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"content": "\u003cp>Late in Eliza Hittman’s \u003cem>Never Rarely Sometimes Always\u003c/em>, 17-year-old Autumn (Sidney Flanigan), who is pregnant and in all kinds of trouble, calls her mother from a public bathroom far from her Pennsylvania coal-town home. Her mother asks where she is in a quavering child’s voice. After a pause Autumn hangs up, inspects herself in the bathroom mirror, and squares her shoulders.\u003c/p>\n\u003cp>If you saw Hittman’s \u003ca href=\"https://www.npr.org/2014/03/20/291137541/a-teen-on-the-hunt-and-maybe-in-over-her-head\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It Felt Like Love\u003c/em>\u003c/a> (2013) or her \u003ca href=\"https://www.npr.org/2017/08/24/545479122/-beach-rats-a-young-man-on-a-collision-course-with-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beach Rats\u003c/em>\u003c/a> (2017), you’ll know that the writer-director has little use for exposition. Her scripts are as spare as her soundtracks, so we can’t be sure whether this is a coming-of-age moment for Autumn. To the extent that \u003cem>Never Rarely Sometimes Always\u003c/em> (the title is drawn from a standard questionnaire administered by abortion providers) is a social issue movie, it’s “about” reproductive rights in the same way that the formally similar recent film \u003ca href=\"https://www.kqed.org/arts/13874000/the-assistant-helps-explain-how-predatory-behavior-stays-hidden\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Assistant\u003c/em>\u003c/a> is “about” sexual assault. Meaning that Hittman attends with near-reverent care to the subjective experience of a traumatized soul who’s struggling to take charge of her own destiny. An exacting but artfully suggestive realist, the director offers many mirror shots of Autumn to let us into the interior life of a proud, obstinate young woman confronting a neglectful or hostile adult world.\u003c/p>\n\u003cp>Flanigan, a Buffalo musician in her first acting role, serves up a held-in Autumn whose dull eyes and sullen glower barely conceal the tumult seething inside her. Certain that she wants to terminate her pregnancy but lacking support and money, she turns to a testing clinic that turns out to be an anti-abortion center where, through ineptitude or ulterior motive, she is fed inaccurate information about how far along she is.\u003c/p>\n\u003cp>Tagging along behind her devoted cousin Skylar (Talia Ryder), Autumn heads for New York City, where the camera holds tight on the two girls as they stumble through numerous obstacles in search of safety and self-definition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hjw_QTKr2rc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where Skylar is practical and fun-loving, Autumn is introverted, intense, socially unskilled. Hittman is powerfully attuned to the unquestioning solidarity and indomitable moxie of teenaged girls, the wordless ways in which they fight and make up—quite literally in fact, when, after a quarrel, Skylar applies concealer under her cousin’s eyes. Without a word of apology or defensive self-justification, the two are good to go even though they have nowhere to spend the night.\u003c/p>\n\u003cp>Yet \u003cem>Never Rarely\u003c/em> also made me wonder how neo-realism can tip over into partisan over-determinism, distortion, or plain miserabilism? Riveting when it stays within Autumn’s point of view, the film wields a heavy hand with the bigger picture of family, authority and most of all, men-in-general. The pro-lifers are soft-spoken liars, the abortion clinic staff uniformly kind and sensitive. Autumn’s mother, played with hauntingly ineffectual anxiety by singer-songwriter Sharon Van Etten, is a cipher, pathetically dependent on her boor of a husband (Ryan Eggold), who is not Autumn’s father in any sense and is one of several suspects in her pregnancy.\u003c/p>\n\u003cp>Hittman’s films are littered with hopelessly checked-out parents, crudely drawn figures of authority who are either all friend or all enemy, savagely predatory men. While Autumn might be forgiven for viewing the outside world through this jaundiced prism, I’m not sure Hittman can. Her legitimate subject is the hair-raising vulnerability—and robust fortitude—of young women today. But she tends to put the entire male species on trial and have them come up wanting.\u003c/p>\n\u003cp>As a parent and teacher as well as a critic, it worries me when a young woman filmmaker paints a landscape peopled (unless you count the beleaguered gay teen in \u003cem>Beach Rats\u003c/em>) by woman-hating men. The closest to a decent male in Autumn’s orbit is the harmlessly horny young doofus (a very good Théodore Pellerin) who has his eye on pretty Skylar. Watching \u003cem>Never Rarely Sometimes Always\u003c/em>, I was reminded of a young stranger who, when my own daughter had had too much to drink at a bar, put her and her best friend in his car and dropped them safely off at our home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, you know: \u003cem>sometimes\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Young+Woman+Faces+A+Choice+In+The+Sobering+%27Never+Rarely+Sometimes+Always%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where Skylar is practical and fun-loving, Autumn is introverted, intense, socially unskilled. Hittman is powerfully attuned to the unquestioning solidarity and indomitable moxie of teenaged girls, the wordless ways in which they fight and make up—quite literally in fact, when, after a quarrel, Skylar applies concealer under her cousin’s eyes. Without a word of apology or defensive self-justification, the two are good to go even though they have nowhere to spend the night.\u003c/p>\n\u003cp>Yet \u003cem>Never Rarely\u003c/em> also made me wonder how neo-realism can tip over into partisan over-determinism, distortion, or plain miserabilism? Riveting when it stays within Autumn’s point of view, the film wields a heavy hand with the bigger picture of family, authority and most of all, men-in-general. The pro-lifers are soft-spoken liars, the abortion clinic staff uniformly kind and sensitive. Autumn’s mother, played with hauntingly ineffectual anxiety by singer-songwriter Sharon Van Etten, is a cipher, pathetically dependent on her boor of a husband (Ryan Eggold), who is not Autumn’s father in any sense and is one of several suspects in her pregnancy.\u003c/p>\n\u003cp>Hittman’s films are littered with hopelessly checked-out parents, crudely drawn figures of authority who are either all friend or all enemy, savagely predatory men. While Autumn might be forgiven for viewing the outside world through this jaundiced prism, I’m not sure Hittman can. Her legitimate subject is the hair-raising vulnerability—and robust fortitude—of young women today. But she tends to put the entire male species on trial and have them come up wanting.\u003c/p>\n\u003cp>As a parent and teacher as well as a critic, it worries me when a young woman filmmaker paints a landscape peopled (unless you count the beleaguered gay teen in \u003cem>Beach Rats\u003c/em>) by woman-hating men. The closest to a decent male in Autumn’s orbit is the harmlessly horny young doofus (a very good Théodore Pellerin) who has his eye on pretty Skylar. Watching \u003cem>Never Rarely Sometimes Always\u003c/em>, I was reminded of a young stranger who, when my own daughter had had too much to drink at a bar, put her and her best friend in his car and dropped them safely off at our home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, you know: \u003cem>sometimes\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Young+Woman+Faces+A+Choice+In+The+Sobering+%27Never+Rarely+Sometimes+Always%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A statement from Warner Bros., which is producing the film, sent to \u003ca href=\"https://deadline.com/2020/03/tom-hanks-rita-wilson-test-positive-coronavirus-elvis-presley-movie-1202880431/\">Deadline.com\u003c/a> said the studio had “been made aware that a company member from our Elvis feature film … has tested positive for COVID-19 (coronavirus).”\u003c/p>\n\u003cp>“We are working closely with the appropriate Australian health agencies to identify and contact anyone who may have come in direct contact with the individual,” the statement said. “The health and safety of our company members is always our top priority, and we are taking precautions to protect everyone who works on our productions around the world.”\u003c/p>\n\u003cp>“The individual who tested positive for COVID-19 is currently receiving treatment,” the statement added. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks%2C+Wife+Rita+Wilson+Test+Positive+For+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As listening habits have shifted away from radio, visual media have become more important for discovering new music. As key scenes in films and television shows unfold, we may find ourselves searching online to identify what song we’re hearing. But who decides what song is playing during those moments?\u003c/p>\n\u003cp>As a music supervisor, Amanda Krieg Thomas has worked on hit TV shows such as \u003cem>The\u003c/em> \u003cem>Americans\u003c/em> and \u003cem>Pose\u003c/em>. She says she gets upwards of 50 pitches a day from people looking to get songs on TV.\u003c/p>\n\u003cp>“There’s record labels; there’s music publishers; there’s third party pitching companies; there are production music libraries, producers, songwriters, managers, artists,” she lists. “I get music sent to me all day, every day.”