Singer-Songwriter Glen Hansard
Grammy, Oscar and Tony award-winning singer and songwriter, Glen Hansard performs live on the Tavis Smiley Show.
Singer-Songwriter Glen Hansard
Grammy, Oscar and Tony award-winning singer and songwriter, Glen Hansard performs live on the Tavis Smiley Show.
Our panel of Detroit activists takes questions from the audience at Wayne State University.
As part of our weeklong look at Detroit and how the highly touted revitalization is affecting all its residents, we convened a town hall meeting, which immediately followed our grass roots activist panel. Our intention in doing this was to provide a forum for Detroiters to express their concerns about their community without any restrictions about what could be said, as well as ask questions both of me and the panel. As you’ll see, many Detroiters took issue with some of the decisions that have been made — from the efficacy of the bankruptcy to the rebuilding of Downtown Detroit at the expense of other communities.
Aired: March 23, 2015
Tavis: Detroit, welcome two of your own, BeBe and Marvin Winans.
Marvin Winans: Hello, Detroit!
Tavis: The new project is called “3 Winans Brothers: Foreign Land”. I only see two Winans brothers. Should I grab a microphone?
BeBe Winans: No, no, no, no. Don’t you worry about that.
Tavis: Thank you.
BeBe Winans: Don’t you worry about that. We got that covered [laugh]. No, no, no. His twin, he’s just gonna sing his twin.
Marvin Winans: He’s tied up, that’s all.
Tavis: Marvin and Carvin.
Marvin Winans: That’s it.
BeBe Winans: Marvin and Carvin.
Tavis: Tell me about the new project.
BeBe Winans: A project that I called just an idea of doing this hit my mind and I called Marvin and said, “Let’s do this.” It’s the first time that we’ve done a project together since my brother Ronald passed. So he said yes and he called his twin and there you have it.
Tavis: Musically, what’s on here?
Marvin Winans: I think it is a wonderful compilation of the writing of three Winan brothers. All of it was written by Carvin, BeBe and I and I’m very proud, you know. I taught them how to write [laugh] and they learned well. And I’m very proud of it and I think there’s something for everyone, yeah.
Tavis: I feel a family feud about to break out. And since they won’t let me sing anyway, I’m going to walk off the stage after I tell you the new project once again is called “3 Winans Brothers”. It’s called “Foreign Land”.
They’re going to sing a track tonight called “I Really Miss You”. They’ll back with us on Friday night, but tonight “I Really Miss You”. Please welcome BeBe and Marvin Winans.
[ applause ]
Announcer: For more information on today’s show, visit Tavis Smiley at pbs.org.
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Tavis: This program was made possible with support from the Ford Foundation working with visionaries on the front lines of social change worldwide, the W. K. Kellogg Foundation, a partner with communities where children come first.
Created in 1960, The Skillman Foundation is committed to improving meaningful graduation rates in the Detroit region so kids are ready for college, career and life. Kids matter here.
Announcer: And by contributions to your PBS station from viewers like you. Thank you.
Dr. Robert M. Entman (pictured far left) is professor of media & public affairs at The George Washington University & author of Scandal and Silence: Media Responses to Presidential Misconduct. Dr. Andrew Rojecki (pictured immediate left) is associate professor and director of graduate studies in the Department of Communication at the University of Illinois, Chicago.
In The Black Image in the White Mind, we argued that white Americans were conflicted in their attitudes about race. Barack Obama’s remarkable rise to the presidency and the troubled course of his administration illustrated the racial ambivalence of the nation: a rapid and unprecedented rise to popularity followed by opponents’ racially tinged campaign to diminish his legitimacy and power as president.
While some scholars claimed that the new attitudes merely responded to changed norms that made it impolite or impolitic to express bias, others argued that racialized attitudes had simply become insensible to those who considered themselves free of bias. Psychologists at Harvard, the University of Virginia and the University of Washington devised a test that revealed these attitudes in an online test of what they call implicit bias.
