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      in US Politics

      Borat targets Trump, Ye and antisemitism at Kennedy Center Honors

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      Borat targets Trump, Ye and antisemitism at Kennedy Center HonorsSacha Baron Cohen skit receives mixed response at ceremony for lifetime achievements in the arts The British actor Sacha Baron Cohen reprised his character Borat and stole the show at America’s prestigious Kennedy Center Honors on Sunday night, targeting the former president Donald Trump, the rapper Kanye West, now known as Ye, and antisemitism.President Joe Biden smiled broadly and his wife, Jill, was in fits of laughter as Cohen told risque jokes in the comical accent of Kazakh television journalist Borat Sagdiyev.“I know the president of US and A is here,” Borat said to an audience including politicians and celebrities during a segment celebrating the Irish rock group U2. “Where are you, Mr Trump?”As the audience howled, Borat went on: “You don’t look so good. Where has your glorious big belly gone? And your pretty orange skin has become pale.” He then asked if the Russian leader, Vladimir Putin, and the nerve agent novichok were responsible.Borat, the star of two hit satirical films, added: ‘But I see you have a new wife. Wawawoooah! She is very erotic. I must look away before I get a Bono.”The comedian, who is Jewish, then turned his attention to antisemitism in the wake of Trump having dined at his Mar-a-Lago home with the Holocaust denier Nick Fuentes and Ye, who subsequently praised Adolf Hitler and was banned from Twitter for posting an image of a swastika.Borat said: “Before I proceed, I will say I am very upset about the antisemitism in US and A. It not fair. Kazakhstan is No 1 Jew-crushing nation. Stop stealing our hobby. Stop the steal! Stop the steal!” Some guests burst into laughter while others sat in uncomfortable silence.He continued: “Your Kanye, he tried to move to Kazakhstan and even changed his name to Kazakhstanye West. But we said: no, he too antisemitic, even for us.”Borat proceeded to sing a short parody of U2’s song With or Without You with the lyrics changed to “With or without Jews”. He broke off and asked: “What’s the problem? They loved this at Mar-a-Lago. They chose Without Jews.”The Bidens appeared to enjoy Baron Cohen’s routine but it also came as a shock in typically staid and buttoned up Washington. Asked by the Guardian what she thought of it, Biden’s sister Valerie Biden Owens said diplomatically: “I think I like U2”, while Roy Blunt, a Republican senator for Missouri, said: “Not much”.Glenn Youngkin, the governor of Virginia, said: “I was surprised to see him,” and sped away without elaborating.Along with U2, the actor George Clooney, the singer-songwriter Amy Grant, the singer Gladys Knight and the composer Tania León were celebrated at the 45th Kennedy Center Honors, the most prestigious honours for lifetime achievements in the arts. There was also an appearance from Sesame Street’s Big Bird.One audience member from the political world also received a standing ovation. Paul Pelosi, the husband of the House of Representatives speaker, Nancy Pelosi, used the weekend’s honors-related events to make his first public appearance since being attacked in October in their San Francisco home.The Pelosis sat next to the vice-president, Kamala Harris, and her husband, Doug Emhoff, in a balcony. Paul Pelosi wore a black hat and a glove on his left hand.The show highlighted the five artists’ work, and represented a return to pre-coronavirus norms. There was no requirement for testing to attend and few guests wore masks. Anthony Fauci, the chief medical adviser to the president, was among the guests.Clooney, a double Oscar winner, was also praised for his engagement in political causes and spoke to reporters after attending a White House reception.Asked how he thought Biden’s presidency was going, Clooney replied: “Beautifully. I love him. He’s a kind man with great intentions and he has some incredible legislation which kind of gets overlooked and they’re not very good at bragging about right now. He’s done a really good job and I’m very proud to be a supporter.”A follow-up question about whether Clooney, 61, would consider a career in politics prompted his wife, the barrister Amal Clooney, to smile and shake her head. The actor said in agreement: “Listen, we have a really nice life.”In a celebration at the state department on Saturday, Clooney told guests: “I’ve been lucky enough to meet millions of people, every country, literally 125 countries, and they all, without exception, agree and they’ll come up to me and say specifically that, ‘You sucked as Batman’. It’s unified. We could solve world problems if we just all could agree on more than just that I suck as Batman.”At Sunday’s main event at the Kennedy Center, Julia Roberts, who has co-starred in several films with Clooney, wore a floor-length gown with framed images of him on it and called him a “Renaissance man”. The actors Don Cheadle, Matt Damon and Richard Kind also paid tribute, with Damon recalling how Clooney once stole the then-President Bill Clinton’s stationery and wrote notes to fellow actors on it.But the one who moved Clooney to tears was his 88-year-old father, Nick, a journalist and TV anchorman. He recalled that he was hosting a TV show in 1968 when Martin Luther King was assassinated in Memphis. His family came into the green room. “Seven-year-old George had a large paper bag in his hand. I asked him what in the world was in the bag.“Well, he went to the coffee table, he turned the bag upside down. Out poured all of his toy guns landing with a clack. He said: ‘Pop, I don’t want these any more. None of them. Never.’ Well, I tore up my speech. Nothing I would’ve written would have been nearly as eloquent as what George had just done and said.”Nick Clooney said he was often asked what he wanted people to know about his son. “Well, here it is: George’s best and most important work is still ahead of him.”Knight, who has won seven Grammy awards, is famous for hit songs including I Heard It Through the Grapevine and Midnight Train to Georgia as the lead singer of The Pips, which became Gladys Knight and The Pips in 1962. Singers including Garth Brooks and Patti LaBelle performed some of Knight’s songs.Grant rose to prominence as a contemporary Christian music singer who later crossed over to pop stardom, winning six Grammys. The singers Sheryl Crow, Brandi Carlile, CeCe Winans and BeBe Winans were among the artists who honored her.Cuban-born León is a conductor as well as a composer, whose orchestral piece Stride won the 2021 Pulitzer prize in Music. The jazz pianist Jason Moran, the singer Alicia Hall Moran and the cellist Sterling Elliott played one of her creations, Oh Yemanja.The final tribute of the evening was to U2, which, with members Bono, The Edge, Adam Clayton and Larry Mullen Jr, has won 22 Grammys. Eddie Vedder performed Elevation and One, while the Ukrainian singer Jamala joined Carlile and others to perform Walk On. The actor Sean Penn described U2 as “four scrappy Dublin punks” who were also “great musical poets of the ages”.Other guests at the event included the transportation secretary, Pete Buttigieg, the senators Amy Klobuchar, Patrick Leahy, Joe Manchin and Mitt Romney, and representatives James Clyburn and Steny Hoyer, the White House press secretary, Karine Jean-Pierre, and the British ambassador, Dame Karen Pierce.Deborah Rutter, the president of the Kennedy Center, said: “This is probably the largest number of the administration and of Congress that we’ve ever had so that feels really great. People are ready to be back together fully and they want to see a good show.”TopicsBoratSacha Baron CohenDonald TrumpKanye WestAntisemitismU2George ClooneynewsReuse this content More