\u003c/p>\n\u003cp>They’re all hoping for something called “sync placement,” the industry term for matching a song to what’s happening on screen. Licensing that song could earn an artist anywhere from a few thousand dollars to more than $100,000. Negotiating the terms often involves clearing the rights with everyone from record labels to multiple songwriters on a single track. But Krieg Thomas says the creative element can be challenging, too.\u003c/p>\n\u003cp>“It’s all led by the showrunner’s vision, and so my job is servicing that vision,” she says. “Sometimes that involves pitching song ideas, sometimes it involves clearing songs they want. Sometimes it involves coming up with the tapestry, if you will, of the sound of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music supervisor Gabe McDonough does the same, only for major advertising campaigns.\u003c/p>\n\u003cp>In 2015, he helped broker a deal with Ford to feature “Fight Song” by Rachel Platten.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z5zE1_oCCH4\u003c/p>\n\u003cp>Sustained TV exposure helped drive the single up to No. 6 on the Billboard Hot 100 and ignite Platten’s career as multi-platinum selling artist. McDonough says there is no perfect song for an ad, though certain generalities apply.\u003c/p>\n\u003cp>“Usually it’s up tempo, it’s positive, a lot of syncopation,” he says.\u003c/p>\n\u003cp>McDonough says he also tries his best to avoid clichés and trends in song placements.\u003c/p>\n\u003cp>“You know, you’ll hear that [loud thumping] in a lot of ads where people are trying to be swaggery and tough,” he says. “Before that, there was this ‘ukuleles and hand claps and whistles’ thing.”\u003c/p>\n\u003cp>McDonough says what matters most to brands is whether the song can help tell a story in 30 seconds; for artists, it’s how often that story reaches our ears, but both benefit from media buy, or how often the commercial runs.\u003c/p>\n\u003cp>“It’s brute force,” McDonough says. “How many times is that thing in front of people?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1VXEo0MQZw\u003c/p>\n\u003cp>Putting songs in front of listeners used to be the domain of record label A&R reps, industry talent scouts who lean on radio DJs to promote entry-level artists. But today, TV has become so effective, even established artists such as \u003ca href=\"https://consequenceofsound.net/2018/06/grimes-thats-what-the-drugs-are-for-apple/\" target=\"_blank\" rel=\"noopener noreferrer\">Grimes\u003c/a>, \u003ca href=\"https://www.stereogum.com/2031377/migos-position-to-win/music/\" target=\"_blank\" rel=\"noopener noreferrer\">Migos\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener noreferrer\">Beck\u003c/a> are signing deals to plug their songs in ads before they appear on album releases.\u003c/p>\n\u003cp>In the words of music supervisor Morgan Rhodes: “Placement is sort of the new A&R.” Rhodes says she looks for opportunities to introduce audiences to artists who haven’t been widely exposed.\u003c/p>\n\u003cp>“I love the educational and historical part,” she says. “I love the research. I love the digging.”\u003c/p>\n\u003cp>Rhodes was spinning records at NPR member station KCRW in Los Angeles when filmmaker Ava DuVernay invited her to work on the 2012 feature \u003cem>Middle of Nowhere\u003c/em>. Since then, Rhodes has supervised the music for several of DuVernay’s projects, including the 2014 Civil Rights drama, \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>“There was no limit to where I searched [for inspiration]: news articles, conversations with family members,” she says. “And it was a wonderful experience, especially unearthing some artists that hadn’t seen placements and may not have been as remembered.”\u003c/p>\n\u003cp>One of those artists was Martha Bass. Rhodes chose one of her songs, “Walk With Me,” for a key scene: the confrontation at the Edmund Pettus Bridge during the 1965 march from \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Evh-n66–Tc\u003c/p>\n\u003cp>Later, when Rhodes was searching for a song for a 2017 episode of \u003cem>Dear White People\u003c/em> directed by Justin Simien, she thought back to an independent artist she’d featured on her radio show a few years earlier.\u003c/p>\n\u003cp>“We knew that we needed a male voice,” she says. “We knew that we needed a particular kind of singing, sort of a soft voice for the scene, and I remembered James Tillman.”\u003c/p>\n\u003cp>With tens of thousands of tracks uploaded to music streaming services every day, James Tillman says he tries to get his songs out as many ways as possible.\u003c/p>\n\u003cp>“I was on Spotify, Apple Music, Soundcloud, Bandcamp,” he says. “I just wanted to make sure the music was everywhere that it could be.”\u003c/p>\n\u003cp>But after his song “\u003ca href=\"https://www.youtube.com/watch?v=fm6MCUHeFdo\">Casual Encounters\u003c/a>” appeared on\u003cem> Dear White People\u003c/em>, Tillman says his streaming counts spiked, leaving a lasting impact on his audience reach.\u003c/p>\n\u003cp>“That showed me that it leveled the playing field in certain ways, giving me a chance to at least reach people,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fm6MCUHeFdo\u003c/p>\n\u003cp>Rhodes says that with such a crowded streaming environment, TV can help break through all of that online noise.\u003c/p>\n\u003cp>“I’ve seen sort of a shift in people looking to television as an ear for them, looking to television as a source for new music in the same way that we look at places like Spotify,” she says.\u003c/p>\n\u003cp>But song placement is still not a magic bullet: Despite getting his song on a hit TV show, for now James Tillman remains unsigned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One placement could significantly impact your career, but it probably won’t push it over the edge,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+Shows+Breaking+New+Artists%2C+Music+Supervisors+Are+The+New+A%26R&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As listening habits have shifted away from radio, visual media have become more important for discovering new music. As key scenes in films and television shows unfold, we may find ourselves searching online to identify what song we’re hearing. But who decides what song is playing during those moments?\u003c/p>\n\u003cp>As a music supervisor, Amanda Krieg Thomas has worked on hit TV shows such as \u003cem>The\u003c/em> \u003cem>Americans\u003c/em> and \u003cem>Pose\u003c/em>. She says she gets upwards of 50 pitches a day from people looking to get songs on TV.\u003c/p>\n\u003cp>“There’s record labels; there’s music publishers; there’s third party pitching companies; there are production music libraries, producers, songwriters, managers, artists,” she lists. “I get music sent to me all day, every day.”\u003c/p>\n\u003cp>They’re all hoping for something called “sync placement,” the industry term for matching a song to what’s happening on screen. Licensing that song could earn an artist anywhere from a few thousand dollars to more than $100,000. Negotiating the terms often involves clearing the rights with everyone from record labels to multiple songwriters on a single track. But Krieg Thomas says the creative element can be challenging, too.\u003c/p>\n\u003cp>“It’s all led by the showrunner’s vision, and so my job is servicing that vision,” she says. “Sometimes that involves pitching song ideas, sometimes it involves clearing songs they want. Sometimes it involves coming up with the tapestry, if you will, of the sound of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music supervisor Gabe McDonough does the same, only for major advertising campaigns.\u003c/p>\n\u003cp>In 2015, he helped broker a deal with Ford to feature “Fight Song” by Rachel Platten.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Z5zE1_oCCH4'\n title='//www.youtube.com/embed/Z5zE1_oCCH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sustained TV exposure helped drive the single up to No. 6 on the Billboard Hot 100 and ignite Platten’s career as multi-platinum selling artist. McDonough says there is no perfect song for an ad, though certain generalities apply.\u003c/p>\n\u003cp>“Usually it’s up tempo, it’s positive, a lot of syncopation,” he says.\u003c/p>\n\u003cp>McDonough says he also tries his best to avoid clichés and trends in song placements.\u003c/p>\n\u003cp>“You know, you’ll hear that [loud thumping] in a lot of ads where people are trying to be swaggery and tough,” he says. “Before that, there was this ‘ukuleles and hand claps and whistles’ thing.”\u003c/p>\n\u003cp>McDonough says what matters most to brands is whether the song can help tell a story in 30 seconds; for artists, it’s how often that story reaches our ears, but both benefit from media buy, or how often the commercial runs.\u003c/p>\n\u003cp>“It’s brute force,” McDonough says. “How many times is that thing in front of people?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1VXEo0MQZw'\n title='//www.youtube.com/embed/R1VXEo0MQZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Putting songs in front of listeners used to be the domain of record label A&R reps, industry talent scouts who lean on radio DJs to promote entry-level artists. But today, TV has become so effective, even established artists such as \u003ca href=\"https://consequenceofsound.net/2018/06/grimes-thats-what-the-drugs-are-for-apple/\" target=\"_blank\" rel=\"noopener noreferrer\">Grimes\u003c/a>, \u003ca href=\"https://www.stereogum.com/2031377/migos-position-to-win/music/\" target=\"_blank\" rel=\"noopener noreferrer\">Migos\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener noreferrer\">Beck\u003c/a> are signing deals to plug their songs in ads before they appear on album releases.