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Art or algorithms? A choice for America's children

Art or algorithms? A choice for America's children

The Hill18-07-2025
While America fixates on wars in Israel and Ukraine, protests over deportations and fights over tariffs, a quieter crisis is destroying our children from within.
Nearly one-third of U.S. children show signs of addictive behavior tied to mobile phones and social media by age 11. Those with the highest levels of compulsive use are more than twice as likely to report suicidal thoughts, depression, anxiety or aggression.
This isn't speculation — it's the stark finding from a new study that should terrify every parent in America.
Children who feel they can't put the phone down are literally losing hope. And while our attention stays locked on external battles and street demonstrations, we are about to defund the one proven antidote to digital despair: arts education.
The research, as reported by the Financial Times, amplifies the work of social psychologist Jonathan Haidt, whose book ' The Anxious Generation ' exposed how smartphones are damaging developing minds.
The rise in teen anxiety, depression and self-harm isn't a coincidence — it tracks directly with the spread of smartphones and social media. Haidt's call to action is clear: Give kids their childhoods back by changing our digital norms.
But here's what the policy debate is missing: When I was chairman of the New York State Council on the Arts, we commissioned a study from McKinsey in 1997 titled, 'You Gotta Have Art!' It found that for every dollar received in public grants, arts organizations raise $9 from other sources.
In other words, taxpayers get tremendous bang for their buck spent on arts education.
And art isn't a luxury. It's a lifeline.
In low-income and underserved communities — where kids face the highest risk of social media addiction and have the least access to mental health support — arts programs provide what algorithms cannot: structure, purpose and human connection.
They teach discipline and self-expression. They offer sanctuary from the scroll. They give children the chance to discover who they are beyond the screen.
I've witnessed this transformation firsthand for decades. In my role as chairman, I've visited VFW halls turned into rehearsal spaces, summer camps that became studios, shuttered churches reopened as community theaters. These places don't need TikTok — they need teachers, canvases, clarinets and courage.
Without National Endowment for the Arts support, they vanish. Not hypothetically — now.
In Iowa, the beloved nonprofit cinema FilmScene just lost its entire National Endowment for the Arts grant overnight. There was no warning — just a cold, bureaucratic phrase: 'no longer prioritized by the president.' That funding supported programming for people with disabilities, local festivals and community outreach. Without it, a cultural pillar could collapse.
FilmScene isn't alone. Today, students in high-poverty schools are twice as likely to have no arts education at all. This isn't just unfair — it's strategically stupid. Data show low-income students engaged in arts are twice as likely to graduate college. Arts education creates a pipeline to success and a buffer against isolation and algorithmic manipulation.
So why cut it? Because critics call it elitist?
Here's the truth: Cutting arts funding doesn't hurt elites. It devastates kids who have nothing else. Lincoln Center will survive. The after-school jazz program in East St. Louis will not. The community mural project in West Texas will not.
In 1997, conservative Sen. Jesse Helms (R-N.C.) tried to kill the National Endowment for the Arts — until fellow Republican Sen. Alfonse D'Amato (R-N.Y.) stood up and said no. D'Amato cited hard data and made the case that arts funding wasn't liberal indulgence but conservative common sense.
President Trump should follow that model. He should not only preserve the National Endowment for the Arts, but he should reform it to serve communities most in need. As he did at the Kennedy Center, he can appoint leadership reflecting traditional values — faith, discipline, patriotism, family — and repurpose the NEA to rescue children from digital despair.
This transcends politics. It is about right and wrong.
Arts aren't the enemy of conservative values — they are the antidote to a society forgetting how to raise whole human beings. They teach perseverance, honor tradition and create bonds no app can replicate.
We face a simple choice: algorithm or art. One isolates. The other inspires. One extracts attention. The other expands minds. One sells. The other saves.
For our children, our communities and our country, let's choose art.
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This Is the News From TikTok
This Is the News From TikTok

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This Is the News From TikTok

