Racism-Foundational 1: Difference between revisions
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[https://www.npr.org/2011/11/25/142704489/racist-history-of-american-news-media by Tell Me More 25/11/11 npr] | [https://www.npr.org/2011/11/25/142704489/racist-history-of-american-news-media by Tell Me More 25/11/11 npr] | ||
This is TELL ME MORE, from NPR News. I'm Tony Cox. Michel Martin is away. Coming up, the sound of Cleveland's soul music is rediscovered. We talk about the new box set of songs from the Boddie Recording Company in just a few moments. | This is TELL ME MORE, from NPR News. I'm Tony Cox. Michel Martin is away. Coming up, the sound of Cleveland's soul music is rediscovered. We talk about the new box set of songs from the Boddie Recording Company in just a few moments. | ||
=====An examination of The Times’ failures on race, our apology and a path forward===== | |||
[https://www.latimes.com/opinion/story/2020-09-27/los-angeles-times-apology-racism by The Times Editorial Board 27/9/20 Los Angeles Times] | |||
The headline was stripped across the top of the front page, “Marauders From Inner City Prey on L.A.’s Suburbs.” The story, published by The Times on July 12, 1981, described a “permanent underclass” in the city’s “ghettos and barrios,” fueling a crime wave that was spilling over from South Los Angeles into prosperous — and largely white — communities in Pasadena, Palos Verdes, Beverly Hills and elsewhere. | |||
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March 25, 2020 | March 25, 2020 | ||
Bettye Kearse on the Complicated Lineage of Her Ancestors | Bettye Kearse on the Complicated Lineage of Her Ancestors | ||
My earliest recollection of hearing this story was as a five-year-old attempting to stand still while my mother worked on the dress she was creating for me. Every time I had a piano recital, she sewed me a new dress, and every time she sewed for me, I became bored and fidgety. I dreaded the fittings more than the performance itself. The performance lasted little more than two minutes; the fittings took forever. Mom pinned a seam; I tried on the dress. Mom sewed a seam; I tried on the dress. Mom pinned a hem; I tried on the dress . . . It was torture. My mother designed my outfits, but I did not care about ruffles, lace, and satin trim, and I did not want to play the piano. I wanted to dance. The closer the dress came to its final shape, the closer I came to driving my mother to her wits’ end. At every opportunity, I’d slip away and dance to the music in my head. I loved the Nutcracker Suite. I was the Sugar Plum Fairy. I arabesqued, twirled, pliéed, then twirled again, careful not to let the pins stick me. But my reprieves were brief. | My earliest recollection of hearing this story was as a five-year-old attempting to stand still while my mother worked on the dress she was creating for me. Every time I had a piano recital, she sewed me a new dress, and every time she sewed for me, I became bored and fidgety. I dreaded the fittings more than the performance itself. The performance lasted little more than two minutes; the fittings took forever. Mom pinned a seam; I tried on the dress. Mom sewed a seam; I tried on the dress. Mom pinned a hem; I tried on the dress . . . It was torture. My mother designed my outfits, but I did not care about ruffles, lace, and satin trim, and I did not want to play the piano. I wanted to dance. The closer the dress came to its final shape, the closer I came to driving my mother to her wits’ end. At every opportunity, I’d slip away and dance to the music in my head. I loved the Nutcracker Suite. I was the Sugar Plum Fairy. I arabesqued, twirled, pliéed, then twirled again, careful not to let the pins stick me. But my reprieves were brief. | ||