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      in Elections

      When Law Schools Snub the Rankings

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      More from our inbox:Libraries Changed Our Lives. Let’s Support Them.The Black-Jewish RelationshipChristine McVie’s MagicElection Liars, Not Deniers Vanessa Leroy for The New York TimesTo the Editor:Re “In Growing Movement, More Top Law Schools Will Boycott Rankings” (news article, Nov. 19):​As a law professor for more than 25 years, I applaud the recent boycott of the U.S. News & World Report rankings. The rankings serve only the periodical itself and deans adept at prioritizing favored metrics, especially test scores.More insidiously, the rankings harm students. In addition to motivating deans to award scholarships to students with the highest test scores instead of students with true financial need, and discouraging public interest work, at best the rankings provide students a one-dimensional picture.Law school is a significant investment. Especially below the Top 10, a student choosing among law schools should consider many factors, including the cultural nuances of the institution, which only old-fashioned due diligence can unearth. It breaks my heart when students, lured by rankings, later discover they could have chosen a better fit.I hope the remaining Top 10 deans quickly follow suit and embolden the top 25 law schools to call out the U.S. News rankings as the sham they truly are.Susan Pace HamillTuscaloosa, Ala.The writer is a professor at the University of Alabama School of Law.To the Editor:“In Growing Movement, More Top Law Schools Will Boycott Rankings” describes the scramble to enter the vaunted “T14” — the top 14 law schools as ranked by U.S. News.“At No. 15,” the article declares, “U.C.L.A. is tantalizingly close to the T14.” The difference between ranking 14th and 15th is presented as clear-cut and consequential, illustrating the absurdity of reducing the many facets of legal education to a single number.The article cites a study that found graduates from the T14 to have higher salaries and more “prestigious careers” — on average. Yes, the law schools in the T14 are excellent, but there is no magic to the number 14, and the U.S. News algorithm includes as much “noise” as “signal.”Moreover, the remaining 185 law schools reflect a wide range of approaches and cannot be lumped together. As the dean of an outstanding law school with strong placement in the kind of prestigious jobs the article refers to, I know that many schools provide superb student outcomes, a fact erased by the cited study and obscured by U.S. News’s opaque numbers.Prospective students miss out when they substitute reliance on U.S. News rankings for their own research into which law schools are a good fit for them, given their academic records, interests, career goals and financial situations.Matthew DillerNew YorkThe writer is dean of Fordham Law School.Libraries Changed Our Lives. Let’s Support Them. Hiroko Masuike/The New York TimesTo the Editor:Re “Thankful for Libraries,” by Charles M. Blow (column, Nov. 26):Thanks to Mr. Blow for his column about the importance of libraries in his life. His experience touched me personally.I grew up in a home lacking books. The public library was an oasis for me. Little did I know that when I later attended college and supported myself partly by working in a public library system that I would become a librarian.The recent attacks on public and school libraries are so misguided. Libraries have always done their very best to serve their communities by representing many points of view. They deserve our support.Sam SimonNyack, N.Y.To the Editor:Like many people, I have had a lifelong love affair with libraries — from the time my dad took me to our local library to get my first library card when I was 6.The librarian at my elementary school was Mrs. Moreland, mother of my good friend Stevie. She introduced me to wonderful books as a third grader that led to my becoming a reader for life.As a somewhat nerdy high school student, I would head after school to our local library, part of the Houston Public Library system, spending half my time on the children’s side of the library and the other half on the adult side. My parents never tried to restrict what I could read. When I came to New York, one of the first things I did was to get my library card.Libraries and the devoted librarians who work in them have been my friends for these many years. It pains me to read about the harassment that many librarians have had to endure at the encouragement from certain politicians.Reading is empowering. No wonder that those who want to tell the rest of us what to do fear libraries and books.Jacqueline LowryNew YorkThe writer is a retired teacher of reading, math and science in an elementary-school gifted and talented program.The Black-Jewish Relationship Illustration by Sam Whitney/The New York Times; photograph by Ronald Martinez, via Getty ImagesTo the Editor:Re “Blacks and Jews, Again,” by Michael Eric Dyson (Opinion guest essay, Nov. 27):Professor Dyson’s illuminating and refreshingly honest essay about the historically fraught, ambivalent relationship between African American and Jewish communities is a gift for both of them. If they are to transcend this relationship and unequivocally condemn antisemitism or racism when it arises in their respective communities, they need to learn each other’s histories.Both groups are survivors of institutionalized terror and traumatic violence of historic proportions, perpetrated by bigots. Thus, both groups know prejudicial hatred when they see it, and both know how dangerous it is.As Mr. Dyson implies, knowing each other’s histories will allow African Americans and Jews to identify with each other, to understand, for example, how the suffering of the Jewish people “inspired the sorrow songs” of African Americans (e.g., “Go Down, Moses”) more than a century ago.African Americans and Jews should also remember who benefits from promulgating antisemitic or racist tropes. It must be incredibly gratifying for white supremacist organizations when African Americans and Jews channel the same antisemitism and racism, respectively, as those who would banish them from the country. ​Paul SiegelNew York​​​The writer is a professor of psychology at Purchase College and Westchester Community College, SUNY.Christine McVie’s MagicChristine McVie of Fleetwood Mac in performance at Madison Square Garden in 2014. Her commercial potency was on full display on Fleetwood Mac’s “Greatest Hits” anthology: She either wrote or co-wrote half of its 16 tracks.Charles Sykes/Invision, via Associated PressTo the Editor:Re “Christine McVie, Wellspring of Soulful Hits for Fleetwood Mac, Dies at 79” (obituary, Dec. 1):I mourned the death of Christine McVie this week. What a loss. As I listened at bedtime to Fleetwood Mac’s hits, I reflected on the sadness that arose.When we mourn our fallen generational culture icons, especially musicians (because music and memory are entwined), we are mourning the loss of our youth, with its exuberance, dreams and open promises for the future. We are mourning ourselves.Steve GellmanGrosse Pointe Park, Mich.Election Liars, Not DeniersTo the Editor:I do wish the media would stop calling certain politicians election deniers.None of them are likely to really believe that the 2020 presidential election was stolen from Donald Trump.They are not deniers; they are election liars. Cold, cynical, opportunistic, sociopathic liars.They lie solely to gather their base’s votes, and the heck with democracy.Charlie PhillipsPortland, Ore. More