The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. When he learned one night this summer that the United States had bombed Iran, the content creator Aaron Parnas responded right away, showing what's bad and what's good about using TikTok for news. Shortly after 7:46 p.m. ET on June 21, he saw Donald Trump's Truth Social post announcing the air strikes. At 7:52, according to a time stamp, Parnas uploaded to TikTok a minute-long video in which he looked into the camera; read out the president's post, which identified the suspected nuclear sites that the U.S. had targeted; and added a note of skepticism about whether Iran would heed Trump's call for peace. As traditional media outlets revealed more details that night, Parnas summarized their findings in nine more reports, some of which he recorded from a car. Parnas wasn't adding elaborate detail or original reporting. What he had to offer was speed—plus a deep understanding of how to reach people on TikTok, which may not seem an obvious or trustworthy source of news: The platform is owned by a Chinese company, ByteDance, which lawmakers in Washington, D.C., fear could be manipulated to promote Beijing's interests. TikTok's algorithm offers each user a personalized feed of short, grabby videos—an arrangement that seems unlikely to serve up holistic coverage of current events. Even so, according to a Pew Research Center poll from last fall, 17 percent of adults—and 39 percent of adults under 30—regularly get informed about current affairs on the app. Fewer than 1 percent of all TikTok accounts followed by Americans are traditional media outlets. Instead, users are relying not only on 'newsfluencers' such as Parnas but also on skits reenacting the latest Supreme Court ruling, hype videos for political agendas, and other news-adjacent clips that are hard to describe to people who don't use TikTok. Last summer, after the first assassination attempt on Trump, one viral video fused clips of the bloody-eared Republican raising his fist with snippets of Joe Biden's well wishes. Simultaneously, Chappell Roan's ballad for the lovestruck, 'Casual,' played, hinting at a bromance. On my For You page in June, as U.S.-Iran tensions flared, I saw a string of videos known as 'edits'—minute-long music montages—on the general topic. One spliced together footage of zooming F-16s, Captain America intimidating his enemies in an elevator, and bald eagles staring ominously while AC/DC's 'Thunderstruck' blared. Skeptics might wonder: When people say they get their news from TikTok, what exactly are they learning? [Read: The internet is TikTok now] Frequent consumers of current-affairs content on TikTok insist that they can decipher what's going on in the world—that, even if they have to extrapolate facts from memes, the brevity and entertainment value compensate for a lack of factual detail. 'A lot of things are in simpler terms on TikTok,' Miles Maltbia, a 22-year-old cybersecurity analyst from Chicago, told me. 'That, and convenience, makes it the perfect place to get all my news from.' And as more and more users turn to TikTok for news, creators such as Parnas are finding ways to game the algorithm. Parnas, who is 26, is a lawyer by trade. He told me that he monitors every court case he deems significant with a legal tracker. He was immersed in politics at an early age. (His father, Lev Parnas, gained brief notoriety as an associate of Rudy Giuliani during Trump's first term. 'I love my dad,' Aaron Parnas has said. 'And I'm not my dad.') C-SPAN is on 'all day every day.' And he's enabled X and Truth Social notifications for posts from every member of Congress and major world leader. When he decides that his phone's alerts are newsworthy, he hits the record button. His rapid-reaction formula for news has made him a one-man media giant: He currently has 4.2 million followers on TikTok. He told me that his videos on the platform have reached more than 100 million American users in the past six months. His Substack newsletter also has the most subscriptions of any in the 'news' category, and he recently interviewed Senator Cory Booker, French Foreign Minister Jean-Noël Barrot, and this magazine's editor in chief. Still, Parnas's TikTok model relies heavily on reporting by other outlets. And Parnas's 24/7 information blitz may be jarring for those whose media-consumption habits are not already calibrated for TikTok. There's no 'Good evening' or 'Welcome.' 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'The default position is: Algorithm, let the information flow over me,' he said. 'Load me up. I'll interrupt it when I see something interesting.' On a platform where little content is searched, creators dress up the news to make it algorithm friendly. The Washington Post is one established media brand that has leaned into the growing format of TikTok news skits. In one video about the Supreme Court, a Post staffer wearing a college-graduation robe wields a toolbox mallet as a gavel to channel Chief Justice John Roberts, and when she mimics him, her background turns into red curtains. 'South Carolina can cut off Medicaid funding for Planned Parenthood,' she says. Dave Jorgenson, who launched the Post's TikTok channel in 2019, announced recently that he's leaving to set up his own online-video company—a testament to the demand for this new style of content. [From the January 2025 issue: The 'mainstream media' has already lost] The Post's embrace of TikTok has been unusual for an outlet of the newspaper's stature. The prevalence of vibes-based content on the video platform raises obvious questions about truth and accuracy. Many users I spoke with trusted crowdsourced fact-checking to combat misinformation, via the comments section. I asked Maltbia, the analyst from Chicago, how he knows which comments to trust. 'I'll usually look at the ones that are the most liked,' he said. 'But if it still sounds a little shady to me, then I'll probably Google it.' Parnas defended the integrity of TikTok news. 'There's no more misinformation on TikTok than there is on Twitter, than there is on Fox News, than sometimes there is on CNN,' he told me. That claim is impossible to verify: TikTok's factual accuracy is under-researched. One assessment by the media watchdog NewsGuard found that 20 percent of TikTok's news search results contained misinformation—but no user I spoke with bothers with the app's search function. Whether TikTok will continue to gain popularity as a news outlet isn't yet clear. Citing fears of hostile foreign control over a major communications platform, Congress overwhelmingly passed legislation aimed at forcing TikTok's Chinese owners to sell. But Trump has now delayed implementation of the law three times since he took office. In the meantime, users of the platform keep stretching the definition of news. On TikTok, 'news is anything that's new,' Kozinets, the USC professor, told me. Entrepreneurial creators who care about current events will keep testing delivery formats to gain more eyeballs on the platform. And even if TikTok is sold or shuts down, similar apps are sure to fill any vacuum. The challenge of packaging news for distribution by a black-box algorithm seems here to stay. Article originally published at The Atlantic