We have asked students in our classes to take the test, and a number were surprised about what lurked in their unconscious minds. Having been steeped in American culture’s racial stereotypes made them susceptible to biased judgments that flew under their conscious radar. Research by Tali Mendelberg and others revealed the influence of implicit bias in political campaigns that used what might be called “dog whistles,” images or messages that associated candidates with negative racialized thoughts.
In our research on the 2012 Presidential campaign, we found that partisan media commentators used language such as “takers” to describe Barack Obama’s constituents. Obama himself was characterized as a “Santa Claus” passing out “free stuff” to his dependent supporters. Experimental evidence for the subtly racialized nature of political language and thinking can be found in research that shows a 20 percent drop in support for the language of the Affordable Care Act, identical to that proposed by Bill Clinton in 1993, when Barack Obama’s name is mentioned.
Not just political discourse but public policy sustains implicit racial biases. Among the most important policy changes since the 1980s are the laws arising from the “War on Drugs.” They have contributed to depriving black working-class neighborhoods of the social capital and informal neighborhood monitoring essential to basic levels of material and personal security. A feedback loop of crime news on local media and white impressions of black lawlessness supports the drug war’s “school to prison pipeline,” as well as stereotypes that bolster whites’ support for harsh treatment of black offenders.
A recent experimental study by Stanford psychologists shows that when whites are exposed to the reality of extreme racial differences in law enforcement, they express increased acceptance of punitive policies. Learning of racial disparities leads whites to support the very policies that produced higher crime rates in black neighborhoods and associate blacks with dangerous criminality, thus perpetuating a vicious cycle we recently witnessed in Ferguson, Missouri.
We continue to believe that race plays a powerful if subtle role in whites’ worldviews, and that the election of Barack Obama represented a profound wish among whites to get beyond the issue. As we concluded in the Black Image in the White Mind, the wish remains a laudable ideal rather than a reality.
An actor, writer and director, Parker is not only passionate about his craft, but equally committed to mentoring young people and making a difference in his community.
We live in a country where the amount of melanin in one’s skin has a direct effect on the safety, perceived humanity, life expectancy and educational outcomes of its citizens. In a land of unprecedented wealth and supposed opportunity, how is this possible?
The truth is, there are two Americas.
There is one America where law enforcement is conditioned to protect and serve its citizens. Where media imagery reflects, reinforces and normalizes the quiet infrastructure of white supremacy and privilege. Where understanding America’s history of racial violence and inequality is unnecessary amidst the luxury of indifference. Where the unjust destruction of innocent life is met with sweeping response and immediate consequence. Where the judicial system stands by its mantra of innocent until proven guilty, giving life to policies that ensure fairness, freedom and the pursuit of happiness.
And then there is the other America…
This is the America where law enforcement is conditioned to distrust and terrorize its citizens. Where media imagery reflects and reinforces the pervasive presumption of black inferiority, broadcasting notions of black (in) humanity abroad. One where understanding America’s history of racial violence and inequality has become the life-blood of social, economic, cultural, psychological and physical survival. Where the judicial system’s mantra remains guilty until proven innocent. Where American citizens are criminalized at exponentially expanding rates, resulting in the robbing of black communities, cyclical disfranchisement and generational slave labor made manifest today in the prison industrial complex (see the 13th amendment).
Of course there are exceptions:
The black neighbor living in the affluent neighborhood. The black youth who grows up frequenting his white friend’s house for sleepovers. The election of President Barack Obama.
Yet these exceptions are just that, and should direct us to the rule, to the truth:
Because the truth is, that lone black neighbor is more likely to be profiled while standing outside his own home. That young black man is nearly five times more likely to be killed by a gun than the young white man. And, sadly, if our president decided one night to take a lonesome stroll through the dark streets of Washington, D.C. unaccompanied by his security detail, his life would indeed be in danger.
We can no longer ignore the reality that black lives rank lower on the human value scale in America. Statistical analysis is only part of the story; the other part is personal.
