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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider Ellen Craft, sung with a dramatic sense of nervousness and poise by mezzo-soprano Raehann Bryce-Davis. Craft, whose skin tone was light, disguised herself as a white man — an ailing slave owner — headed to Philadelphia with her enslaved valet, who was, in fact, her fiancé.\u003c/p>\n\u003cp>Another harrowing tale belongs to the resourceful Henry “Box” Brown, who mailed himself in a crate from Richmond, Va., to Philadelphia, breathing through a hole the size of a nickel.\u003c/p>\n\u003cp>\u003cem>Sanctuary Road\u003c/em> is not without a few flashes of humor. Before he climbed into his crate, Brown wrote “THIS SIDE UP” on top of it. Apparently, those who shipped him were less clever than Brown was, as he spent part of his treacherous journey upside down. Baritone Malcolm J. Merriweather, whose committed performance is touched with a whiff of bemusement, ends his scene declaring, “If only those fools could read!”\u003c/p>\n\u003cp>The journeys depicted are fraught with danger. Between the longer stories, Moravec and Campbell insert three frenzied chase scenes, featuring tenor Joshua Blue and depicting the enslaved Wesley Harris’ breathlessly running through woods and avoiding roads. \u003c/p>\n\u003cp>The chorus in \u003cem>Sanctuary Road\u003c/em> both comments on the action and participates in it. As angry slave holders, the singers cry out, offering rewards for runaways. \u003c/p>\n\u003cp>Moravec’s music for \u003cem>Sanctuary Road\u003c/em> doesn’t try to push any envelopes. Its sweeping lyricism, à la \u003ca href=\"https://www.npr.org/artists/15219563/samuel-barber\">Samuel Barber\u003c/a>, sounds solidly American, fitting comfortably with the libretto crafted by Mark Campbell, which was drawn from Still’s book. Campbell, who might be seen as America’s go-to librettist, has 36 operas to his credit, including the Pulitzer-winning \u003cem>Silent Night\u003c/em>, by \u003ca href=\"https://www.npr.org/artists/208286559/kevin-puts\">Kevin Puts\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Americans have a long way to go to completely understand the Underground Railroad. We can’t know the hell of slavery first hand. But in a piece like \u003cem>Sanctuary Road,\u003c/em> we can learn about William Still — an important figure in our history — and the hundreds he ushered into freedom. \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=Underground+Railroad%3A+A+Conductor+And+Passengers+Documented+In+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Seven Worlds, One Planet, \u003c/em>BBC America’s new big-budget, big-scope documentary series, devotes one episode to each of Earth’s continents—beginning with an episode devoted to Australia.\u003c/p>\n\u003cp>Filmed before that continent’s still-ongoing \u003ca href=\"https://www.npr.org/2020/01/05/793754335/australia-deploys-military-reservists-to-combat-wildfire-as-thousands-evacuate\" target=\"_blank\" rel=\"noopener noreferrer\">wildfire outbreak\u003c/a>, the entire “Australia” episode has even more resonance now. \u003ca href=\"https://www.npr.org/2018/12/25/680079474/sir-david-attenboroughs-field-recordings-from-across-the-planet\" target=\"_blank\" rel=\"noopener noreferrer\">Sir David Attenborough\u003c/a>, the narrator, has been presiding over these wonderful nature films for close to 70 years, and his opening words in the “Australia” program are so on-point it’s spooky: “This is a land of survivors,” he says.\u003c/p>\n\u003cp>It has to be. Recent news reports from Australia say that the wildfires have swept across as many as 27 million acres of land and killed up to a billion animals. A billion. On Kangaroo Island alone, 25,000 koalas have been killed—and their habitat, especially the lush eucalyptus trees, gone.\u003c/p>\n\u003cp>Koalas and kangaroos figure prominently in this “Australia” episode. So do Tasmanian devils and wild budgies, dingoes and jumping spiders, and so much more.\u003c/p>\n\u003cp>The filmmakers capture these creatures doing amazing things, with state-of-the-art technology that makes sure to remember the “art” part. Some of the behaviors caught on tape are very rare sights—as are some of the animals. At episode’s end, in another prescient piece of narration, Attenborough points that the very survival of the animals in Australia depends on us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IlFRPkT-hVc\u003c/p>\n\u003cp>Every installment of \u003cem>Seven Worlds, One Planet \u003c/em>ends with a behind-the-scenes featurette showing how the filmmakers captured the footage they did. It’s a delicious dessert, but the episodes themselves are the true treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each weekly episode premieres on BBC America, but also on AMC, IFC and Sundance TV. Wherever you watch them, watch and record them all. The narration is so clear and concise—and Attenborough such an inviting guide—that \u003cem>Seven Worlds, One Planet \u003c/em>is just as thrilling for younger viewers as for adults. Every episode includes sequences that will make your jaw drop—and the variety of subjects, which in these seven episodes range from polar bears to fireflies, is astounding. As a work of television, this nature series is astounding, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmed+Before+The+Fires%2C+%27Seven+Worlds%27+Shows+Off+Australia%27s+Amazing+Wildlife&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A group of civil rights and consumer groups is \u003ca href=\"https://www.citizen.org/article/popular-dating-health-apps-violate-privacy/\" target=\"_blank\" rel=\"noopener noreferrer\">urging\u003c/a> federal and state regulators to examine a number of mobile apps, including popular dating apps Grindr, Tinder and OKCupid for allegedly sharing personal information with advertising companies.\u003c/p>\n\u003cp>The push by the privacy rights coalition follows a \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> published on Tuesday by the Norwegian Consumer Council that found 10 apps collect sensitive information including a user’s exact location, sexual orientation, religious and political beliefs, drug use and other information and then transmit the personal data to at least 135 different third-party companies.\u003c/p>\n\u003cp>The data harvesting, according to the Norwegian government agency, appears to violate the European Union’s rules intended to protect people’s online data, known as the General Data Protection Regulation.\u003c/p>\n\u003cp>In the U.S., consumer groups are equally alarmed. The group urging regulators to act on the Norwegian study, led by government watchdog group Public Citizen, says Congress should use the findings as a roadmap to pass a new law patterned after Europe’s tough data privacy rules that took effect in 2018.\u003c/p>\n\u003cp>“These apps and online services spy on people, collect vast amounts of personal data and share it with third parties without people’s knowledge. Industry calls it adtech. We call it surveillance,” said Burcu Kilic, a lawyer who leads the digital rights program at Public Citizen. “We need to regulate it now, before it’s too late.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Norwegian study, which looks only at apps on Android phones, traces the journey a user’s personal information takes before it arrives at marketing companies.\u003c/p>\n\u003cp>For example, Grindr’s app includes Twitter-owned advertising software, which collects and processes personal information and unique identifiers such as a phone’s ID and IP address, allowing advertising companies to track consumers across devices. This Twitter-owned go-between for personal data is controlled by a firm called MoPub.\u003c/p>\n\u003cp>“Grindr only lists Twitter’s MoPub as an advertising partner, and encourages users to read the privacy policies of MoPub’s own partners to understand how data is used. MoPub lists more than 160 partners, which clearly makes it impossible for users to give an informed consent to how each of these partners may use personal data,” the \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> states.\u003c/p>\n\u003cp>This is not the first time Grindr has become embroiled in controversy over data sharing. In 2018, the dating app \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/03/599069424/grindr-admits-it-shared-hiv-status-of-users\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would stop sharing users’ HIV status with companies following a report in \u003ca href=\"https://www.buzzfeednews.com/article/azeenghorayshi/grindr-hiv-status-privacy#.yp0J48W0N\" target=\"_blank\" rel=\"noopener noreferrer\">BuzzFeed\u003c/a> exposing the practice, leading AIDS advocates to raise questions about health, safety and personal privacy.\u003c/p>\n\u003cp>The latest data violations unearthed by the Norwegian researchers come the same month California \u003ca href=\"https://www.npr.org/2019/12/30/791190150/california-rings-in-the-new-year-with-a-new-data-privacy-law\" target=\"_blank\" rel=\"noopener noreferrer\">enacted\u003c/a> the strongest data privacy law in the U.S. Under the law, known as the California Consumer Privacy Act, consumers can opt out of the sale of their personal information. If tech companies do not comply, the law permits the user to sue.\u003c/p>\n\u003cp>In its \u003ca href=\"https://www.citizen.org/wp-content/uploads/CA-AG-Out-of-Control-NCC-1.14.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> sent Tuesday to the California attorney general, the ACLU of California argues that the practice described in the Norwegian report may violate the state’s new data privacy law, in addition to constituting possible unfair and deceptive practices, which is unlawful in California.\u003c/p>\n\u003cp>A Twitter spokesperson said in a statement that the company has suspended advertising software used by Grindr highlighted in the report as the company reviews the study’s findings.\u003c/p>\n\u003cp>“We are currently investigating this issue to understand the sufficiency of Grindr’s consent mechanism. In the meantime, we have disabled Grindr’s MoPub account,” a Twitter spokesperson told NPR.\u003c/p>\n\u003cp>The study found the dating app OKCupid shared details about a user’s sexuality, drug use, political views and more to an analytics company called Braze.\u003c/p>\n\u003cp>The Match Group, the company that owns OKCupid and Tinder, said in a statement that privacy was at the core of its business, saying it only shares information to third parties that comply with applicable laws.\u003c/p>\n\u003cp>“All Match Group products obtain from these vendors strict contractual commitments that ensure confidentiality, security of users’ personal information and strictly prohibit commercialization of this data,” a company spokesman said.\u003c/p>\n\u003cp>Many app users, the study noted, never try to read or understand the privacy policies before using an app. But even if the policies are studied, the Norwegian researchers say the legalese-filled documents sometimes do not provide a complete picture of what is happening with a person’s personal information.\u003c/p>\n\u003cp>“If one actually attempts to read the privacy policy of any given app, the third parties who may receive personal data are often not mentioned by name. If the third parties are actually listed, the consumer then has to read the privacy policies of these third parties to understand how they may use the data,” the study says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In other words, it is practically impossible for the consumer to have even a basic overview of what and where their personal data might be transmitted, or how it is used, even from only a single app.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Study%3A+Tinder%2C+Grindr+And+Other+Apps+Share+Sensitive+Personal+Data+With+Advertisers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of civil rights and consumer groups is \u003ca href=\"https://www.citizen.org/article/popular-dating-health-apps-violate-privacy/\" target=\"_blank\" rel=\"noopener noreferrer\">urging\u003c/a> federal and state regulators to examine a number of mobile apps, including popular dating apps Grindr, Tinder and OKCupid for allegedly sharing personal information with advertising companies.\u003c/p>\n\u003cp>The push by the privacy rights coalition follows a \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> published on Tuesday by the Norwegian Consumer Council that found 10 apps collect sensitive information including a user’s exact location, sexual orientation, religious and political beliefs, drug use and other information and then transmit the personal data to at least 135 different third-party companies.\u003c/p>\n\u003cp>The data harvesting, according to the Norwegian government agency, appears to violate the European Union’s rules intended to protect people’s online data, known as the General Data Protection Regulation.\u003c/p>\n\u003cp>In the U.S., consumer groups are equally alarmed. The group urging regulators to act on the Norwegian study, led by government watchdog group Public Citizen, says Congress should use the findings as a roadmap to pass a new law patterned after Europe’s tough data privacy rules that took effect in 2018.\u003c/p>\n\u003cp>“These apps and online services spy on people, collect vast amounts of personal data and share it with third parties without people’s knowledge. Industry calls it adtech. We call it surveillance,” said Burcu Kilic, a lawyer who leads the digital rights program at Public Citizen. “We need to regulate it now, before it’s too late.