rep. John Conyers of Michigan, the longtime sponsor of House Resolution 40, first proposed the measure calling for a study of reparations in 1989. Conyers reintroduced the bill every session until his resignation in 2017.\u003c/p>\n\u003cp>Texas Democratic Rep. Sheila Jackson Lee, the resolution’s new sponsor, introduced it earlier this year and pushed for next week’s hearing. House Speaker Nancy Pelosi said in February that she supports a reparations study, a topic that hasn’t been the subject of a House hearing since 2007.\u003c/p>\n\u003cp>Reparations had been a fringe issue and occasional punchline until Coates’ 2014 essay in The Atlantic, “The Case for Reparations,” thrust the topic back into the national discourse. Danny Glover, who hails from San Francisco, has never swayed from activism. Fans may have seen him starring most recently in \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a> as Grandpa Allen in Jimmy Fails and Joe Talbott’s cinematic portrait of a young black man on his search for home in his rapidly-gentrifying home city of San Francisco. Off-screen, Glover has served as a Goodwill Ambassador for the United Nations Development Program and spoken at rallies for economic justice and global human rights. He is also a UNICEF ambassador.\u003c/p>\n\u003cp>In an interview with Coates as he prepared to leave office, President Barack Obama questioned the implementation of reparations but not the concept. And in a conversation, Coates had earlier this year with Rep. Alexandria Ocasio-Cortez, D-N.Y., the popular progressive endorsed reparations.\u003c/p>\n\u003cp>The reparations debate became part of the 2020 presidential race early, as several Democratic presidential primary candidates signaled their support for compensating the descendants of slaves, though not in the traditional sense of direct payouts to black Americans. Most have been vague on more specific ideas, but they have instead offered policies addressing economic inequality that could disproportionately benefit black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":" The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer Ta-Nehisi Coates and actor Danny Glover set to testify. The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.","status":"publish","parent":0,"modified":1705026018,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":454},"headData":{"title":"Danny Glover, Ta-Nehisi Coates to Testify at House Slavery Reparations Hearing | KQED","description":" The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer Ta-Nehisi Coates and actor Danny Glover set to testify. The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Danny Glover, Ta-Nehisi Coates to Testify at House Slavery Reparations Hearing","datePublished":"2019-06-13T18:03:50.000Z","dateModified":"2024-01-12T02:20:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Errin Haines Whack, Associated Press","path":"/arts/13859508/danny-glover-ta-nehisi-coates-to-testify-at-house-slavery-reparations-hearing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>WASHINGTON (AP) — The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer \u003ca href=\"https://www.kqed.org/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and actor \u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" target=\"_blank\" rel=\"noopener\">Danny Glover\u003c/a> set to testify before a House panel.\u003c/p>\n\u003cp>The House Judiciary Subcommittee on the Constitution, Civil Rights and Civil Liberties is scheduled to hold the hearing next Wednesday, its stated purpose “to examine, through open and constructive discourse, the legacy of the Trans-Atlantic Slave Trade, its continuing impact on the community and the path to restorative justice.” The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858829","hero":"https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LastBlackManinSF.jpg","target":"_blank","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Democratic Rep. John Conyers of Michigan, the longtime sponsor of House Resolution 40, first proposed the measure calling for a study of reparations in 1989. Conyers reintroduced the bill every session until his resignation in 2017.\u003c/p>\n\u003cp>Texas Democratic Rep. Sheila Jackson Lee, the resolution’s new sponsor, introduced it earlier this year and pushed for next week’s hearing. House Speaker Nancy Pelosi said in February that she supports a reparations study, a topic that hasn’t been the subject of a House hearing since 2007.\u003c/p>\n\u003cp>Reparations had been a fringe issue and occasional punchline until Coates’ 2014 essay in The Atlantic, “The Case for Reparations,” thrust the topic back into the national discourse. Danny Glover, who hails from San Francisco, has never swayed from activism. Fans may have seen him starring most recently in \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a> as Grandpa Allen in Jimmy Fails and Joe Talbott’s cinematic portrait of a young black man on his search for home in his rapidly-gentrifying home city of San Francisco. Off-screen, Glover has served as a Goodwill Ambassador for the United Nations Development Program and spoken at rallies for economic justice and global human rights. He is also a UNICEF ambassador.