I'm Wesley Morris, one of the critics at the New York Times, and we are having a moment.

A large seismic, unpredictable, ever-changing moment.

And I have just been holding on to all of these images.

These videos of people, black men and women on the streets screaming into people's cameras

about how fed up they are with this entire situation.

And everything you know as a black person in the United States of America, everything

you felt, everything you've been made to feel.

You feel it in your heart, but you gotta persevere.

You gotta keep going.

And when you're having a moment like this, where the ground is shifting beneath your feet

in a thousand different ways, seemingly several times an hour every day for more than two

weeks, it's useful to try to figure out a way to get your bearings, to more yourself so

that you don't get lost in all the chaos, and the chaos doesn't swallow you up.

So what happens for me in a moment like this is I turn to art.

So a couple of Sundays ago, I moved forward from my living room into my kitchen.

It's been quite a weekend.

This particular Sunday I've had protesters on my street coming up and down my block

with a great no justice, no peace.

And on this particular Sunday, I did what I normally do with my Sundays.

I cook and my companion was going to be music.

So one thing you should know about me is that when it comes to art, I'm a big completionist

that tends to be my mode as a critic.

...