Archive for the ‘Black Lives Matter’ Category

In politics and pandemics, Russian trolls use fear, anger to drive clicks – Newswise

Newswise Facebook users flipping through their feeds in the fall of 2016 faced a minefield of targeted advertisements pitting blacks against police, southern whites against immigrants, gun owners against Obama supporters and the LGBTQ community against the conservative right.

Placed by distant Russian trolls, they didnt aim to prop up one candidate or cause, but to turn Americans against one another.

The ads were cheaply made and full of threatening, vulgar language.

And, according to a sweeping new analysis of more than 2,500 of the ads, they were remarkably effective, eliciting clickthrough rates as much as nine times higher than what is typical in digital advertising.

We found that fear and anger appeals work really well in getting people to engage, said lead author Chris Vargo, an assistant professor of Advertising, Public Relations and Media Design at University of Colorado Boulder.

The study, published this week in Journalism and Mass Communication Quarterly, is the first to take a comprehensive look at ads placed by the infamous Russian propaganda machine known as the Internet Research Agency (IRA) and ask: How effective were they? And what makes people click on them?

While focused on ads running in 2016, the studys findings resonate in the age of COVID-19 and the run-up to the 2020 election, the authors say.

As consumers continue to see ads that contain false claims and are intentionally designed to use their emotions to manipulate them, its important for them to have cool heads and understand the motives behind them, said Vargo.

How the study worked

For the study, Vargo and assistant professor of advertising Toby Hopp scoured 2,517 Facebook and Instagram ads downloaded from the U.S. House of Representatives Permanent Select Committee On Intelligence website. The committee made the ads publicly available in 2018 after concluding that the IRA had been creating fake U.S. personas, setting up fake social media pages, and using targeted paid advertising to sow discord among U.S. residents.

Using computational tools and manual coding, Vargo and Hopp analyzed every ad, looking for the inflammatory, obscene or threatening words and language hostile to a particular groups ethnic, religious or sexual identity. They also looked at which groups each ad targeted, how many clicks the ad got, and how much the IRA paid.

Collectively, the IRA spent about $75,000 to generate about 40.5 million impressions with about 3.7 million users clicking on them a clickthrough rate of 9.2%.

That compares to between .9% and 1.8% for a typical digital ad.

While ads using blatantly racist language didnt do well, those using cuss words and inflammatory words (like sissy, idiot, psychopath and terrorist) or posing a potential threat did. Ads that evoked fear and anger did the best.

One IRA advertisement targeting users with an interest in the Black Lives Matter movement stated: They killed an unarmed guy again! We MUST make the cops stop thinking that they are above the law! Another shouted: White supremacists are planning to raise the racist flag again! Meanwhile, ads targeting people who sympathized with white conservative groups read Take care of our vets; not illegals or joked If you voted for Obama: We dont want your business because you are too stupid to own a firearm.

Only 110 out of 2,000 mentioned Donald Trump.

This wasnt about electing one candidate or another, said Vargo. It was essentially a make-Americans-hate-each-other campaign.

The ads were often unsophisticated, with spelling or grammatical errors and poorly photoshopped images. Yet at only a few cents to distribute, the IRA got an impressive rate of return.

I was shocked at how effective these appeals were, said Vargo.

COVID-19 a new opportunity for trolls

The authors warn that they have no doubt such troll farms are still at it.

According to some news reports, Russian trolls are already engaged in disinformation campaigns around COVID-19.

I think with any major story, you are going to see this kind of disinformation circulated, said Hopp. There are bad actors out there who have goals that are counter to the aspirational goals of American democracy, and there are plenty of opportunities for them to take advantage of the current structure of social media.

Ultimately, the authors believe better monitoring, via both machine algorithms and human reviewers, could help stem the tide of disinformation.

We as a society need to start seriously talking about what role the platforms and government should play in times like the 2020 election or during COVID-19 when we have a compelling need for high-quality, accurate information to be distributed, said Hopp.

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In politics and pandemics, Russian trolls use fear, anger to drive clicks - Newswise

Recommended Quarantine Reading: 20 NC Books to Hunker Down With – qcnerve.com

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It hasnt even been a week since the county ordered us all to stay at home, and surely you flew through Tiger King in the first day and are now just streaming through old favorites youve already seen. The best way I know to take a break from TV is to read a good book. Its been my favorite pastime since I was a kid, but since Ive been writing about local arts and local news for the last 10 years, Ive had a great opportunity to come across countless local authors and their work, be it fiction or nonfiction. Below Ive compiled a list of some of my personal favorites from authors in Charlotte and around the state that you may want to check out now that youve got all this free time at home. As is the case with anyone who writes about books, I can never get to them all, and thats why I ask that you leave your favorites in the comments below and we can make this an ongoing list together. Keep in mind that if youd like to support local, Park Road Books carries many of these titles and will either ship directly to you or offer curbside service. Also, check out the Charlotte Readers Podcast for more ideas, or interviews with a few of the folks listed below.

Southern gothic novelist Caron McCullers didnt live much of her life in Charlotte, just the first few months of her short-lived marriage to Reeves McCullers, beginning in September 1937. However, it was during this time that she wrote much of her debut novel, The Heart Is a Lonely Hunter, while living first in the Mayer House in Dilworth, now home to Copper Modern Indian Cuisine, and then a since-demolished house on Central Avenue. She was far from a one-hit wonder, but Lonely Hunter remains her most acclaimed work. Find it here (eBook).

Born and raised in Detroit, Sophia moved to Charlotte to escape the cold after graduating from Central Michigan University, and has spent her time here churning out quality romance novels covering a range of different themes. Take her latest duet, Saints & Sinners, the respective titles of two books released last fall that are described as Russian mafia sports romance books. The Saints synopsis begins, Moscow 1989 The food shelves are empty. The streets are lawless and we can relate to at least half of that already. Find it here.