\u003c/p>\n\u003cp>In an interview with Coates as he prepared to leave office, President Barack Obama questioned the implementation of reparations but not the concept. And in a conversation, Coates had earlier this year with Rep. Alexandria Ocasio-Cortez, D-N.Y., the popular progressive endorsed reparations.\u003c/p>\n\u003cp>The reparations debate became part of the 2020 presidential race early, as several Democratic presidential primary candidates signaled their support for compensating the descendants of slaves, though not in the traditional sense of direct payouts to black Americans. Most have been vague on more specific ideas, but they have instead offered policies addressing economic inequality that could disproportionately benefit black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13859508/danny-glover-ta-nehisi-coates-to-testify-at-house-slavery-reparations-hearing","authors":["byline_arts_13859508"],"programs":["arts_1272"],"categories":["arts_835","arts_235"],"tags":["arts_928","arts_831","arts_3650","arts_3652","arts_7627","arts_7628"],"featImg":"arts_13859513","label":"arts_1272"},"arts_13848288":{"type":"posts","id":"arts_13848288","meta":{"index":"posts_1591205157","site":"arts","id":"13848288","score":null,"sort":[1546918345000]},"guestAuthors":[],"slug":"sf-arts-commission-first-city-department-to-adopt-formal-racial-equity-policy","title":"SF Arts Commission First City Department to Adopt Formal Racial Equity Policy","publishDate":1546918345,"format":"audio","headTitle":"SF Arts Commission First City Department to Adopt Formal Racial Equity Policy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Following a unanimous vote by its board Monday afternoon, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> (SFAC) has become the first city department to officially adopt a \u003ca href=\"https://sfgov.org/arts/sites/default/files/121718_Arts_Commission_Draft_Racial_Equity_Statement_and_Plan_FY19-20.pdf\" target=\"_blank\" rel=\"noopener\">racial equity statement and plan\u003c/a>.\u003c/p>\n\u003cp>The statement and plan set guidelines for preventing workplace discrimination and inequity, such as earmarking resources for racial equity and collecting and analyzing demographic data to improve the racial equity impact of SFAC programs.\u003c/p>\n\u003cp>The statement, which is intended to appear on the SFAC’s website right alongside its mission, opens with these words:\u003c/p>\n\u003cblockquote>\u003cp>The San Francisco Arts Commission is committed to creating a city where all artists and cultural workers have the freedom, resources and platform to share their stories, art and culture and where race does not predetermine one’s success in life. We also acknowledge that we occupy traditional and unceded Ohlone land. Fueled by these beliefs, we commit to addressing the systemic inequities within our agency, the City and County of San Francisco and the broader arts and culture sector. This work requires that we focus on race as we confront inequities of the past, reveal inequities of the present and develop effective strategies to move all of us towards an equitable future.\u003c/p>\u003c/blockquote>\n\u003cp>The SFAC’s statement and plan are part of a city-wide effort aimed at addressing systemic and institutional racism throughout local government. Around 30 city departments, including public health, parks and recreation, and the district attorney’s office, are expected to vote in similar policies in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13848292\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg\" alt=\"Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s just a fact that racism is baked into our city government, the way it’s baked into state government and federal government,” said Ariana Flores, a policy analyst at the \u003ca href=\"https://sf-hrc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Human Rights Commission\u003c/a>, speaking with KQED at San Francisco City Hall after the vote. “If you look at history, the way that policies have been drafted and carried out have resulted in extreme disparities. And those disparities play out worst for people of color in every area. If you look at health, education, and even art, it tends to be people of color that don’t have those kinds of opportunities. So it’s a really important step that the arts commission is being a leader in the city—to take a hard and honest look at their work, work to undo some of those disparities, and be proactive about finding ways to be equitable racially.