TikTok pulls video of Huda Kattan after beauty mogul spreads anti-Israel conspiracy theories
TikTok pulls video of Huda Kattan after beauty mogul spreads anti-Israel conspiracy theories

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  • CNN

TikTok pulls video of Huda Kattan after beauty mogul spreads anti-Israel conspiracy theories

Fighting disinformation The Middle East TikTok Israel-Hamas warFacebookTweetLink Follow TikTok this week removed an inflammatory anti-Israel video posted by celebrity beauty mogul and influencer Huda Kattan. Kattan, the founder and face of the billion-dollar brand Huda Beauty, shared a video to her more than 11 million followers on TikTok, accusing Israel of orchestrating World War I, World War II, the September 11 terrorist attacks and Hamas' attack on Israel on October 7. World War I (1914-1918) and World War II (1939-1945) both occurred before the State of Israel was established in 1948. 'All of the conspiracy theories coming out and a lot of evidence behind them — that Israel has been behind World War I, World War II, September 11, October 7 — they allowed all of this stuff to happen. Is this crazy?' Kattan said on camera in her since-removed TikTok post, which included other unfounded claims about Israel. 'Like, I had a feeling — I was like, 'Are they behind every world war?' Yes.' A representative for TikTok confirmed to CNN that it removed Kattan's video for violating its community guidelines. 'In a global community, it is natural for people to have different opinions, but we seek to operate on a shared set of facts and reality,' TikTok's community guidelines state. 'We do not allow misinformation that may cause significant harm to individuals or society, regardless of intent.' Kattan's agency did not respond to CNN's request for comment. A manager listed on public databases as a representative for Kattan was contacted by CNN and said in an email that they no longer represent her. Kattan's video has spurred calls across social media and among Jewish groups for retailers like Sephora to cut ties with her popular beauty brand, Huda Beauty, which was valued at $1.2 billion in 2017 and brings in roughly $200 million in annual sales, according to Forbes. A representative for Sephora has not responded to CNN's request for comment. This is not the first time the beauty influencer has faced calls for boycotts due to her public commentary after October 7. Kattan, whose company has over 57 million followers on Instagram, has been an outspoken critic of Israel and a staunch supporter of Palestinians in Gaza. Within a week of Hamas attacking Israel on October 7, 2023, an Israeli Instagram user threatened to boycott her products, to which Kattan replied: 'I don't want blood money.' In response to that comment, a petition was launched and received over 30,000 signatures, calling on Sephora to remove Huda Beauty products from its stores. Kattan's most recent TikTok video drew swift backlash from Jewish groups. 'Huda Kattan built a brand around beauty — but these antisemitic conspiracy theories are nothing short of ugly hate,' said Jonathan Greenblatt, CEO of the Anti-Defamation League. 'Spreading vile myths about Jews to millions of followers isn't just reckless — it's dangerous.' The American Jewish Committee posted Kattan's since-removed TikTok video on social media, writing, 'Huda Kattan, founder of Huda Beauty, is using her massive platform to spread vile antisemitic conspiracy theories — accusing Jews of harvesting the organs of Palestinians, causing 9/11, and running global pedophile rings. This isn't 'criticism of Israel.' It's centuries-old hate, repackaged and broadcast to millions.' 'Retailers have a choice,' said Ari Hoffnung, managing director of the Jewish nonprofit, JLens. 'They can continue to platform a brand whose founder promotes hate-fueled conspiracy theories, or they can take a stand against antisemitism.' Forbes included Kattan on their 2023 list of America's Richest Self-Made Women and on their list of Most Powerful Women in Business in 2024.