When I was just a wide-eyed intern at the local alt weekly in 2008, Cheris sat on the other side of the cubicle divider from me, and I was amazed at how consistently she could churn out well-reported news pieces and blog posts analyzing the stories of the day. Since then, shes moved on to become a successful romance novelist, and Im equally amazed at how consistent she has remained with that, putting out more than 30 books. Her latest takes place in Charlotte and Charleston. When I asked her about it, she said, I will not take responsibility for any babies that this book inspires, so you know its hot and heavy. Find it here.

Charlottes go-to historian Tom Hanchett takes a look at the racial history of our city and how those themes played into its development and spatial evolution from the end of Reconstruction through the century that followed. Though published in 1999, so much of it remains relevant today. Even better, this month he released the second edition, with a new preface that brings us up to date on issues like gentrification and resegregation. Find it here (eBook).

Charlotte author Kimmery Martin released The Antidote for Everything on Feb. 18, a follow-up to her best-selling debut novel, The Queen of Hearts, which she released two years prior in February 2018. The former ER doctor stuck with the medical profession for the new books plotline, in which two doctors travel a surprising path when they must choose between treating their patients and keeping their jobs. Were thinking of all of Kimmerys former co-workers during this time, and wondering if it will spur the inspiration for her third release. Find it here.

If Hanchetts new preface isnt enough, Greg Jarrells A Riff of Love is the perfect follow-up to Sorting Out the New South City, as it tells the story of present day Enderly Park from the ground level, and how all the history told in Hanchetts book has played out in the day-to-day life of residents there. Jarrell runs Q.C. Family Tree with his wife Helms from his house in the neighborhood, and this book tells how that experience has shaped him as a person and a musician (he plays a mean sax, that I can tell you with certainty). Find it here.

When Pam Kelley, then a reporter with the Charlotte Observer, first met Belton Platt, aka Money Rock, at Central Prison in Raleigh in May 1986, he had recently been convicted for his role in a shootout in the Piedmont Courts housing project in Charlottes Belmont neighborhood. Kelley tracked Platt down again 25 years later, and their ensuing conversations followed by lots of reporting, research and corroboration turned into a series of Observer stories in 2013, then an MFA thesis, then her book, Money Rock: A Familys Story of Cocaine, Race, and Ambition in the New South, released on Sept. 25. Its a harrowing story of how a man who was once Charlottes biggest cocaine kingpin turned his life around and now runs Rock Ministries, with locations in Charlotte and South Carolina, but also tells deeper stories about family, systemic oppression and redemption. Find it here.

In 1998, when Pamela Grundy set out to write a book about West Charlotte High School, it was supposed to have a happy ending. For decades, the school had served as a shining example of the success of integration; of why busing works. Within a couple years, that all started to fall apart. Capacchione v. Charlotte-Mecklenburg Schools would eventually lead to the end of mandatory busing in Charlotte and wipe away much of the progress that had made Charlotte a precedent for integration. On September 5, 2017, 20 years to the day that William Capacchione filed a lawsuit claiming his white daughter, Cristina, was wrongfully denied admission to a magnet school due to racial quotas, Grundys new book, Color & Character: West Charlotte High and the American Struggle over Educational Equality, hit shelves. The book covers the schools history, from the day it opened on September 6, 1938, through integration, to the end of busing and resegregation of West Charlotte and many other local schools. Find it here.

I met Dr. Shannon Sullivan, chair of UNC Charlottes Philosophy Department, in 2015 shortly after being in a crowd of about 400 people who showed up to hear her speak about her book Good White People: The Problem with Middle-Class White Anti-Racism. The book had gained popularity as movements like Black Lives Matter and Concerned Student 1950 dominated headlines and brought the discussion of racial inequality in America to the forefront. The crowd was the largest Sullivan had spoken to since releasing the book in June 2014. The talk, like the book, covered topics that make both black and white people cringe, such as claiming and embracing her own Southern white heritage and shedding white guilt to confront white privilege. However, theyre topics that we all need to hear. Find it here.

Charlottean Omar Tyree won the 2001 NAACP Image Award for Outstanding Literary Work-Fiction in recognition of his great novels, sometimes written under the pseudonym The Urban Griot, and in the two decades since then hes continued to put out books while also making films, giving speeches and serving as an advocate for urban literacy. His 1993 hit Flyy Girl, regarded as the genesis of modern urban fiction, or street lit as its sometimes called, was supposed to be made into a movie directed by Dear White People director Effie Brown and starring Sanaa Lathan, but there have been no updates since 2015, so just read the book. Find it here.

Gopos parents moved from Jamaica to Anchorage, Alaska, which had to be one severe case of culture shock on top of the temperature change, and thats where they raised Patrice. She has since escaped the cold to Charlotte, and we should all be thankful to have her representing our city. Her latest, All the Colors We Will See, is a collection of essays that touch on her favorite themes of race, immigration and belonging. Considering that she grew up as a Jamaican-American in Alaska, its safe to say she has unique and valuable insight on those topics. Find it here.

After narrowly surviving whats been described as an extremely taxing childbirth that nearly killed him and his mother, Price grew up in the rural towns of Macon, Henderson, Warrenton, Roxboro and Asheboro during the Great Depression. In 1984, doctors found a 10-inch cancerous tumor braided into the core of his spinal cord, which was removed but left him a parapalegic and suffering from much pain through the rest of his life. He passed away in 2011, but left behind myriad novels, poems and essays. The Promise of Rest is Reynolds conclusion to A Great Circle: The Mayfield Trilogy, but its fully independent and stands as his best work. If youre up for it, though, feel free to check out all three. Find it here.

After my sister introduced David Joys meth-addled mountain novel The Weight of This World to her book club, she brought fried chicken and PBR to the meeting rather than the usual prosecco and charcuterie board, and that in itself is good context for all of Joys novels. However, his writing goes deeper than the Hillbilly Elegy stereotypes that unfamiliar writers bestow upon the western North Carolina mountains that Joy still calls home. His newest novel will drop in August, but while we wait, its a good idea to catch up on his three earlier novels. Find it here.

