US police killings have been undercounted by at least 17,000 over the last 40 years. A new study confirms that at least half of the people killed by police were never counted. This is groundbreaking data that reveals a truer scope of death caused by police.
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Dev Patel for The New York Times
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Dev Patel photographed by Devin Oktar Yalkin for The New York Times
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Full disclosure, I’m getting ready for bed so I didn’t listen to the 35 minute NPR interview. But I did hunt down the NYT article:
Genuinely didn’t expect to see a colder-than-space take on guns right off the bat so that was a treat. It also alerts me this probably isn’t going to be an op-ed written in good faith in general. I’m going to resist the urge to get into the gun grabber nonsense, though, since I started this post to focus on the efforts to censor everyone but themselves. Anyone that remembers the general quality of the reporting (and tweeting from media figures, more broadly) following the Boulder shooting can hopefully see the irony in a journalist complaining about lies being spread in the aftermath.
They then briefly go into the importance of newly introduced media literacy classes and how the youth have a responsibility to take those lessons and teach them to their family. The article doesn’t say what this training entails but it does link to “Disinfo Day” resources. I didn’t watch these because they’re all long youtube videos and I’m going to bed shortly, so I’ll not comment on their validity. I do see one of them is about finding fact checkers and I’m interested to hear if Snopes and co. are in their recommendations.
After that they celebrate Fox News being sued, remind everyone that the majority of Republicans don’t have confidence in our most recent elections, and then encourage election software companies to sue Donald Trump, I guess in an effort to change how Republicans feel about the election. They also seemingly imply the bar for libel should be lowered for Trump.
Then they close out with this:
The big thing I want to call attention to is that mask slip there, “Sure, removing social media’s immunity from the untruthful things said on their platforms could mean the end of the internet as we know it. True. But that’s not necessarily a bad thing.”
Note that these would be the same protections that Trump and co had been attacking during his term. The main difference is in the seeming end goal. The argument from conservatives over the past couple years has been that Twitter and co are unfairly enjoying the protections of a platform while behaving as a publisher by deleting or editorializing content. Their (stated) goal was to prevent these websites from being able to curate the messaging of their users. The (apparent) goal of the author of this op-ed is to remove these protections in order to force websites to delete even more content, allowing only approved messages to be published. I probably don’t have to explain the red flags that raises, or at least I hope not because I really need to get to sleep.
In closing, here’s a follow-up tweet/thought:
EDIT: Almost forgot to mention. Over the past few years I’ve noticed it seems like only people with zero credibility use the word “unfettered.”
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Our Homes Have Had Enough of Us, Too for The New York Times
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link to full BLMChicago thread
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They Fought to Make ‘In the Heights’ Both Dreamlike and Authentic
An important change is the decision to make the character of Nina, the elite student played by Leslie Grace, an Afro-Latina woman. She even refers to herself as a trigueña, which implies this was more than just a random casting choice.
HUDES One thing I’ve learned is if you want to make a nontraditional or strong casting choice, you actually have to write it into the dialogue or else it’s so easy for the production to get away from that. So a word like trigueña gets put in there for that reason. I wanted to consciously make Nina Afro-Latina in this version of “In the Heights.” Since we opened the show on Broadway, this national conversation has happened around microaggressions and really interesting stuff that I feel like would be applicable to Nina’s situation.
Was there a number that any of you felt was a deal-breaker and needed to stay?
HUDES At some point, for various artistic or budget reasons, many of the numbers were up for being potentially cut. You really had to make a strong argument for why the film needed them. Because the piragüero [who sells the Puerto Rican-style shaved-ice dessert] is a peripheral character, at one point the “Piragua” song was up for cutting. I tried to talk to Lin gently about this. He was really heartbroken and I was like, “I have one idea for how the studio would let us keep that song.” So I pitched him on playing [him]. That’s how that one stayed.
Lin, why did you feel that the piragüero was so significant to the story?
MIRANDA That song is maybe the fastest song I ever wrote. Although, I don’t know that I wrote it. I think I just caught it. The metaphor of the entire musical is inside that song. Piragüero is every character in this movie. They’re doing their best against impossible odds. They take a breath, then they keep scraping by. It’s a minute-and-45-second song, but somehow the DNA of the entire show is in that minute and 45 seconds. I was very proud that that kernel got to stay. My performance was a testament to my grandfather. He passed away the week after “In the Heights” opened on Broadway. He’s the one member of my family who did not get to see everything that came after that opening night. So I have his espejuelos [reading glasses] around my neck. I have his [Marcial Lafuente] Estefanía cowboy novels in my pocket. I’m wearing my socks up to my tabs and the same kind of shirt he had to wear. I’m really cosplaying as my abuelo.