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Dr. Anh Thang Dao-Shah, the SFAC’s recently appointed, inaugural senior racial equity and policy analyst, studies show the leadership of arts organizations to be predominantly white. “In publishing, over 90 percent of book reviewers are white, and more than 80 percent of executive directors at dance organizations are white,” said Thang Dao-Shah during her presentation Monday before the SFAC board. “Over 60 percent of foundation funding in the arts goes to about 2 percent of arts organizations presenting predominantly western European forms.”\u003c/p>\n\u003cp>Indeed, the heads of most of San Francisco’s major cultural institutions are white men, including recent appointments like \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" target=\"_blank\" rel=\"noopener\">Thomas Campbell\u003c/a> at the Fine Arts Museums of San Francisco and \u003ca href=\"https://www.kqed.org/arts/13846403/esa-pekka-salonen-appointed-music-director-at-sf-symphony\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a> at the San Francisco Symphony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We as a society are starting to grapple with the truths of our history, and understanding the root causes of a lot of the problems that we’re seeing every day,” said Flores. “Institutional, structural racism is at the heart of so many of our problems. What’s different now is our ability and our willingness to actually take some steps toward righting these wrongs that have been carried out for so long.”\u003c/p>\n\n","blocks":[],"excerpt":"The statement and plan set guidelines for preventing workplace discrimination and inequity.","status":"publish","parent":0,"modified":1705026785,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":656},"headData":{"title":"SF Arts Commission First City Department to Adopt Formal Racial Equity Policy | KQED","description":"The statement and plan set guidelines for preventing workplace discrimination and inequity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Arts Commission First City Department to Adopt Formal Racial Equity Policy","datePublished":"2019-01-08T03:32:25.000Z","dateModified":"2024-01-12T02:33:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/01/ArtsCommEquityCS.mp3","sticky":false,"audioTrackLength":58,"path":"/arts/13848288/sf-arts-commission-first-city-department-to-adopt-formal-racial-equity-policy","audioDuration":65000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a unanimous vote by its board Monday afternoon, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> (SFAC) has become the first city department to officially adopt a \u003ca href=\"https://sfgov.org/arts/sites/default/files/121718_Arts_Commission_Draft_Racial_Equity_Statement_and_Plan_FY19-20.pdf\" target=\"_blank\" rel=\"noopener\">racial equity statement and plan\u003c/a>.\u003c/p>\n\u003cp>The statement and plan set guidelines for preventing workplace discrimination and inequity, such as earmarking resources for racial equity and collecting and analyzing demographic data to improve the racial equity impact of SFAC programs.\u003c/p>\n\u003cp>The statement, which is intended to appear on the SFAC’s website right alongside its mission, opens with these words:\u003c/p>\n\u003cblockquote>\u003cp>The San Francisco Arts Commission is committed to creating a city where all artists and cultural workers have the freedom, resources and platform to share their stories, art and culture and where race does not predetermine one’s success in life. We also acknowledge that we occupy traditional and unceded Ohlone land. Fueled by these beliefs, we commit to addressing the systemic inequities within our agency, the City and County of San Francisco and the broader arts and culture sector. This work requires that we focus on race as we confront inequities of the past, reveal inequities of the present and develop effective strategies to move all of us towards an equitable future.\u003c/p>\u003c/blockquote>\n\u003cp>The SFAC’s statement and plan are part of a city-wide effort aimed at addressing systemic and institutional racism throughout local government. Around 30 city departments, including public health, parks and recreation, and the district attorney’s office, are expected to vote in similar policies in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13848292\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg\" alt=\"Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s just a fact that racism is baked into our city government, the way it’s baked into state government and federal government,” said Ariana Flores, a policy analyst at the \u003ca href=\"https://sf-hrc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Human Rights Commission\u003c/a>, speaking with KQED at San Francisco City Hall after the vote. “If you look at history, the way that policies have been drafted and carried out have resulted in extreme disparities. And those disparities play out worst for people of color in every area. If you look at health, education, and even art, it tends to be people of color that don’t have those kinds of opportunities. So it’s a really important step that the arts commission is being a leader in the city—to take a hard and honest look at their work, work to undo some of those disparities, and be proactive about finding ways to be equitable racially.