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      in US Politics

      Ticketmaster’s Taylor Swift chaos triggers US Senate antitrust hearing

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      Ticketmaster’s Taylor Swift chaos triggers US Senate antitrust hearingSeveral politicians voice concerns about dominance of ticket sales company after botched release for singer’s tour A US Senate antitrust panel will go ahead with a hearing on the lack of competition in the country’s ticketing industry after Ticketmaster’s problems last week managing the sale of Taylor Swift tickets.Tickemaster’s parent company, Live Nation, has blamed presale problems for Swift’s Eras tour – the pop superstar’s first US tour in five years – on “unprecedented demand” and an effort to keep out bots run by ticket scalpers.After registered fans struggled with glitches for hours to get tickets in the presale, and tickets quickly began appearing for resale for as much as US$22,700 (£19,100, A$33,500), Ticketmaster cancelled sales to the general public. It later claimed the demand for Swift tickets “could have filled 900 stadiums”.Swifties know: the Ticketmaster fiasco shows America has a monopoly problem | Arwa MahdawiRead moreSwift has said it was “excruciating” for her to watch fans struggling to secure tickets and that she had been assured Ticketmaster could handle the demand.The chaos attracted the attention of US politicians, many of whom have voiced concerns about how dominant Ticketmaster has become after it merged with the entertainment company Live Nation in 2010.Tennessee’s attorney general, Jonathan Skrmetti, has said he will launch a consumer protection investigation into the company after his office was bombarded with complaints from Swift fans.The congresswoman Alexandria Ocasio-Cortez has also criticised the merger. “Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reined in,” she tweeted. “Break them up.”On Tuesday the senator Amy Klobuchar, who will chair the panel, and the senator Mike Lee, the top Republican on the committee, announced the Senate hearing would go ahead. They have yet to provide a date or a list of witnesses.“The high fees, site disruptions and cancellations that customers experienced shows how Ticketmaster’s dominant market position means the company does not face any pressure to continually innovate and improve,” Klobuchar said. “We will hold a hearing on how consolidation in the live entertainment and ticketing industry harms customers and artists alike.”Ticketmaster denied any anti-competitive practices and said it remained under a consent decree with the Department of Justice after the 2010 merger, adding there was no “evidence of systemic violations of the consent decree”.“Ticketmaster has a significant share of the primary ticketing services market because of the large gap that exists between the quality of the Ticketmaster system and the next best primary ticketing system,” the company said.Klobuchar was one of three lawmakers who argued in a letter on Monday that Ticketmaster and Live Nation should be broken up by the Department of Justice if any misconduct was found in an ongoing investigation.The department has proven in recent years to be much more willing to file antitrust lawsuits against giant companies – including the ongoing December 2020 lawsuit against Google – and to fight mergers. Reuters contributed to this reportTopicsTaylor SwiftUS SenatePop and rockMusic industryUS politicsnewsReuse this content More

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      in US Politics

      ‘I will never be against the second amendment’: Run the Jewels’ Killer Mike on rap, racism and gun control