It lies in the fact that, as a nation, we barely react to the news that more black youth have been gunned down by the very police charged with protecting them. It lies in our lack of surprise as jury after jury fails to hand down indictments. It lies even in the prevalence of black-on-black crime and the realization that white citizens are safer in black neighborhoods than are black citizens. It lies in the desperate measures many black parents take to transplant their children to white schools to bypass the educational genocide plaguing so many schools in black communities.
Systematic dehumanization in the U.S. is not only a class thing. It’s an American thing.
It is motivated in part by our failure to recognize its roots in the history of racial slavery and the history of American racial violence and inequality that has extended well beyond emancipation. A legacy that includes a daily dose of physical, emotional and psychological trauma that shapes each and every American today.
Far fetched? In 1787, the United States deemed African-Americans 3/5 of a human being. This in a country that simultaneously declared, “All men are created equal.” Many argue we have progressed as a nation. And in some ways this is true.
However, in light of the cavalier manner in which the humanity of black people was legislated away in that compromise, I often wonder: at what point did we collectively re-authorize that humanity? At what point were black Americans re-classified, re-legislated as human beings who possessed equal worth and who deserved all of the things associated with human life in this country?
Was it with the passing of the 13th Amendment in 1865? The Civil Rights Act of 1964? The Voting Rights Act of 1965? The founding of Black History Month in 1976? The election of the nation’s first president of African descent?
The reality is that the full-ness of black humanity has yet to be recognized in the United States.
Rarely in the history of the world has any other group been de-humanized in this way, on a racial basis, solely to further economic profit. We don’t have a plan to address the traumatic legacies of slavery and the post-emancipation era because without confronting that history, there is no process by which a nation could collectively restore human status to a people. As historian Tim Tyson of Duke University has noted, “Any psychiatrist will tell you, genuine healing requires a candid confrontation with our past. If there is to be true healing there must first be reconciliation.”
Racism, white supremacy, black inferiority, police brutality, black-on-black crime and white fear are all symptomatic of our unwillingness to face our collective and communal past with honesty and genuine reflection. Our refusal to ponder the idea that the current racial divide in this country has an inseparable connection to the events of our country’s past, to the roots of our tree.
There is a divide in America. Not one of Democrats and Republicans, but a divide of the ugliest kind. One that survives on ignorance and thrives on indifference. One that threatens this generation and every generation in this country to come.
If we cannot address this divide, from its roots, we may expect more destruction of life, more riots, more anger, more fear. This is the most pressing challenge facing America today. More than the economy, foreign policy, or energy, though the ultimate fate of these policy dilemmas will be informed by this, too.
We tout ourselves a nation set apart by its freedoms. We pride ourselves on our courage to preserve life and liberties abroad. The land of the free. The home of the brave. If ever there was a time for America to be brave, it is now, for in the words of Abraham Lincoln, “If a house is divided against itself, that house cannot stand.”
Weissman is president of Public Citizen and an expert on economic, healthcare, trade and globalization, intellectual property and regulatory policy, and issues related to financial accountability and corporate responsibility. His top priorities include climate change, healthcare reform, financial regulation and campaign finance reform.
It matters a great deal who wins the 2014 elections. On the other hand, we know that whatever the eventual outcome, the corporate class has already won.
Enabled by the U.S. Supreme Court’s 2010 decision in Citizens United v. Federal Election Commission, billionaires and corporations have grabbed control of our elections. More money than ever is being spent—an estimated $4 billion in reported federal expenditures for this election, a record for a mid-term, though the actual amount is surely higher. But more significant than the actual amounts are the rising expenditures by outside organizations—Super PACs, social welfare organizations and trade associations—not connected to the candidates. These organizations concentrate their spending on the close races—often spending far more than the candidates themselves—so their influence is concentrated where it matters most.
These outside groups will report spending approximately $1 billion, though we’ll never know how much they truly throw at the election, because much of it is not required to be reported. A third or more of that spending is coming from Dark Money organizations, which don’t have to reveal their donors. The biggest centers of Dark Money are the organizations affiliated with the anti-government extremist Koch Brothers, Karl Rove’s Crossroads GPS and the U.S. Chamber of Commerce, the leading trade association for big business.