\u003c/p>\n\u003cp>In the words of music supervisor Morgan Rhodes: “Placement is sort of the new A&R.” Rhodes says she looks for opportunities to introduce audiences to artists who haven’t been widely exposed.\u003c/p>\n\u003cp>“I love the educational and historical part,” she says. “I love the research. I love the digging.”\u003c/p>\n\u003cp>Rhodes was spinning records at NPR member station KCRW in Los Angeles when filmmaker Ava DuVernay invited her to work on the 2012 feature \u003cem>Middle of Nowhere\u003c/em>. Since then, Rhodes has supervised the music for several of DuVernay’s projects, including the 2014 Civil Rights drama, \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>“There was no limit to where I searched [for inspiration]: news articles, conversations with family members,” she says. “And it was a wonderful experience, especially unearthing some artists that hadn’t seen placements and may not have been as remembered.”\u003c/p>\n\u003cp>One of those artists was Martha Bass. Rhodes chose one of her songs, “Walk With Me,” for a key scene: the confrontation at the Edmund Pettus Bridge during the 1965 march from \u003cem>Selma\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Evh-n66'\n title='//www.youtube.com/embed/Evh-n66'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later, when Rhodes was searching for a song for a 2017 episode of \u003cem>Dear White People\u003c/em> directed by Justin Simien, she thought back to an independent artist she’d featured on her radio show a few years earlier.\u003c/p>\n\u003cp>“We knew that we needed a male voice,” she says. “We knew that we needed a particular kind of singing, sort of a soft voice for the scene, and I remembered James Tillman.”\u003c/p>\n\u003cp>With tens of thousands of tracks uploaded to music streaming services every day, James Tillman says he tries to get his songs out as many ways as possible.\u003c/p>\n\u003cp>“I was on Spotify, Apple Music, Soundcloud, Bandcamp,” he says. “I just wanted to make sure the music was everywhere that it could be.”\u003c/p>\n\u003cp>But after his song “\u003ca href=\"https://www.youtube.com/watch?v=fm6MCUHeFdo\">Casual Encounters\u003c/a>” appeared on\u003cem> Dear White People\u003c/em>, Tillman says his streaming counts spiked, leaving a lasting impact on his audience reach.\u003c/p>\n\u003cp>“That showed me that it leveled the playing field in certain ways, giving me a chance to at least reach people,” he says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fm6MCUHeFdo'\n title='//www.youtube.com/embed/fm6MCUHeFdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rhodes says that with such a crowded streaming environment, TV can help break through all of that online noise.\u003c/p>\n\u003cp>“I’ve seen sort of a shift in people looking to television as an ear for them, looking to television as a source for new music in the same way that we look at places like Spotify,” she says.\u003c/p>\n\u003cp>But song placement is still not a magic bullet: Despite getting his song on a hit TV show, for now James Tillman remains unsigned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One placement could significantly impact your career, but it probably won’t push it over the edge,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+Shows+Breaking+New+Artists%2C+Music+Supervisors+Are+The+New+A%26R&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harvey Weinstein Sentenced To 23 Years In Prison",
"headTitle": "Harvey Weinstein Sentenced To 23 Years In Prison | KQED",
"content": "\u003cp>Harvey Weinstein has been sentenced to 23 years in prison. Judge James Burke handed down the decision in a Manhattan courtroom Wednesday as the disgraced movie mogul watched, flanked by his legal team. \u003c/p>\n\u003cp>His 20-year sentence for a criminal sexual act, the more serious of the two counts he was convicted of \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\">last month\u003c/a>, is on the higher end of New York state’s guidelines. For the other count, rape in the third degree, Weinstein was sentenced to three years in prison.\u003c/p>\n\u003cp>The sentence Wednesday caps Weinstein’s precipitous fall from the heights of Hollywood, where for decades he brandished his power and influence like a blunt instrument — and allegedly sexually assaulted dozens of young women, intimidating them and others into silence.\u003c/p>\n\u003cp>Those allegations, which \u003ca href=\"https://www.npr.org/798222176\">gathered momentum\u003c/a> with the release of a pair of exposés in October 2017, landed him in court earlier this year to face his first criminal trial. The charges, including two counts of predatory sexual assault, could have led to him spending the rest of his life in prison — though jurors, after hearing weeks of arguments and deliberating another five days, acquitted him of the most serious charges.\u003c/p>\n\u003cp>Weinstein’s legal team cited this mixed verdict in its sentencing letter to the court, pointing out his charity work and \u003ca href=\"https://www.npr.org/804584532\">arguing that\u003c/a> two of the principal witnesses in the trial — Miriam Haley and Jessica Mann — offered “extremely complicated” descriptions of their relationships with Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Given his age and specific medical risk factors,” his attorneys said, “any additional term of imprisonment above the mandatory minimum — although the grave reality is that Mr. Weinstein may not even outlive that term — is likely to constitute a de facto life sentence.”\u003c/p>\n\u003cp>Weinstein displayed signs of poor health throughout the court hearings, which he attended with the aid of a walker. After his verdict was read — and before heading to the Rikers Island jail complex, where he awaited sentencing — authorities rerouted him to a hospital, where doctors placed a stent in his heart.\u003c/p>\n\u003cp>When he returned for his sentencing hearing Wednesday, he did so in a wheelchair.\u003c/p>\n\u003cp>Weinstein, who did not take the stand during the trial, did, however, speak to the court during the hearing. He compared himself to \u003ca href=\"https://www.npr.org/2015/11/06/454996142/bryan-cranston-becomes-blacklisted-screenwriter-dalton-trumbo-in-new-biopic\">Dalton Trumbo\u003c/a>, an American screenwriter who was notoriously blacklisted in the 1940s for being a member of the Communist Party. And Weinstein, whose alleged assaults help spur the #MeToo movement, which boosts the voices of survivors, compared environment it has created to the Red Scare.\u003c/p>\n\u003cp>“I’m worried about this country,” he said.\u003c/p>\n\u003cp>Prosecutors, for their part, argued against leniency by relating a list of deeply detailed allegations of sexual assault, harassment and other abuse dating back to the 1970s. In their letter to the judge, prosecutors said the examples bolstered the accounts offered by Mann, Haley and the four other women who \u003ca href=\"https://www.npr.org/802340962\">told their stories\u003c/a> on the witness stand.\u003c/p>\n\u003cp>“Rape is not that one moment of penetration,” Mann said in her statement to the court Wednesday. “It is forever.”\u003c/p>\n\u003cp>She and the five other women who testified that Weinstein assaulted them sat side-by-side together during the sentencing hearing as a gesture of solidarity. Among the group was Tarale Wulff, whose allegation of rape was not included in the charges but who nevertheless took the stand during the trial to support the prosecutors’ case.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://medium.com/@TaraleWulff/harvey-weinsteins-prison-sentence-can-never-heal-me-but-it-s-a-start-68d91feb9702?source=friends_link&sk=0fe62b935c20d5a8888d0ed242d4d32a\">published Tuesday\u003c/a>, she uttered a similar sentiment in hoping that Weinstein’s sentence “reflects what he has done to us.”\u003c/p>\n\u003cp>“Those events,” she wrote, “will continue to haunt me and the other survivors for the rest of our lives.”\u003c/p>\n\u003cp>Wednesday does not represent the last of Weinstein’s legal woes. Los Angeles prosecutors have \u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\">filed criminal charges\u003c/a> of their own against the former producer, alleging two incidents over a two-night period.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Sentenced+To+23+Years+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harvey Weinstein has been sentenced to 23 years in prison. Judge James Burke handed down the decision in a Manhattan courtroom Wednesday as the disgraced movie mogul watched, flanked by his legal team. \u003c/p>\n\u003cp>His 20-year sentence for a criminal sexual act, the more serious of the two counts he was convicted of \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\">last month\u003c/a>, is on the higher end of New York state’s guidelines. For the other count, rape in the third degree, Weinstein was sentenced to three years in prison.\u003c/p>\n\u003cp>The sentence Wednesday caps Weinstein’s precipitous fall from the heights of Hollywood, where for decades he brandished his power and influence like a blunt instrument — and allegedly sexually assaulted dozens of young women, intimidating them and others into silence.