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      Interview‘I will never be against the second amendment’: Run the Jewels’ Killer Mike on rap, racism and gun controlAmmar Kalia After almost a decade of working alongside El-P, the rapper is releasing a solo single. He talks about the chaos and loss that inspired it, his friendship with Bernie Sanders and the ‘racist’ twisting of lyrics‘I definitely lead a non-politician life; I smoke weed and I go to strip clubs with my wife,” the rapper Killer Mike says with a laugh. “But I care about people and I have a duty to my community. I am not an angry old man – I am a participator.” As if to demonstrate at least some of that, he lights a blunt.As a musician and an activist, Killer Mike has long balanced pleasure and responsibility. Now 47, he first came to the world’s attention in the early 2000s, when he featured on several tracks with the Atlanta hip-hop duo Outkast before launching a solo career.Since 2013, he has been half of Run the Jewels alongside the New York rapper El-P. Their music meanders between hedonism and social exposition, while their live shows are as notorious for their ecstatic mosh pits as they are for their lyrical reflections on police brutality, racism and social injustice.Michael Render, as he is legally known, is now releasing his first solo material in a decade, with the track Run testing the waters for a possible larger solo project. Over a fanfare of horns and a clattering mid-tempo beat, he entreats his Black listeners to persist amid the chaos. “All I know is keep going / you gotta run,” he raps, playing with the meanings of running from danger, running for office or simply moving forwards.“I say that ‘the race for freedom ain’t won / you gotta run’,” he tells me, “because as Black people in America we have to be resilient. We have overcome and we shall continue to do so.”On a video call from his home in Atlanta, Georgia, Render is by turns eloquent and mischievous as he talks about his history of political activism. He has been close to the leftwing senator Bernie Sanders ever since they shared a meal at the Atlanta soul food restaurant Busy Bee Cafe in 2015, and he backed Sanders’ presidential campaigns in 2016 and 2020. Their unlikely friendship has spawned hundreds of memes, with Sanders, for example, shaping his hands into the Run the Jewels symbol of a gun pointed at a closed fist, or asking Render if he should call him “Mike or Killer Mike?”. “It was just a conversation between two angry radical guys, one 74 and white, one 40 and Black, finding common ground,” Render has said of that first encounter.His emotive speeches at Sanders rallies are almost as famous as his music. Addressing the roaring crowd in North Carolina in 2019, he said: “When you go to that [voting] booth next year, I need you to carry the memory of this room. Black, white, straight, gay, male, female, we are together. We are united. We will not wait four more years.”His impassioned words in the wake of police killings in the US have also gone viral. In 2015, during a show in Ferguson, Missouri, a fan-filmed video showed Render raging at the grand jury who had acquitted the officer who had killed 18-year-old Michael Brown, then pleading for the safety of his four children, who range in age from 15 to 27. In the riots that followed George Floyd’s murder in 2020, he told the public to fortify their homes and to “plot, plan, strategise, mobilise and organise” to dismantle the systemic structures of racism. “It is time to beat up prosecutors you don’t like at the voting booth,” he said. “It is time to hold mayoral offices accountable, and chiefs and deputy chiefs.”It must be exhausting having to publicly advocate for basic rights year after year, I tell him. “It’s a continuation of the work,” he says calmly. “My grandmother did the work of taking care of our neighbours without publicity, and my grandfather did, too – he would go fishing and always give half of his catch to other people, for instance. I don’t see it as making me better. I don’t see it as being driven by celebrity guilt either. I was told by my elders to make sure that the people who are suffering in my community are relieved by me. These are the principles that I operate with.”He believes that Sanders shares his desire for social justice. “I will always speak to him because I believe he gives a fuck beyond his own personal chequebook. I honestly believe he is a continuation of great thinkers like [former slave and abolitionist] Frederick Douglass and [trade unionist] Eugene V Debs – a continuation of people who fought their ass off for the betterment of the salt-of-the-earth, everyday American.“Part of my responsibility is to make sure that people who are doing the work on a weekly and daily basis have a platform to push an agenda that’s helpful. No matter if you’re a Black person working a blue-collar job, or if you’re one of the educated elite bourgeoisie, you have a responsibility to push the line.”Sometimes, however, he pushes the line in a direction that many will find objectionable. In 2018, during nationwide protests after the deadliest high school shooting in US history, he gave an interview to the National Rifle Association supporting the second amendment right to bear arms. “You’re a lackey of the progressive movement,” he told leftwingers in favour of gun control, “because you’ve never disagreed with the people who tell you what to do.” He later apologised for the interview’s timing, but his stance on gun ownership remains unchanged. “I will never be against the second amendment,” he says. “There’s no way that someone