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Tulsa is commemorating the centennial of the 1921 race massacre, a violent incident of racism that almost entirely destroyed the cityâs Black community. The events are putting a spotlight on Black Tulsansâ long, painful struggle toward racial equality â a struggle echoed throughout U.S. history in Black communities across the country. Both historically and in todayâs political environment, the sense among many Black voters in Tulsa is that neither party really has their interests at heart.Â
âThey feel it doesnât matter either way, Republican or Democrat,â says Mareo Johnson, a local pastor and founder of Black Lives Matter Tulsa. ââNothing is going to change in my situation, my circumstance, my surroundings.ââÂ
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How does a city confront a violent past? Tulsa, Oklahoma, is wrestling with the question as it prepares for the centennial of the brutal race massacre that took place there on May 31 and June 1, 1921.Â
For Tulsa native Jerica Wortham, one answer is through art â especially art that lets Tulsaâs Black community members process their painful history, own the stories for themselves, and find a path toward healing. As program director for The Greenwood Art Project, Ms. Wortham is hoping the project will facilitate space for that to happen.Â
In the final episode of âTulsa Rising,â Ms. Wortham gives our reporters the latest on the projectâs status and her reflections on the transformative power of music, poetry, and creativity.
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One of the most amazing things about the human mind is its ability to imagine events that haven’t happened yet. To make a decision about something new – trying a new dish, picking a show to watch, and choosing a career – you have to mentally construct the experience and then predict how pleasant or unpleasant it will be.
But this simulation, say psychologists, is often distorted. Our predictions tend to exaggerate how happy or sad we’ll feel, and for how long.
“No doubt good things make us happy and bad things make us sad,” says Tim Wilson, a social psychologist at the University of Virginia. “But as a rule, not as long as we think they will.”
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Time has always been complicated for JJJJJerome Ellis. (Mr. Ellis uses this spelling of his first name because it’s the word he stutters on most.) As a composer, poet, and performer who stutters, he comes up against time limits that most people take for granted.
“A time limit assumes that all people have relatively equal access to time through their speech. Which is not true,” says Mr. Ellis. “I can rehearse something as many times as I want,” he says, “but I don’t actually know how long it will take to say anything until I have to say it.”
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