\u003c/p>\n\u003cp>Those allegations, which \u003ca href=\"https://www.npr.org/798222176\">gathered momentum\u003c/a> with the release of a pair of exposés in October 2017, landed him in court earlier this year to face his first criminal trial. The charges, including two counts of predatory sexual assault, could have led to him spending the rest of his life in prison — though jurors, after hearing weeks of arguments and deliberating another five days, acquitted him of the most serious charges.\u003c/p>\n\u003cp>Weinstein’s legal team cited this mixed verdict in its sentencing letter to the court, pointing out his charity work and \u003ca href=\"https://www.npr.org/804584532\">arguing that\u003c/a> two of the principal witnesses in the trial — Miriam Haley and Jessica Mann — offered “extremely complicated” descriptions of their relationships with Weinstein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Given his age and specific medical risk factors,” his attorneys said, “any additional term of imprisonment above the mandatory minimum — although the grave reality is that Mr. Weinstein may not even outlive that term — is likely to constitute a de facto life sentence.”\u003c/p>\n\u003cp>Weinstein displayed signs of poor health throughout the court hearings, which he attended with the aid of a walker. After his verdict was read — and before heading to the Rikers Island jail complex, where he awaited sentencing — authorities rerouted him to a hospital, where doctors placed a stent in his heart.\u003c/p>\n\u003cp>When he returned for his sentencing hearing Wednesday, he did so in a wheelchair.\u003c/p>\n\u003cp>Weinstein, who did not take the stand during the trial, did, however, speak to the court during the hearing. He compared himself to \u003ca href=\"https://www.npr.org/2015/11/06/454996142/bryan-cranston-becomes-blacklisted-screenwriter-dalton-trumbo-in-new-biopic\">Dalton Trumbo\u003c/a>, an American screenwriter who was notoriously blacklisted in the 1940s for being a member of the Communist Party. And Weinstein, whose alleged assaults help spur the #MeToo movement, which boosts the voices of survivors, compared environment it has created to the Red Scare.\u003c/p>\n\u003cp>“I’m worried about this country,” he said.\u003c/p>\n\u003cp>Prosecutors, for their part, argued against leniency by relating a list of deeply detailed allegations of sexual assault, harassment and other abuse dating back to the 1970s. In their letter to the judge, prosecutors said the examples bolstered the accounts offered by Mann, Haley and the four other women who \u003ca href=\"https://www.npr.org/802340962\">told their stories\u003c/a> on the witness stand.\u003c/p>\n\u003cp>“Rape is not that one moment of penetration,” Mann said in her statement to the court Wednesday. “It is forever.”\u003c/p>\n\u003cp>She and the five other women who testified that Weinstein assaulted them sat side-by-side together during the sentencing hearing as a gesture of solidarity. Among the group was Tarale Wulff, whose allegation of rape was not included in the charges but who nevertheless took the stand during the trial to support the prosecutors’ case.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://medium.com/@TaraleWulff/harvey-weinsteins-prison-sentence-can-never-heal-me-but-it-s-a-start-68d91feb9702?source=friends_link&sk=0fe62b935c20d5a8888d0ed242d4d32a\">published Tuesday\u003c/a>, she uttered a similar sentiment in hoping that Weinstein’s sentence “reflects what he has done to us.”\u003c/p>\n\u003cp>“Those events,” she wrote, “will continue to haunt me and the other survivors for the rest of our lives.”\u003c/p>\n\u003cp>Wednesday does not represent the last of Weinstein’s legal woes. Los Angeles prosecutors have \u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\">filed criminal charges\u003c/a> of their own against the former producer, alleging two incidents over a two-night period.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Sentenced+To+23+Years+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans of the VH1 reality show \u003cem>RuPaul’s Drag Race \u003c/em>know that every episode ends with a mantra. After finishing the weekly challenge, the drag queens competing for the title of “America’s Next Drag Superstar” (and a hefty cash prize) gather on the runway before host RuPaul Charles, where the drag icon proclaims: “If you can’t love yourself, how in the hell you gonna love somebody else?”\u003c/p>\n\u003cp>RuPaul says that repeating these words is an important touchstone—both for the show and for life: “These mantras are set to align you with the truth of who you are,” he says. “You are love—and you cannot give something that you do not have.”\u003c/p>\n\u003cp>RuPaul got his start in Atlanta in the ’80s, performing a punk-inspired “genderf***” drag—for example, pairing an old prom dress and a tiara with combat boots and a mohawk.\u003c/p>\n\u003cp>“We did drag as a social commentary,” he says. “It was a reaction to the Reagan ’80s, and it wasn’t trying to look real or pass [as a woman]. It was a rebellion against the status quo.”\u003c/p>\n\u003cp>In 1993, RuPaul’s break-out hit \u003ca href=\"https://www.youtube.com/watch?v=Vw9LOrHU8JI\" target=\"_blank\" rel=\"noopener noreferrer\">“Supermodel (You Better Work)”\u003c/a> brought him—and drag—national attention. Now 59, he sits at the helm of a drag empire. Since it began in 2009, \u003cem>RuPaul’s Drag Race\u003c/em> has launched the careers of hundreds of drag queens. The Emmy-winning series, now in its 12th season, has spin-offs in Chile, Thailand, Canada and the U.K.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vw9LOrHU8JI\u003c/p>\n\u003cp>RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability.\u003c/p>\n\u003cp>“In this life, if you can stay flexible, you have a really good chance of navigating a really rich experience for yourself on this planet,” he says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On his belief that identity is an illusion \u003c/strong>\u003c/p>\n\u003cp>It’s all a lie—this world is a lie. So don’t base your value on the lie. I’ve always been attracted to things that were irreverent, [like] Monty Python, I thought, “Oh, there’s my tribe!” Because even as a kid, I knew that I had a sense that none of this was real, that it was all an illusion and that it would be a mistake to base my value on the lie: Boys, go here. Girls go there. Blacks over here, whites over here … all these superficial rules we come up with are just BS!\u003c/p>\n\u003cp>\u003cstrong>On how his mother influenced his punk sensibility \u003c/strong>\u003c/p>\n\u003cp>My mother was very world-weary. She was someone who I suspect—and she wasn’t very open about anything in her childhood or her background—but I suspect that some horrible thing had happened to her. I felt that. She never talked about it, but she was someone who, because of her world weariness, she instilled in me the ability to not pay attention to what other people had to say about what I was doing. She loved me so much, and she was so proud of the fact that I was gonna do my own thing.\u003c/p>\n\u003cp>So it was a very punk rock approach to life, and I got that from her. She famously says, “If they ain’t paying your bills, pay them no mind.” And I lived my life that way. Yes, I mean, people have said lots of nasty things about me to me and still do, but am I gonna let that stop me? Uh-uh. I will laugh at it and say … The joke is on you, person, because I am going to get as much out of this life as I possibly can—and I have! At 59 years old, I have done a lot of stuff and I’m still going to do a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>On the nightclub scene in the Village in New York in the late ’80s \u003c/strong>\u003c/p>\n\u003cp>We were the children of Warhol. We were the children of David Bowie. And all things were possible. There was a club scene. And back then there were so many clubs. You could go to six different nightclubs per night. And we’re talking Monday through Sunday. You could go every night to a different nightclub. And back then, the clubs were filled with everyone—straight, gay, black, white, Puerto Rican, uptown, downtown, men, women, everybody. And that was the scene, that tapestry of what New York is, or was, was so evident in the nightclub scene. And it was fabulous! It was gorgeous. I’m so proud and so happy I got to experience that.\u003c/p>\n\u003cp>\u003cstrong>On establishing the “Glamizon” look of drag he’s now known for today\u003c/strong>\u003c/p>\n\u003cp>[In 1989] I worked on a demo tape so I could send it to a record company. And that’s what I did for a year. I worked on a demo and basically ate popcorn and seltzer water from the Film Forum because I had a friend who worked there, and so that’s how I sustained myself. And I do a … few gigs here and there. But I wasn’t in the clubs every night like I had been. And in ’92, I got a record deal with Tommy Boy Records, which was a subsidiary of Warner Bros. Records. I had also met with Mathu and Zaldy, two visual designers [on] costume, makeup, everything, and we’d come up with my look, which was then elevated from my \u003cem>Soul Train \u003c/em>dancer look … to the glamazon that you know today. It’s very studied and precise … and that’s how it came about.