who represents a community that are only 60-odd years out of an apartheid should be willing to give a weapon back to the government, as the police choke you to death in the street and people just watch and film.”The son of a policeman and a florist, Render is not without sympathy for the police. He has said his father told him and his five sisters not to follow in his footsteps because the job was “too dangerous”. Still, Render believes police reform is necessary and possible. “I have not seen a will to get rid of police as much as I’ve seen a want for police to be from the communities they’re policing and to be fair, rather than abusers of power,” he says. “We should be supporting the Police Athletic Leagues that deal with our young boys in particular before any trouble happens, more than we should be giving the police more rifles and bulletproof vests. The connection with the community is key.”These leagues are local organisations founded by precincts to mentor young people and hopefully keep them off the streets. Render wasn’t a member as he grew up in the majority-Black Adamsville neighbourhood of Atlanta, but he managed to find his own community connections. “All my heroes and villains were based on character, not colour, as everyone looked like me in my home town,” he says. “I grew up with a real sense of confidence that I could do well, that even if there’s a few more speed bumps for me, I cannot and will not be denied what’s due to me.”Render studied at the prestigious, historically Black Morehouse college before he was spotted rapping by the Outkast member Big Boi. He offered Render a collaboration on their 2000 track Snappin’ & Trappin’, launching his career and leading him to drop out of college after just one year. “Even though I won a Grammy, my grandma still complained that I didn’t bring her a degree,” Render says. “Dropping out is one of my biggest regrets, but I’ve been given everything I’ve ever wanted in terms of being able to have a rap career, so I need to make it better for the people around me and the people that come after me.”“Making things better” includes fighting the use of rap in criminal trials, as US prosecutors have used lyrics by artists such as 6ix9ine, Drakeo the Ruler and Tay-K to try to show that defendants had violent interests or gang affiliations. Alongside Jay-Z and Kelly Rowland, Render recently supported the New York Senate rap music on trial bill, which aims to ban the practice.Having written an op-ed for the Vox website in 2015 about the police’s “well-documented history of antagonism towards rappers”, Render is now watching one of the artists featured on Run, Young Thug, fight racketeering charges alongside 27 others. Prosecutors claim that Young Thug’s rap collective, YSL, is a criminal gang with ties to the national Bloods organisation, and are attempting to use Thug’s lyrics and social media posts against him. “I can’t comment on the charges,” Render says, “but Thug is a victim of a policy being used in a racist way and all of our first amendment rights could be endangered if they attempt to use his words against him. Let Black art live, otherwise we’re going to see a proliferation of rappers no matter what sex, age or ethnicity dragged into the court.”As well as Young Thug, the extended version of Run contains an opening monologue from the comic Dave Chappelle. In his introduction, he compares the Black experience to the Normandy landings. “Ain’t no rhyme or reason why it’s not you on the ground, but as long as it’s not, you have to keep moving,” Chappelle says. “You’re just as heroic as those people who stormed the beach.”“Chaos abounds around you; the people that you know and love are often taken from you or left forever scarred,” Render agrees. “It creates bonds and camaraderie that last your entire life.” He seems untroubled by the furore over Chappelle’s jokes about transgender people, which led to Netflix employees walking out in protest at the company hosting his standup specials. For Render, freedom of expression trumps everything. “If comedians are not allowed to talk shit about everybody, freedom of speech is in trouble,” he says. “When they cannot express themselves, there’s going to be a real problem with everyone else being able to do so as well.”The last time Render spoke to the Guardian, just after the killing of George Floyd, he declared that Black people might feel that “nobody gives a shit” about them. Two years on, after the global protests for Black Lives Matter, does he feel more optimistic? “Not much has changed for Black people since 1619,” he says – the year that the first enslaved Africans arrived in North America. What progress there is has come “only because we push to get the rights and freedoms we deserve, or that have already been promised to us in the Bill of Rights or the United States constitution. If I work hard in making sure fairness and equity are given to my community and the communities that are like mine, only then can things get better. But the work doesn’t stop.”Might he one day go into politics full-time, instead of just supporting others? He briefly ran as an independent candidate in the 2015 elections for Georgia’s 55th district and says Chappelle recently tried to convince him to run for state governor.“I politely declined,” he adds. Later, maybe? “I will run for office the day that I’m unbribable. When I get rich for real, when no amount of money can corrupt me, maybe.”Killer Mike’s new solo single and video, Run, is out on 4 JulyTopicsRun the JewelsThe G2 interviewOutkastHip-hopGeorge FloydBernie SandersUS politicsfeaturesReuse this content More