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Dr. Anh Thang Dao-Shah, the SFAC’s recently appointed, inaugural senior racial equity and policy analyst, studies show the leadership of arts organizations to be predominantly white. “In publishing, over 90 percent of book reviewers are white, and more than 80 percent of executive directors at dance organizations are white,” said Thang Dao-Shah during her presentation Monday before the SFAC board. “Over 60 percent of foundation funding in the arts goes to about 2 percent of arts organizations presenting predominantly western European forms.”\u003c/p>\n\u003cp>Indeed, the heads of most of San Francisco’s major cultural institutions are white men, including recent appointments like \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" target=\"_blank\" rel=\"noopener\">Thomas Campbell\u003c/a> at the Fine Arts Museums of San Francisco and \u003ca href=\"https://www.kqed.org/arts/13846403/esa-pekka-salonen-appointed-music-director-at-sf-symphony\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a> at the San Francisco Symphony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We as a society are starting to grapple with the truths of our history, and understanding the root causes of a lot of the problems that we’re seeing every day,” said Flores. “Institutional, structural racism is at the heart of so many of our problems. What’s different now is our ability and our willingness to actually take some steps toward righting these wrongs that have been carried out for so long.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848288/sf-arts-commission-first-city-department-to-adopt-formal-racial-equity-policy","authors":["8608"],"categories":["arts_835","arts_235"],"tags":["arts_4027","arts_746","arts_596","arts_3650","arts_1300","arts_1879"],"featImg":"arts_13848293","label":"arts"},"arts_13819312":{"type":"posts","id":"arts_13819312","meta":{"index":"posts_1591205157","site":"arts","id":"13819312","score":null,"sort":[1516220042000]},"guestAuthors":[],"slug":"google-arts-and-culture-selfie-app-inherits-art-world-disparities","title":"Google Arts and Culture #Selfie App Inherits Art World Disparities","publishDate":1516220042,"format":"standard","headTitle":"Google Arts and Culture #Selfie App Inherits Art World Disparities | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>When an app asks you, “Is your portrait in a museum?” and you’re a person of color, it’s likely the answer is complicated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.google.com/culturalinstitute/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Arts and Culture\u003c/a> — Google Cultural Institute’s eager nod to art world institutions — released a wildly popular feature on their \u003ca href=\"https://t.co/DUuzxlMKCd\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a> this month that allows users to find their art doppelgänger.\u003c/p>\n\u003cp>Once you snap a selfie on the app, your “faceprint” is charted through a series of measurements (the distance between your eyes, the width of your nose, and fullness of your lips). Your image then goes through a matching process with over \u003ca href=\"https://www.inverse.com/article/40177-google-arts-and-culture-technology\" target=\"_blank\" rel=\"noopener noreferrer\">70,000 works of art\u003c/a> in Google’s database. The artwork candidates hail from powerhouses like the Louvre, J. Paul Getty Museum and Rijksmuseum on down to a handful of smaller art foundations and contemporary galleries.\u003c/p>\n\u003cp>If you’re looking for a complete list of artwork titles and origins, you’re out of luck. Intentional or not, Google has remained somewhat tight-lipped about the artwork they’ve cataloged.\u003c/p>\n\u003cp>Nevertheless, its source material is not exactly diverse. When I conducted a search of the 100 most recent posts tagged \u003ca href=\"https://www.instagram.com/explore/tags/googleartsandculture/\" target=\"_blank\" rel=\"noopener noreferrer\">#googleartsandculture\u003c/a> on Instagram, I found that 91 percent of the artwork was created by male artists, and 63 percent was created by European and American artists before the 20th century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578151195/google-app-goes-viral-making-an-art-out-of-matching-faces-to-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a>, the app is particularly problematic for people of color, as a good percentage of the artwork it draws from is both Western and depicting white subjects.