\u003c/p>\n\u003cp>But also, I knew that, commercially, as someone who’s paying attention, that if I wanted to make it mainstream, I would have to be non-threatening to Betty and Joe Beer Can. And what I did was I came up with a recipe, which was one-part Cher, two-parts David Bowie, one-part Diana Ross and two heaping spoonfuls of Dolly Parton.\u003c/p>\n\u003cp>\u003cstrong>On why drag queens model themselves after the icons like Cher, Liza Minnelli, Barbra Streisand and Diana Ross\u003c/strong>\u003c/p>\n\u003cp>I’ll tell you exactly what it is: It is that they embody both strength and vulnerability. And that is what the child in you, in me and everyone listening remembers, deep in the recesses of your consciousness. … The ability to oscillate between those two emotions, that the strength and the vulnerability is what we are doing on this planet. And that balance, dear listener, is what life is all about. It’s not one or the other. And all of these women that you talked about—Cher and Diana, Barbra—they all exemplify … that vulnerability and strength, that duality.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=RuPaul%27s+Recipe+For+Success%3F+Love+Yourself+And+Stay+Flexible&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the VH1 reality show \u003cem>RuPaul’s Drag Race \u003c/em>know that every episode ends with a mantra. After finishing the weekly challenge, the drag queens competing for the title of “America’s Next Drag Superstar” (and a hefty cash prize) gather on the runway before host RuPaul Charles, where the drag icon proclaims: “If you can’t love yourself, how in the hell you gonna love somebody else?”\u003c/p>\n\u003cp>RuPaul says that repeating these words is an important touchstone—both for the show and for life: “These mantras are set to align you with the truth of who you are,” he says. “You are love—and you cannot give something that you do not have.”\u003c/p>\n\u003cp>RuPaul got his start in Atlanta in the ’80s, performing a punk-inspired “genderf***” drag—for example, pairing an old prom dress and a tiara with combat boots and a mohawk.\u003c/p>\n\u003cp>“We did drag as a social commentary,” he says. “It was a reaction to the Reagan ’80s, and it wasn’t trying to look real or pass [as a woman]. It was a rebellion against the status quo.”\u003c/p>\n\u003cp>In 1993, RuPaul’s break-out hit \u003ca href=\"https://www.youtube.com/watch?v=Vw9LOrHU8JI\" target=\"_blank\" rel=\"noopener noreferrer\">“Supermodel (You Better Work)”\u003c/a> brought him—and drag—national attention. Now 59, he sits at the helm of a drag empire. Since it began in 2009, \u003cem>RuPaul’s Drag Race\u003c/em> has launched the careers of hundreds of drag queens. The Emmy-winning series, now in its 12th season, has spin-offs in Chile, Thailand, Canada and the U.K.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vw9LOrHU8JI'\n title='//www.youtube.com/embed/Vw9LOrHU8JI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability.\u003c/p>\n\u003cp>“In this life, if you can stay flexible, you have a really good chance of navigating a really rich experience for yourself on this planet,” he says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On his belief that identity is an illusion \u003c/strong>\u003c/p>\n\u003cp>It’s all a lie—this world is a lie. So don’t base your value on the lie. I’ve always been attracted to things that were irreverent, [like] Monty Python, I thought, “Oh, there’s my tribe!” Because even as a kid, I knew that I had a sense that none of this was real, that it was all an illusion and that it would be a mistake to base my value on the lie: Boys, go here. Girls go there. Blacks over here, whites over here … all these superficial rules we come up with are just BS!\u003c/p>\n\u003cp>\u003cstrong>On how his mother influenced his punk sensibility \u003c/strong>\u003c/p>\n\u003cp>My mother was very world-weary. She was someone who I suspect—and she wasn’t very open about anything in her childhood or her background—but I suspect that some horrible thing had happened to her. I felt that. She never talked about it, but she was someone who, because of her world weariness, she instilled in me the ability to not pay attention to what other people had to say about what I was doing. She loved me so much, and she was so proud of the fact that I was gonna do my own thing.\u003c/p>\n\u003cp>So it was a very punk rock approach to life, and I got that from her. She famously says, “If they ain’t paying your bills, pay them no mind.” And I lived my life that way. Yes, I mean, people have said lots of nasty things about me to me and still do, but am I gonna let that stop me? Uh-uh. I will laugh at it and say … The joke is on you, person, because I am going to get as much out of this life as I possibly can—and I have! At 59 years old, I have done a lot of stuff and I’m still going to do a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>On the nightclub scene in the Village in New York in the late ’80s \u003c/strong>\u003c/p>\n\u003cp>We were the children of Warhol. We were the children of David Bowie. And all things were possible. There was a club scene. And back then there were so many clubs. You could go to six different nightclubs per night. And we’re talking Monday through Sunday. You could go every night to a different nightclub. And back then, the clubs were filled with everyone—straight, gay, black, white, Puerto Rican, uptown, downtown, men, women, everybody. And that was the scene, that tapestry of what New York is, or was, was so evident in the nightclub scene. And it was fabulous! It was gorgeous. I’m so proud and so happy I got to experience that.\u003c/p>\n\u003cp>\u003cstrong>On establishing the “Glamizon” look of drag he’s now known for today\u003c/strong>\u003c/p>\n\u003cp>[In 1989] I worked on a demo tape so I could send it to a record company. And that’s what I did for a year. I worked on a demo and basically ate popcorn and seltzer water from the Film Forum because I had a friend who worked there, and so that’s how I sustained myself. And I do a … few gigs here and there. But I wasn’t in the clubs every night like I had been. And in ’92, I got a record deal with Tommy Boy Records, which was a subsidiary of Warner Bros. Records. I had also met with Mathu and Zaldy, two visual designers [on] costume, makeup, everything, and we’d come up with my look, which was then elevated from my \u003cem>Soul Train \u003c/em>dancer look … to the glamazon that you know today. It’s very studied and precise … and that’s how it came about.\u003c/p>\n\u003cp>But also, I knew that, commercially, as someone who’s paying attention, that if I wanted to make it mainstream, I would have to be non-threatening to Betty and Joe Beer Can. And what I did was I came up with a recipe, which was one-part Cher, two-parts David Bowie, one-part Diana Ross and two heaping spoonfuls of Dolly Parton.\u003c/p>\n\u003cp>\u003cstrong>On why drag queens model themselves after the icons like Cher, Liza Minnelli, Barbra Streisand and Diana Ross\u003c/strong>\u003c/p>\n\u003cp>I’ll tell you exactly what it is: It is that they embody both strength and vulnerability. And that is what the child in you, in me and everyone listening remembers, deep in the recesses of your consciousness. … The ability to oscillate between those two emotions, that the strength and the vulnerability is what we are doing on this planet. And that balance, dear listener, is what life is all about. It’s not one or the other. And all of these women that you talked about—Cher and Diana, Barbra—they all exemplify … that vulnerability and strength, that duality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=RuPaul%27s+Recipe+For+Success%3F+Love+Yourself+And+Stay+Flexible&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Actor Max Von Sydow, From Bergman to 'Game of Thrones'",
"headTitle": "Remembering Actor Max Von Sydow, From Bergman to ‘Game of Thrones’ | KQED",
"content": "\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated Friday at 3:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>On Friday afternoon, Hachette Book Group (HBG) announced publicly and to its employees that it will not publish Woody Allen’s memoir, \u003cem>Apropos of Nothing\u003c/em>, as planned next month.\u003c/p>\n\u003cp>In a statement to NPR, the publisher said: “Hachette Book Group has decided that it will not publish Woody Allen’s memoir \u003cem>A Propos of Nothing\u003c/em>, originally scheduled for sale in April 2020, and will return all rights to the author.”\u003c/p>\n\u003cp>“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.”\u003c/p>\n\u003cp>“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The decision was announced to HBG’s employees as well at a brief town-hall meeting on Friday afternoon.\u003c/p>\n\u003cp>On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout in both New York and Boston to protest Grand Central’s decision to publish Allen’s book.\u003c/p>\n\u003cp>Both imprints are owned by Hachette Book Group, the same house that published journalist Ronan Farrow’s \u003cem>Catch and Kill\u003c/em>. The walkout comes after Farrow \u003ca href=\"https://twitter.com/RonanFarrow/status/1234999252381618178\">announced\u003c/a> on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.\u003c/p>\n\u003cp>Farrow is Allen’s son with actress Mia Farrow; his sister, Dylan Farrow, \u003ca href=\"https://www.vanityfair.com/style/2013/10/mia-farrow-children-family-scandal\">has accused\u003c/a> Allen of having sexually abused her as a child. Allen has long denied her allegations.