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Norwegian study, which looks only at apps on Android phones, traces the journey a user’s personal information takes before it arrives at marketing companies.\u003c/p>\n\u003cp>For example, Grindr’s app includes Twitter-owned advertising software, which collects and processes personal information and unique identifiers such as a phone’s ID and IP address, allowing advertising companies to track consumers across devices. This Twitter-owned go-between for personal data is controlled by a firm called MoPub.\u003c/p>\n\u003cp>“Grindr only lists Twitter’s MoPub as an advertising partner, and encourages users to read the privacy policies of MoPub’s own partners to understand how data is used. MoPub lists more than 160 partners, which clearly makes it impossible for users to give an informed consent to how each of these partners may use personal data,” the \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> states.\u003c/p>\n\u003cp>This is not the first time Grindr has become embroiled in controversy over data sharing. In 2018, the dating app \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/03/599069424/grindr-admits-it-shared-hiv-status-of-users\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would stop sharing users’ HIV status with companies following a report in \u003ca href=\"https://www.buzzfeednews.com/article/azeenghorayshi/grindr-hiv-status-privacy#.yp0J48W0N\" target=\"_blank\" rel=\"noopener noreferrer\">BuzzFeed\u003c/a> exposing the practice, leading AIDS advocates to raise questions about health, safety and personal privacy.\u003c/p>\n\u003cp>The latest data violations unearthed by the Norwegian researchers come the same month California \u003ca href=\"https://www.npr.org/2019/12/30/791190150/california-rings-in-the-new-year-with-a-new-data-privacy-law\" target=\"_blank\" rel=\"noopener noreferrer\">enacted\u003c/a> the strongest data privacy law in the U.S. Under the law, known as the California Consumer Privacy Act, consumers can opt out of the sale of their personal information. If tech companies do not comply, the law permits the user to sue.\u003c/p>\n\u003cp>In its \u003ca href=\"https://www.citizen.org/wp-content/uploads/CA-AG-Out-of-Control-NCC-1.14.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> sent Tuesday to the California attorney general, the ACLU of California argues that the practice described in the Norwegian report may violate the state’s new data privacy law, in addition to constituting possible unfair and deceptive practices, which is unlawful in California.\u003c/p>\n\u003cp>A Twitter spokesperson said in a statement that the company has suspended advertising software used by Grindr highlighted in the report as the company reviews the study’s findings.\u003c/p>\n\u003cp>“We are currently investigating this issue to understand the sufficiency of Grindr’s consent mechanism. In the meantime, we have disabled Grindr’s MoPub account,” a Twitter spokesperson told NPR.\u003c/p>\n\u003cp>The study found the dating app OKCupid shared details about a user’s sexuality, drug use, political views and more to an analytics company called Braze.\u003c/p>\n\u003cp>The Match Group, the company that owns OKCupid and Tinder, said in a statement that privacy was at the core of its business, saying it only shares information to third parties that comply with applicable laws.\u003c/p>\n\u003cp>“All Match Group products obtain from these vendors strict contractual commitments that ensure confidentiality, security of users’ personal information and strictly prohibit commercialization of this data,” a company spokesman said.\u003c/p>\n\u003cp>Many app users, the study noted, never try to read or understand the privacy policies before using an app. But even if the policies are studied, the Norwegian researchers say the legalese-filled documents sometimes do not provide a complete picture of what is happening with a person’s personal information.\u003c/p>\n\u003cp>“If one actually attempts to read the privacy policy of any given app, the third parties who may receive personal data are often not mentioned by name. If the third parties are actually listed, the consumer then has to read the privacy policies of these third parties to understand how they may use the data,” the study says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In other words, it is practically impossible for the consumer to have even a basic overview of what and where their personal data might be transmitted, or how it is used, even from only a single app.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Study%3A+Tinder%2C+Grindr+And+Other+Apps+Share+Sensitive+Personal+Data+With+Advertisers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tomorrow, the Rock and Roll Hall of Fame will announce its 2020 inductees. And while this year’s nominees include three woman-driven acts, critics have long chided the Rock Hall for the low percentage of women in its pantheon of performers.\u003c/p>\n\u003cp>For instance, after warmly accepting her induction into the Rock Hall last spring, \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> threw down the gauntlet.\u003c/p>\n\u003cp>“Rock and Roll Hall of Fame, please: 2020, induct more women,” she demanded. The crowd cheered.\u003c/p>\n\u003cp>Her co-inductee, \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a>, also criticized the Rock Hall that night for its low number of women in its ranks. Rock Hall Foundation CEO Joel Peresman says he’s heard that complaint before.\u003c/p>\n\u003cp>“We’re trying to make this as gender-neutral as possible and just look at as: the criteria of being inducted is quality of work,” Peresman says. “And if it’s male or female … that’s the criteria.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former Rock Hall board chair Jann Wenner echoed that sentiment in a \u003ca href=\"https://www.billboard.com/articles/business/8543752/rock-hall-fame-leadership-board-john-sykes-diversity\">Billboard interview\u003c/a> this past fall, adding “racially-neutral” to the judging criteria, but “that’s a very easy thing for a white man to say,” argues Evelyn McDonnell.\u003c/p>\n\u003cp>McDonnell writes about music and teaches journalism at Loyola Marymount University in Los Angeles. Last year, she did an analysis of gender representation in the hall of fame and found a problem. For every female bandleader inducted, her male band mates also go into the hall of fame. McDonnell discovered that, over the course of 34 years, that process has yielded 69 women out of 888 inductees — or less than 8%.\u003c/p>\n\u003cp>“Since the dawn of the recording industry, there have been prominent women, sometimes women who were dominant,” McDonnell says. “\u003ca href=\"https://www.npr.org/2000/01/10/1068986/hound-dog-dont-be-cruel\">Big Mama Thornton\u003c/a> sang the original — and to me, still the best — version of ‘Hound Dog,’ and she’s never been inducted.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"(1965) Blues by Big Mama Thornton - Hound Dog and Down Home Shakedown\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wxoGvBQtjpM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Rock Hall’s Joel Peresman acknowledges that a glut of all-male bands has skewed the induction numbers.\u003c/p>\n\u003cp>“It’s not an empirical process,” he says. “If an act is \u003ca href=\"https://www.npr.org/artists/15397717/joan-jett\">Joan Jett \u003c/a>and the Black Hearts [and] the committee looks at the people that were involved with her from the beginning — and that made a significant contribution to the creative process — how do you not induct them?”\u003c/p>\n\u003cp>A nominating committee of about 30 artists, scholars and record industry insiders draws up the ballot each year. Craig Werner was on that committee for 18 years. An Emeritus professor of Afro-American Studies at the University of Wisconsin, Werner is also a music writer and he has no problem with the nomination process.\u003c/p>\n\u003cp>“The issues are much more what happens to that ballot once it goes to the larger electorate,” Werner says. Then he sighs. “Well, I’m just going to say it: I think that the electorate makes dumb decisions on a regular basis.”\u003c/p>\n\u003cp>There are about 1000 people who get to vote on the ballot, although there’s no accounting of exactly who they are. Joel Peresman says they include record company people, writers and artists. But, the voting public also includes every person who’s ever been inducted, which is largely a population of (white) men.\u003c/p>\n\u003cp>“The nominating committee, I think reflects a good sense — a contentious sense, sometimes — of what rock and roll history is. The electorate, I think, does not,” Werner says. “I think that it adheres to a very white-boys-with-guitars and hip-hop that fits into that mythology. It marginalizes women. It marginalizes artists whose core audience is in the African-American community. And it almost entirely ignores Latin.”\u003c/p>\n\u003cp>Yale scholar Daphne Brooks has written extensively on race and gender in relation to popular music and, while critical of the Rock Hall’s past induction practices, she’s encouraged by some recent changes.\u003c/p>\n\u003cp>“So for instance, a couple of years ago now, we have the induction, posthumously, of \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>,” Brooks says. “That’s a kind of work that should continue, I think, to be done.”\u003c/p>\n\u003cp>Tharpe finally got her spot in the hall of fame 32 years after it started inducting performers, even though one of the first inductees, \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, always cited Tharpe as a major influence. Daphne Brooks sees the Rock Hall as a piece of the country’s historic and cultural memory and says it needs to do better.\u003c/p>\n\u003cp>“And if we can start from that point,” she says, “then I think we can understand why the Hall is important and also why we have to fight for it to be a place where we can all hear and see ourselves and see America in its bold heterogeneous self.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/MnAQATKRBN0\">https://youtu.be/MnAQATKRBN0\u003c/a>\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>Tomorrow, the Rock and Roll Hall of Fame will announce its 2020 inductees. And while this year’s nominees include three woman-driven acts, critics have long chided the Rock Hall for the low percentage of women in its pantheon of performers.\u003c/p>\n\u003cp>For instance, after warmly accepting her induction into the Rock Hall last spring, \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> threw down the gauntlet.\u003c/p>\n\u003cp>“Rock and Roll Hall of Fame, please: 2020, induct more women,” she demanded. The crowd cheered.\u003c/p>\n\u003cp>Her co-inductee, \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a>, also criticized the Rock Hall that night for its low number of women in its ranks. Rock Hall Foundation CEO Joel Peresman says he’s heard that complaint before.\u003c/p>\n\u003cp>“We’re trying to make this as gender-neutral as possible and just look at as: the criteria of being inducted is quality of work,” Peresman says. “And if it’s male or female … that’s the criteria.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Rock Hall board chair Jann Wenner echoed that sentiment in a \u003ca href=\"https://www.billboard.com/articles/business/8543752/rock-hall-fame-leadership-board-john-sykes-diversity\">Billboard interview\u003c/a> this past fall, adding “racially-neutral” to the judging criteria, but “that’s a very easy thing for a white man to say,” argues Evelyn McDonnell.\u003c/p>\n\u003cp>McDonnell writes about music and teaches journalism at Loyola Marymount University in Los Angeles. Last year, she did an analysis of gender representation in the hall of fame and found a problem. For every female bandleader inducted, her male band mates also go into the hall of fame. McDonnell discovered that, over the course of 34 years, that process has yielded 69 women out of 888 inductees — or less than 8%.\u003c/p>\n\u003cp>“Since the dawn of the recording industry, there have been prominent women, sometimes women who were dominant,” McDonnell says. “\u003ca href=\"https://www.npr.org/2000/01/10/1068986/hound-dog-dont-be-cruel\">Big Mama Thornton\u003c/a> sang the original — and to me, still the best — version of ‘Hound Dog,’ and she’s never been inducted.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"(1965) Blues by Big Mama Thornton - Hound Dog and Down Home Shakedown\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wxoGvBQtjpM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Rock Hall’s Joel Peresman acknowledges that a glut of all-male bands has skewed the induction numbers.\u003c/p>\n\u003cp>“It’s not an empirical process,” he says. “If an act is \u003ca href=\"https://www.npr.org/artists/15397717/joan-jett\">Joan Jett \u003c/a>and the Black Hearts [and] the committee looks at the people that were involved with her from the beginning — and that made a significant contribution to the creative process — how do you not induct them?”\u003c/p>\n\u003cp>A nominating committee of about 30 artists, scholars and record industry insiders draws up the ballot each year. Craig Werner was on that committee for 18 years. An Emeritus professor of Afro-American Studies at the University of Wisconsin, Werner is also a music writer and he has no problem with the nomination process.