\u003c/p>\n\u003cp>https://twitter.com/nydiahartono/status/951558504573104128\u003c/p>\n\u003cp>Then again, the mainstream art world is no stranger to being called overwhelmingly \u003ca href=\"http://www.blouinartinfo.com/news/story/840695/diversify-or-die-why-the-art-world-needs-to-keep-up-with-our\" target=\"_blank\" rel=\"noopener noreferrer\">rich\u003c/a>, \u003ca href=\"https://news.artnet.com/art-world/new-york-galleries-study-979049\" target=\"_blank\" rel=\"noopener noreferrer\">white\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries\" target=\"_blank\" rel=\"noopener noreferrer\">male\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/ryankubo/status/953292632481918976\u003c/p>\n\u003cp>https://twitter.com/inuyashas_/status/952956037245612034\u003c/p>\n\u003cp>And what of the facial recognition software? Even if there’s nothing inherently biased in its faceprinting technology, the lack of representation in Google’s artwork database seems to either whitewash or lump one race into a loose set of facial characteristics.\u003c/p>\n\u003cp>https://www.instagram.com/p/BeCk1llhddZ/\u003c/p>\n\u003cp>https://twitter.com/liluzi_girth/status/951913732782854149\u003c/p>\n\u003cp>This isn’t the first time Google’s facial recognition software has failed people of color. In 2015, two Google Photos users discovered, to their horror, that their selfies were tagged in a new album titled ‘\u003ca href=\"https://www.forbes.com/sites/mzhang/2015/07/01/google-photos-tags-two-african-americans-as-gorillas-through-facial-recognition-software/\" target=\"_blank\" rel=\"noopener noreferrer\">Gorillas\u003c/a>.’\u003c/p>\n\u003cp>https://twitter.com/jackyalcine/status/615329515909156865\u003c/p>\n\u003cp>Beyond faulty AI, the pool of art that’s available to Google has a lot to say about how it sees its users and which art it values.\u003c/p>\n\u003cfigure id=\"attachment_13819317\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg\" alt=\"\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I get the same 5 images of black women that look nothing like me and it is definitely based on nose width.”\u003c/b>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13819316\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg\" alt=\"\" width=\"500\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-96x96.jpg 96w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I got this one when I was frustrated.” \u003c/b>\u003c/p>\u003c/blockquote>\n\u003cp>Many of the pieces that do depict people of color are filtered through both a European and male gaze. In the examples in the second row below, Alfred Jacob Miller’s 19th-century depictions of Native Americans existed to introduce the white art-consuming audience of the day to \u003ca href=\"http://www.alfredjacobmiller.com/explore/art-of-alfred-jacob-miller/\" target=\"_blank\" rel=\"noopener noreferrer\">Westward expansion\u003c/a> and colonial exploits. In 2018, when so many contemporary artists work hard to correct such representations, what does it mean for people of color to be re-categorized through a colonial lens?\u003c/p>\n\u003cp>https://twitter.com/LinaBlanco/status/952381900508680192\u003c/p>\n\u003cp>If Google Arts and Culture truly wants to match its users with artwork, they should make a concerted effort to include collections with more diverse source material; portraiture and artwork that transcends race, gender and medium. (If Google merely wants to collect faces for its database, well, it’s \u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2018/01/16/google-app-that-matches-your-face-to-artwork-is-wildly-popular-its-also-raising-privacy-concerns/?utm_term=.9b3df887d46f\" target=\"_blank\" rel=\"noopener noreferrer\">doing a great job\u003c/a>.)\u003c/p>\n\u003cp>https://twitter.com/peterpcullen/status/952711641912799234\u003c/p>\n\u003cp>Thankfully, recent \u003ca href=\"https://www.theatlantic.com/education/archive/2016/02/rewriting-art-history/435426/\" target=\"_blank\" rel=\"noopener noreferrer\">art movements\u003c/a> are underway to radically uproot and shatter Eurocentric biases in art history. More and more, well-known \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/de-youngs-revelations-unveils-a-hidden-history-of-black-artistic-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">institutions\u003c/a> recognize art made by and for people of color as more than token — or, god-forbid, “exotic” — collections.