For the Super PACs that do report their donors, we know that a very tiny number of people are overwhelming voters with their dollars. Just 42 people are responsible for a third of the $600 million raised by Super PACs. 42 people!
What do donors get for their extraordinary contributions? At the individual level, they get special access and special favors. But much more important is the systemic effect of their spending: With their heavy advertising, they define election races, often taking control of election narratives from candidates. They have a huge influence over who is elected; and even over who will consider running. Once the election is over, they help shape what Congress does—and does not do.
The vast majority of Americans want to raise the minimum wage. They want policies to advance income and wealth equality. Americans want Wall Street criminals put behind bars. By a more than two-to-one margin, Americans oppose more NAFTA-style trade agreements. Americans want investment in our schools, on sustainable transportation and infrastructure. They want policies to prevent catastrophic climate change. They want to protect—and improve—Social Security and Medicare.
So, why isn’t Congress raising the minimum wage and addressing income inequality? Why aren’t prosecutors going after Wall Street wrongdoers? Why is the president trying to negotiate NAFTA-style deals with Asia and Europe? Why aren’t we investing in our future? Why is Congress threatening the modest climate change policies of the Obama administration? Why do we face the prospect of Social Security and Medicare cuts again appearing on the Congressional agenda?
The giant campaign donations by the billionaires and corporations aren’t the only answer to those questions, but they are a big part of it. If we want America to deliver on its promise—if we want to advance justice and democracy, fairness and ecological sustainability; if we want everyone to get a fair shot—then we have to deal with the campaign finance system. A first step would be to require disclosure of all campaign-related spending by large corporations, so we at least know what companies are spending. The Securities and Exchange Commission should adopt a rule to require such disclosures immediately. In the longer term, we need to replace the current campaign spending system altogether with one that relies on small donors and public financing. But replacing the current system—including the outrage of billionaires and corporations dominating our elections with outside spending—will require overturning Supreme Court decisions like Citizens United. And that will take a constitutional amendment—something hard to do, by design, but something We the People have done time and again to strengthen our democracy.
Congratulations to all of the 2014 Emmy winners, with special kudos to those who spent time with us over the past year: Allison Janney, Jessica Lange and Jim Parsons.
Every year, like clockwork, Emmy’s red carpet is laid out, the golden statuettes are polished and feelings of excitement and anticipation fill the air. As we celebrated our 10th year in public television in 2013, we shared the same feelings as the guests who helped us get there.
And with this post, we toast our visitors whose work has been recognized as contenders for the 66th Annual Emmy Awards. [Click on the guest name/image to go to his/her show page on this site, which includes video of our conversation.]
Comedy, drama, miniseries, TV movie—each of these genres is proving more and more how much television content is evolving, taking audiences where they’ve never gone before. Our guests have taken us from a woman’s federal prison in New York to a witches’ coven in Louisiana.
This year, comedy definitely has some stiff competition, and it starts with…a big bang. The Big Bang Theory continued to hit funny bones and earned yet another Emmy nomination for outstanding comedy series, as well as lead actor and guest star. Nominated for comedy lead actor, Jim Parsons sat with us and talked about his hit TV show, as well as his supporting role in HBO’s The Normal Heart, which earned him a second Emmy nod—this one for reprising his Tony-winning turn on Broadway.
Comedic giant Bob Newhart also stopped by, shortly after taking home a 2013 Emmy—his first after more than 50 years in the business—for his work on the show as Arthur Jeffries. This year, he picked up another guest actor nod.
Also in the comedy race is a real unconventional family, the Emmy-nominated Modern Family. We were privileged to welcome versatile actor Ed O’Neill, who earned recognition as on-screen father to the Bundys in Married…With Children and, now, to the Pritchett family. This past season, Modern Family‘s characters were tested, and, in the moments when not everything was funny, O’Neill shined through and demonstrated that that’s what makes shows memorable.
