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Publisher announces details of successor to bestseller Fear
North Korean leader describes bond out of a ‘fantasy film’
Interview: ‘Too many people are emotionally unhinged’ More
Art
Thomas J Price’s Reaching Out artwork becomes one of only three public sculptures of black women in UK More
In 1986, a 69-year-old Miles Axe Copeland Jr gave a memorable interview to Rolling Stone magazine. His three sons were all music industry powerhouses – Stewart played drums in the Police, Miles III was their manager and Ian their booking agent – and Miles himself had been a jazz trumpet-player in his youth. But the interview wasn’t about music. The subject was his days as the CIA’s man in the Middle East between 1947 and 1957, during which time he dined with President Nasser of Egypt, partied with the Soviet spy Kim Philby and, as a pioneer of “dirty tricks”, played a part in removing the leaders of Syria and Iran. Inconveniently for his youngest son, he concluded the interview by implying that the Police were a psy-ops outfit who played shows to “70,000 young minds open to whatever the Police decide to put into them”.“You know it got old Sting on a bad day,” Stewart says, tickled by the memory. “He knew my father very well, and he regrets it now but he took adversely the suggestion that he was a CIA pawn.” More
While the BBC’s dollops of Bitesize Daily has reminded the country of the value of children’s television, there is another public-service initiative quietly climbing the charts. It is the awkwardly named Young Audiences Content Fund (YACF), which was launched in 2019 to reverse a collapse in the number of original British children’s programmes, where funding has fallen by 40% in 10 years.No one knew if devoting £60m to a three-year-long experiment to subsidise programmes for four- to 18-year-olds could revive a creative sector that was dying on its feet or reintroduce variety beyond bought-in cartoons. But as the YACF enters year two, it is judged to have had a good start despite the pause in most TV production. Floella Benjamin, who championed it, says: “It is a success – it has opened the door to people whose voices have not been heard. The BBC can only do so much.”It is also delivering a lockdown dividend, after it improvised by inviting children and teenagers to become involved in short, quality programmes for broadcast, after only a quarter of children polled said television reflected their lives.If you want to see the output for yourself, try sampling the six-part Letters in Lockdown, available on All 4. One that touched me was made in three weeks, with Soham, a 16-year-old boy from Coventry, who writes to his absentee father in the Middle East: “I never felt I had a father figure; you drifted away,” he says, remarking he would have liked tips on shaving. As they share the letter, his father has teary moments and they reconcile.An experiment in May called See Yourself on Screen challenged children to compete to make a short TV show (with mentors) resulting in 15 that made it to broadcast. I loved one from a young girl, Betsy – called Squeaks and Wheeks – about her guinea pigs. “My best friends in lockdown … they can sometimes get a bit smelly,” she says. So she gussies them up with a shampoo and groom in preparation for a guinea-pig tea party. This was all mentored by Jessica Hynes. More
They call him the “ghetto president”, and his ambition is to bring the dreams and the sounds of the streets to the corridors of power.Bobi Wine, a popular reggae star and prominent opposition MP in Uganda, will release a new album next month that addresses what he calls “the real issues people are facing – the injustices, corruption, high taxation, misrule, abuse of human rights, dictatorship.”“Rise up, African musicians, and we can accomplish the task,” Wine said in an interview. “We can’t be defeated. The more they oppress us, the stronger we become. No dictator in history has ever defeated the artists and no one will ever.” More
Documentary
A new documentary finds bipartisan common ground as it follows Republican lawmakers to examine the corrosive influence of money in US democracy More
Movies
5 /
5 stars
5 out of 5 stars.
The gloves and training wheels come off as a group of smart, poignantly naive and utterly insufferable Texas boys get together to simulate government More
The title is apt for a documentary about the American Civil Liberties Union (ACLU), who got their always combative existence stepped up a notch with the election of Donald Trump in 2016. Now they found themselves fighting with the White House itself. This film features an Aaron Sorkin-style walk-and-talk tour around the ACLU offices in Brooklyn, New York, with its array of talented lawyers and heroic idealists.It concentrates on four cases fought by them: the right of a migrant to an abortion, the right of transgender people to serve in the military, the right of migrants not to be separated from their children, and the right of US residents not to answer a new census question about whether they are US citizens. This apparently innocuous query was cunningly designed to reduce the ostensible population size (and federal aid budgets while creating space for tax cuts etc) as migrants fearfully decline to answer.It also, insidiously, is intended to start a media row on this very point and crank up a value-for-money Kulturkampf against the alien outsider, a census question costing so much less than a wall. It should also be said – and this film could and should have said it – that the grotesque policy of separating migrants from their children was specifically designed to create a spasm of horror in the media (and the ACLU) for its deterrent effect, certainly, but mostly, yet again, to provide raw material for the Fox News Theatre of Cruelty.This film is a lively and watchable account of the full-tilt battle being fought by the ACLU, with its chief lawyer, Lee Gelernt, at the helm, a man addicted to Diet Coke and stress, at one point heading to emotional meltdown as he realises he doesn’t know where or how to plug in his smartphone charger. The film’s structural flaw is that it doesn’t quite know how to handle the most controversial moment in ACLU history: sticking toughly to the principle of free speech for all, it defended the right of racist Charlottesville protesters to rally in 2017, an event that led to a fatality. Maybe the whole film should have been about that one case. Well, the census-question case gives this its rousing finale. It creates, however, a possibly misleading impression of victory.• The Fight is available on digital platforms from 31 July. More