\u003c/p>\n\u003cp>In his statement, Farrow wrote in part that HBG “concealed the decision from me and its own employees while we were working on \u003cem>Catch and Kill\u003c/em> — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse.”\u003c/p>\n\u003cp>[aside postID='news_11781549'label='Ronan Farrow on 'Catch and Kill,' the Weinstein Scandal and Investigative Journalism']\u003c/p>\n\u003cp>Dylan Farrow also released a \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1234649622670430208/photo/1\">statement\u003c/a> on Monday evening, in which she said in part: “Hachette’s publishing of Woody Allen’s memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. … This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette’s complicity in this should be called out for what it is and they should have to answer for it.”\u003c/p>\n\u003cp>Employees at both HBG’s New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.” Those \u003ca href=\"https://twitter.com/davidfolkenflik/status/1235680790920523794?s=20\">include\u003c/a> Little, Brown executive editor Vanessa Mobley, who was the editor of \u003cem>Catch and Kill\u003c/em>.\u003c/p>\n\u003cp>In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: “We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity.”\u003c/p>\n\u003cp>NPR reached out for comment to Allen’s agent, who did not respond as of publication time.\u003c/p>\n\u003cp>The \u003cem>New York Post\u003c/em> \u003ca href=\"https://pagesix.com/2020/03/05/litlte-brown-staff-stages-walkout-in-support-of-ronan-and-dylan-farrow/\">reported\u003c/a> that HBG employees approached the company’s human resources department on Thursday afternoon to complain about the planned publication of Allen’s book. A Hachette employee told NPR that HBG’s CEO, Michael Pietsch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.\u003c/p>\n\u003cp>Farrow’s agent, \u003ca href=\"https://www.janklowandnesbit.com/people/lynn-nesbit\">Lynn Nesbit\u003c/a>, told NPR on Thursday, “I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision.”\u003c/p>\n\u003cp>Signing Allen, she said, was “a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher.” She added that Farrow is “grateful for the support of his colleagues at Little, Brown.”\u003c/p>\n\u003cp>Last year, \u003cem>The New York Times \u003c/em>reported that Allen had tried to sell the memoir to several major publishing houses, “only to be met with indifference or \u003ca href=\"https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.html\">hard passes\u003c/a>“; one source told NPR on Thursday afternoon that the title had been considered “radioactive” in the publishing world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Farrow also said in his Tuesday statement that HBG had not fact-checked Allen’s memoir nor did it contact Dylan Farrow for any response. “It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. … I’ve also told Hachette that a publisher that would conduct itself in this way is one I can’t work with in good conscience.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated Friday at 3:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>On Friday afternoon, Hachette Book Group (HBG) announced publicly and to its employees that it will not publish Woody Allen’s memoir, \u003cem>Apropos of Nothing\u003c/em>, as planned next month.\u003c/p>\n\u003cp>In a statement to NPR, the publisher said: “Hachette Book Group has decided that it will not publish Woody Allen’s memoir \u003cem>A Propos of Nothing\u003c/em>, originally scheduled for sale in April 2020, and will return all rights to the author.”\u003c/p>\n\u003cp>“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.”\u003c/p>\n\u003cp>“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The decision was announced to HBG’s employees as well at a brief town-hall meeting on Friday afternoon.\u003c/p>\n\u003cp>On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout in both New York and Boston to protest Grand Central’s decision to publish Allen’s book.\u003c/p>\n\u003cp>Both imprints are owned by Hachette Book Group, the same house that published journalist Ronan Farrow’s \u003cem>Catch and Kill\u003c/em>. The walkout comes after Farrow \u003ca href=\"https://twitter.com/RonanFarrow/status/1234999252381618178\">announced\u003c/a> on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.\u003c/p>\n\u003cp>Farrow is Allen’s son with actress Mia Farrow; his sister, Dylan Farrow, \u003ca href=\"https://www.vanityfair.com/style/2013/10/mia-farrow-children-family-scandal\">has accused\u003c/a> Allen of having sexually abused her as a child. Allen has long denied her allegations.\u003c/p>\n\u003cp>In his statement, Farrow wrote in part that HBG “concealed the decision from me and its own employees while we were working on \u003cem>Catch and Kill\u003c/em> — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dylan Farrow also released a \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1234649622670430208/photo/1\">statement\u003c/a> on Monday evening, in which she said in part: “Hachette’s publishing of Woody Allen’s memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. … This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette’s complicity in this should be called out for what it is and they should have to answer for it.”\u003c/p>\n\u003cp>Employees at both HBG’s New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.” Those \u003ca href=\"https://twitter.com/davidfolkenflik/status/1235680790920523794?s=20\">include\u003c/a> Little, Brown executive editor Vanessa Mobley, who was the editor of \u003cem>Catch and Kill\u003c/em>.\u003c/p>\n\u003cp>In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: “We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity.”\u003c/p>\n\u003cp>NPR reached out for comment to Allen’s agent, who did not respond as of publication time.\u003c/p>\n\u003cp>The \u003cem>New York Post\u003c/em> \u003ca href=\"https://pagesix.com/2020/03/05/litlte-brown-staff-stages-walkout-in-support-of-ronan-and-dylan-farrow/\">reported\u003c/a> that HBG employees approached the company’s human resources department on Thursday afternoon to complain about the planned publication of Allen’s book. A Hachette employee told NPR that HBG’s CEO, Michael Pietsch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.\u003c/p>\n\u003cp>Farrow’s agent, \u003ca href=\"https://www.janklowandnesbit.com/people/lynn-nesbit\">Lynn Nesbit\u003c/a>, told NPR on Thursday, “I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision.”\u003c/p>\n\u003cp>Signing Allen, she said, was “a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher.” She added that Farrow is “grateful for the support of his colleagues at Little, Brown.”\u003c/p>\n\u003cp>Last year, \u003cem>The New York Times \u003c/em>reported that Allen had tried to sell the memoir to several major publishing houses, “only to be met with indifference or \u003ca href=\"https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.html\">hard passes\u003c/a>“; one source told NPR on Thursday afternoon that the title had been considered “radioactive” in the publishing world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Farrow also said in his Tuesday statement that HBG had not fact-checked Allen’s memoir nor did it contact Dylan Farrow for any response. “It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. … I’ve also told Hachette that a publisher that would conduct itself in this way is one I can’t work with in good conscience.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\n\u003cp>https://youtu.be/gn5QmllRCn4\u003c/p>\n\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gn5QmllRCn4'\n title='//www.youtube.com/embed/gn5QmllRCn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Devs' Explores Modern, Tech-Driven Cultural Alienation in San Francisco",
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"content": "\u003cp>\u003cem>\u003cstrong>The first two episodes of \u003c/strong>\u003c/em>\u003cstrong>Devs \u003c/strong>\u003cem>\u003cstrong>drop on FX on Hulu on Thursday, March 5th. The remaining six episodes will be published over the following six weeks.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The light, in the fascinating and frustrating limited series \u003cem>Devs\u003c/em>, is always golden. Doesn’t matter if we find ourselves outside (as we do in any number of establishing shots that soar over downtown San Francisco as the first rays of sunlight burnish every surface to a blinding sheen), or if we’re inside (as we are in the many scenes taking place within the Devs Lab—a gleaming cube mysteriously suspended in mid-air inside a vast, golden vault, where mysterious things are afoot, mysteriously, amid pulsing, yellow, mysterious light).\u003c/p>\n\u003cp>What the various coders who work in that gorgeous, glowing space are actually up to is something the series, written and directed by Alex Garland, parcels out slowly.\u003c/p>\n\u003cp>Moodily.\u003c/p>\n\u003cp>\u003cem>Broodingly\u003c/em>, even.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None of which should come as a surprise to those who’ve followed Garland’s career. His films \u003cem>Ex Machina\u003c/em> and \u003cem>Annihilation\u003c/em> took pulpy, familiar sci-fi premises (robots and alien invasion, respectively) and set about methodically dissecting them, uncovering satisfying new layers inside their central metaphors—the nature of consciousness (\u003cem>Ex Machina\u003c/em>) and the power of depression and grief to alter our perception (\u003cem>Annihilatio\u003c/em>n).