There were two points in the very first short story in Ron Rashs collection Something Rich and Strange in which I audibly gasped but even that wouldnt suffice as a verb; I yelled. And thats how I knew I was reading an author who exists on a different plane. The stories range in time from the antebellum to modern day, but they all share a setting in the western North Carolina mountains and an anxiety-inducing knowledge that things might go bad at any moment. Hes reminiscent of Flannery OConnor in that way. Rash is best known for his novel Serena, so if youre looking for something a little longer, check that out. Need something shorter? Hes a great poet, too. But the short stories are a great place to start. Find it here.

Gastonia native and UNC Asheville graduate Wiley Cash has the similar Southern gothic style that Joy and Rash pull off so well, but takes things down the mountains and into the foothills, though he told Bill Poteat of the Gaston Gazette in 2018 that he considers Gastonia a part of Appalachia. His latest historical fiction novel, The Last Ballad, tells the story of Ella Mae Wiggins, a labor leader from Belmont who was murdered in Gastonia during the 1929 Loray Mill Strike after trying to integrate the unions. His debut novel, A Land More Kind Than Home, and his sophomore effort, This Dark Road to Mercy, are both top-notch literature, and its honestly hard to make one recommendation over another, but the intrigue I feel for Ella Maes story is what drives me to say The Last Ballad is worth your quarantine time. Find it here.

People will sometimes name Thomas Wolfe as the most renowned writer out of North Carolina, and that may be true if youre talking birthplace, but folks tend to forget that the incomparable poet and memoirist Maya Angelou called Winston-Salem home for more than 30 years, and thats plenty long enough for the state to claim her. She wrote seven autobiographies in her life and was working on an eighth when she passed away in 2014. They were more than memoirs, though, and served as beautifully written defenses of black culture. From her best-known work I Know Why the Caged Bird Sings to her voluminous collection of poetry, she left behind a trail of classic work that will never be matched. Find it here (eBook).

Asheville native Charles Fraziers debut novel Cold Mountain won him the 1997 National Book Award for Fiction and was adapted into one of my favorite movies, then nine years later he followed that up with Thirteen Moons, which tells the story of the removal of the Cherokee people from their land by the U.S. government. His third book, Nightwoods, takes place in the 20th century before he returned to Civil War times for his fourth novel, Varina. He tells nuanced stories of love, partnership and struggle in some of the countrys toughest times. Find it here (eBook).

A difficult but important read, Beads shares Raleigh author Rachael Brooks terrifying yet hopeful journey from rape victim to resilient survivor. She speaks to the challenges that sexual assault victims face and the range of emotions they experience throughout the recovery process. Her story describes the many injustices she experienced within the justice system. Find it here.

Prominent educator John Hope Franklin was born in Oklahoma in 1915, the son of renowned civil rights lawyer Buck Franklin, who defended African-American survivors of the 1921 Tulsa race riot at what was known as Black Wall Street. After being turned down for clerical service during WWII due to his skin color, John spent those years teaching at St. Augustines College, now St. Augustines University; and North Carolina College for Negroes, now North Carolina Central University. He published his autobiography Mirror to America in 2005 at the age of 90, and his published lecture series Racial Equality in America acts as a true mirror, striking a contrast between how Americans held true to certain racial beliefs compared to the actual realities of those issues based on historical texts and documents. Find it here (eBook).

William Faulkner called him the greatest writer of his generation, and Faulkner was part of that generation. Theres not much more you need to know than that. Asheville-native Thomas Wolfes debut novel, Look Homeward, Angel, remains his most acclaimed work, though he published three more lengthy novels before his untimely death at only 37 years old. Margaret Wallace calling it as interesting and powerful a book as has ever been made out of the drab circumstances of provincial American life, in a sneeringly condescending New York Times Book Review. She meant it as a stab at the South, but I think thats what makes many of the authors in this list interesting, and Wolfe did it best. Find it here (eBook).

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Recommended Quarantine Reading: 20 NC Books to Hunker Down With - qcnerve.com

What is COVID-19’s impact on Black culture and activism in Toronto? – CBC.ca

Black Lightis a weekly column by Governor General Award-winning writer Amanda Parris that spotlights, champions and challenges art and popular culture that is created by Black people and/or centres Black people.

When I initially requested an interview with Rodney Diverlus, Syrus Marcus Ware and Ravyn Wngz three members of Black Lives Matter Toronto malls were open, award shows were still scheduled and no one was fighting in grocery aisles for toilet paper. The world has drastically changed since then, and when I spoke with them over Google Hangouts, it was inevitable that our conversation would cover more than their new anthology of essays. The new reality of COVID-19 has fundamentally altered all of our lives, but the book is still worthy of attention.

Until We Are Free: Reflections on Black Lives Matter in Canada explores the emergence, significance and ongoing resonance of the Black Lives Matter Toronto (BLMTO) movement. Although their various actions and protests have been widely documented and debated by mainstream media, as the editors (Diverlus, Ware and Sandy Hudson) note in the intro, the book is their attempt to finally articulate and frame their own history.

What particularly sparked my attention was a section of essays on arts in activism. Ware and Wngz discuss the topic in one piece. And Diverlus, who is a dance artist, explores choreography and performance in the art of protest.

The three of us spoke about the book for more than an hour, talking about the waves of Black activism that have happened over the years in Toronto ("I think November 2014 gave my generation, folks that heard about the Yonge Street Riots, possibility to ask for more, to demand more, to push for a Blackened Canada," Diverlus said at one point). We discussed the Black cultural renaissance they believe is happening right now (said Ware: "It's a magical time to be Black, to be an artist, to be involved in this movement"). We also talked about Wildseed Centre for Art and Activism, a space that BLMTO opened last fall whichfunctions as a gallery, dance space, meeting space, event space and co-working space for communities ("Wildseed is a part of activism around rejuvenation and connecting to community outside of chaos and violence and police officers," Wngzexplained).