\u003c/p>\n\u003cp>“The issues are much more what happens to that ballot once it goes to the larger electorate,” Werner says. Then he sighs. “Well, I’m just going to say it: I think that the electorate makes dumb decisions on a regular basis.”\u003c/p>\n\u003cp>There are about 1000 people who get to vote on the ballot, although there’s no accounting of exactly who they are. Joel Peresman says they include record company people, writers and artists. But, the voting public also includes every person who’s ever been inducted, which is largely a population of (white) men.\u003c/p>\n\u003cp>“The nominating committee, I think reflects a good sense — a contentious sense, sometimes — of what rock and roll history is. The electorate, I think, does not,” Werner says. “I think that it adheres to a very white-boys-with-guitars and hip-hop that fits into that mythology. It marginalizes women. It marginalizes artists whose core audience is in the African-American community. And it almost entirely ignores Latin.”\u003c/p>\n\u003cp>Yale scholar Daphne Brooks has written extensively on race and gender in relation to popular music and, while critical of the Rock Hall’s past induction practices, she’s encouraged by some recent changes.\u003c/p>\n\u003cp>“So for instance, a couple of years ago now, we have the induction, posthumously, of \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>,” Brooks says. “That’s a kind of work that should continue, I think, to be done.”\u003c/p>\n\u003cp>Tharpe finally got her spot in the hall of fame 32 years after it started inducting performers, even though one of the first inductees, \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, always cited Tharpe as a major influence. Daphne Brooks sees the Rock Hall as a piece of the country’s historic and cultural memory and says it needs to do better.\u003c/p>\n\u003cp>“And if we can start from that point,” she says, “then I think we can understand why the Hall is important and also why we have to fight for it to be a place where we can all hear and see ourselves and see America in its bold heterogeneous self.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/MnAQATKRBN0\">https://youtu.be/MnAQATKRBN0\u003c/a>\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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"title": "The New York Public Library's Most Checked-Out Books of All Time",
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"content": "\u003cp>The New York Public Library has been loaning books for a long time—the institution turns 125 this year.\u003c/p>\n\u003cp>To celebrate, the library dug into its records and calculated a list of the 10 books that have been checked out the most in its history.\u003c/p>\n\u003cp>The most-wanted book? \u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FmZCQfeWjeQ\u003c/p>\n\u003cp>The Caldecott Medal-winning tale of a young boy’s encounter with snow has been checked out 485,583 times from the NYPL since it was published in 1962.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It shares qualities with many of the other most-borrowed titles: The beautifully illustrated book has been around a long time, it’s well-known and well-loved, and it’s available in numerous languages.\u003c/p>\n\u003cp>“It is such a relatable story, and pure magic for kids and adults alike,” Andrew Medlar, director of the library’s BookOps selection team, said \u003ca href=\"https://www.nypl.org/press/press-release/january-13-2020/classic-childrens-story-snowy-day-tops-new-york-public-librarys\">in a statement\u003c/a>. “It’s on people’s radar screens, they remember when they first heard it, and they want to share that experience with their kids. And the artwork is just gorgeous.”\u003c/p>\n\u003cp>Children’s books make up a large part of the list. That’s not too surprising—short books can be read faster and are returned more quickly. Even the more adult books on the list, such \u003cem>1984\u003c/em> and \u003cem>To Kill A Mockingbird\u003c/em>, are rather slim.\u003c/p>\n\u003cp>Only one nonfiction book appears on the list: \u003cem>How To Win Friends and Influence People\u003c/em> by Dale Carnegie. The self-help juggernaut was published in 1936.\u003c/p>\n\u003cp>The library also awarded an “honorable mention” to \u003cem>Goodnight Moon\u003c/em> by Margaret Wise Brown. That book might have been a contender for the all-time top spot, but NYPL children’s librarian Anne Carroll Moore so disliked the 1947 book that the library didn’t carry it until 1972. That late entry kept the book off the top 10 list—for now.\u003c/p>\n\u003cp>Here are the top 10:\u003c/p>\n\u003col>\n\u003cli>\u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats: 485,583 checkouts\u003c/li>\n\u003cli>\u003cem>The Cat in the Hat\u003c/em> by Dr. Seuss: 469,650 checkouts\u003c/li>\n\u003cli>\u003cem>1984\u003c/em> by George Orwell: 441,770 checkouts\u003c/li>\n\u003cli>\u003cem>Where the Wild Things Are\u003c/em> by Maurice Sendak: 436,016 checkouts\u003c/li>\n\u003cli>\u003cem>To Kill a Mockingbird\u003c/em> by Harper Lee: 422,912 checkouts\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web\u003c/em> by E.B. White: 337,948 checkouts\u003c/li>\n\u003cli>\u003cem>Fahrenheit 451\u003c/em> by Ray Bradbury: 316,404 checkouts\u003c/li>\n\u003cli>\u003cem>How to Win Friends and Influence People\u003c/em> by Dale Carnegie: 284,524 checkouts\u003c/li>\n\u003cli>\u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em> by J.K. Rowling: 231,022 checkouts\u003c/li>\n\u003cli>\u003cem>The Very Hungry Caterpillar\u003c/em> by Eric Carle: 189,550 checkouts\u003c/li>\n\u003c/ol>\n\u003cfigure id=\"attachment_13873156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873156 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg\" alt=\"Children line up at the Chatham Square Library on Manhattan's Lower East Side in 1911.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children line up at the Chatham Square Library on Manhattan’s Lower East Side in 1911. \u003ccite>(The New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one book on the list is at all recent: the first Harry Potter novel, which was published in the U.S. in 1998. The library says the \u003cem>Sorcerer’s Stone \u003c/em>and Rowling’s subsequent tales of wizarding are always popular but that they experience regular spikes in circulation when new editions or movies come out.\u003c/p>\n\u003cp>From year to year, books on current events prove popular. The library’s \u003ca href=\"https://www.nypl.org/press/press-release/december-18-2019/new-york-public-library-shares-top-checkouts-2019-becoming\">top checkout of 2019\u003c/a> was \u003cem>Becoming\u003c/em>, Michelle Obama’s autobiography.\u003c/p>\n\u003cp>The all-time list includes many titles that people read, treasure and want to share with their children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The books on this list have transcended generations and, much like the Library itself, are as relevant today as they were when they first arrived,” said NYPL President Anthony W. Marx. “This list tells us something about New Yorkers over the last 125 years—what moves them, what excites them, what stands the test of time.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+New+York+Public+Library+Has+Calculated+Its+Most+Checked-Out+Books+Of+All+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York Public Library has been loaning books for a long time—the institution turns 125 this year.\u003c/p>\n\u003cp>To celebrate, the library dug into its records and calculated a list of the 10 books that have been checked out the most in its history.\u003c/p>\n\u003cp>The most-wanted book? \u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats.\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/FmZCQfeWjeQ'\n title='//www.youtube.com/embed/FmZCQfeWjeQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Caldecott Medal-winning tale of a young boy’s encounter with snow has been checked out 485,583 times from the NYPL since it was published in 1962.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It shares qualities with many of the other most-borrowed titles: The beautifully illustrated book has been around a long time, it’s well-known and well-loved, and it’s available in numerous languages.\u003c/p>\n\u003cp>“It is such a relatable story, and pure magic for kids and adults alike,” Andrew Medlar, director of the library’s BookOps selection team, said \u003ca href=\"https://www.nypl.org/press/press-release/january-13-2020/classic-childrens-story-snowy-day-tops-new-york-public-librarys\">in a statement\u003c/a>. “It’s on people’s radar screens, they remember when they first heard it, and they want to share that experience with their kids. And the artwork is just gorgeous.”\u003c/p>\n\u003cp>Children’s books make up a large part of the list. That’s not too surprising—short books can be read faster and are returned more quickly. Even the more adult books on the list, such \u003cem>1984\u003c/em> and \u003cem>To Kill A Mockingbird\u003c/em>, are rather slim.\u003c/p>\n\u003cp>Only one nonfiction book appears on the list: \u003cem>How To Win Friends and Influence People\u003c/em> by Dale Carnegie. The self-help juggernaut was published in 1936.\u003c/p>\n\u003cp>The library also awarded an “honorable mention” to \u003cem>Goodnight Moon\u003c/em> by Margaret Wise Brown. That book might have been a contender for the all-time top spot, but NYPL children’s librarian Anne Carroll Moore so disliked the 1947 book that the library didn’t carry it until 1972. That late entry kept the book off the top 10 list—for now.\u003c/p>\n\u003cp>Here are the top 10:\u003c/p>\n\u003col>\n\u003cli>\u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats: 485,583 checkouts\u003c/li>\n\u003cli>\u003cem>The Cat in the Hat\u003c/em> by Dr. Seuss: 469,650 checkouts\u003c/li>\n\u003cli>\u003cem>1984\u003c/em> by George Orwell: 441,770 checkouts\u003c/li>\n\u003cli>\u003cem>Where the Wild Things Are\u003c/em> by Maurice Sendak: 436,016 checkouts\u003c/li>\n\u003cli>\u003cem>To Kill a Mockingbird\u003c/em> by Harper Lee: 422,912 checkouts\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web\u003c/em> by E.B. White: 337,948 checkouts\u003c/li>\n\u003cli>\u003cem>Fahrenheit 451\u003c/em> by Ray Bradbury: 316,404 checkouts\u003c/li>\n\u003cli>\u003cem>How to Win Friends and Influence People\u003c/em> by Dale Carnegie: 284,524 checkouts\u003c/li>\n\u003cli>\u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em> by J.K. Rowling: 231,022 checkouts\u003c/li>\n\u003cli>\u003cem>The Very Hungry Caterpillar\u003c/em> by Eric Carle: 189,550 checkouts\u003c/li>\n\u003c/ol>\n\u003cfigure id=\"attachment_13873156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873156 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg\" alt=\"Children line up at the Chatham Square Library on Manhattan's Lower East Side in 1911.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children line up at the Chatham Square Library on Manhattan’s Lower East Side in 1911. \u003ccite>(The New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one book on the list is at all recent: the first Harry Potter novel, which was published in the U.S. in 1998. The library says the \u003cem>Sorcerer’s Stone \u003c/em>and Rowling’s subsequent tales of wizarding are always popular but that they experience regular spikes in circulation when new editions or movies come out.\u003c/p>\n\u003cp>From year to year, books on current events prove popular. The library’s \u003ca href=\"https://www.nypl.org/press/press-release/december-18-2019/new-york-public-library-shares-top-checkouts-2019-becoming\">top checkout of 2019\u003c/a> was \u003cem>Becoming\u003c/em>, Michelle Obama’s autobiography.\u003c/p>\n\u003cp>The all-time list includes many titles that people read, treasure and want to share with their children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The books on this list have transcended generations and, much like the Library itself, are as relevant today as they were when they first arrived,” said NYPL President Anthony W. Marx. “This list tells us something about New Yorkers over the last 125 years—what moves them, what excites them, what stands the test of time.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+New+York+Public+Library+Has+Calculated+Its+Most+Checked-Out+Books+Of+All+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Young Men Feel 'Cut Off From Their Hearts' According to Author Peggy Orenstein",