Can Trump eliminate the NEA? Experts sound off
Can Trump eliminate the NEA? Experts sound off

San Francisco Chronicle​

time19 hours ago

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Can Trump eliminate the NEA? Experts sound off

President Donald Trump and his supporters may finally make their decadeslong right-wing fantasy of dismantling the National Endowment for the Arts come true. In the most aggressive move in years, the U.S. House Subcommittee on Interior, Environment, and Related Agencies recently proposed a 35% cut to the agency that underwrites theater, dance, classical music, visual art and more nationwide. And it's just the latest blow in a brutal year for the arts in the U.S. In February, the NEA abruptly closed a grant category, Challenge America, dedicated to underserved communities. Shortly after, Trump took control of the Kennedy Center. By May, the administration took the unprecedented step of terminating grants for projects it deemed counter to priorities, such as those promoting diversity, equity and inclusion or 'gender ideology' — dozens of them in the Bay Area. To many, this could possibly mark the beginning of the end of the 60-year-old agency. 'It feels as if the current administration is trying to finally eradicate the NEA and the NEH,' Ralph Remington, director of cultural affairs at the San Francisco Arts Commission and a former NEA director of theater and musical theater, told the Chronicle, referring to the similarly targeted National Endowment for the Humanities. 'We rarely ever see grants pulled midstream from any source — government or private foundations,' he added, dubbing it 'highly possible' that the NEA would cease to exist. But Jay Dick, senior director of advocacy and partnerships in the government affairs department at Americans for the Arts, sees the situation differently. While a reduction like the proposed 35% cut is very possible, he conceded, the endowment's wholesale annihilation is unlikely. For one, the president can propose any budget he wants, but Congress controls the purse strings — though that constraint is being tested. Since 2023, Trump has touted a fringe legal theory that would allow him to unilaterally reject Congress' budget allocations, and his second term is becoming a laboratory for how far he can push it. Secondly, since the so-called NEA Four — performance artists Karen Finley, Tim Miller, John Fleck and Holly Hughes — had their grants vetoed in 1990 over concerns about outré subject matter, the agency transformed its funding priorities to head off further right-wing criticism. For years now, its dollars have reached every congressional district in the U.S., not just those populated by coastal elites. That means that the last time Congress debated cutting the NEA, during a House session last year on a spending bill for the Department of the Interior, both a Democrat and a Republican opposed the idea. Even if they're more amenable to cuts this year, their reasoning remains telling. 'I'm not worried about the arts in Washington or in New York or in Los Angeles, but I'm worried about the arts in Shelley, Idaho,' Rep. Mike Simpson, R-Idaho, said from the floor last July. Indeed, wealthy places like the Bay Area have other arts funders, but 'If you go to Wyoming, go inland a little bit, oftentimes the NEA is the only game in town,' Dick said. Members of Congress from those districts are loath to take the blame for wiping out a beloved local museum or theater. On the other hand, similar thinking had long helped sustain federal support for the Corporation for Public Broadcasting, which helps fund NPR and PBS — until last week, when Congress cut $1.1 billion to the entity. If it's possible for Trump's influence to upend decades of precedent in that arena, the NEA and the nation's arts nonprofits seem all the more vulnerable. In any case, Dick added, the NEA's spending amounts to 'budget dust on the federal level.' No cuts there will make a dent in the budget deficit, which appears likely to skyrocket with the tax cuts in Trump's so-called 'Big Beautiful Bill.' For arts supporters, being honest about the NEA's role is a tricky balance. While the agency's support to any single Bay Area organization makes up only a small fraction of that grantee's total budget — leaders at Opera Parallèle and New Conservatory Theatre Center both told the Chronicle they will not go under as a result of terminated grants — the funds still matter. 