And of course, we talked about the lockdown the city is currently under, and the Black Emergency Support Fund that BLMTO created to support communities in response.

I couldn't include everything, so what follows is an edited and condensed version of that conversation.

Rodney, I was so fascinated by the discussion in your essay about Black Lives Matter Toronto's protest as an act of political choreography. Can you talk a little bit more about what you mean by that?

Rodney Diverlus: Because we have a team that's composed of choreographers, of dancers, of visual artists of artistswhose work imagines the visual effects of people, of things, I think that as each action was developed, we realized the importance of the look of the action, the feel of the action, the sound of the action. Black bodies in space, how that space can be blackened by our voice, by sound, by visual elements by art.

The Black Panthers had coordinated looks about them. There was a message that was delivered by fabric, by costume, by props. Even our Pride action, as an examplethe ways that that action unfolded was sequential. The first thing that happened was this coloured smoke to bring eyes in. And then our Indigenous folks led with the drumming. And then we had the samba squad come in to create that sort of sonic alarm that something was about to go down. And then the bodies flanked on the side and hand by hand. We created the barricade from which a single person came with a microphone and the megaphone to let everyone know what was happening.

We feel that art is a great conduit to bring people into our work. If you're not hearing the words, if you're not hearing the chants, if you're not understanding the demands, see our bodies, see our tone, see the music, see the Blackening of the space as a way of letting you know what we need or what we want.

Ravyn, as a dancer and choreographer, how has your artistic practice shifted as a result ofyour experiences with activism?

Ravyn Wngz: Almost completely. I didn't feel like I was allowed to represent Black. So a lot of what I was creating was about representing queerness and trans-ness outside of my actual colour because I was raised to believe that I shouldn't be in the front of any march or I shouldn't be the visual sort of thing to look up to.

I'm supposed to be what people are afraid of. So for me, I always took it that my part in the global Black movement was to just be excellent, and I'm just gonna be excellent over here, doing my thing and advocating for queer and trans folks and that somehow Black folks will see themselves with me on the stage. That's sort of what I thought was the limit of what I could do or be.

Then when Black Lives Matter approached me to do the flashmob, it really got me thinking about purpose, what I'm here to do and why I started dancing in the first place. So when we were performing at Spadina and Queen that area isn't actually safe for queer and trans folks, especially me it was this miraculous thing where all my worlds collided, where I felt like a place that I feel completely unsafe, I am shifting and changing and using this art that I fought for to make people feel alive and seen and heard and for us to embody what power looks like.

When we moved into tent city action, I felt like what I could offer was harm reduction so movement practices that would allow folks to release the trauma that I could visually see in people's bodies. People have to stretch, people have to move this violence out of their body. My art and movement practice changed completely. It [feels] like every time I get on stage I have a responsibility to share and to teach and to represent and that I'm now allowed to represent.

Syrus, I was really moved by your description of your work in the book, and how important sustainability for activists is to your work and your practice. Can you talk a little bit about what it means to make that core and central to your work and how you are able to take the lessons that you've learned over time, into the work that you're doing with Black Lives Matter Toronto?

Syrus Marcus Ware: I started doing this project of writing love letters to activists and getting people to write love letters to these unknown activists and develop these networks of care that spanned across the world. I've ended up mailing thousands of letters across the world at this point. And then I got more interested in wanting to get to know who these activists were a little bit better. So that's when I started drawing them really large and using my drawing practice as a way of trying to celebrate and honour these people.

There's an intimacy to drawing, especially just graphite on paper. It's very accessible and it draws you into these people, and it makes you want to know who they are. It makes you care about them, even if it's just for that moment while you're staring at their eyes and they're staring back at you. So I've been very interested in how art can make an emotional reaction happen that might transform into an interest in participating in mutual aid and shared care.

As an activist, I've seen what happens when burnout burns through our community. It is something that sometimes we don't survive. So I have basically dedicated my artistic practice to doing projects that foster love and compassion and engagement and a desire to connect across difference, like Audre Lorde encourages us to do.

There's this Toni Cade Bambara quote where she says that the goal of the oppressed artist or an artist from an oppressed community is to make revolution irresistible. And I was like, "Oh, now I understand my entire purpose of my practice." The entire thing that I've been trying to do is to make revolution irresistible.

I'm interested in doing this for the long haul because we need to win. So we just need everybody to be able to make it, every warm living body. So I'm interested in making sure that we all cross the finish line together and that we all get to thrive.

What do you think the impact of this lockdown will be on Black cultural creators and artists right now?

SW: I think we're going to see a proliferation of creative practice because one of the things that I often hear from artists is that they don't have enough time to do the projects that they've always wanted to do. Necessity is the mother of invention; the more bored we get, the more we're going to start coming up with ideas to entertain ourselves. Humans in times of crisis often turn to creativity as a way to understand the world and understand what's happening.

RD: I think my glass half empty side fears that we're also going to see a great amount of loss in terms of Black working artists in this country, and in this world really.

I feel like there's a good number of us that have been talking about the ways that these economic systems are not helping us. We have to constantly defend the works of arts and culture; we have to constantly defend the economic impact of us as people, of our need of existence.

I'm excited at the groundswell of activity and frustration and agitation that will come out of this. I also fear, though, for those who were already chronically underemployed, already at ends meet for those who were already considering changing their career choices to something more "practical," for those who have to go back to their parents for support, for those who have to take on an additional loan in addition to the student loan that they're paying. I'm really afraid for our people in that aspect.

[I'm] excited for the art, not excited for the lack of working artists that are going to be left at the end of this.

RW: This ableist, disabling, capitalist system forces us as artists to feel like we're not ever enough, doing enough, important enough. And then when times like this come up, we are the ones who are looked at. We are the ones who are all over Instagram and all over the place sharing our thoughts, sharing our videos, sharing things to keep people entertained throughout the day.And so I'm looking forward to the end of the coronavirus and the beginning of something different.