"headTitle": "Why Young Men Feel ‘Cut Off From Their Hearts’ According to Author Peggy Orenstein | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This interview contains a homophobic slur.\u003c/em>\u003c/p>\n\u003cp>Author Peggy Orenstein knows that talking to your son about sex isn’t easy: “I know for a lot of parents, you would rather poke yourself in the eye with a fork than speak directly to your son about sex—and probably he would rather poke himself in the eye with a fork as well,” she says.\u003c/p>\n\u003cp>But we don’t have “the luxury” to continue avoiding this conversation, she says. “If we don’t talk to our kids, the media is going to educate them for us, and we are not going to love the result.”\u003c/p>\n\u003cp>Orenstein spent 25 years chronicling the lives of adolescent and teen girls and never really expected to focus on boys. But then came the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo \u003c/a>movement, and Orenstein, whose previous books include \u003ca href=\"https://www.npr.org/books/titles/472213851/girls-sex-navigating-the-complicated-new-landscape\" target=\"_blank\" rel=\"noopener noreferrer\">Girls & Sex\u003c/a> and \u003ca href=\"https://www.npr.org/books/titles/137916708/cinderella-ate-my-daughter-dispatches-from-the-front-lines-of-the-new-girlie-gir\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Ate My Daughter\u003c/a>, decided it was time to engage young men in conversations about gender and intimacy.\u003c/p>\n\u003cp>Her new book, \u003cem>Boys & Sex,\u003c/em> is based on extensive interviews with more than 100 college and college-bound boys and young men of diverse backgrounds between the ages of 16 and 22.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was doing the girl book, the kind of core issue with girls was that they were being cut off from their bodies and not understanding their bodies’ response and their needs and their limits and their desires,” she says. “With boys, it felt like they were being cut off from their hearts.”\u003c/p>\n\u003cfigure id=\"attachment_13872604\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png\" alt=\"'Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,' by Peggy Orenstein\" width=\"289\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM-160x244.png 160w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003cfigcaption class=\"wp-caption-text\">‘Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,’ by Peggy Orenstein\u003c/figcaption>\u003c/figure>\n\u003cp>Orenstein notes that society doesn’t often give boys “permission or space” to discuss their interior lives. Maybe that’s why the young men she spoke to were so eager to open up: “When they had the chance [to talk], when somebody really gave it to them and wasn’t going to be judgmental about what they had to say, they went for it.”\u003c/p>\n\u003cp>Orenstein says the boys she spoke with felt constrained by traditional notions of masculinity. One interviewee confided that he preferred to partner with girls for school projects because, “It was OK to say you didn’t know what you were doing with a girl, and you couldn’t do that with a guy.”\u003c/p>\n\u003cp>“That idea of emotional vulnerability was so profound for boys,” Orenstein says. “Vulnerability is basically essential to human relationships, so when you cut boys off from the ability to be vulnerable, you’re doing them a huge disservice.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how boys described an “ideal” man to her \u003c/strong>\u003c/p>\n\u003cp>They saw girls as equals and deserving of their place on the playing field and in class and in leadership, and they had female friends. So that had really changed. But I would ask them all the time to just give me a kind of lightning round of the ideal guy. And when we would do that, it was like they were channeling 1955. It was still all about stoicism, sexual conquest, dominance, aggression—or this weird combination of being both aggressive and chill—athleticism, wealth. It was really narrow. And they would talk a lot, particularly about … suppressing feelings. And a lot of guys would say to me that they had figured out … how to build a wall inside to block off any feelings except, maybe, happiness and anger. They would talk about training themselves not to feel or training themselves not to cry.\u003c/p>\n\u003cp>\u003cstrong>On boys’ use of homophobic epithets, such as f**\u003c/strong>\u003c/p>\n\u003cp>Boys used that word, that epithet for a gay person, a lot with each other. But what they would say to me—this is straight boys talking—is that they would never say that to a gay person. That they had gay friends, that they weren’t homophobic, but they use that word all the time. And it had become basically a slur on masculinity, not so much a statement of sexual orientation. But I think that word—that slur for gay—is what kind of draws the lines of the “man” box for boys.\u003c/p>\n\u003cp>And it is basically the fear of being called [that] that shuts down any objection to stepping up and standing out. So it polices boys, basically. And I also was really interested in “#nohomo.” \u003ca href=\"https://sociology.uoregon.edu/profile/cpascoe/\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Pascoe\u003c/a>, who is a sociologist in Oregon, had done a survey of the way boys use that hashtag on Twitter. And it wasn’t just a homophobic slur. It was also a protective shield that allowed them to express just really basic human ideas about affection and joy. So they would say, like, “I miss you, man. #nohomo,” or even something as innocuous as, “I like chocolate ice cream. #nohomo.” It was just a way that allowed them to be fully human.\u003c/p>\n\u003cp>\u003cstrong>On how internet porn has affected boys \u003c/strong>\u003c/p>\n\u003cp>What they’re getting in porn is a really distorted vision of what human sexuality is. They see image after image of sex as something men do to women, of female pleasure as a performance for male satisfaction, of distorted bodies—of a whole lot of things that frankly wouldn’t feel very good to most people. And without discussion with parents and without discussion by schools, that’s becoming the de facto sex educator for a lot of kids. …\u003c/p>\n\u003cp>One thing that research shows is that [porn] actually reduces their satisfaction in their partnered relationships. So they feel less satisfied with their partners’ bodies, with their own bodies, with their own performance. So right there, something to talk to boys about is, “It’s not going to be doing any favors once you get into the actual bedroom.” But it affects their ideas about what women should look like. It affects their ideas about how women should behave. It affects their ideas of what acts should be performed and the way that those acts should be performed. One of the boys [told] me that his girlfriend was a curvy African American girl, and he said that having spent hours and hours and hours looking at and reacting to what he called “all those skinny white women,” that he had a hard time being aroused by her body. And that was really disturbing him.\u003c/p>\n\u003cp>\u003cstrong>On the ambiguity of the term “hookup” \u003c/strong>\u003c/p>\n\u003cp>“Hookup” is an intentionally ambiguous term. It can mean anything. It might mean kissing. It might mean oral sex. It might mean intercourse. And, in truth, when you look into the research, about a third of college hookups fall into each of those categories. But that ambiguity allows young people to vastly overestimate what their peers are doing. And then \u003cem>that\u003c/em> can actually trigger a kind of anxiety and fear of missing out, or expectation of what you are supposed to be doing, that can make you engage in sex that maybe you don’t want to have, or push harder than you might otherwise push.\u003c/p>\n\u003cp>\u003cstrong>On learning that gay boys are better at communicating consent than straight boys \u003c/strong>\u003c/p>\n\u003cp>That was something that was a big surprise and a big takeaway for me—that gay boys were so much more willing and able and capable [of negotiating] the terms of their sexual experiences with their partners. And that’s partly because they sort of have to, because what’s going to happen is not necessarily obvious. But they were always so befuddled by the resistance among straight guys to doing that—if we’re talking about it, it means we’re going to have sex. And that’s great. Why would you think that was a bad thing? …\u003c/p>\n\u003cp>What Dan Savage, who is a columnist who writes about sex talk, says is, there are four magic words that gay guys use in a sexual encounter: “What are you into?” And the beauty of that phrase is that it’s a truly open-ended question. It’s not a yes or a no to a set of possibilities that is predetermined or decided by the other person, but it’s a conversation. And that’s ultimately what one is aiming for in this whole discussion of consent—to make sex a conversation that people can have not just for the legality of it, but so that it will be a more mutually gratifying experience for everybody involved.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Deborah Franklin 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/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Boys+%26+Sex%27+Reveals+That+Young+Men+Feel+%27Cut+Off+From+Their+Hearts%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This interview contains a homophobic slur.\u003c/em>\u003c/p>\n\u003cp>Author Peggy Orenstein knows that talking to your son about sex isn’t easy: “I know for a lot of parents, you would rather poke yourself in the eye with a fork than speak directly to your son about sex—and probably he would rather poke himself in the eye with a fork as well,” she says.\u003c/p>\n\u003cp>But we don’t have “the luxury” to continue avoiding this conversation, she says. “If we don’t talk to our kids, the media is going to educate them for us, and we are not going to love the result.”\u003c/p>\n\u003cp>Orenstein spent 25 years chronicling the lives of adolescent and teen girls and never really expected to focus on boys. But then came the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo \u003c/a>movement, and Orenstein, whose previous books include \u003ca href=\"https://www.npr.org/books/titles/472213851/girls-sex-navigating-the-complicated-new-landscape\" target=\"_blank\" rel=\"noopener noreferrer\">Girls & Sex\u003c/a> and \u003ca href=\"https://www.npr.org/books/titles/137916708/cinderella-ate-my-daughter-dispatches-from-the-front-lines-of-the-new-girlie-gir\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Ate My Daughter\u003c/a>, decided it was time to engage young men in conversations about gender and intimacy.\u003c/p>\n\u003cp>Her new book, \u003cem>Boys & Sex,\u003c/em> is based on extensive interviews with more than 100 college and college-bound boys and young men of diverse backgrounds between the ages of 16 and 22.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was doing the girl book, the kind of core issue with girls was that they were being cut off from their bodies and not understanding their bodies’ response and their needs and their limits and their desires,” she says. “With boys, it felt like they were being cut off from their hearts.”\u003c/p>\n\u003cfigure id=\"attachment_13872604\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png\" alt=\"'Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,' by Peggy Orenstein\" width=\"289\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM-160x244.png 160w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003cfigcaption class=\"wp-caption-text\">‘Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,’ by Peggy Orenstein\u003c/figcaption>\u003c/figure>\n\u003cp>Orenstein notes that society doesn’t often give boys “permission or space” to discuss their interior lives. Maybe that’s why the young men she spoke to were so eager to open up: “When they had the chance [to talk], when somebody really gave it to them and wasn’t going to be judgmental about what they had to say, they went for it.”\u003c/p>\n\u003cp>Orenstein says the boys she spoke with felt constrained by traditional notions of masculinity. One interviewee confided that he preferred to partner with girls for school projects because, “It was OK to say you didn’t know what you were doing with a girl, and you couldn’t do that with a guy.”\u003c/p>\n\u003cp>“That idea of emotional vulnerability was so profound for boys,” Orenstein says. “Vulnerability is basically essential to human relationships, so when you cut boys off from the ability to be vulnerable, you’re doing them a huge disservice.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how boys described an “ideal” man to her \u003c/strong>\u003c/p>\n\u003cp>They saw girls as equals and deserving of their place on the playing field and in class and in leadership, and they had female friends. So that had really changed. But I would ask them all the time to just give me a kind of lightning round of the ideal guy. And when we would do that, it was like they were channeling 1955. It was still all about stoicism, sexual conquest, dominance, aggression—or this weird combination of being both aggressive and chill—athleticism, wealth. It was really narrow. And they would talk a lot, particularly about … suppressing feelings. And a lot of guys would say to me that they had figured out … how to build a wall inside to block off any feelings except, maybe, happiness and anger. They would talk about training themselves not to feel or training themselves not to cry.\u003c/p>\n\u003cp>\u003cstrong>On boys’ use of homophobic epithets, such as f**\u003c/strong>\u003c/p>\n\u003cp>Boys used that word, that epithet for a gay person, a lot with each other. But what they would say to me—this is straight boys talking—is that they would never say that to a gay person. That they had gay friends, that they weren’t homophobic, but they use that word all the time. And it had become basically a slur on masculinity, not so much a statement of sexual orientation. But I think that word—that slur for gay—is what kind of draws the lines of the “man” box for boys.\u003c/p>\n\u003cp>And it is basically the fear of being called [that] that shuts down any objection to stepping up and standing out. So it polices boys, basically. And I also was really interested in “#nohomo.” \u003ca href=\"https://sociology.uoregon.edu/profile/cpascoe/\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Pascoe\u003c/a>, who is a sociologist in Oregon, had done a survey of the way boys use that hashtag on Twitter. And it wasn’t just a homophobic slur. It was also a protective shield that allowed them to express just really basic human ideas about affection and joy. So they would say, like, “I miss you, man. #nohomo,” or even something as innocuous as, “I like chocolate ice cream. #nohomo.” It was just a way that allowed them to be fully human.