In the past year, comedy took on a new look—the color of orange. Since its debut, Orange Is the New Black has garnered attention for its mix of comedy and drama. The characters on the series, nominated for best comedy, have taken us behind bars—teaching us lessons and survival tips about the ins and outs of the world. One of its co-stars that’s familiar with comedy and stories is Jason Biggs, who visited us and recounted what it’s like working on the hit show.
Included on the list for leading actor in a comedy is Don Cheadle, who checked in with us just in time for the season three premiere of House of Lies. He explained his character Marty Kaan, an antihero who brings edge, but is still mysterious to the story. It’s no surprise that his character and work ethic as an actor continue to bring him award nominations, as his film roles have done in the past.
While the ability to balance comedy and drama is a strength for any actor/actress, to do so simultaneously is a force. This is the case with two guests who dropped in to discuss their work on both a comedy and a drama series in the same season.
One of these talents is Allison Janney, who’s nominated in two categories this year: supporting actress in a comedy for her role in Mom and guest actress in a drama series for her turn in Masters of Sex. She described what it was like playing two very different roles at the same time. [NOTE: During the Creative Arts Emmys ceremony, Janney picked up the statuette in the drama series guest actress category for her performance in Showtime’s Masters of Sex.]
Beau Bridges also received two nominations. This past season, he not only played a funny dad in The Millers, but also a struggling husband (opposite Janney) in Masters of Sex. Coming from a family of actors, Beau has mastered balancing comedic timing and drama. Our chat included his take on family life, work and even mixing the two!
When Slattery visited, he updated us on his character in the period piece, which is in its final season, and outlined his film, God’s Pocket, and what it was like putting together his first feature and directing Philip Seymour Hoffman in one of his last roles.
Weiner, the man behind Mad Men, shared the journey of the series—its evolution, characters, content and what makes it a hit.
And, though Jessica Lange has played different characters in the American Horror Story anthology, her different roles keep her as a fresh choice. This year, her portrayal as the Supreme Witch of the Coven, earned her an Emmy nod for lead actress in a miniseries/movie.
When Lange visited our set, she also opened up about one of her many other talents—writing—and her children’s book, It’s About a Little Bird, which was written for her granddaughters, and talked about religion, family, photography and all that keeps her the woman we know and love.
One actor not only pulled on audiences’ heart strings this past year for his film role in 12 Years a Slave, but also captured their attention as Louis Lester in the British TV miniseries, Dancing on the Edge. While Chiwetel Ejiofor‘s conversation with us focused on his performance in the Oscar-winning film, he took us into period pieces, from the 1800s to the 1930s, bringing to life the reality that they were and yet inspiring us to see growth and beauty, and earned an Emmy nomination as lead actor in a miniseries/movie.
Over the years, Emmy, Grammy, Oscar and Tony winner Mel Brooks has experienced all of the nerves of nominations for outstanding work. When he honored us with a sit-down, he made us laugh not just one night, but two in a row. The body of work of the comedian-producer-director-writer dates back to the late 1940s and resulted in a televised AFI tribute, which earned an Emmy nod best variety special. [NOTE: The tribute show was awarded the Emmy during the Creative Arts ceremony.]
Joseph Gordon-Levitt is best known as an actor; but, this year, he made his debut as a feature film director-screenwriter and shared his experience with us. He also created, hosted and directed a critically acclaimed variety series, HitRECord on TV—an extension of his online collaborative production company—on the new Pivot network and picked up an Interactive Media Emmy Award for Social TV Experience during the Creative Arts Awards ceremony.
After the awards ceremonies and parties and the reading of new scripts, every actor starts again. Sometimes it’s just as nerve-racking as the shows they are in, but by the end of their new beginnings, they present a wonderful feast. This is what makes awards ceremonies like the Emmys exciting and new—nothing is the same every year, and, by the end of the night, we reflect on past work and look forward to new ones.
For their Emmy nods, we congratulate the guests that sat on our couch this past year, reflecting on their work in TV series, telefilms or miniseries, and we thank them for letting us help get the word out on their various projects!