\u003c/p>\n\u003cp>Let’s hope Google can keep up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\n\u003cp>\u003cem>Have you used \u003ca href=\"https://www.google.com/culturalinstitute/beta/camera/selfie\" target=\"_blank\" rel=\"noopener noreferrer\">Google Art and Culture\u003c/a> app’s new selfie feature? We’d like to hear your thoughts. Share your selfie with us on \u003ca href=\"https://www.instagram.com/kqed_arts\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"It's all over your social media feeds, but not everyone finds themselves well represented in Google's version of art history.","status":"publish","parent":0,"modified":1705028757,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":710},"headData":{"title":"Google Arts and Culture #Selfie App Inherits Art World Disparities | KQED","description":"It's all over your social media feeds, but not everyone finds themselves well represented in Google's version of art history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Google Arts and Culture #Selfie App Inherits Art World Disparities","datePublished":"2018-01-17T20:14:02.000Z","dateModified":"2024-01-12T03:05:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13819312/google-arts-and-culture-selfie-app-inherits-art-world-disparities","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When an app asks you, “Is your portrait in a museum?” and you’re a person of color, it’s likely the answer is complicated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.google.com/culturalinstitute/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Arts and Culture\u003c/a> — Google Cultural Institute’s eager nod to art world institutions — released a wildly popular feature on their \u003ca href=\"https://t.co/DUuzxlMKCd\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a> this month that allows users to find their art doppelgänger.\u003c/p>\n\u003cp>Once you snap a selfie on the app, your “faceprint” is charted through a series of measurements (the distance between your eyes, the width of your nose, and fullness of your lips). Your image then goes through a matching process with over \u003ca href=\"https://www.inverse.com/article/40177-google-arts-and-culture-technology\" target=\"_blank\" rel=\"noopener noreferrer\">70,000 works of art\u003c/a> in Google’s database. The artwork candidates hail from powerhouses like the Louvre, J. Paul Getty Museum and Rijksmuseum on down to a handful of smaller art foundations and contemporary galleries.\u003c/p>\n\u003cp>If you’re looking for a complete list of artwork titles and origins, you’re out of luck. Intentional or not, Google has remained somewhat tight-lipped about the artwork they’ve cataloged.\u003c/p>\n\u003cp>Nevertheless, its source material is not exactly diverse. When I conducted a search of the 100 most recent posts tagged \u003ca href=\"https://www.instagram.com/explore/tags/googleartsandculture/\" target=\"_blank\" rel=\"noopener noreferrer\">#googleartsandculture\u003c/a> on Instagram, I found that 91 percent of the artwork was created by male artists, and 63 percent was created by European and American artists before the 20th century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578151195/google-app-goes-viral-making-an-art-out-of-matching-faces-to-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a>, the app is particularly problematic for people of color, as a good percentage of the artwork it draws from is both Western and depicting white subjects.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"951558504573104128"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then again, the mainstream art world is no stranger to being called overwhelmingly \u003ca href=\"http://www.blouinartinfo.com/news/story/840695/diversify-or-die-why-the-art-world-needs-to-keep-up-with-our\" target=\"_blank\" rel=\"noopener noreferrer\">rich\u003c/a>, \u003ca href=\"https://news.artnet.com/art-world/new-york-galleries-study-979049\" target=\"_blank\" rel=\"noopener noreferrer\">white\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries\" target=\"_blank\" rel=\"noopener noreferrer\">male\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"953292632481918976"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"952956037245612034"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And what of the facial recognition software? Even if there’s nothing inherently biased in its faceprinting technology, the lack of representation in Google’s artwork database seems to either whitewash or lump one race into a loose set of facial characteristics.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BeCk1llhddZ"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"951913732782854149"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This isn’t the first time Google’s facial recognition software has failed people of color. In 2015, two Google Photos users discovered, to their horror, that their selfies were tagged in a new album titled ‘\u003ca href=\"https://www.forbes.com/sites/mzhang/2015/07/01/google-photos-tags-two-african-americans-as-gorillas-through-facial-recognition-software/\" target=\"_blank\" rel=\"noopener noreferrer\">Gorillas\u003c/a>.’