'It helps us leverage, raise monies from other sources,' NCTC Artistic Director Ed Decker said. The theater's cancelled $20,000 NEA grant pays for less than 1% of its annual budget, but other philanthropists see it as what Remington called a 'Good Housekeeping Seal of Approval.' Other funders, Dick pointed out, don't always have the resources or expertise to assess arts organizations. NEA uncertainty coincides with arts funding turmoil at the state and local levels. The Performing Arts Equitable Payroll Fund was on the chopping block under Gov. Gavin Newsom's May budget proposal, though this month state lawmakers restored that funding. Oakland has both slashed its arts funding and eliminated its cultural affairs manager position. San Francisco canceled Dream Keeper Initiative grant agreements and announced restructuring Grants for the Arts, the San Francisco Arts Commission and the San Francisco Film Commission as a single superagency, all while requiring more paperwork from SFAC grantees. A February report from the think tank the Urban Institute — 'What Is the Financial Risk of Nonprofits Losing Government Grants?' — illustrates what's at stake. In nine Bay Area counties, 69% of nonprofit arts organizations would be in the red without government support. The picture gets even bleaker when considering that private philanthropy is unlikely to be a stopgap, according to data from nationwide funders association Grantmakers in the Arts. From 2000 to 2014, the most recent year for which data is available, arts funding as a percentage of total philanthropy shrank by more than 5%. 'All the foundations in the U.S. cannot make up for public investment in the arts,' GIA founder and CEO Eddie Torres told the Chronicle. 'This is particularly true in rural and remote communities and for communities of color, where public funding tends to be their primary source of income.' But Mary Anne Carter, Trump's nominee to head the NEA, has not endeared herself to Bay Area grantees. In March, David Mack, co-founder of grantee Artist Magnet Justice Alliance in Oakland, saw Carter speak at an unrecorded seminar hosted by Creative West, which serves artists and arts agencies in the Western United States. He and fellow attendee Mariana Moscoso, who's based in Sacramento, said they recalled Carter making several controversial remarks. According to their accounts, Carter began her appearance by alluding to the notion that discriminating against white people is against the law, using her white daughter's workshop attendance at Alvin Ailey American Dance Theater as an example of an organization's anti-discrimination. She also named Elvis Presley, the musical 'Oklahoma!' and American jazz as examples of American heritage — attributing jazz's origins in 'Northern Irish dance, also in Western African dance.' When asked about 'gender ideology,' the subject of a Trump executive order, Carter reportedly responded by saying, 'There are only two biological genders. It's man, or it's woman. So if you're not one of those, I don't know what to tell you.' Moscoso, who's nonbinary, told the Chronicle, 'That phrase was a form of institutional erasure to me.' The Chronicle reached out via email to the NEA's public affairs department, which responded without a name in its signature. (The staff page on the NEA's website does not name individual employees.) 'We consistently have made the point that nondiscrimination laws apply equally to all races,' the response reads. The NEA's public affairs office defended Carter's remark about Alvin Ailey American Dance Theater, stating it served 'as an example of an organization that may apply because it does not exclude a specific group from participation.' It also said that Carter's examples of American heritage were not meant to be comprehensive, adding, 'Any reference to American jazz dance was made solely to emphasize its multifaceted origins.' As Bay Area artists try to move forward amid this political and financial uncertainty, it's possible audiences will see more closures and leaner operations among the organizations that stay afloat. More teamwork is also likely. In American Conservatory Theater's next season, for instance, other theater companies are involved — whether as a cost-sharing co-production or otherwise — in all six shows. Emiko Ono, who directs the performing arts program at the William and Flora Hewlett Foundation, takes some heart in seeing how her grantees are banding together, noting how Julie Phelps of CounterPulse recently asked Ono's foundation how it could help the region's broader dance community be more resilient together. 'That's a very different ask than 'Can you please help backfill this NEA grant?'' Ono explained. 'I think people know — philanthropy included — that there's not enough money to backfill what's going on right now, and there's an appetite brewing around, 'What are the long-term solutions?'' For their part, artists continue to vow to fight. 'If we just get caught up in how traumatic this is … they win,' said Los Angeles playwright Eric Reyes Loo, whose NEA grant for 'Simple Mexican Pleasures' at NCTC was canceled. 'The work has to be louder and browner and queerer and more female-centric and more empowered than ever.' Conductor Nicole Paiement, who's the founder and artistic director at Opera Parallèle, pointed out that the project her terminated grant was intended to support might suggest a way forward. Referencing an aria in the opera 'Harvey Milk Reimagined,' which had its West Coast premiere in June, a just-elected Mayor George Moscone (Matt Boehler) sings, 'Thank you for voting for what San Francisco looks like,' celebrating the diversity of winning candidates in that year's election. 'They did it then, and we will do it again,' Paiement said. 'It is a perfect city to lead the way.'

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