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      in US Politics

      BTS visit White House to discuss anti-Asian hate crime – video

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      BTS visited the White House to discuss hate crimes targeting Asians with the US president.
      The band members J-Hope, RM, Suga, Jungkook, V, Jin and Jimin joined the White House press secretary, Karine Jean-Pierre, at her briefing with reporters before their meeting with Joe Biden.
      Jimin said the group had been ‘devastated by the recent surge’ of hate crime and intolerance against Asian Americans and others that has persisted since the start of the coronavirus pandemic.
      ‘It’s not wrong to be different,’ Suga said through an interpreter. ‘Equality begins when we open up and embrace all of our differences’ 

      BTS-mania sweeps the White House as band speaks on anti-Asian hate More

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      in US Politics

      ‘America could be truly free’: John Legend on his fight to overhaul the criminal justice system

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      Interview‘America could be truly free’: John Legend on his fight to overhaul the criminal justice systemSam Levin in Los AngelesThe Grammy-winning singer speaks to the Guardian about mass incarceration and his campaign to elect progressive prosecutors John Legend, the singer-songwriter and longtime racial justice activist, has thrown his weight behind political campaigns that rarely get celebrity endorsements: progressive candidates running for district attorney.The Grammy, Oscar, Emmy and Tony winner has long been a vocal supporter of the movement to reduce mass incarceration in the US, and has backed several chief prosecutors and candidates who seek to right the wrongs of America’s racially biased criminal justice system.Legend, who has spoken openly about the impact of his mother’s stints in jail while struggling with addiction, is advocating at a time when progressive prosecutors are facing intense backlash; an uptick in gun violence during the pandemic has led conservatives, some Democrats and media pundits to push for a return to harsh punishments and “tough on crime” policies.Legend – who has endorsed candidates in Tennessee, North Carolina, Oregon and California – spoke to the Guardian over Zoom last week about the importance of DA races, the “defund the police” movement, and his fears about the mounting opposition to reform. This conversation has been edited and condensed for clarity.How did you personally become interested in supporting progressive prosecutors?It started with seeing the effect that mass incarceration had on my own family and community. Every person you lock up has a bunch of family members that feel the effects of that. When you separate a child from their parent, you’re extending this cycle of violence and trauma to that child, creating more potential for them to get in trouble in the future. We continue to be the most incarcerated country in the world. We can do better and be smarter about it. Incarcerating people and removing them from their family should be a last resort, not a first resort, and we should be actively trying to find alternatives. Thinking about mass incarceration and how we can build a more equitable and just society, how America could be truly free, I really became convinced that prosecutors are a key lever because they have a lot of power in their communities.Why is it so important for voters to care about their local DAs?Prosecutors make policy decisions about which crimes they are going to focus on and prosecute, how much they’re going to charge someone and what they’re going to ask for in sentencing. They decide whether to use cash bail, which is a highly discriminatory policy that forces people to stay in jail simply because they can’t afford bail, leading people to be punished just for being poor. All these decisions affect our incarceration rate. In 2017, we started a “Know your DA” education campaign with the ACLU, because most people probably couldn’t tell you who their DA was and didn’t vote that far down on the ballot or just voted for the incumbent. And then we started looking for more progressive alternatives to run.This movement you’ve championed is now facing serious pushback across the country – what do you make of the opposition?We have to acknowledge that crime did go up in this country during a once-in-a-century pandemic, which caused more housing insecurity, food insecurity, poverty and unemployment. It’s not just in one city – it’s everywhere, including in communities with more conservative local leadership and prosecutors. The rise in crime is not correlated to whether or not that community had a progressive prosecutor. Blaming progressive prosecutors is not consistent with facts, and it’s not a good way of assessing what happened. Crime went up and that’s real, and all of us need to care and find ways to solve these issues. But we’re not going to solve it by mass incarcerating our way to safety. If incarceration was the key to us being safer, we’d be the safest country in the world. We’re already the most policed country in the world.You must have friends in Los Angeles who want to see a “tough on crime” response and are concerned about George Gascón, the progressive prosecutor there. How do you talk to them about this?You start with facts. George Gascón didn’t cause the pandemic or the rise in crime due to the pandemic. And then we have to talk about the costs of incarceration, not just monetary, but the disruptions to our communities and families, the disruption that I felt myself. We have to talk about the heartbreak, despair and violence that incarceration can cause. And we need progressive prosecutors who are thinking holistically about the community and making sure we’re not overusing jails and prisons as a solution to everything. Jails aren’t the solution to mental health issues, homelessness or drug addiction. When we have prosecutors in place who believe that, we can incarcerate fewer people and divert those resources to interventions that will actually help people heal and get better, rather than jail, which exacerbates their pain and their issues. We have a gun problem in this country and all kinds of issues that lead people into crime. We need to focus on investing into our communities so that we can help prevent crime.How do you feel about Democrats who are pushing back against progressive DAs and reforms, including Joe Biden who has strongly opposed calls to “defund the police”?I’m mystified by the vehemence of the rejection to “defund the police” when we haven’t defunded the police. We’ve increased funding, especially due to the American Rescue Plan. We’re already spending more on policing in America than any country in the world spends on their military, aside from China and the US. Spending more and more on police with no upper limit is not the solution. I’m frustrated by Democrats who believe that throwing more money at policing is going to solve these problems and are not looking at the root causes. The solution to homelessness is increasing the supply of affordable housing and supportive housing. We can’t send the police out to “clean up the streets”. Where are we going to put these folks? In jail?Even though crime overall is significantly lower now, do you worry we’re returning to the panic of the 1990s, when there was a push for harsh punishments surrounding the racist “superpredator” myth?I am worried about it. Back then, it was bipartisan, and now seeing how Biden and others talk about crime, it sounds bipartisan, too. I know that they’re responding to people’s real fears, and I really do empathize. I’ve had friends who have been victims of crime recently. It’s not an illusion that people are seeing crime go up since the pandemic. People are apprehensive and afraid. They feel less safe, and we can’t just say, You’re not experiencing what you’re experiencing. But we have to say that there are better solutions than more police and prisons. And politicians have the ability to lead on this issue and not just follow or propose bandaids. They can focus on systemic issues that cause crime and actually in the long run make people safer.What do you think people should understand about the realities of crime trends right now?The press has an important role. They make decisions about the sources they use – and which sources they use without skepticism. You’ll find that even newspapers like the New York Times just repeat the line that the police communications department gives them without scrutiny or skepticism. It’s important that people who are explaining crime to the public, don’t sensationalize it and don’t take statements of police unions uncritically. And we have to remember that a lot of times, progressive prosecutors are getting blamed for national and systemic issues. Folks are trying to find a local scapegoat. Alvin Bragg, the progressive prosecutor in New York, got blamed for crime even before he started working.This is not necessarily an easy issue to speak out about. I’m curious if you’ve personally faced backlash?When I speak out about progressive prosecutors, I usually stay away from my Twitter [laughs].Good call.Because there is a lot of vitriol thrown my way. But what I try to make clear is that, what is radical is how many people we’ve incarcerated in this country. Our status quo is radical. I don’t think what I’m proposing about how to reform our system is that radical.TopicsUS politicsCaliforniaJohn LegendUS crimeinterviewsReuse this content More

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      in US Politics

      ‘I keep hope alive’: Tamara Tunie on playing Kamala Harris in political dystopia The 47th

