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"content": "\u003cp>As a black gay kid growing up in Texas in the 1990s, poet Saeed Jones remembers getting negative messages about his identity from every aspect of his life. It was around the time of \u003ca href=\"https://www.npr.org/2018/10/20/659122600/matthew-shepard-laid-to-rest-20-years-after-his-death\">Matthew Shepard\u003c/a>‘s murder in Wyoming, and Jones felt alone and unsafe.\u003c/p>\n\u003cp>“I was seeing these cautionary tales connected to identity,” he says. “It was so clear that it was perilous to be a black gay boy in America.”\u003c/p>\n\u003cp>And yet he couldn’t be any other way: “Being gay isn’t a choice, just like being black isn’t a choice,” Jones says. “I don’t stop. I do not give up. I do not take America’s ‘no’ to my identity for an answer.”\u003c/p>\n\u003cp>In his new coming-of-age memoir, \u003cem>How We Fight for Our Lives,\u003c/em> Jones reflects on his struggle to embrace his identity. The “we” in the title is intentional; he hopes the book will spark a conversation among a cross section of readers.\u003c/p>\n\u003cp>“We’re all struggling,” he says. “I want you to experience what’s going on in my book and think about it in relation to your own life, whether that’s because you’re like, ‘Oh this is totally different!’ Or because you’re like, ‘Hmm. This is really familiar.’ I think that’s a useful way of thinking about memoir.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his first sexual encounter with a man, hooking up in a library bathroom and trying to kiss and being refused \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was like, “Oh, absolutely not.” And so I felt embarrassed and I think the only thing more painful than not getting what you want is almost getting it and then being shamed right at the last minute. …\u003c/p>\n\u003cp>I was deeply ashamed. I thought I had messed up. But I think really he admitted he couldn’t go there. He was working through some things, and so he was ashamed of what he was feeling or not feeling. I think that’s something that, whether people are in the closet or not, they continue to struggle with, being vulnerable and true intimacy. I think it’s possible to have sex with someone and not be intimate with them, and that’s kind of what it looks like sometimes.\u003c/p>\n\u003cp>\u003cstrong>On equating sex with death because of AIDS \u003c/strong>\u003c/p>\n\u003cp>I think this is true for my generation. I’m 33 years old. I was born in 1985 and I would say until, frankly, the last two or three years — with the introduction of \u003ca href=\"https://www.npr.org/sections/health-shots/2019/05/30/727731380/old-fight-new-front-aids-activists-want-lower-drug-prices-now\">PrEP/Truvada\u003c/a> — for most gay men, a defining aspect of our sexual experiences has been an awareness of not just STIs (STDs that we all need to be aware of and thoughtful about), but, “Am I going to get HIV/AIDS?” Which is no longer a death sentence, as I understood it at the time. But certainly, that is a lifelong condition that’s going to require treatment and support. There is a heaviness to that. There is a deep sense of foreboding that I think often turns into shame with time, because it feels like you’re risking punishment.\u003c/p>\n\u003cp>\u003cstrong>On coming out to his mom by making a joke\u003c/strong>\u003c/p>\n\u003cp>I’d gotten a little memento from my speech team to celebrate the year or whatever, and everyone had a little motto, and my motto was like, “Not even his clothes are in the closet anymore,” which I thought was very funny. And so I was talking to her about it and she was like, “What does that mean?” And I was like, “My clothes aren’t in the closet anymore. Like I’m not in the closet anymore.” She didn’t find it funny. She was confused and she had a lot of follow-up questions. And that’s how I ended up coming out to her. …\u003c/p>\n\u003cp>I’m such a Sagittarius. I am a practical joker, like, I love to laugh, but I felt like I had messed up. This was actually really significant to her. And that I’d been cracking jokes on a moment that I had been waiting for years, right? And so I felt really bad, but then she called me back and was like, “Hey, I forgot to say, I love you, and you seem happy and that’s all that matters, you know?” And that meant the world to me. It was really important for me to see that.\u003c/p>\n\u003cp>\u003cstrong>On how he “erased” himself in order to have a good relationship with his mother \u003c/strong>\u003c/p>\n\u003cp>We laughed a lot. We could talk about literally anything except my being gay, which began to feel more and more like a void. But you know, we talked about the news, and we would laugh, and she was so proud of how I was doing in school and as a student and in speech. … It’s this weird dynamic where you’re struggling and you end up prioritizing the other person’s feelings over your own, and I did it because I loved her. I did it because I felt like I was causing her pain by trying to talk about this, but she was still my mom. I needed to have her wisdom in terms of love and relationships, and I didn’t get it, and really struggled as a result.\u003c/p>\n\u003cp>\u003cstrong>On knowing he was a writer from an early age\u003c/strong>\u003c/p>\n\u003cp>It was the thing that I could always count on to get praised [for] in school. … Middle school was when I started really going for it, like asking for extra credit, and like taking risks and doing more. Then also in literature discussions about short stories and fiction or whatever, it all made so much sense to me. I remember learning the narrative arc in maybe the eighth grade — resolution and climax — and it just made sense. I was like, “Oh, duh! Duh.” And I literally never heard it before … but kind of like with queerness, it felt like I was being given language to explain something I already understood. I just get it. It’s just in me.