Black Lives Matter Toronto has relied very heavily and very successfully on physical mobilization: the blockades, the occupations, the marches, the die-ins, the surprise actions. So what does Black Lives Matter Toronto look like as a mobilizing and advocacy force in the era of social isolation, when you can't rely on those traditional arsenals?

RD: The beginning of our strategy has been to create stop gaps, create opportunities for people to not be evicted, to be able to make their ends meet this month and uplift others who are doing it. I think that the only way we'll be able to agitate is to [first] address the reality, which is that for most of us in our communities, we're still in a dissociative stage right now. I still feel like a lot of my conversation with Black folks is, "I can't believe we're here." It's reimagining what their plans were for the year. At this current stage we have to make sure we can weather it, then let's go fight this.

SW: We are a very agile movement. We are an intergenerational movement. We're a movement that is made up of folks who are probably the most marginalized: Black, mad and disabled people, queer and trans people. And as a result, we've had to adapt so we're very agile.

When you look at an arts institution like the Art Gallery of Ontario, their ability to turn on a dime is gonna be very very different than us young upstarts. So I think that our movement is responsive. It's always been responsive to the moment and to the needs of the moment.

So the moment and the needright now requires us to be doing organizing online and requires us to be doing organizing from our homes and with our families and our babies hanging off our shoulders, and we will adapt to that because we can. That feels really good to me.

CBC Arts understands that this is an incredibly difficult time for artists and arts organizations across this country. We will do our best to provide valuable information, share inspiring stories of communities rising up and make us all feel as (virtually) connected as possible as we get through this together. If there's something you think we should be talking about, let us know by emailing us at cbcarts@cbc.ca.

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What is COVID-19's impact on Black culture and activism in Toronto? - CBC.ca

If all lives matter, lift US sanctions against Iran to curb the spread of coronavirus – San Francisco Bay View

by Kevin Rashid Johnson

Id like to put to the test the moral commitment of every Amerikan who jumped on and rode the all lives matter bandwagon.

After enduring an unbroken history of violent abuse and indifference and systemic summary killings at the hands of cops and cop wannabes, many Blacks in Amerika united around the protest slogan Black lives matter. Instead of recognizing the social privilege that insulates much of white society from such outrages and uniting with Blacks to help protect their lives, many whites joined in a counter-slogan all lives matter, pretending to interpret Black lives matter as meaning only Black lives were meaningful.

Now if Amerikans genuinely believe all lives matter, then they must join in demanding that sanctions by their government against Iran and other less developed countries be lifted in the face of the growing coronavirus pandemic.

U.S. sanctions against Iran and its leading role in the war between the West and the Islamic world have nothing to do with curbing terrorism; they are a struggle by the West to instill capitalism in the Asian countries that are dominated by Islamic theocracies that reflect pre-capitalist, semi-feudal political economies.

But furthermore, its a struggle to dominate natural gas and oil reserves such as in the Caspian Sea region, Iraq, Iran etc.

Fossil fuels are the lifeblood of modern industrial capitalist economies. Whoever rules the worlds oil and gas supplies, rules the worlds fuel market, rules the entire world economy.

Thats why the U.S. invaded Iraq. Iraq has the worlds second-largest supply of untapped oil deposits next to Saudi Arabia, with whom the U.S. is already in bed.

But Saudi Arabia has had the power to manipulate Amerika and often does because it has veto power over its oil. It can create artificial shortages that can shock the world oil market and drive already astronomical prices through the roof, as OLPEC (Organization of Large Petroleum Exporting Countries) did in the 1970s.

The U.S. went into Afghanistan in 2001 because it was after the untapped natural gas supplies in the Caspian Sea, the worlds largest natural gas deposit. They wanted to build a pipeline through Afghanistan and other Asian countries, straight through to the European market.

On Feb. 12, 1998, John J. Marescas, UNOCALs vice president, made a bid before a subcommittee of the House Committee on International Relations to build that pipeline and called for the removal of the Taliban and the establishment of an internationally recognized Afghanistan government to be set up in its place.

U.S. sanctions directly impact Irans ability to access resources needed to test, treat and arrest the spread of the novel coronavirus and generate artificial famine, disease and poverty.

Iran and its grip on the Middle East has been the U.S.s main impediment to controlling the region. They actually wanted to target Iran from the outset and wanted to take Iraq and Afghanistan to set up staging areas on Irans borders to invade Iran from two fronts. But their plans and predictions that Iraq was going to fall to U.S. designs with no resistance fell through.

Amerika has remained active in efforts to destabilize Iran and isolate it by stirring up internal dissent and increasing sanctions against trade with other countries. And its fear of Iran developing nuclear capabilities is not based on fear of an Iranian nuclear attack, but rather of Iran being able to defend itself from an Amerikan attack.

U.S. sanctions directly impact Irans ability to access resources needed to test, treat and arrest the spread of the novel coronavirus and generate artificial famine, disease and poverty. A growing protest movement is already underway, with marches in solidarity with Iran.

The outcome of such fascistic sanctions is known by U.S. officials and deliberate. Weve seen it before, and weve seen U.S. officials gloat at the deadly effects on innocents on innocent children no less.

Recall the 1991 Gulf War where Amerika deliberately destroyed Iraqs infrastructure, bombing its sanitation and water treatment facilities, hospitals, etc. blatant war crimes. Then set up militarily imposed embargoes that prevented Iraq from receiving food, medicine and other basic supplies its people needed to survive in the face ofa shattered infrastructure.

The U.N. documented that over a half million Iraqi children, average age 12, died as a result of these sanctions by just 1996. On 60 Minutes, U.S. Secretary of State Madeline Albright acknowledged this carnage and smugly stated it was worth the price of imposing U.S. domination over Iraq.