\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"615329515909156865"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyond faulty AI, the pool of art that’s available to Google has a lot to say about how it sees its users and which art it values.\u003c/p>\n\u003cfigure id=\"attachment_13819317\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg\" alt=\"\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I get the same 5 images of black women that look nothing like me and it is definitely based on nose width.”\u003c/b>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13819316\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg\" alt=\"\" width=\"500\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-96x96.jpg 96w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I got this one when I was frustrated.” \u003c/b>\u003c/p>\u003c/blockquote>\n\u003cp>Many of the pieces that do depict people of color are filtered through both a European and male gaze. In the examples in the second row below, Alfred Jacob Miller’s 19th-century depictions of Native Americans existed to introduce the white art-consuming audience of the day to \u003ca href=\"http://www.alfredjacobmiller.com/explore/art-of-alfred-jacob-miller/\" target=\"_blank\" rel=\"noopener noreferrer\">Westward expansion\u003c/a> and colonial exploits. In 2018, when so many contemporary artists work hard to correct such representations, what does it mean for people of color to be re-categorized through a colonial lens?\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"952381900508680192"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If Google Arts and Culture truly wants to match its users with artwork, they should make a concerted effort to include collections with more diverse source material; portraiture and artwork that transcends race, gender and medium. (If Google merely wants to collect faces for its database, well, it’s \u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2018/01/16/google-app-that-matches-your-face-to-artwork-is-wildly-popular-its-also-raising-privacy-concerns/?utm_term=.9b3df887d46f\" target=\"_blank\" rel=\"noopener noreferrer\">doing a great job\u003c/a>.)\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"952711641912799234"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Thankfully, recent \u003ca href=\"https://www.theatlantic.com/education/archive/2016/02/rewriting-art-history/435426/\" target=\"_blank\" rel=\"noopener noreferrer\">art movements\u003c/a> are underway to radically uproot and shatter Eurocentric biases in art history. More and more, well-known \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/de-youngs-revelations-unveils-a-hidden-history-of-black-artistic-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">institutions\u003c/a> recognize art made by and for people of color as more than token — or, god-forbid, “exotic” — collections.\u003c/p>\n\u003cp>Let’s hope Google can keep up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\n\u003cp>\u003cem>Have you used \u003ca href=\"https://www.google.com/culturalinstitute/beta/camera/selfie\" target=\"_blank\" rel=\"noopener noreferrer\">Google Art and Culture\u003c/a> app’s new selfie feature? We’d like to hear your thoughts. Share your selfie with us on \u003ca href=\"https://www.instagram.com/kqed_arts\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819312/google-arts-and-culture-selfie-app-inherits-art-world-disparities","authors":["11357"],"series":["arts_610"],"categories":["arts_2303","arts_835","arts_71","arts_75","arts_70"],"tags":["arts_3634","arts_2767","arts_1118","arts_3649","arts_3648","arts_596","arts_3650","arts_3652","arts_3656","arts_1935"],"featImg":"arts_13819577","label":"arts_610"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"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"}},"code-switch-life-kit":{"id":"code-switch-life-kit","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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","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","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"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","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","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":{"npr":"https://rpb3r.app.goo.gl/4s8b","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"}},"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.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","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. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"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/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","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. 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