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      Interview‘I keep hope alive’: Tamara Tunie on playing Kamala Harris in political dystopia The 47thArifa Akbar The Law & Order: SVU star is returning to the stage in a White House satire set in 2024. She talks about the ‘black-lash’ after Obama’s election, brokering a new deal for Broadway diversity – and her role as Whitney Houston’s mumTamara Tunie is limbering up to play the vice-president of America in Mike Bartlett’s new political satire, The 47th. “I have great admiration for what she’s achieved,” says Tunie, in a back office at the Old Vic in London, emanating a big, easygoing exuberance that seems Californian in spirit, although she is a New Yorker. So how is she preparing for the role of Kamala Harris: observing her public persona to mimic her convincingly?“No, I don’t try to impersonate – I find that could get in the way,” says Tunie, who appears utterly at ease with the part. Perhaps that’s because she is no stranger to playing true-life characters – including Whitney Houston’s mother, Cissy, in the upcoming biopic I Wanna Dance With Somebody. “I go to good old YouTube to see what interviews I can find,” she says of her research. “But what I look for more is the essence of the person: there might be one or two things that are significantly them – a quirk, something that they do. What I try to do is land on that but then allow myself the freedom to go: ‘What if they were in this situation?’”Bartlett’s drama finds Harris in 2024 in a world still dominated by the Trump family. It is a funny, horrifying political dystopia, much of it written in iambic pentameter with sly Shakespearean references tucked in. The reality of living through the Trump administration was sobering for Tunie. “This undercurrent of racism and misogyny was always there. What Trump allowed was the Pandora’s Box to be flung open … We must remain vigilant, and we must constantly fight, and we can never just relax and think ‘OK, everything is taken care of.’”Does she think America began relaxing during the Obama years? “Absolutely. The point when President Obama was elected was when the term ‘post-racial’ was coined. That was, unfortunately, a fantasy that everything was all fixed, because now we had a black president. What we are seeing – and one of the reasons I believe that Trump was elected – was that there was a backlash. In my circle we called it ‘black-lash’.”Tunie was born and raised in Pittsburgh, one of six siblings whose parents ran a funeral home. Her mother was also the first black female security guard at United States Steel and had a strong activist streak: “She believed that if there was something that needs to be addressed, you don’t wait for somebody else to do it.” Her father had a second job as an airport porter. Tunie was an all-rounder at school who loved singing and dancing but was fiercely academic, with ambitions to become a medic (she has played a medical examiner for more than 20 years in the TV drama Law & Order: Special Victims Unit).What made her swerve into the performing arts was a single, thrilling moment, in the choir of a spring concert at high school. “I had a solo number and I got a standing ovation. It occurred to me that ‘This makes people really happy, it is something I love to do, and I can touch people with it.’”She won admission to the prestigious drama school at Carnegie Mellon University and made her Broadway debut in 1981. Feeling potentially pigeonholed as a musical performer, she stopped singing and dancing for a while. “I was classically trained. I wanted to do Shakespeare, I wanted to do straight plays, film and television. So for a good eight years or so I didn’t sing at all.”What was it like to return to singing for her part as Cissy Houston, one among a family of women with phenomenal voices, filmed last year? “Utterly intimidating. A lot of people don’t know that I sing, but the music that inspires me is in the jazz vein. Cissy Houston is more an amazing singer of gospel and R&B.” Tunie re-trained her vocals to “find” the character with the help of a musical team which included Rickey Minor, Whitney’s musical director.The 47th is the first live show Tunie has done since the beginning of the pandemic but she used the shutdown to build a campaign for better inclusivity within the theatre community. As part of Black Theatre United, the organisation which Tunie co-founded with fellow black professionals, a “New Deal for Broadway” was secured last year, which established industry-wide standards for equality, diversity, inclusion and accessibility. “This was a product of six months of meetings with the leaders in the industry: theatre owners, producers, creatives, casting directors. It is not a legal document but an agreement that is saying we as a community are going to address the exclusions of black people and make the industry much more inclusive.”Has she seen change more generally across screen and stage in recent years? Yes, but it has come very slowly and with a lot of pain. And even then it could flip back, she says, returning to her point about remaining vigilant. “But what I see in Hollywood are black individuals who have their own production companies, and black people making their own content, with Hollywood calling on them. There is Shonda Rhimes and the incredible dynasty she has built … I see that here, too [in the UK] – I worked with Michaela Coel in Black Earth Rising and she is very much the example of what I’m talking about.”On the subject of trailblazing women, has she ever met Harris? “I was on a Zoom with some other black women [during the presidential campaign] and she chatted with us, sharing some of her thoughts and policies for the future of the country. I found her utterly engaging.” So Harris for president? “As Jesse Jackson would say, ‘I keep hope alive.’ [To be vice-president] is a monumental accomplishment and I feel like it’s another rung in the ladder towards equality and space for not just a woman but a woman of colour to be the president of the United States. That would be the best thing for the country.”
      The 47th is at the Old Vic, London, from 29 March to 28 May.
      TopicsTheatreMike BartlettOld Vic TheatreKamala HarrisUS politicsTelevisionWhitney HoustoninterviewsReuse this content More

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      in World Politics

      Russian Ballet’s Soft Power: Will Dance Outlast Autocracy?

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      The soft power of Russian ballet survived the two world wars, Joseph Stalin’s terror and Holodomor, the Cold War boycotts, the fall of the Soviet Union and the difficult transition to 21st-century capitalism. Ballet has served as a visiting card for Russia for centuries and even helped to soften the hearts of political adversaries like the United States. It is, arguably, one of Russia’s most sophisticated cultural soft-power tools. 

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      Now, with the war in Ukraine, that soft power is facing a major crisis. Since Russia launched its invasion at the end of February, many ballet performances are being canceled around the world: The Bolshoi Ballet’s summer season at London’s Royal Opera House, “Swan Lake” by the Royal Moscow Ballet at the Helix Theatre in Dublin and concerts by the Vienna Philharmonic — led by the Russian conductor and Vladimir Putin’s supporter, Valery Gergiev — at the Carnegie Hall in New York have all been called off. 