Where were all those all lives matter Amerikans when their leaders were killing all these innocent Iraqi children (by any reckoning, 500,000 Iraqi children killed is genocide rivaling the Jewish Holocaust)? Where indeed are they now as Iran suffers under similar sanctions as COVID-19 spreads?

Lets put these proclamations to the test and demand that U.S. sanctions against Iran be lifted.

Dare to Struggle, Dare to Win!

All Power to the People!

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If all lives matter, lift US sanctions against Iran to curb the spread of coronavirus - San Francisco Bay View

Chani Rising or: How I Learned to Stop Worrying and Love Astrology – Mother Jones

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Im munching nervously on this hotels gourmet gummy bears, and I keep wondering when shes going to do it. This is embarrassing. I dont know how to ask, and now things are weird. Im treading water, struggling with what to say next to Chani Nicholas, the sort-of-famous astrologer, whose impressively high cheekbones suggest that if the stars had aligned differently, she might have been an actress or a model. Instead, on this Friday in late January, she is posted across the table from me in a midtown Manhattan hotel lobby, talking to me about the zodiac.

Its a very different vibe from Monday, when Chani (it rhymes with Annie) held the packed audience of the 92ndStreet Y in rapt attention. I dont think I looked at my phone for a full hour. But now Chani is the talentand also the subject. Gone is her control from Monday night, the popular high school art teacher vibes. In oversized black reading glasses she sat on stage in an oversized beige chair with a small stack of papers spilling across her lap, her shoulder-length brown curls bouncing excitedly as she shook her head in recognition, reading the astrological chart of her friend, the filmmaker and Womens March co-founder Paola Mendoza.

Shes swapped Mondays black satin jumper and strappy black flats for a red-and-black plaid shirt and some chunky black boots. Shes wearing hoop earrings with her hair pulled tightly back, giving off a faint chola vibe, minus her blue-and-green socks spotted with what look vaguely like vaginas. They are definitely queer socks, she later laughs.

In the lobby, shes predictably warm as she answers my questions about the book tour she just started for You Were Born for This: Astrology for Radical Self-Acceptance. We do a stilted whos-who guessing game of mutual friends, the small, overlapping worlds of queer Bay Area and Brooklyn. (Though shes based in Los Angeles, she, like me, spent a chunk of her young adulthood in San Francisco.)

Chani Nicholas reads the chart of filmmaker Paola Mendoza in January.

Courtesy 92Y

I had been struck on Monday night by how intimate the conversation was about Mendozas life, based on how the stars were aligned at the moment she took her first breath. Her life story, according to her chart, existed almost before she did. The two asteroids in her first house presaged the mother-daughter relationship that would be the focus of her first film; her sun being in Sagittarius and ruled by Jupiter helps explain the work shes done collecting migrant womens horror stories on the border. Her moon being in Leo and the fourth house means that she likely has had a hard time receiving attention and praise. And, wouldnt you know it, she studied acting in undergrad before finding a more comfortable spot behind the camera.

Id found myself nodding along. She was using the stars to describe the alignments of a personality. It turns out theres something about hearing about someones past that makes you more willing to show up for the collective present.

I share with Chani an observation that all of her public appearances to date have been astrological readings. Maybe its strategic? A way to change up the power dynamic between interviewer and subject?

She seems taken aback for a moment and then insists its her way of democratizing astrology for people, particularly those who may think of astrology as something just short of whitewashed witchcraft. Im hoping to use astrology as the context for the interview, she says, to see what story comes out when they get that prompt, because really our chart is a whole series of prompts.

I think about how her publicist actually promised my own astrological reading, and Im surprised at how embarrassed I am to admit that I really want it. Would it be too much of an imposition to ask for it? I wonder. Would it make me any less of a journalist? Why am I so desperate? Do I believe any of this? Why am I so scared? I already know Im a Leo, and I know all the tropes; Ive even jokingly deployed the Zora Neale Hurston quotehow can any deprive themselves the pleasure of my companyin conversation. But I (perhaps like Chani) actively avoid being the subject. And while I dont always prefer it, Im inclined to be somewhat solitary, at home with my animals (including my dog named, obviously, Zora).

Thats when our podcast producer, Molly, whos there with me, says with a smile: We thought you were gonna read Jamilahs chart. And then Chani responds like Ive asked her for a stick of gum. Oh! Why didnt you say anything? she laughs. Thats easy, let me get my phone.

She starts and matter-of-factly reads my chart. It takes only a few minutes before she breathes in and tells me my Leo is in a house associated with grief. And now Im like, Shit, did she Google me?

You probably live in one of two worlds: In one, youve literally never heard of Chani Nicholas. In the other, youve seen her everywhere over the past few months. In the New York Times, Vogue, Glamour. On Twitter, where she maintains a lively, favorite-aunt presence. On Spotify, for the legions who listen to her popular astrological playlists every month. With her first bookpart self-help workbook, part astrology 101 explainerout in January. Maybe you saw an Instagram post of hers, like the one earlier this month, put up the day after the coronavirus was deemed a pandemic, that gently implored people to Listen to and learn from folx that have lived with disability and chronic illness, and to Stay in touch with your loved ones, stay as relaxed as possible, stay in joy whenever and for however long you can, and to Wash your hands.

In this world, Chani is officially having her moment.

Of course, so is astrology. In the United States, astrology has gone through waves of popularity, most recently in the 1970s. It then receded a bit, as with most other things considered New Age, though astrology has come back in a serious way in the past decade. Still, with only a few well-known exceptions like Puerto Rican astrologer Walter Mercado, reading the stars has often been more closely confined to with witchy white women with decidedly apolitical stances.

Chani Nicholas is not that type of witchy white woman.