\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>concerns itself with both of those themes, to varying degrees—but the act of stretching its story over eight hours saps the momentum by allowing for repetitive story beats and ponderous, unintentionally funny navel-gazing dialogue about the state of the universe.\u003c/p>\n\u003cp>It can’t help but feel of-the-moment, however, taking place as it does largely on the bucolic Bay Area campus of a tech firm led by an eccentric, leonine CEO (Nick Offerman)—an oasis of redwood trees, fixie bikes and glass-paneled workspaces. Two software engineers at the firm, Lily (Sonoya Mizuno) and Sergei (Karl Glusman) share an apartment facing Dolores Park; in the morning, they step over a man sleeping in their front doorway.\u003c/p>\n\u003cp>When Sergei gets tapped to join the Devs Team, Lily finds herself drawn into a world of corporate espionage, violence and, not for nothing, quantum physics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aoNloYTsH0Y\u003c/p>\n\u003cp>“Finds herself drawn into” being the operative phrase, here. On those rare occasions Mizuno’s Lily is called upon to emote, she’s quite good—but she spends the vast majority of her screentime stoically being acted upon. The script has her chafing against the idea of being rescued by men like Sergei or her former boyfriend Jamie (a wryly funny Jin Ha), but then proceeds to have her … be rescued. By men. A lot.\u003c/p>\n\u003cp>Which would be fine, or at least not a deal-breaker, if the series weren’t obsessed with underlining Lily’s chosen status. Other characters are forever telling her she’s “exceptional,” “smart,” “strong” and “special,” but she’s afforded precious few opportunities to make that case to us herself. Her choices keep getting circumscribed, and she keeps reacting by … not reacting.\u003c/p>\n\u003cp>Now: It could be argued that there exists a clear, structural, story-logic reason for Lily’s lack of agency which I will not spoil. Even so, it’s one thing to understand the intellectual point \u003cem>Devs \u003c/em>is making with Lily’s passivity, and quite another for it to work emotionally—and dramatically.\u003c/p>\n\u003cp>The show is gorgeously shot, and features sparks of deadpan humor from Devs coders played by Stephen McKinley Henderson and Cailee Spaeny. Alison Pill, as Offerman’s second-in-command, is given a lot of those “nature of the universe” monologues to deliver, and she does so with a blank, affectless stare that’s duly chilling. The great Zach Grenier, as a villainous head of security, goes about his grim business with a hard-nosed menace.\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>gets most interesting when it drops its whispered, impassive tone and lets, for example, Jin Ha’s character inject a much-needed note of humanity, or when a powerful Senator played by Janet Mock gets to rake Offerman’s imperious tech leader over the coals:\u003c/p>\n\u003cblockquote>\u003cp>A.I. is gonna create 60% unemployment. Instagram makes people feel s**t about their lives. Twitter makes them feel reviled. Facebook destroyed democracy. They use you, need you … but they don’t like you anymore.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There’s a rawness behind those words, a beating pulse, a clear point of view that only too rarely makes its presence felt over the course of the series’ eight episodes. The plague of modern, tech-driven cultural alienation is \u003cem>Devs\u003c/em>‘ theme—and it’s a solid one. The problem, from a pure storytelling point of view, is that the show’s tone, characters and narrative momentum have all surrendered to that same detached, emotionally isolated form of disaffection.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tech+Bubble%3A+%27Devs%27+Is+Stylish%2C+But+Hollow+At+The+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None of which should come as a surprise to those who’ve followed Garland’s career. His films \u003cem>Ex Machina\u003c/em> and \u003cem>Annihilation\u003c/em> took pulpy, familiar sci-fi premises (robots and alien invasion, respectively) and set about methodically dissecting them, uncovering satisfying new layers inside their central metaphors—the nature of consciousness (\u003cem>Ex Machina\u003c/em>) and the power of depression and grief to alter our perception (\u003cem>Annihilatio\u003c/em>n).\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>concerns itself with both of those themes, to varying degrees—but the act of stretching its story over eight hours saps the momentum by allowing for repetitive story beats and ponderous, unintentionally funny navel-gazing dialogue about the state of the universe.\u003c/p>\n\u003cp>It can’t help but feel of-the-moment, however, taking place as it does largely on the bucolic Bay Area campus of a tech firm led by an eccentric, leonine CEO (Nick Offerman)—an oasis of redwood trees, fixie bikes and glass-paneled workspaces. Two software engineers at the firm, Lily (Sonoya Mizuno) and Sergei (Karl Glusman) share an apartment facing Dolores Park; in the morning, they step over a man sleeping in their front doorway.\u003c/p>\n\u003cp>When Sergei gets tapped to join the Devs Team, Lily finds herself drawn into a world of corporate espionage, violence and, not for nothing, quantum physics.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aoNloYTsH0Y'\n title='//www.youtube.com/embed/aoNloYTsH0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Finds herself drawn into” being the operative phrase, here. On those rare occasions Mizuno’s Lily is called upon to emote, she’s quite good—but she spends the vast majority of her screentime stoically being acted upon. The script has her chafing against the idea of being rescued by men like Sergei or her former boyfriend Jamie (a wryly funny Jin Ha), but then proceeds to have her … be rescued. By men. A lot.\u003c/p>\n\u003cp>Which would be fine, or at least not a deal-breaker, if the series weren’t obsessed with underlining Lily’s chosen status. Other characters are forever telling her she’s “exceptional,” “smart,” “strong” and “special,” but she’s afforded precious few opportunities to make that case to us herself. Her choices keep getting circumscribed, and she keeps reacting by … not reacting.\u003c/p>\n\u003cp>Now: It could be argued that there exists a clear, structural, story-logic reason for Lily’s lack of agency which I will not spoil. Even so, it’s one thing to understand the intellectual point \u003cem>Devs \u003c/em>is making with Lily’s passivity, and quite another for it to work emotionally—and dramatically.\u003c/p>\n\u003cp>The show is gorgeously shot, and features sparks of deadpan humor from Devs coders played by Stephen McKinley Henderson and Cailee Spaeny. Alison Pill, as Offerman’s second-in-command, is given a lot of those “nature of the universe” monologues to deliver, and she does so with a blank, affectless stare that’s duly chilling. The great Zach Grenier, as a villainous head of security, goes about his grim business with a hard-nosed menace.\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>gets most interesting when it drops its whispered, impassive tone and lets, for example, Jin Ha’s character inject a much-needed note of humanity, or when a powerful Senator played by Janet Mock gets to rake Offerman’s imperious tech leader over the coals:\u003c/p>\n\u003cblockquote>\u003cp>A.I. is gonna create 60% unemployment. Instagram makes people feel s**t about their lives. Twitter makes them feel reviled. Facebook destroyed democracy. They use you, need you … but they don’t like you anymore.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There’s a rawness behind those words, a beating pulse, a clear point of view that only too rarely makes its presence felt over the course of the series’ eight episodes. The plague of modern, tech-driven cultural alienation is \u003cem>Devs\u003c/em>‘ theme—and it’s a solid one. 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"content": "\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sbVPcPL30xc\u003c/p>\n\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dixie Chicks 2020—y’all, we’re ready.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dixie+Chicks+Announce+First+Album+In+14+Years%2C+%27Gaslighter%2C%27+Share+Title+Track&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sbVPcPL30xc'\n title='//www.youtube.com/embed/sbVPcPL30xc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dixie Chicks 2020—y’all, we’re ready.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dixie+Chicks+Announce+First+Album+In+14+Years%2C+%27Gaslighter%2C%27+Share+Title+Track&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mysterious Events Disturb a Brazilian Town in Genre-Busting 'Bacurau'",