\u003c/p>\n\u003cp>\u003cstrong>On how internet porn has affected boys \u003c/strong>\u003c/p>\n\u003cp>What they’re getting in porn is a really distorted vision of what human sexuality is. They see image after image of sex as something men do to women, of female pleasure as a performance for male satisfaction, of distorted bodies—of a whole lot of things that frankly wouldn’t feel very good to most people. And without discussion with parents and without discussion by schools, that’s becoming the de facto sex educator for a lot of kids. …\u003c/p>\n\u003cp>One thing that research shows is that [porn] actually reduces their satisfaction in their partnered relationships. So they feel less satisfied with their partners’ bodies, with their own bodies, with their own performance. So right there, something to talk to boys about is, “It’s not going to be doing any favors once you get into the actual bedroom.” But it affects their ideas about what women should look like. It affects their ideas about how women should behave. It affects their ideas of what acts should be performed and the way that those acts should be performed. One of the boys [told] me that his girlfriend was a curvy African American girl, and he said that having spent hours and hours and hours looking at and reacting to what he called “all those skinny white women,” that he had a hard time being aroused by her body. And that was really disturbing him.\u003c/p>\n\u003cp>\u003cstrong>On the ambiguity of the term “hookup” \u003c/strong>\u003c/p>\n\u003cp>“Hookup” is an intentionally ambiguous term. It can mean anything. It might mean kissing. It might mean oral sex. It might mean intercourse. And, in truth, when you look into the research, about a third of college hookups fall into each of those categories. But that ambiguity allows young people to vastly overestimate what their peers are doing. And then \u003cem>that\u003c/em> can actually trigger a kind of anxiety and fear of missing out, or expectation of what you are supposed to be doing, that can make you engage in sex that maybe you don’t want to have, or push harder than you might otherwise push.\u003c/p>\n\u003cp>\u003cstrong>On learning that gay boys are better at communicating consent than straight boys \u003c/strong>\u003c/p>\n\u003cp>That was something that was a big surprise and a big takeaway for me—that gay boys were so much more willing and able and capable [of negotiating] the terms of their sexual experiences with their partners. And that’s partly because they sort of have to, because what’s going to happen is not necessarily obvious. But they were always so befuddled by the resistance among straight guys to doing that—if we’re talking about it, it means we’re going to have sex. And that’s great. Why would you think that was a bad thing? …\u003c/p>\n\u003cp>What Dan Savage, who is a columnist who writes about sex talk, says is, there are four magic words that gay guys use in a sexual encounter: “What are you into?” And the beauty of that phrase is that it’s a truly open-ended question. It’s not a yes or a no to a set of possibilities that is predetermined or decided by the other person, but it’s a conversation. And that’s ultimately what one is aiming for in this whole discussion of consent—to make sex a conversation that people can have not just for the legality of it, but so that it will be a more mutually gratifying experience for everybody involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Elizabeth Wurtzel, Controversial Author of 'Prozac Nation,' Dies at 52",
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"content": "\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Elizabeth Wurtzel, whose 1994 memoir \u003cem>Prozac Nation\u003c/em> became a mainstay on bestseller lists and inspired a national conversation about clinical depression, has died at the age of 52. David Lipsky, a friend of Wurtzel, confirmed to NPR that the writer died Tuesday of an aggressive case of breast cancer at a hospital in Manhattan.\u003c/p>\n\u003cp>The news comes as a blow to Wurtzel’s many readers, who were introduced to her brash, unapologetic style with \u003cem>Prozac Nation\u003c/em>, published while she was still in her mid-20s. The memoir traced her struggles with depression, growing up in a fractured family and spending a rocky tenure studying at Harvard—and in the process, it earned Wurtzel a raft of fans and critics, almost in equal measure.\u003c/p>\n\u003cp>But as the unapologetic writer would be the first to tell you, she embraced the book’s complicated reception, which can be neatly encapsulated by a \u003cem>New York Times\u003c/em> review \u003ca href=\"https://www.nytimes.com/1994/09/20/books/the-examined-life-is-not-worth-living-either.html\">at the time\u003c/a> that described it as “wrenching and comical,” “self-indulgent and self-aware”—redolent of Bob Dylan and Joan Didion while still in need of “some strict editing.”\u003c/p>\n\u003cp>That didn’t particularly faze Wurtzel, who acknowledged in a 2018 piece announcing her breast cancer diagnosis that “I was early for history.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was on Prozac when it was still called fluoxetine. I wrote a \u003ca href=\"https://www.kirkusreviews.com/book-reviews/elizabeth-wurtzel/prozac-nation/\">twentynothing memoir\u003c/a> when there was no such thing. I got addicted to snorting Ritalin before there was Adderall,” she wrote in \u003ca href=\"https://www.theguardian.com/commentisfree/2018/jan/20/cancer-elizabeth-wurtzel\">The Guardian\u003c/a>. “I was a riot girl, I was a do-me feminist, and I posed topless giving the world the finger on the cover of my second book.”\u003c/p>\n\u003cp>And she’s not wrong about that timing. The widespread success in sales of Wurtzel’s memoir helped inspire a publishing trend that has seen a spate of popular memoirs from other young writers continuing through the present day.\u003c/p>\n\u003cp>Wurtzel followed up \u003cem>Prozac Nation\u003c/em> with an essay collection in the late 1990s titled \u003cem>Bitch: In Praise of Difficult Women\u003c/em>—whose cover did indeed feature her topless, flipping off the reader. Then came another memoir, \u003cem>More, Now, Again\u003c/em>, this time focusing on her plunge into drug addiction.\u003c/p>\n\u003cp>She also wrote numerous articles for \u003cem>The Wall Street Journal\u003c/em>, \u003cem>Elle\u003c/em>, \u003cem>New York\u003c/em> magazine and other publications.\u003c/p>\n\u003cp>“For a certain kind of young writer—particularly young, female writer in the 1990s—Elizabeth Wurtzel was exactly who you wanted to be and exactly who you were afraid to be,” Meghan Daum, a prolific author and essayist in her own right, tells NPR.\u003c/p>\n\u003cp>“She was writing about herself. She was doing so in a way that was really interesting and compelling, but it also got her labeled ‘confessional.’ And I think for a lot of us, that was something that we wanted to avoid even as we were writing about ourselves,” Daum adds. “So she was both a role model and a cautionary tale.”\u003c/p>\n\u003cp>For Wurtzel, at least, that liminal space between exhilarating and alarming was comfortable. So, when it came time to publicly speak about her breast cancer in 2018, her broader point in that piece was a familiar one: You’d better save your sorries—whether you’re discussing her books or her medical condition.\u003c/p>\n\u003cp>“Sorry for what? I’m not sorry about anything. I was never sorry when I said I was. Apologies are a courtesy,” she wrote. “I love to argue. I am in it for the headache. I don’t need you to be on my side—I’m on my side.”\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\">\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=Elizabeth+Wurtzel%2C+Who+Stirred+Conversation+With+%27Prozac+Nation%2C%27+Dies+At+52&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 1994 memoir opened a national dialogue about clinical depression and introduced readers to Wurtzel's brash, unapologetic voice. Wurtzel died of breast cancer at a Manhattan hospital Tuesday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Elizabeth Wurtzel, whose 1994 memoir \u003cem>Prozac Nation\u003c/em> became a mainstay on bestseller lists and inspired a national conversation about clinical depression, has died at the age of 52. David Lipsky, a friend of Wurtzel, confirmed to NPR that the writer died Tuesday of an aggressive case of breast cancer at a hospital in Manhattan.\u003c/p>\n\u003cp>The news comes as a blow to Wurtzel’s many readers, who were introduced to her brash, unapologetic style with \u003cem>Prozac Nation\u003c/em>, published while she was still in her mid-20s. The memoir traced her struggles with depression, growing up in a fractured family and spending a rocky tenure studying at Harvard—and in the process, it earned Wurtzel a raft of fans and critics, almost in equal measure.\u003c/p>\n\u003cp>But as the unapologetic writer would be the first to tell you, she embraced the book’s complicated reception, which can be neatly encapsulated by a \u003cem>New York Times\u003c/em> review \u003ca href=\"https://www.nytimes.com/1994/09/20/books/the-examined-life-is-not-worth-living-either.html\">at the time\u003c/a> that described it as “wrenching and comical,” “self-indulgent and self-aware”—redolent of Bob Dylan and Joan Didion while still in need of “some strict editing.”\u003c/p>\n\u003cp>That didn’t particularly faze Wurtzel, who acknowledged in a 2018 piece announcing her breast cancer diagnosis that “I was early for history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was on Prozac when it was still called fluoxetine. I wrote a \u003ca href=\"https://www.kirkusreviews.com/book-reviews/elizabeth-wurtzel/prozac-nation/\">twentynothing memoir\u003c/a> when there was no such thing. I got addicted to snorting Ritalin before there was Adderall,” she wrote in \u003ca href=\"https://www.theguardian.com/commentisfree/2018/jan/20/cancer-elizabeth-wurtzel\">The Guardian\u003c/a>. “I was a riot girl, I was a do-me feminist, and I posed topless giving the world the finger on the cover of my second book.”\u003c/p>\n\u003cp>And she’s not wrong about that timing. The widespread success in sales of Wurtzel’s memoir helped inspire a publishing trend that has seen a spate of popular memoirs from other young writers continuing through the present day.\u003c/p>\n\u003cp>Wurtzel followed up \u003cem>Prozac Nation\u003c/em> with an essay collection in the late 1990s titled \u003cem>Bitch: In Praise of Difficult Women\u003c/em>—whose cover did indeed feature her topless, flipping off the reader. Then came another memoir, \u003cem>More, Now, Again\u003c/em>, this time focusing on her plunge into drug addiction.\u003c/p>\n\u003cp>She also wrote numerous articles for \u003cem>The Wall Street Journal\u003c/em>, \u003cem>Elle\u003c/em>, \u003cem>New York\u003c/em> magazine and other publications.\u003c/p>\n\u003cp>“For a certain kind of young writer—particularly young, female writer in the 1990s—Elizabeth Wurtzel was exactly who you wanted to be and exactly who you were afraid to be,” Meghan Daum, a prolific author and essayist in her own right, tells NPR.\u003c/p>\n\u003cp>“She was writing about herself. She was doing so in a way that was really interesting and compelling, but it also got her labeled ‘confessional.’ And I think for a lot of us, that was something that we wanted to avoid even as we were writing about ourselves,” Daum adds. “So she was both a role model and a cautionary tale.”\u003c/p>\n\u003cp>For Wurtzel, at least, that liminal space between exhilarating and alarming was comfortable. So, when it came time to publicly speak about her breast cancer in 2018, her broader point in that piece was a familiar one: You’d better save your sorries—whether you’re discussing her books or her medical condition.\u003c/p>\n\u003cp>“Sorry for what? I’m not sorry about anything. I was never sorry when I said I was. Apologies are a courtesy,” she wrote. “I love to argue. I am in it for the headache. I don’t need you to be on my side—I’m on my side.”\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\">\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=Elizabeth+Wurtzel%2C+Who+Stirred+Conversation+With+%27Prozac+Nation%2C%27+Dies+At+52&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Endless Potential Of The Pedal Steel Guitar",
"headTitle": "The Endless Potential Of The Pedal Steel Guitar | KQED",