The day before we meet, she sat on a stage at the Brooklyn Museum with a filmmaker and queer activist named Tourmaline and read the charts of Marsha P. Johnson and Sylvia Rivera, two pioneering transgender activists whose contributions Tourmaline has helped unearth. Its just its so poetically potent in terms of the work that [Tourmaline] does, Chani tells me about doing those readings. Because it really is about working with folks that are left out of the system or incarcerated or criminalized because of who they are. And it has so much to do with that sense of being a different kind of woman or gender or representation or what have you.

This is the type of thing that makes me cringe a bit. It sounds nice, its certainly the right thing to say, but it also feels sopredictable. In fact, everything around astrology makes me roll my eyes sometimes; at a certain point it feels like a game of logical propositions (if this is true then this and this). But I have to say, it feels different with Chani. And maybe thats by designshe appeals to a very specific crowd. Its a crowd thats populated by coastal queer activist-types who likely saw one of her motivational quotes while scrolling through Instagram. They are optimistic but endlessly critical people, the kind who avoid saying Trumps name out loud like hes Voldemort (45 is fine) but are quick to point out that President Obama deported a record amount of people, too. They talk endlessly about the importance of chosen family, are in a constant negotiation with their historical trauma, and would rather you not use assigned gender markers with their children. Everything is a constructrace, class, genderand if you challenge this, they will probably instruct you to read Toni Morrisons Playing in the Dark: Whiteness and the Literary Imagination. In fact, they might even offer to loan you the worn copy that sits dusty but centrally located on their bookshelf. The current state of our countrys divisive and polarized and toxic political climate isnt an anomaly, they argue, but merely a predictable next chapter for a nation that has relied too heavily too often on piecemeal change. Yes, We Canbut if youre not asking why, youre not really doing any meaningful work.

If you cant already tell, I know these people well. They might just be me.

So I admit, after hearing about Chani and her socially conscious strain of star reading, I wanted to know more not just about her but about the brand shes built into something of a juggernautone that has apparently filled some unaddressed need, bringing together a notoriously fickle audience of activists and organizers and social justiceminded folks who agree on absolutely nothing, except, apparently, her. Her followers include Chase Strangio, the ACLU attorney who famously represented Chelsea Manning, along with Black Lives Matter co-founder Alicia Garza and MacArthur genius award winner Ai-jen Poo, who affectionately called her Chan-Chan on their new podcast. They also include plenty of frontline organizers Ive met over the years reporting on racial justice. Chanis rise represents the extent to which a generation raised on Obama-era platitudes has gone to reimagine hope. Its angry but actionable. And in an era when we cant stop talking about the importance of self-care but do very little beyond follow some (mostly white, affluent) influencers, Chanis work is now anchoring the hope, the motivations, and the work of (mostly young, progressive, Black and Brown) people who are reaching for something a little extra to get through the Trump presidency and all the ugliness and division, even on the left, thats come with it.

When I first connected with Chani, Id wanted to talk to her about these people, about how theyd found in her astrology a language for addressing their thwarted hope. A few months later, a pandemic gripped the world, and the questions at the heart of her work became more urgent, not just for the activist set but for everyone. How do you heal yourself without losing sight of all the things in the world that need healing?

I dont think theres an astrologer out there that didnt look at this year and swear under their breath a little bit, Chani tells me, because it is a year that is just stacked with one challenging astrological setup after another. Its Monday, and Chani is explaining just what in the possible hell this moment is that were living in.

One of the main themes of the year is Mars. The first part of the year and then the second half of the year, Mars is very highlighted in the astrology in a very challenging way. And Mars does things like create aggravation, is the god of war, is related to heat and inflammation and fears and things that get damaged from excessive temperatures. And so right now, whats happening is Mars is about to make a conjunction with Saturn. And Saturn is the opposite of that. Saturn is cold and withholding, and Saturn creates boundaries and barriers and structures and quarantines and isolation.

It feels eerie to be living at a moment that is about those two very things and those planets are making a conjunction on March 31, and so that seems to be us moving towards the most difficult point. Im not saying thats it, because Mars also makes really difficult aspects come September and October and Novemberhahaso I thought it was going to be much more about the election, which it still probably will be, but I didnt expect it to be this challenging up front.

Shes calm as she lays all this out for me, and in a weird way theres something hopeful about it. The story of our fates is plotted. The action will rise and then fall. Even if so many things arent in our control right now, in her telling there is at least a structure being obeyed.

From the start Chani was driven by a need to see something bigger than her immediate circumstance. She has said her father has one of those hillbilly stories and her mother was from the Bronx. Her childhood was a chaotic blur of addiction and sporadic violence, moving around a lot before landing in British Columbia. She was often alone and terrified. But a couple of chance encounters with astrologersarent they always by chance?showed her there were larger forces at play. But while she dreamed about the stars, that instability made her want to do something practical with her life.

Nothing quite fit. Not the domestic violence counseling she tried in San Francisco, or the waitressing and acting she did in LA. She dropped out of three masters programs, taught yoga. She balked at being part of what she calls in her book the Yoga Industrial Complexthink Lululemon-clad white women bowing and saying namaste atop hundred-dollar slip-proof yoga mats. That was around 2013, when she decided to give professional astrology a shot after fighting it for years. She offered paid readings and wrote horoscopes on her personal blog. It started small.

But these werent the horoscopes you might remember from Seventeen magazine back in the day. The key was connecting attributes of a persons chart to what was happening in the world politically. For instance, part of my chart, she tells me, is similar to that of Frida Kahlo, who used personal tragedy to shift peoples political perceptions through art. Its these types of models, and the stories she writes about them, that have drawn people in.

Around this time, she also fell in love with a woman named Sonya Passi, whom she met and married within the span of two months. Passi, a feminist activist who now runs an anti-domestic violence organization called FreeFrom, is a pragmatist with an eye for detail. Before long, the two began building out a business, with Passi editing every horoscope and Instagram caption. They created a series of guided online workshops. An early workshop, one in late October 2016, was called, Awaken Your Witch: Rituals for the New Moon in Scorpio.