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"content": "\u003cp>The other day I went to a party and wound up talking to some millennials who are backing Bernie Sanders. The conversation turned to the movies \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a>, and one of them wondered if the popularity of their shared theme—the abyss between the haves and have nots—meant we might be returning to the rebellious 1960s.\u003c/p>\n\u003cp>He would find further evidence for this thesis in \u003cem>Bacurau\u003c/em>, a funny, violent, unexpectedly moving Brazilian movie that won the Jury Prize at Cannes last spring. Written and directed by Kleber Mendonça Filho and Juliano Dornelles, \u003cem>Bacurau\u003c/em> is a genre-busting entertainment that is at once a portrait of a community, a horror thriller and a timely piece of political filmmaking.\u003c/p>\n\u003cp>The story is set “a few years from now” in the huge area of northeastern Brazil known as the \u003cem>sertão\u003c/em>, an arid, hardscrabble backlands akin to our Wild West. As the action begins, a 30-ish woman named Teresa (Bárbara Colen) returns to her tiny hometown of Bacurau to attend the funeral of her grandmother.\u003c/p>\n\u003cp>Bacurau is a poor, isolated, slightly magical Latin American town, like Gabriel García-Márquez’s Macondo, that is just bursting with the stuff of life, from music and brothels to a museum rich with local history.\u003c/p>\n\u003cp>At first, things seem normal in Bacurau, whose tolerant life the filmmakers show us quietly and affectionately. The grandmother is buried in a heartfelt ceremony. The local doctor, played by the wonderful actress Sônia Braga, dispenses medicine when she’s not fulminating drunkenly. And Teresa hooks up with a folk-hero crook, Pacote, played by hunky Thomas Aquino, whose crimes are shown on a big-screen TV in the center of town. Everyone’s main gripe is that the smarmy regional mayor, named Tony Junior, has diverted the local water supply.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKTejyk9ZIA\u003c/p>\n\u003cp>Then ominous things start happening: Bacurau disappears from Google Maps; a UFO keeps flying overhead; a water truck is riddled with bullet holes. And what are we to make of those mysterious American tourists staying in a house outside of town? It can’t be a good sign that their guide is the German actor, Udo Kier, whose brand is amorality.\u003c/p>\n\u003cp>Now, \u003cem>Bacurau\u003c/em> is one of those movies like \u003cem>Parasite\u003c/em>—or Mendonça’s brilliant debut \u003cem>Neighboring Sounds\u003c/em>—where you’re never quite sure which way it’s heading. And just like \u003cem>Parasite\u003c/em>, it’s one of those rare movies that manages to be both devoutly national \u003cem>and\u003c/em> universal.\u003c/p>\n\u003cp>On one hand, the film is unabashedly Brazilian, from its opening song by Tropicália chanteuse Gal Costa to its nods to Brazil’s radical Cinema Novo movement of the 1960s. Brazilian audiences know that it’s tweaking their president, \u003ca href=\"https://www.npr.org/2018/12/31/680648942/jair-bolsonaro-a-polarizing-figure-prepares-to-become-brazils-president\">Jair Bolsonaro\u003c/a>, a virulently anti-liberal populist who makes Donald Trump look mellow.\u003c/p>\n\u003cp>Yet viewers here will have no trouble following \u003cem>Bacurau\u003c/em>‘s cockeyed plot, enjoying its excellent jokes or understanding the power dynamic it’s portraying—though Americans may be startled to see a film in which \u003cem>we\u003c/em> are the bad guys. Not that this is any kind of anti-American screed, mind you. While the movie’s not so fond of gun-crazy Yanks, it’s clearly steeped in a passion for American pop culture.\u003c/p>\n\u003cp>If you’ve ever seen a Western, you’ll know the action is building to a grand showdown, one that Mendonça and Dornelles make not just exciting but politically charged. Faced with danger from the outside, the community bands together to fight back against whoever is coming after them. Grabbing weapons old and new, they draw on their long local tradition of resistance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a political fable, \u003cem>Bacurau\u003c/em> isn’t what you’d call subtle, though it \u003cem>is\u003c/em> emotionally satisfying in its Tarantino-esque fantasy of history’s outsiders fighting back against those who’ve been crushing them. But unlike Tarantino, the filmmakers are driven by an underlying moral seriousness. Their use of violence isn’t heartlessly gleeful—you feel the human weight of people dying—and the movie’s point isn’t the killing. In fact, beneath its exploitation film trappings, \u003cem>Bacurau\u003c/em> is actually a film about dignity. It takes a backwater community whose members are normally seen as simple or marginal and treats them with the respect they deserve.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mysterious+Events+Disturb+A+Small+Brazilian+Town+In+Genre-Busting+%27Bacurau%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The other day I went to a party and wound up talking to some millennials who are backing Bernie Sanders. The conversation turned to the movies \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a>, and one of them wondered if the popularity of their shared theme—the abyss between the haves and have nots—meant we might be returning to the rebellious 1960s.\u003c/p>\n\u003cp>He would find further evidence for this thesis in \u003cem>Bacurau\u003c/em>, a funny, violent, unexpectedly moving Brazilian movie that won the Jury Prize at Cannes last spring. Written and directed by Kleber Mendonça Filho and Juliano Dornelles, \u003cem>Bacurau\u003c/em> is a genre-busting entertainment that is at once a portrait of a community, a horror thriller and a timely piece of political filmmaking.\u003c/p>\n\u003cp>The story is set “a few years from now” in the huge area of northeastern Brazil known as the \u003cem>sertão\u003c/em>, an arid, hardscrabble backlands akin to our Wild West. As the action begins, a 30-ish woman named Teresa (Bárbara Colen) returns to her tiny hometown of Bacurau to attend the funeral of her grandmother.\u003c/p>\n\u003cp>Bacurau is a poor, isolated, slightly magical Latin American town, like Gabriel García-Márquez’s Macondo, that is just bursting with the stuff of life, from music and brothels to a museum rich with local history.\u003c/p>\n\u003cp>At first, things seem normal in Bacurau, whose tolerant life the filmmakers show us quietly and affectionately. The grandmother is buried in a heartfelt ceremony. The local doctor, played by the wonderful actress Sônia Braga, dispenses medicine when she’s not fulminating drunkenly. And Teresa hooks up with a folk-hero crook, Pacote, played by hunky Thomas Aquino, whose crimes are shown on a big-screen TV in the center of town. Everyone’s main gripe is that the smarmy regional mayor, named Tony Junior, has diverted the local water supply.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LKTejyk9ZIA'\n title='//www.youtube.com/embed/LKTejyk9ZIA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then ominous things start happening: Bacurau disappears from Google Maps; a UFO keeps flying overhead; a water truck is riddled with bullet holes. And what are we to make of those mysterious American tourists staying in a house outside of town? It can’t be a good sign that their guide is the German actor, Udo Kier, whose brand is amorality.\u003c/p>\n\u003cp>Now, \u003cem>Bacurau\u003c/em> is one of those movies like \u003cem>Parasite\u003c/em>—or Mendonça’s brilliant debut \u003cem>Neighboring Sounds\u003c/em>—where you’re never quite sure which way it’s heading. And just like \u003cem>Parasite\u003c/em>, it’s one of those rare movies that manages to be both devoutly national \u003cem>and\u003c/em> universal.\u003c/p>\n\u003cp>On one hand, the film is unabashedly Brazilian, from its opening song by Tropicália chanteuse Gal Costa to its nods to Brazil’s radical Cinema Novo movement of the 1960s. Brazilian audiences know that it’s tweaking their president, \u003ca href=\"https://www.npr.org/2018/12/31/680648942/jair-bolsonaro-a-polarizing-figure-prepares-to-become-brazils-president\">Jair Bolsonaro\u003c/a>, a virulently anti-liberal populist who makes Donald Trump look mellow.\u003c/p>\n\u003cp>Yet viewers here will have no trouble following \u003cem>Bacurau\u003c/em>‘s cockeyed plot, enjoying its excellent jokes or understanding the power dynamic it’s portraying—though Americans may be startled to see a film in which \u003cem>we\u003c/em> are the bad guys. Not that this is any kind of anti-American screed, mind you. While the movie’s not so fond of gun-crazy Yanks, it’s clearly steeped in a passion for American pop culture.\u003c/p>\n\u003cp>If you’ve ever seen a Western, you’ll know the action is building to a grand showdown, one that Mendonça and Dornelles make not just exciting but politically charged. Faced with danger from the outside, the community bands together to fight back against whoever is coming after them. Grabbing weapons old and new, they draw on their long local tradition of resistance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a political fable, \u003cem>Bacurau\u003c/em> isn’t what you’d call subtle, though it \u003cem>is\u003c/em> emotionally satisfying in its Tarantino-esque fantasy of history’s outsiders fighting back against those who’ve been crushing them. But unlike Tarantino, the filmmakers are driven by an underlying moral seriousness. Their use of violence isn’t heartlessly gleeful—you feel the human weight of people dying—and the movie’s point isn’t the killing. In fact, beneath its exploitation film trappings, \u003cem>Bacurau\u003c/em> is actually a film about dignity. It takes a backwater community whose members are normally seen as simple or marginal and treats them with the respect they deserve.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mysterious+Events+Disturb+A+Small+Brazilian+Town+In+Genre-Busting+%27Bacurau%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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}