"content": "\u003cp>An anchor of the classic mid-century Nashville sound, the pedal steel guitar has been a trusted part of the broader pop palette at least since Jerry Garcia added affable, if primitive, pedal steel to Crosby, Stills, Nash & Young’s “Teach Your Children” in 1969 and B.J. Cole provided atmosphere on Elton John’s “Tiny Dancer” in 1971. But over the past decade and change, a vibrant new generation of players have taken up the unusual instrument, directing its microtonal bends and aching cries towards more modern expressions.\u003c/p>\n\u003cp>“I think it’s an instrument that begs to be used texturally, and outside the way it was originally designed to be used,” says the California-based Chuck Johnson, whose 2017 album \u003ca href=\"https://chuckjohnson.bandcamp.com/album/balsams\">\u003cem>Balsams\u003c/em>\u003c/a>\u003cem> \u003c/em>and subsequent \u003ca href=\"https://chuckjohnson.bandcamp.com/album/ayami-2\">live releases\u003c/a> have used pedal steel as a tool to generate glowing, complex ambient music. “You can pluck a chord and use the pedals and levers to move some of those voices in different directions, which is something no other instrument can do,” he says of its ability to limitlessly bend notes. “Without even moving the bar, you can do really interesting counterpoint. Add to that all the microtonal possibilities. Whether you’re moving the bar or using the [knee] levers, it’s always a glide to wherever you end up.”\u003c/p>\n\u003cp>https://youtu.be/GQj9NSOUVAA\u003c/p>\n\u003cp>An often misunderstood mechanical artifact from another time, the pedal steel remains odd in nearly every way. Its high lonesome moan can float over, or inside, pretty much anything; it can bend notes and blend chords in ways no other analog instrument can; and it sounds like nothing else — even the pedal-less steel guitar, for which it’s frequently confused. But for much of its life, it’s been synonymous with the wailing cries of country music, to the point of being virtually trapped by the genre.\u003c/p>\n\u003cp>“When somebody takes the stage [at a pedal steel convention] and plays something other than country, people get up and walk out,” says Tom Bradshaw, perhaps the world’s leading authority on the instrument. The founder of the now-defunct \u003cem>Steel Guitarist \u003c/em>magazine, he has played and repaired pedal steels for nearly a half-century, selling parts through his Bay Area-based \u003ca href=\"http://www.songwriter.com/bradshaw/\">Pedal Steel Guitar Products\u003c/a>. But Bradshaw worries about the instrument’s future. “It’s so often that kids are the ones who cause things to really get started and go, but the cost of the instrument is so much that it’s prohibitive for kids to get into it,” he says. Indeed — outside of classical, and despite its roots in working-class pop music, it is one of the most expensive instruments around, with the cheapest used models going for around $1,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, it is one of the most difficult-to-learn instruments in the world. Just setting up the pedals and levers requires an intense amount of foreknowledge. There are multiple standard tunings. Its strings usually run in a non-intuitive order. Playing it requires both hands, both feet and, occasionally, both knees. Sometimes there is one guitar neck full of strings, sometimes there are a few — each in its own tuning. Its mechanics have very little to do with guitar as most recognize the instrument, or even the open-tuned Hawaiian lap steel, from which the pedal steel evolved. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3HSfyLD2ZDtcvVE12OkmX8\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>Almost exactly in the middle of the 20th century, the lap steel first \u003ca href=\"http://www.gibson-prewar.com/s/cc_images/cache_937748247.jpg?t=1400227662\">sprouted pedals\u003c/a> with Gibson’s Electraharp, and over the next two decades continued to mutate as different players experimented with tuning and pedal combinations in Nashville garages and recording studios. In 1952, Zane Beck added knee levers to bend notes downwards. The year after, on Webb Pierce’s “\u003ca href=\"https://www.youtube.com/watch?v=3B6FjkaY-O8\">Slowly\u003c/a>,” Bud Isaacs added a pedal to bend two notes at once. Session musician \u003ca href=\"http://www.buddyemmons.com/recordings2.htm\">Buddy Emmons\u003c/a>, who died in 2015 and would become the instrument’s foremost player, built on Isaac’s innovation, introducing a split pedal arrangement that allowed for players to introduce suspended chords and other distinctly “un-Hawaiian” tone bends. Honky-tonk troubadour Ernest Tubb became the beneficiary of the hot new tech breakthrough, with Emmons first employing it on Tubb’s 1957 hit “\u003ca href=\"https://www.youtube.com/watch?v=b6g4k4X0vsw\">Half A Mind (To Leave You)\u003c/a>,” also featuring George Jones. Taken together, these technological evolutions transformed the fairly simple lap steel into a metaphor of modernity: a complex machine requiring highly skilled operators, used almost exclusively in country music, a genre in which life’s simplicity — whether real or imagined — is very often centered.\u003c/p>\n\u003cfigure id=\"attachment_13872507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg\" alt=\"The ensemble Icebreaker, performing Brian Eno's album Apollo: Atmospheres & Soundtracks alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble Icebreaker, performing Brian Eno’s album ‘Apollo: Atmospheres & Soundtracks’ alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was released in 1983, the luminous \u003cem>Apollo: Atmospheres & Soundtracks\u003c/em>, was one small step for Brian Eno but one giant leap towards expanding the pedal steel’s vocabulary. For the landmark album, an ambient score to the documentary \u003cem>For All Mankind\u003c/em>, Eno deployed Daniel Lanois’s pedal steel guitar \u003ca href=\"https://www.newscientist.com/article/dn17429-apollo-special-brian-enos-moon-music/#ixzz68Tv2xdck\">as a reference\u003c/a> to the country tapes brought into space by the astronauts, and clearly demonstrated the instrument’s future as a leading voice of its own. What Eno called “zero-gravity country music” became a transition point for the instrument, though the revolution has been a slow one \u003c/p>\n\u003cp>In 2006, Susan Alcorn would title a piece of music, “And I Await the Resurrection of the Pedal Steel Guitar.” The sublime tribute to French composer Oliver Messiaen (and subsequent album of the same name) is perhaps near the center of the instrument’s expanding territory in the new century, and something of a self-fulfilling prophecy.\u003c/p>\n\u003cp>The future is now. In the Bandcamp/SoundCloud/”genre-fluid” reaches, the world of outsider pedal steel now constitutes a destination of its own. Heather Leigh has been improvising with pedal steel and voice since the early 2000s, but beginning with 2015’s \u003ca href=\"https://ideologicorgan.bandcamp.com/album/i-abused-animal\">\u003cem>I Abused Animal\u003c/em>\u003c/a>, she has used it as a counterpoint within some startling experimental songwriting. Chuck Johnson has expanded the instrument’s ambient palette into vivid and extended star-fields, most recently with the gorgeous art-pop duo \u003ca href=\"https://saariselka.bandcamp.com/album/the-ground-our-sky\">Saariselka\u003c/a>. Norwegian jazz player \u003ca href=\"https://sundstoel.bandcamp.com/album/br-dl-s\">Geir Sundstøl\u003c/a> fits it into brooding, proggy soundscapes, the cinematic New York-based \u003ca href=\"https://suss.bandcamp.com/album/high-line\">SUSS\u003c/a> go full noir, and \u003ca href=\"https://muteduoadr.bandcamp.com/album/lapse-in-passage\">Mute Duo\u003c/a> dive into atmospheric improvisation. Daniel Lanois has stayed in the game, too, most lately with 2017’s \u003ca href=\"https://daniellanois.bandcamp.com/album/goodbye-to-language\">\u003cem>Goodbye to Language\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://venetiansnares.bandcamp.com/album/venetian-snares-x-daniel-lanois\">\u003cem>Venetian Squares x Daniel Lanois\u003c/em>\u003c/a>, a glitchy 2018 collaboration with Venetian Snares.\u003c/p>\n\u003cp>Says Chuck Johnson, “I don’t think you can overstate the importance of the fact that, when you ask who’s pushing the instrument forward, the answer is there are these two women — Susan Alcorn and Heather Leigh. More than any other instrument I know, the culture around [pedal steel] is so male dominated.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BgpWs0Vg8PU/\u003c/p>\n\u003cp>Alcorn began playing pedal steel with Houston country bands in the early ’70s, and recalls the musical insularity of the pedal steel conventions she attended. “People would have albums, mostly of country tunes, and maybe a jazz tune like \u003ca href=\"https://www.youtube.com/watch?v=5GzaQN-PPhk\">‘Cherokee’\u003c/a> or something like that,” she recalls. “Kind of straight-ahead, and maybe 20 years behind the rest of the jazz world. Maybe 30 or 40 years behind.”\u003c/p>\n\u003cp>By the ’80s Alcorn had begun to experiment, though it was a lonely calling in Texas. She routed her instrument through a synthesizer for a while, making it sound like other instruments. She arranged John Coltrane’s “Naima.” She laughs, “I was doing country gigs and listening to Albert Ayler and people at the gigs would tell me I sounded different for some reason. When I got into Ornette Coleman, most of the musicians I knew in Houston didn’t want to play with me anymore because it was like I was out-of-tune or something.” \u003c/p>\n\u003cp>But in 1990, Alcorn met accordionist and pioneering electronic composer Pauline Oliveros. “I went to her first ‘Deep Listening’ retreat,” Alcorn says. “Pauline is from Houston, where I was living, and we became friends … And so that widened my ideas of what you would call music, and certainly what you would call improvisation. That had a profound effect on how I played, and still does.”\u003c/p>\n\u003cp>Lately, Alcorn has been the instrument’s on-call emissary in certain, somewhat outré, music circles, playing in the \u003ca href=\"https://maryhalvorson.bandcamp.com/album/away-with-you\">Mary Halvorson Octet\u003c/a> as well as Nate Wooley’s ecstatic music ensemble, Seven Storey Mountain. (And on last year’s \u003ca href=\"https://natewooley.bandcamp.com/album/columbia-icefield\">\u003cem>Columbia Icefield\u003c/em>\u003c/a>). If she’s setting an example for the wide new ways the pedal steel might work, the musicians who have followed are keen on discovering their own paths.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6JzwFJ5UKJnsftMJfaRPqV\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>(One can trace a scattered lineage of unconnected experimentalists outside Alcorn and Lanois. In the ’80s, Nigerian juju pioneer King Sunny Adé’s highlife orchestra featured pedal steelist Demola Adepoju, whose 1985 solo album \u003cem>Olufe-Mi \u003c/em>is due for its own resurrection. “Tiny Dancer” steelist B.J. Cole’s 1972 album, \u003ca href=\"https://www.youtube.com/watch?v=Vbp6ZlmP4n4\">\u003cem>The New Hovering Dog\u003c/em>\u003c/a>, provides an early outlying beacon of outré pedal-steel pop, and he’s played with a wide-range of big-eared artists from R.E.M. to Luke Vibert.) \u003c/p>\n\u003cp>For prolific veteran Jim O’Rourke, who used pedal steel to color the meticulous arrangements of his 1997’s album \u003ca href=\"https://jimorourke.bandcamp.com/album/bad-timing\">\u003cem>Bad Timing\u003c/em>\u003c/a>, it took Chas Smith’s 1987 LP \u003ca href=\"https://www.youtube.com/watch?v=dwbj684Ez74&list=OLAK5uy_m9Zrc_uj7tKz8m3F12KBaBgJc_OyzqJd8\">\u003cem>Nakadai\u003c/em>\u003c/a>\u003cem> \u003c/em>to really connect with the instrument. “That was where the nexus happened,” O’Rourke writes in an email, “where those worlds met for me, which only reinforced my love. It might be that the pedal steel is somehow one of the few instruments that is somewhere between an acoustic instrument, in a loose meaning of the term, and the synth/tape music that was and is my main interest.” He finally learned to play one for 2015’s \u003ca href=\"https://jimorourke.bandcamp.com/album/simple-songs\">\u003cem>Simple Songs\u003c/em>\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13872508\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg\" alt=\"Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014.\" width=\"200\" height=\"199\" class=\"size-full wp-image-13872508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275-160x159.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014. \u003ccite>(Jack Vartoogian/Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after shedding a lifetime of accumulated instruments and studio gear upon moving to Japan, O’Rourke still keeps a pedal steel around. “I am still an absolute amateur, but it’s one instrument that still poses a challenge with an actual, foreseeable gain,” he notes. “It does your back in if you don’t watch it, though.”\u003c/p>\n\u003cp>Pedal steel can be heard these days on album centerpiece tracks by Vampire Weekend (where veteran session player Greg Leisz brings “Hold You Now” back to earth) and the Mountain Goats (where Dan Dugmore glows on the title track of \u003cem>In League With Dragons\u003c/em>). It’s there (somewhere) in the wall-of-sound saturation of Lana Del Ray’s \u003cem>Ultraviolence\u003c/em>, and as a signifying point of analog humanity in Phosphorescent’s auto-tuned post-apocalyptic “\u003ca href=\"https://phosphorescent.bandcamp.com/track/christmas-down-under\">Christmas Down Under.\u003c/a>” \u003c/p>\n\u003cp>But the pedal steel will likely remain a semi-secret language. Even in the Steel Guitar Forum, the instrument’s main online community, non-country players can feel like members of a permanent musical diaspora. “Fortunately, there are younger people on there and Susan Alcorn posts there all the time,” says Johnson, “and posts a lot of things on Facebook that are challenging for that community politically and socially and otherwise.”\u003c/p>\n\u003cp>Tom Bradshaw estimates a global population of somewhere between 40,000 to 50,000 pedal steel guitar players. And though he frets about players aging out, he also acknowledges a large, often invisible, community of what he calls “bedroom players,”hobbyists with no ambitions to set foot on stage. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If nothing else, the age of Bandcamp labels, SoundCloud rap, YouTube covers and viral videos of all stripes is made precisely for those bedroom players, as well as lone steel-slingers out in the wilderness, like the exotica-loving \u003ca href=\"https://soundcloud.com/ztom-motoyama\">Ztom Motoyama\u003c/a> in Japan, or Will Van Horn, who \u003ca href=\"https://www.youtube.com/watch?v=HjuSa3_CerU\">recently covered\u003c/a> Aphex Twin’s haunted “Avril 14th” on pedal steel. It also sounds fantastic in various modern remix modes, like the \u003ca href=\"https://www.youtube.com/watch?v=1Q_WbJTXcao\">chopped-and-screwed Alan Jackson\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=wgBxA2NtDoU\">vaporwave Mike Nesmith\u003c/a>. Just as the instrument cuts through large ensembles, it can also cut through the cultural noise, a versatile and seemingly ancient craft that continues to open a portal to a strange, glowing place. \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=The+Endless+Potential+Of+The+Pedal+Steel+Guitar%2C+An+Odd+Duck+By+Any+Measure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An anchor of the classic mid-century Nashville sound, the pedal steel guitar has been a trusted part of the broader pop palette at least since Jerry Garcia added affable, if primitive, pedal steel to Crosby, Stills, Nash & Young’s “Teach Your Children” in 1969 and B.J. Cole provided atmosphere on Elton John’s “Tiny Dancer” in 1971. But over the past decade and change, a vibrant new generation of players have taken up the unusual instrument, directing its microtonal bends and aching cries towards more modern expressions.\u003c/p>\n\u003cp>“I think it’s an instrument that begs to be used texturally, and outside the way it was originally designed to be used,” says the California-based Chuck Johnson, whose 2017 album \u003ca href=\"https://chuckjohnson.bandcamp.com/album/balsams\">\u003cem>Balsams\u003c/em>\u003c/a>\u003cem> \u003c/em>and subsequent \u003ca href=\"https://chuckjohnson.bandcamp.com/album/ayami-2\">live releases\u003c/a> have used pedal steel as a tool to generate glowing, complex ambient music. “You can pluck a chord and use the pedals and levers to move some of those voices in different directions, which is something no other instrument can do,” he says of its ability to limitlessly bend notes. “Without even moving the bar, you can do really interesting counterpoint. Add to that all the microtonal possibilities. Whether you’re moving the bar or using the [knee] levers, it’s always a glide to wherever you end up.”\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/GQj9NSOUVAA'\n title='//www.youtube.com/embed/GQj9NSOUVAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An often misunderstood mechanical artifact from another time, the pedal steel remains odd in nearly every way. Its high lonesome moan can float over, or inside, pretty much anything; it can bend notes and blend chords in ways no other analog instrument can; and it sounds like nothing else — even the pedal-less steel guitar, for which it’s frequently confused. But for much of its life, it’s been synonymous with the wailing cries of country music, to the point of being virtually trapped by the genre.\u003c/p>\n\u003cp>“When somebody takes the stage [at a pedal steel convention] and plays something other than country, people get up and walk out,” says Tom Bradshaw, perhaps the world’s leading authority on the instrument. The founder of the now-defunct \u003cem>Steel Guitarist \u003c/em>magazine, he has played and repaired pedal steels for nearly a half-century, selling parts through his Bay Area-based \u003ca href=\"http://www.songwriter.com/bradshaw/\">Pedal Steel Guitar Products\u003c/a>. But Bradshaw worries about the instrument’s future. “It’s so often that kids are the ones who cause things to really get started and go, but the cost of the instrument is so much that it’s prohibitive for kids to get into it,” he says. Indeed — outside of classical, and despite its roots in working-class pop music, it is one of the most expensive instruments around, with the cheapest used models going for around $1,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, it is one of the most difficult-to-learn instruments in the world. Just setting up the pedals and levers requires an intense amount of foreknowledge. There are multiple standard tunings. Its strings usually run in a non-intuitive order. Playing it requires both hands, both feet and, occasionally, both knees. Sometimes there is one guitar neck full of strings, sometimes there are a few — each in its own tuning. Its mechanics have very little to do with guitar as most recognize the instrument, or even the open-tuned Hawaiian lap steel, from which the pedal steel evolved. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3HSfyLD2ZDtcvVE12OkmX8\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>Almost exactly in the middle of the 20th century, the lap steel first \u003ca href=\"http://www.gibson-prewar.com/s/cc_images/cache_937748247.jpg?t=1400227662\">sprouted pedals\u003c/a> with Gibson’s Electraharp, and over the next two decades continued to mutate as different players experimented with tuning and pedal combinations in Nashville garages and recording studios. In 1952, Zane Beck added knee levers to bend notes downwards. The year after, on Webb Pierce’s “\u003ca href=\"https://www.youtube.com/watch?v=3B6FjkaY-O8\">Slowly\u003c/a>,” Bud Isaacs added a pedal to bend two notes at once. Session musician \u003ca href=\"http://www.buddyemmons.com/recordings2.htm\">Buddy Emmons\u003c/a>, who died in 2015 and would become the instrument’s foremost player, built on Isaac’s innovation, introducing a split pedal arrangement that allowed for players to introduce suspended chords and other distinctly “un-Hawaiian” tone bends. Honky-tonk troubadour Ernest Tubb became the beneficiary of the hot new tech breakthrough, with Emmons first employing it on Tubb’s 1957 hit “\u003ca href=\"https://www.youtube.com/watch?v=b6g4k4X0vsw\">Half A Mind (To Leave You)\u003c/a>,” also featuring George Jones. Taken together, these technological evolutions transformed the fairly simple lap steel into a metaphor of modernity: a complex machine requiring highly skilled operators, used almost exclusively in country music, a genre in which life’s simplicity — whether real or imagined — is very often centered.\u003c/p>\n\u003cfigure id=\"attachment_13872507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg\" alt=\"The ensemble Icebreaker, performing Brian Eno's album Apollo: Atmospheres & Soundtracks alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble Icebreaker, performing Brian Eno’s album ‘Apollo: Atmospheres & Soundtracks’ alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was released in 1983, the luminous \u003cem>Apollo: Atmospheres & Soundtracks\u003c/em>, was one small step for Brian Eno but one giant leap towards expanding the pedal steel’s vocabulary. For the landmark album, an ambient score to the documentary \u003cem>For All Mankind\u003c/em>, Eno deployed Daniel Lanois’s pedal steel guitar \u003ca href=\"https://www.newscientist.com/article/dn17429-apollo-special-brian-enos-moon-music/#ixzz68Tv2xdck\">as a reference\u003c/a> to the country tapes brought into space by the astronauts, and clearly demonstrated the instrument’s future as a leading voice of its own. What Eno called “zero-gravity country music” became a transition point for the instrument, though the revolution has been a slow one \u003c/p>\n\u003cp>In 2006, Susan Alcorn would title a piece of music, “And I Await the Resurrection of the Pedal Steel Guitar.” The sublime tribute to French composer Oliver Messiaen (and subsequent album of the same name) is perhaps near the center of the instrument’s expanding territory in the new century, and something of a self-fulfilling prophecy.\u003c/p>\n\u003cp>The future is now. In the Bandcamp/SoundCloud/”genre-fluid” reaches, the world of outsider pedal steel now constitutes a destination of its own. Heather Leigh has been improvising with pedal steel and voice since the early 2000s, but beginning with 2015’s \u003ca href=\"https://ideologicorgan.bandcamp.com/album/i-abused-animal\">\u003cem>I Abused Animal\u003c/em>\u003c/a>, she has used it as a counterpoint within some startling experimental songwriting. Chuck Johnson has expanded the instrument’s ambient palette into vivid and extended star-fields, most recently with the gorgeous art-pop duo \u003ca href=\"https://saariselka.bandcamp.com/album/the-ground-our-sky\">Saariselka\u003c/a>. Norwegian jazz player \u003ca href=\"https://sundstoel.bandcamp.com/album/br-dl-s\">Geir Sundstøl\u003c/a> fits it into brooding, proggy soundscapes, the cinematic New York-based \u003ca href=\"https://suss.bandcamp.com/album/high-line\">SUSS\u003c/a> go full noir, and \u003ca href=\"https://muteduoadr.bandcamp.com/album/lapse-in-passage\">Mute Duo\u003c/a> dive into atmospheric improvisation. Daniel Lanois has stayed in the game, too, most lately with 2017’s \u003ca href=\"https://daniellanois.bandcamp.com/album/goodbye-to-language\">\u003cem>Goodbye to Language\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://venetiansnares.bandcamp.com/album/venetian-snares-x-daniel-lanois\">\u003cem>Venetian Squares x Daniel Lanois\u003c/em>\u003c/a>, a glitchy 2018 collaboration with Venetian Snares.\u003c/p>\n\u003cp>Says Chuck Johnson, “I don’t think you can overstate the importance of the fact that, when you ask who’s pushing the instrument forward, the answer is there are these two women — Susan Alcorn and Heather Leigh. More than any other instrument I know, the culture around [pedal steel] is so male dominated.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcorn began playing pedal steel with Houston country bands in the early ’70s, and recalls the musical insularity of the pedal steel conventions she attended. “People would have albums, mostly of country tunes, and maybe a jazz tune like \u003ca href=\"https://www.youtube.com/watch?v=5GzaQN-PPhk\">‘Cherokee’\u003c/a> or something like that,” she recalls. “Kind of straight-ahead, and maybe 20 years behind the rest of the jazz world. Maybe 30 or 40 years behind.”\u003c/p>\n\u003cp>By the ’80s Alcorn had begun to experiment, though it was a lonely calling in Texas. She routed her instrument through a synthesizer for a while, making it sound like other instruments. She arranged John Coltrane’s “Naima.” She laughs, “I was doing country gigs and listening to Albert Ayler and people at the gigs would tell me I sounded different for some reason. When I got into Ornette Coleman, most of the musicians I knew in Houston didn’t want to play with me anymore because it was like I was out-of-tune or something.” \u003c/p>\n\u003cp>But in 1990, Alcorn met accordionist and pioneering electronic composer Pauline Oliveros. “I went to her first ‘Deep Listening’ retreat,” Alcorn says. “Pauline is from Houston, where I was living, and we became friends … And so that widened my ideas of what you would call music, and certainly what you would call improvisation. That had a profound effect on how I played, and still does.”\u003c/p>\n\u003cp>Lately, Alcorn has been the instrument’s on-call emissary in certain, somewhat outré, music circles, playing in the \u003ca href=\"https://maryhalvorson.bandcamp.com/album/away-with-you\">Mary Halvorson Octet\u003c/a> as well as Nate Wooley’s ecstatic music ensemble, Seven Storey Mountain. (And on last year’s \u003ca href=\"https://natewooley.bandcamp.com/album/columbia-icefield\">\u003cem>Columbia Icefield\u003c/em>\u003c/a>). If she’s setting an example for the wide new ways the pedal steel might work, the musicians who have followed are keen on discovering their own paths.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6JzwFJ5UKJnsftMJfaRPqV\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>(One can trace a scattered lineage of unconnected experimentalists outside Alcorn and Lanois. In the ’80s, Nigerian juju pioneer King Sunny Adé’s highlife orchestra featured pedal steelist Demola Adepoju, whose 1985 solo album \u003cem>Olufe-Mi \u003c/em>is due for its own resurrection. “Tiny Dancer” steelist B.J. Cole’s 1972 album, \u003ca href=\"https://www.youtube.com/watch?v=Vbp6ZlmP4n4\">\u003cem>The New Hovering Dog\u003c/em>\u003c/a>, provides an early outlying beacon of outré pedal-steel pop, and he’s played with a wide-range of big-eared artists from R.E.M. to Luke Vibert.) \u003c/p>\n\u003cp>For prolific veteran Jim O’Rourke, who used pedal steel to color the meticulous arrangements of his 1997’s album \u003ca href=\"https://jimorourke.bandcamp.com/album/bad-timing\">\u003cem>Bad Timing\u003c/em>\u003c/a>, it took Chas Smith’s 1987 LP \u003ca href=\"https://www.youtube.com/watch?v=dwbj684Ez74&list=OLAK5uy_m9Zrc_uj7tKz8m3F12KBaBgJc_OyzqJd8\">\u003cem>Nakadai\u003c/em>\u003c/a>\u003cem> \u003c/em>to really connect with the instrument. “That was where the nexus happened,” O’Rourke writes in an email, “where those worlds met for me, which only reinforced my love. It might be that the pedal steel is somehow one of the few instruments that is somewhere between an acoustic instrument, in a loose meaning of the term, and the synth/tape music that was and is my main interest.” He finally learned to play one for 2015’s \u003ca href=\"https://jimorourke.bandcamp.com/album/simple-songs\">\u003cem>Simple Songs\u003c/em>\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13872508\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg\" alt=\"Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014.\" width=\"200\" height=\"199\" class=\"size-full wp-image-13872508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275-160x159.