Days after the workshop began, Donald Trump was elected president. That event caused nothing short of a generational stampede into a world that is alternately called wellness or Just Trying to Figure This Shit Out. Its hard to quantify exactly how many people have turned to astrology for solace in recent years, but apps like Co-Star and Sanctuary are part of a billion dollar investment in what venture capitalists call the mystical services market.

It also created a boom in business for Chani. In 2017, the Los Angeles Times estimated her annual income as well into the six-figure range; its almost certainly grown since then. Shes moved on from posting horoscopes on Blogspot. Now they go on her sleek personal website, which, she has said, has over 1 million regular readers. Last year, she teamed up with Spotify to create monthly astrological playlists and host a series of live events; at one she gave Lizzo a reading. Chanis typical Instagram posts have also became more streamlined: clean white backgrounds with inspirational quotes, easy to screenshot and share widely. They often have meanings that could work in both personal and collective contexts. Take this, from mid-January:

Then there was her first horoscope for 2020: Jupiter and Saturn will come together for the first time in 20 years, and since the 1800s this convergence has happened in earth signs. Thanks to the institutionalization of white-supremacist, patriarchal, colonialist capitalism that set the stage for this age, excessive waste has been celebrated up until now, Chani wrote. Though shes now become a brand, Chani considers herself first and foremost a writer, and thats how she still spends the bulk of her days: writing horoscopes and pondering.

This all resonated with Candace Kita, the cultural strategy director at the Asian Pacific Islander Network of Oregon. Kita was originally skeptical of astrology, but she reconsidered it after the political upheaval of 2016. Chani offered a new way to look at the internal narrative that I had fashioned around who I was, what my role was in the world and how I should be, she tells me. That really helped build a community for me, not only in terms of people, but also with folks who shared my values.

I hadnt seen anyone else pair astrology with social justice, she adds. The apolitical nature of astrology didnt appeal to me.

Kita got so into Chanis work and astrology more broadly that she has actually became a professional astrologer. She now runs Astroradicals, a business that offers astrological readings that cultivate liberation, empowerment, and radical possibility.

Jasmine Brock also started following Chani shortly after Trumps election. At the time she was a second-year law student. Today, as a public defender in Brooklyns family court system, her work often involves parents who are fighting for custody of their children. I get really wrapped up into things, she says, but [astrology] reminds me to take care of myself because the truth is that if Im not in a good place, theres no way that I can help any parent that Im working with.

Lizzo and Chani Nicholas speak onstage during the Spotify Cosmic Playlist launch event in January 2019 in Los Angeles

Frazer Harrison; Getty

Chanis book tour for You Were Born For This drives home how significant a player she has become in the market of astrology-curious or -devoted activists: Not long after the event with Tourmaline in Brooklyn, she was in Oakland, co-hosting a reading slash book event with Fania Davis, a well-respected restorative justice activist who is also Angela Davis sister. She knows her crowd.

Now, in this moment, Chani is doing her best to channel this knowledge into serving her audience in a new way: walking the line between what might be helpful in this age of fresh uncertainties, and what might just add to everyones peaking anxieties.

Sometimes when we frame things astrologically, were also framing them in a time frame, Chani tells me. A beginning, middle, and end. So to remember that this is just a moment, and we will get through it, and we will be changed by it, but it wont be forever.

I press Kita to understand what about Chanis work and the larger field of astrology really, deep-down appealed to her. It started to make sense to me, she says, that astrology was a way that I would rewrite and re-examine the story Id been telling about myself.

And thats when something clicked for me.

What I want isnt the Chani story, but my own. Thats what I was so embarrassed about before Molly stepped in. Of course, selfishness is always at play somewhere in our work, but wemillennials, journalists, queer people of color who dabbled in community organizingare not conditioned to acknowledge it. Instead, we look at the collective. The team. The community. What of my story can be of service to others?

But selfishness and self-awareness are two different things. Sometimes its okay to want a space thats all our own.

Right now medical professionals and, increasingly, local governments are telling people to stay home in order to stay safe. Even if youre not showing symptoms, the fact that you could pass along the virus to someone else for whom it could prove deadly is a wake-up call unlike any weve seen in modern history. Now, taking care of yourself, creating your own space, isnt just a social luxury. Its a matter of public safety.

While we can be so focused on the world outside ourselves, Chani provides the opportunity to look in, and at each other, and realize were not alone. And while theres much we cant change, its how we respond to the worldwhether its a healthy one, an infected one, an uncertain onethat matters.

I of course do not realize any of this on that January Friday in the lobby, when Chani finally takes out her phone and pulls up my chart on her website. She tells me Im a Capricorn rising with a sun in Leo, which means, in short, that I work hard and want to be acknowledged for it. I nod. I find great satisfaction in making lists. Its what makes me feel seen. I make them before bed and when I wake up. When Im on the train to work and once I get to the office. Its a small thing that Id never paid all that much attention to until recently.

Then Chani takes that pause and she tells me that my Leo is in a house associated with loss, grief, and anguish. And I dont just feel seen. I feel exposed.

I laugh, because thats what I do when Im uncomfortable. Its true that in one decade nearly half of my family died. A shooting, a fire. A bad heart. A bad breast. Ive often carried the cumulative grief of those losses like an overstuffed bag on the beach of life. Everyones running around in the sand, weightless. And then theres me, lugging around all my dead. I can trace my desire to be a writer back to high school, when my mother was featured on the front page of my hometown newspaper, urging witnesses to come forward with information in a family members murder. That was part of the story, I thought then. But there was a different story to tell, too, of people who were always the subjects but never protagonists.

Chani tells me that societies once dealt better with death, but weve since sanitized it. Your chart speaks to remembering or knowing it in a way, she says. And so something about your work brings that knowledge through and is so necessary and needed.

Im not sure if thats what I wanted to hear, but I did feel a helluva lot less alone listening to it.

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Chani Rising or: How I Learned to Stop Worrying and Love Astrology - Mother Jones