A 20th-century icon, he survived 19 years in prison as a controversial victim of the U.S. justice system. Following his exoneration, he became a passionate activist for the wrongfully convicted, and his life story inspired a major motion picture and a song by Bob Dylan.
Carter had a difficult youth, but rose to become a top contender for the middleweight boxing crown. His career was halted in 1967, when he was convicted of a triple murder and sentenced to three consecutive life terms. In 1988, the indictments against him were dismissed.
The recipient of two honorary doctors of law degrees, Carter lived in Toronto and was an in-demand speaker throughout North America and Europe. He also worked with several organizations and founded Innocence International.
In 2011, he joined us to talk about his work helping prisoners who have been falsely convicted and his then-newly updated biography, The Eye of the Hurricane: My Path from Darkness to Freedom. Take a look below at our compelling conversation.(View full post to see video)
The 2014 “class” of Rock and Roll Hall of Fame inductees includes two of our past guests: one of the most important voices in the creation of country rock, Linda Ronstadt, and Yusuf (formerly known as Cat Stevens), whose musical gifts are an important chapter in rock history.
Over two nights, Ronstadt—the only artist to win a Grammy Award in the categories of pop, country, Mexican American and Tropical Latin—reflected on her fascinating journey, as chronicled in her memoir, Simple Dreams, as well as her Parkinson’s diagnosis.
And singer-songwriter Yusuf, an introspective cornerstone of the 1970s singer-songwriter movement, who converted to Islam after multi-platinum success, talked with us about his musical odyssey and using culture to support moral values.
Congrats to all of this year’s inductees, especially to our past guests. Check out their Hall of Fame bios AND watch video of their rich conversations.
Part 1 of our conversation
(View full post to see video)
Part 2 of our conversation
(View full post to see video)
Applause to our guests who took home 2014 Grammys: Herb Alpert, Ben Harper with Charlie Musselwhite, Alicia Keys, Gregory Porter and Wayne Shorter. The legendary Carole King was also honored during the Grammy weekend festivities. Check out the roundup below of their visits with us.
2014 MusiCares Person of the Year
The singer-songwriter and four-time Grammy winner was honored as the 2014 MusiCares Person of the Year, recognizing her accomplishments as an artist and humanitarian. Our conversation with her on the release of her memoir, A Natural Woman, is a must-see.
‘GRAMMY Winners Pay Tribute To Carole King’
Best Pop Instrumental Album – Recipient for “Steppin’ Out”
Ben Harper & Charlie Musselwhite
Best Blues Album – Recipient for “Get Up!”
Best R&B Album – Recipient for “Girl on Fire”
Best Jazz Vocal Album – Recipient for “Liquid Spirit”
Best Improvised Jazz Solo – Recipient for “Orbits”
Kudos, as well, to other 2014 Grammy nominees who joined us last year. (Click on the name to view the guest show page.)
Terence Blanchard – Best Improvised Jazz Solo for “Don’t Run”
Mary J. Blige – Best Rap/Sung Collaboration for “Now or Never” (Kendrick Lamar featuring Mary J. Blige) & Album of the Year for “Good Kid, M.A.A.D City” (Kendrick Lamar collaboration)
Carol Burnett – Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) for Carrie and Me
Gloria Estefan – Best Traditional Pop Vocal Album for “The Standards” & Best Instrumental Arrangement Accompanying Vocalist(s) for “What A Wonderful World”
Dave Koz – Best Pop Instrumental Album for “Summer Horns”
Snoop Lion – Best Reggae Album for “Reincarnated”
Miguel – Best R&B Performance for “How Many Drinks” (featuring Kendrick Lamar) & Best Rap/Sung Collaboration for “Power Trip” (J. Cole featuring Miguel)
Esa-Pekka Salonen – Best Orchestral Performance for “Lutoslawski: Symphony No. 1;” Best Contemporary Classical Composition for “Salonen, Esa-Pekka: Violin Concerto;” & Best Classical Instrumental Solo for “Salonen: Violin Concerto; Nyx”