Quiara, how did you come into the role of producer and why did you decide to take on that responsibility?
HUDES It was a lot of little things that happened organically. When we went to Warner Bros. and Jon came on board, they weren’t saying, “Where are the pages?” They were saying, “What do the pages mean?” I loved having those conversations and saying, “I don’t want to see stiletto heels on any of the salon workers. They’re women on their feet for eight or nine hours a day. Put them in tennis shoes.” Then Jon started asking me, “What would the food look like?” And I was like, “Can we also talk about the pots?” Then I started talking to the choreographer Chris Scott about the dance casting call. I don’t know much about dance, but I did know that at Abuela’s house and out on the street, you’re going to see elderly people dancing and they are going to be schooling the young’uns. At some point I said, “I want to be a producer on this. I’m not just writing words on a page.”
The choice of shooting on location is really compelling, especially when some locations would have been much easier to conceive on a soundstage. Tell me about shooting in Washington Heights and what that adds to the experience.
MIRANDA On paper it’s risky, right? It’s expensive to shoot in New York. It’s hard to shoot on location. It’s harder to shoot in Washington Heights in the summer when we all live outside for a few months a year. But the advantage is you get a million authenticity checks every day because your neighborhood is rolling up with folding chairs to watch this movie you’re going to make about them. Your characters better be dressed like the folks who are on the side, your food better be right. Everything you’re putting in the frame should be an honest reflection of the surrounding everything that’s outside of the frame. I give Jon so much credit for leaning in and listening and finding these corners of the neighborhood that have additional layers of meaning for those of us like Quiara and myself, who still live in the neighborhood.
The concept of the dream, or sueñito, is different for each character. The musical seems to say that you can attain your aspirations without losing who you are to assimilation. That’s a profound notion for immigrants and their children.
MIRANDA It’s that simple and it’s that complicated. You’re talking to first-generation writers whose parents were born on the island of Puerto Rico. You grow up with the “Sliding Doors” thinking: “What if they’d stayed? Who would I be if I grew up in Vega Alta, Puerto Rico?” The nuance that we always fought for is to say, “I can accept the sacrifice of my ancestors. I can accept the responsibility that bestows upon me and still find my own way in the world.” It’s not an either-or, it’s not about, “Forget your dreams. It’s my dreams.” It’s thinking, “I accept the incredible journey you had to take for me to even be standing here and still my job is to make my own way in the world and define home for what it is for me.”
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At this point, I want Britney to go full on Uma Thurman in Kill Bill on these assholes.
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Chloe Sevigny & Natasha Lyonne for NYTimes
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girl best friends what about bad art friends
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“GOP challenger to Cheney says he impregnated raped 14-year-old when he was 18.” -- Washington Post, 5/21/21
“Cheney Primary challenger impregnated raped 14-year-old when he was 18.” -- The Hill, 5/21/2021
“Cheney Primary challenger says he impregnated raped 14-year-old when he was 18.” -- NBC Newa, 5/21/2021
“Anthony Bouchard says he impregnated raped 14-year-old when he was 18.” -- New York Times, 5/21/21
“Wyoming lawmaker reveals he impregnated raped 14-year-old at 18.” -- ABC News, 5/21/21
“GOP House candidate mpregnated raped 14-year-old when he was 18.” -- Huffington Post, 5/21/21
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ALICE IN LEATHERLAND is included in George Gene Gustines 's New York Times Art pride month's article, a list of "8 Comic Books in Honor of Pride" along with other incredible books and authors!
Such an honor! 🤩🤩✨✨
ALICE IN LEATHERLAND is an adult romantic comedy written by @iolanda-zanfardino and drawn by me, published by: @blackmaskstudios-blog
Check it out at your local comic shop!
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Mikis Theodorakis, the renowned Greek composer and Marxist firebrand who waged a war of words and music against an infamous military junta that imprisoned and exiled him as a revolutionary and banned his work a half century ago, has died. He was 96.
His death was confirmed on Thursday by the Greek culture minister, Lina Mendoni. News reports in Greece said he died at his home in central Athens.
Mr. Theodorakis was best known internationally for his scores for the films “Zorba the Greek” (1964), in which Anthony Quinn starred as an essence of tumultuous Greek ethnicity; “Z” (1969), Costa-Gavras’s dark satire on the Greek junta; and “Serpico” (1973), Sidney Lumet’s thriller starring Al Pacino as a New York City cop who goes undercover to expose police corruption.
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Olivia Liang for The New York Times (ph: Lindsay Siu)
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A new one for the @nytimestravel , about choosing a travel agent. 🗝 Thanks to the art director Minh Uong!
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