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014. \u003ccite>(Jack Vartoogian/Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after shedding a lifetime of accumulated instruments and studio gear upon moving to Japan, O’Rourke still keeps a pedal steel around. “I am still an absolute amateur, but it’s one instrument that still poses a challenge with an actual, foreseeable gain,” he notes. “It does your back in if you don’t watch it, though.”\u003c/p>\n\u003cp>Pedal steel can be heard these days on album centerpiece tracks by Vampire Weekend (where veteran session player Greg Leisz brings “Hold You Now” back to earth) and the Mountain Goats (where Dan Dugmore glows on the title track of \u003cem>In League With Dragons\u003c/em>). It’s there (somewhere) in the wall-of-sound saturation of Lana Del Ray’s \u003cem>Ultraviolence\u003c/em>, and as a signifying point of analog humanity in Phosphorescent’s auto-tuned post-apocalyptic “\u003ca href=\"https://phosphorescent.bandcamp.com/track/christmas-down-under\">Christmas Down Under.\u003c/a>” \u003c/p>\n\u003cp>But the pedal steel will likely remain a semi-secret language. Even in the Steel Guitar Forum, the instrument’s main online community, non-country players can feel like members of a permanent musical diaspora. “Fortunately, there are younger people on there and Susan Alcorn posts there all the time,” says Johnson, “and posts a lot of things on Facebook that are challenging for that community politically and socially and otherwise.”\u003c/p>\n\u003cp>Tom Bradshaw estimates a global population of somewhere between 40,000 to 50,000 pedal steel guitar players. And though he frets about players aging out, he also acknowledges a large, often invisible, community of what he calls “bedroom players,”hobbyists with no ambitions to set foot on stage. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If nothing else, the age of Bandcamp labels, SoundCloud rap, YouTube covers and viral videos of all stripes is made precisely for those bedroom players, as well as lone steel-slingers out in the wilderness, like the exotica-loving \u003ca href=\"https://soundcloud.com/ztom-motoyama\">Ztom Motoyama\u003c/a> in Japan, or Will Van Horn, who \u003ca href=\"https://www.youtube.com/watch?v=HjuSa3_CerU\">recently covered\u003c/a> Aphex Twin’s haunted “Avril 14th” on pedal steel. It also sounds fantastic in various modern remix modes, like the \u003ca href=\"https://www.youtube.com/watch?v=1Q_WbJTXcao\">chopped-and-screwed Alan Jackson\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=wgBxA2NtDoU\">vaporwave Mike Nesmith\u003c/a>. Just as the instrument cuts through large ensembles, it can also cut through the cultural noise, a versatile and seemingly ancient craft that continues to open a portal to a strange, glowing place. \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=The+Endless+Potential+Of+The+Pedal+Steel+Guitar%2C+An+Odd+Duck+By+Any+Measure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The title of Kiley Reid’s debut, \u003cem>Such a Fun Age\u003c/em>, works on so many levels it makes me giddy—and, what’s better, the title’s plurality of meaning is echoed all over the place within the novel, where both plot and dialogue are layered with history, prejudice, expectations and assumptions. The title’s “fun age” might refer to one of the two main characters, Emira Tucker, a 25-year-old black woman who keenly feels that working part-time as a babysitter and part-time as a typist doesn’t count as true adulting. It might refer to her charge, Briar, a white three-year-old whose imagination and speech patterns are so charmingly true to a particular kind of kid that she’s both instantly recognizable and entirely her own person. [aside postid='arts_13872364']\u003c/p>\n\u003cp>More broadly, the “fun age” might be our own, prior to the 2016 election—an age that was considered by some to be magically post-racist and post-sexist because it was impolite to be these things in public; an age of performative white feminism; an age of social media and virality and armchair activism and online virtue-signaling that ironically requires certain people—often, those already more vulnerable—to exist in specific politically correct ways while letting others—usually, those with power and privilege—off the hook. Don’t let all these layers put you off—the wonder of \u003cem>Such a Fun Age \u003c/em>is that it is also a page-turner with beautifully drawn characters and a riveting plot.\u003c/p>\n\u003cp>In the book’s opening chapter, Emira is called away from a friend’s birthday party by Alix (“uh-\u003cem>leeks\u003c/em>“) Chamberlain, whose two daughters, Briar and infant Catherine, she babysits for several times a week. Someone has thrown an egg at the Chamberlain house, hard enough to shatter a window, and Alix wants Briar out of the house when the police arrive. Emira, both somewhat tired of the party and in need of the extra cash, takes Briar to a grocery store in the Chamberlains’ neighborhood, her friend Zara tagging along. She, Emira and Briar have an impromptu dance party in the frozen foods aisle, as one occasionally will when a toddler is around, before Zara heads off for a hookup. [aside postid='arts_13872314']\u003c/p>\n\u003cp>The lovely, upbeat scene collapses when a security guard approaches and starts interrogating Emira because a white woman, who only moments before was congenially laughing at the dancing trio, was concerned to see a black woman with a white child out so late. “We just came here to look at nuts. Well, we don’t touch them or anything. We’re just… we’re really into nuts right now, so… yeah,” Emira tells the guard, but the situation escalates to the point where a white man starts capturing the verbal altercation with his phone. (“Can you step off?” Emira asks him; “I think you’re gonna want this filmed,” he says.) Emira has to call Peter Chamberlain to come and reassure the guard. “He’s an old white guy,” she says, “so I’m sure everyone will feel better.” She’s right; they do.\u003c/p>\n\u003cp>Over the course of the following months, the tensions between Emira and the Chamberlains rise due to several factors that have very little to do with Emira herself. Alix, the novel’s other main character—and foil, and sometimes antagonist—is a semi-successful businesswoman who has made a career out of writing letters requesting free stuff from companies and getting what she asks for. She also breastfed Briar while speaking at a panel once, an act of have-it-all-feminism that garnered lots of attention. What happened to Emira at the store has Alix consumed with (white) guilt, especially since the egg thrown through the window came with a cry of “racist,” aimed at Peter, a news anchor, who said, during a feel-good human interest segment earlier that night, that he hoped a black boy taking a white girl to Homecoming had “asked her father first.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emira and Alix have as much distance between them in terms of class as race. Emira comes from a working class family of driven, creative people, which is part of why she feels especially weird that she isn’t ambitious in a particular direction. Alix’s parents became very suddenly wealthy when she was a teenager, inducting her into a nouveau riche lifestyle she had no idea how to handle and which she is still uncomfortable with, despite having leaned further and further into upper-middle class affluence over the years. But what the two women do share—not in the way you’d expect—is Kelley Copeland, the tall, handsome and seemingly woke white guy who thought Emira would want her encounter filmed. [aside postid='arts_13872290']\u003c/p>\n\u003cp>To share more of the plot would be to spoil the fun, as it were. This is a book that will read, I suspect, quite differently to various audiences—funny to some, deeply uncomfortable and shamefully recognizable to others—but whatever the experience, I urge you to read \u003cem>Such a Fun Age\u003c/em>. Let its empathic approach to even the ickiest characters stir you, allow yourself to share Emira’s millennial anxieties about adulting, take joy in the innocence of Briar’s still-unmarred personhood and rejoice that Kiley Reid is only just getting started.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of Kiley Reid’s debut, \u003cem>Such a Fun Age\u003c/em>, works on so many levels it makes me giddy—and, what’s better, the title’s plurality of meaning is echoed all over the place within the novel, where both plot and dialogue are layered with history, prejudice, expectations and assumptions. The title’s “fun age” might refer to one of the two main characters, Emira Tucker, a 25-year-old black woman who keenly feels that working part-time as a babysitter and part-time as a typist doesn’t count as true adulting. It might refer to her charge, Briar, a white three-year-old whose imagination and speech patterns are so charmingly true to a particular kind of kid that she’s both instantly recognizable and entirely her own person. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More broadly, the “fun age” might be our own, prior to the 2016 election—an age that was considered by some to be magically post-racist and post-sexist because it was impolite to be these things in public; an age of performative white feminism; an age of social media and virality and armchair activism and online virtue-signaling that ironically requires certain people—often, those already more vulnerable—to exist in specific politically correct ways while letting others—usually, those with power and privilege—off the hook. Don’t let all these layers put you off—the wonder of \u003cem>Such a Fun Age \u003c/em>is that it is also a page-turner with beautifully drawn characters and a riveting plot.\u003c/p>\n\u003cp>In the book’s opening chapter, Emira is called away from a friend’s birthday party by Alix (“uh-\u003cem>leeks\u003c/em>“) Chamberlain, whose two daughters, Briar and infant Catherine, she babysits for several times a week. Someone has thrown an egg at the Chamberlain house, hard enough to shatter a window, and Alix wants Briar out of the house when the police arrive. Emira, both somewhat tired of the party and in need of the extra cash, takes Briar to a grocery store in the Chamberlains’ neighborhood, her friend Zara tagging along. She, Emira and Briar have an impromptu dance party in the frozen foods aisle, as one occasionally will when a toddler is around, before Zara heads off for a hookup. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lovely, upbeat scene collapses when a security guard approaches and starts interrogating Emira because a white woman, who only moments before was congenially laughing at the dancing trio, was concerned to see a black woman with a white child out so late. “We just came here to look at nuts. Well, we don’t touch them or anything. We’re just… we’re really into nuts right now, so… yeah,” Emira tells the guard, but the situation escalates to the point where a white man starts capturing the verbal altercation with his phone. (“Can you step off?” Emira asks him; “I think you’re gonna want this filmed,” he says.) Emira has to call Peter Chamberlain to come and reassure the guard. “He’s an old white guy,” she says, “so I’m sure everyone will feel better.” She’s right; they do.\u003c/p>\n\u003cp>Over the course of the following months, the tensions between Emira and the Chamberlains rise due to several factors that have very little to do with Emira herself. Alix, the novel’s other main character—and foil, and sometimes antagonist—is a semi-successful businesswoman who has made a career out of writing letters requesting free stuff from companies and getting what she asks for. She also breastfed Briar while speaking at a panel once, an act of have-it-all-feminism that garnered lots of attention. What happened to Emira at the store has Alix consumed with (white) guilt, especially since the egg thrown through the window came with a cry of “racist,” aimed at Peter, a news anchor, who said, during a feel-good human interest segment earlier that night, that he hoped a black boy taking a white girl to Homecoming had “asked her father first.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emira and Alix have as much distance between them in terms of class as race. Emira comes from a working class family of driven, creative people, which is part of why she feels especially weird that she isn’t ambitious in a particular direction. Alix’s parents became very suddenly wealthy when she was a teenager, inducting her into a nouveau riche lifestyle she had no idea how to handle and which she is still uncomfortable with, despite having leaned further and further into upper-middle class affluence over the years. But what the two women do share—not in the way you’d expect—is Kelley Copeland, the tall, handsome and seemingly woke white guy who thought Emira would want her encounter filmed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To share more of the plot would be to spoil the fun, as it were. This is a book that will read, I suspect, quite differently to various audiences—funny to some, deeply uncomfortable and shamefully recognizable to others—but whatever the experience, I urge you to read \u003cem>Such a Fun Age\u003c/em>. Let its empathic approach to even the ickiest characters stir you, allow yourself to share Emira’s millennial anxieties about adulting, take joy in the innocence of Briar’s still-unmarred personhood and rejoice that Kiley Reid is only just getting started.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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