{'fraction_non_alphanumeric': 0.030425963488843813, 'fraction_numerical': 0.0, 'mean_word_length': 4.805882352941176, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Latin History for Morons by John Leguizamo (review)

In a talkback following the performance, Berryman remarked that he was merely a conduit for the men whose voices the record preserves. Performing as that conduit, however, is not “mere”; it does the significant work of forging an explicit link between historic practices of incarcerating black bodies and a present in which the penal system continues to function as an instrument of race-based oppression. At the same talkback, he described the impetus for the project, at least in part, as an effort “to grant history to the incarceration problem.” “Let the lens of the world,” he declared, “tell you how to watch it.” By embedding the songs in the present moment through their performance by present bodies, The B-Side emphasized the “now” of its performance as one in which imprisonment continues to function as a powerful tool for social control of black and brown bodies, comprising a national tragedy in urgent need of address.