      The Danish minister of culture, Ane Halsboe-Jorgensen, suggested the Musikhuset Aarhus, Scandinavia’s largest concert hall, should cancel Russian National Ballet’s performance. The UK tour by the Russian State Ballet of Siberia has been interrupted as a stand against the war. 

      Because of the conflict, former dancers and Ukraine natives Darya Fedotova and Sergiy Mykhaylov changed the name of their school from the School of Russian Ballet to the International Ballet of Florida. Tyneside Cinema, in Newcastle, canceled the screenings of Bolshoi Ballet’s “Swan Lake” and “Pharaoh’s Daughter.” A Japanese ballerina with the Russian Ballet Theater in Moscow, Masayo Kondo, is dancing for peace during a tour in the US, but a restaurant refused to serve lunch to the cast when they learned they were from Russia. 

      Business Card

      The boycotts may just be starting, bringing financial loss to Russia’s cultural establishment amid already crippling economic sanctions. But the damage to Russian ballet’s soft power can be even more everlasting, taking years to recover. After all, soft power is the ability to seduce rather than coerce, strengthen a nation’s image abroad and thus enhance cultural and diplomatic relations as well as tourism. It takes years, even decades, to cultivate the tradition, like Hollywood in the US, the carnival in Brazil and MAG (manga, anime, games) culture in Japan.

      Both the USSR and Russia could never compete with truly global pop-culture exports emanating from America. There were no music icons to rival Michael Jackson, blockbusters like “Star Wars” or TV stars like Oprah. The country produced incredible cultural products, especially when it came to film. Sergei Eisenstein’s “Battleship Potemkin” (1925), Andrei Tarkovsky’s sci-fi “Solaris” (1972) and Alexander Sokurov’s “Russian Arc” (2002) are masterpieces that earned Russian cinema a place in every art book and class around the world, but they were far from being international hits. 

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      Russian composers like Igor Stravinski and Alexander Scriabin, and writers such as Fyodor Dostoyevsky and Lev Tolstoy, similarly occupy high positions in the world’s literary and music canons but can hardly be described as widely popular, especially in the Anglophone cultural sphere. 

      Ballet, on the other hand, has always been a lucrative export for Russia. In her book “Swans of the Kremlin,” Christina Ezrahi looks at how Russian ballet, whose tradition stretches back to the imperial court as a celebration of the Romanov dynasty, with ballet schools established during the rule of Empress Anna Ioannovna in the 18th century, has grabbed the world’s attention. Following the 1917 revolution, Anatoly Lunacharsky luckily convinced Vladimir Lenin not to destroy the Bolshoi because peasants and workers flocked to the theater despite the chaos of the civil war years. 

      Art and Politics

      Although theaters like the Bolshoi may appear as a microcosmos of liberal art, in Russia’s history, ballet has always had close ties with political power. Stalin was an opera aficionado and used to arrive at the Bolshoi by a secret entrance and watch alone. After the signing of the non-aggression pact with Germany in 1939, he took Hitler’s foreign minister Joachim von Ribbentrop to see Galina Ulanova dance at the Bolshoi. 

      During the Soviet era, ballet served as a visiting card for Russian diplomats. In “American-Soviet Cultural Diplomacy,” Cadra Peterson McDaniel demonstrates how the Kremlin used the Bolshoi ballets as a means of cultural exchange, weaving communist ideas such as collective ownership of the means of production and the elimination of income inequality discretely into the storylines along with pre-revolutionary dance aesthetics during 1959 US tour.

      Embed from Getty Images

      Other artists were also crucial for projecting Soviet cultural soft power at the time, like the world-famous cellist and conductor Mstislav Rostropovich and his wife, the opera singer Galina Vishnevskaya. But they faced tough competition from Tchaikovsky’s ballet hits like “The Nutcracker.” 

      Ballet served a purpose during the putsch of 1991, which signaled the beginning of the Soviet Union’s collapse, when instead of announcing the attempted coup against Mikhail Gorbachev, “Swan Lake” was broadcast on national television on a loop. The export of Russian ballet increased during the Yeltsin years as the Bolshoi had to tour to compensate for an unstable economy while enjoying the opening up of the country after decades behind the Iron Curtain. 

      President Putin’s two decades in power may have allowed for economic recovery, but Russian ballet suffered from scandals like the acid attack on Bolshoi’s artistic director Sergei Filin in 2013. The scandal garnered the attention of the international media following stories about the toxic culture at the Bolshoi and its close affiliation with the Kremlin, tarnishing Russian ballet’s appeal.

      The connection between Bolshoi and the power structure in Russia is so vivid that artists were directly affected as the result of the invasion of Ukraine. Tugan Sokhiev, the chief conductor at the Bolshoi, resigned after coming under pressure to condemn Russian actions. Fearing that musicians are becoming “victims of so-called ‘cancel culture,’” he worried he “will be soon asked to choose between Tchaikovsky, Stravinsky, Shostakovich and Beethoven, Brahms, Debussy.” Two Bolshoi dancers, Brazilian David Motta Soares and Italian Jacopo Tissi, also resigned, citing solidarity with Ukraine. 

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      As someone who appears to favor the outdoors, sports and guns, it’s unlikely that President Putin will see ballet as a priority to be shielded from Western sanctions and boycotts. There is, in fact, little he could do, especially given the current restrictions on travel in and out of the country. There is, of course, the question of whether boycotts of the arts are justified, considering that other countries have a history of political intervention, like China in Hong Kong or the US in Iraq, but their cultural products were not banned from movie theaters and art exhibitions. 

      It may find itself caught in another historic moment, but Russian ballet’s cultural soft power survived the tsars, revolutions, famine, dictatorship and the fall of empires. In the end, dance will likely outlast autocracy.  

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More