\u003c/p>\n\u003cp>\u003cstrong>On why he moved to Columbus, Ohio after Trump became president \u003c/strong>\u003c/p>\n\u003cp>Honestly, America’s depressing, right? If you’re paying attention in any substantive capacity, America is really stressful and anxiety-inducing and depressing. And I now understand that as an adult, and it’s not [my] fault. And then Trump became president, and truth is, on Inauguration Day, January 2017, I had a total breakdown. I had an absolute breakdown. I knew it was coming because I took a personal day, so I was home so I already knew on some level. But I remember watching Barack Obama and Michelle Obama walking to the helicopter, and I absolutely fell apart. I could not stop crying, and I opened the knife drawer in my kitchen. I was looking at those knives and I started saying, “I can’t go back. I can’t go back. Please don’t make me go back.” And the “back” was the months after my mom passed away. It was the worst, the most raw I had ever felt, and I’m glad that I talked to a friend and I started therapy and that helped tremendously.\u003c/p>\n\u003cp>But, you know, the last few years working in media [at BuzzFeed], it’s required so much of all of us, really, and certainly people [for whom] this is our job to talk about these issues: We can’t just turn off our phones and stop reading the news, unfortunately. That’s a high demand. And I was starting to feel really threadbare on an ongoing basis. And so I knew I wanted to change. And so I wanted to leave New York and I wanted to leave media in the way I was working in it, to go back to the basics.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Roberta Shorrock and Seth Kelley produced and edited the audio of this interview. Bridget Bentz and Molly Seavy-Nesper adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. 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And that I’d been cracking jokes on a moment that I had been waiting for years, right? And so I felt really bad, but then she called me back and was like, “Hey, I forgot to say, I love you, and you seem happy and that’s all that matters, you know?” And that meant the world to me. It was really important for me to see that.\u003c/p>\n\u003cp>\u003cstrong>On how he “erased” himself in order to have a good relationship with his mother \u003c/strong>\u003c/p>\n\u003cp>We laughed a lot. We could talk about literally anything except my being gay, which began to feel more and more like a void. But you know, we talked about the news, and we would laugh, and she was so proud of how I was doing in school and as a student and in speech. … It’s this weird dynamic where you’re struggling and you end up prioritizing the other person’s feelings over your own, and I did it because I loved her. I did it because I felt like I was causing her pain by trying to talk about this, but she was still my mom. I needed to have her wisdom in terms of love and relationships, and I didn’t get it, and really struggled as a result.\u003c/p>\n\u003cp>\u003cstrong>On knowing he was a writer from an early age\u003c/strong>\u003c/p>\n\u003cp>It was the thing that I could always count on to get praised [for] in school. … Middle school was when I started really going for it, like asking for extra credit, and like taking risks and doing more. Then also in literature discussions about short stories and fiction or whatever, it all made so much sense to me. I remember learning the narrative arc in maybe the eighth grade — resolution and climax — and it just made sense. I was like, “Oh, duh! Duh.” And I literally never heard it before … but kind of like with queerness, it felt like I was being given language to explain something I already understood. I just get it. 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"content": "\u003cp>Slate’s wildly popular investigative podcast, \u003ca href=\"https://podcasts.apple.com/us/podcast/slow-burn/id1315040130\">\u003cem>Slow Burn\u003c/em>\u003c/a>, is back for its third season, which dives into the murders of two of the biggest hip-hop stars of the 1990s—\u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a> and \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">The Notorious B.I.G.\u003c/a>\u003c/p>\n\u003cp>Although the subject might seem like a left turn (\u003cem>Slow Burn\u003c/em>‘s first two seasons focused on the Watergate scandal and Bill Clinton’s impeachment, respectively), it fits into the show’s commitment to carefully covering the biggest stories of the past 50 years.\u003c/p>\n\u003cp>In their heyday, Tupac and “Biggie” were at the center of a feud between East Coast and West Coast rappers. Tupac was killed in September 1996 in a Las Vegas drive-by shooting, and although there have been multiple police and journalistic investigations, no one was ever convicted for the crime. Six months later, The Notorious B.I.G. was gunned down in Los Angeles, and his murder also went unsolved. Naturally, rumors have swirled about a potential connection between each rapper’s death and their legendary feud.\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em> has set a strong precedent of diving past surface level on its subjects, and season three is no exception. “We had a sense of what generally animated the beef, but we didn’t know the stories underneath that,” season three host Joel Anderson says. “So that’s what we’re trying to do with this podcast—talking to people that were there at the time, figuring out all these lovely little relationships and incidents that led up to their deaths.”\u003c/p>\n\u003cp>The first episode shifts the mainstream narrative: Pac and Biggie were initially friends, Anderson says. They met at a party in LA and Pac took Biggie under his wing, but that friendship shattered when Pac was shot five times upon entering a studio in New York. Pac, who survived, noticed that members of Biggie’s crew, Junior M.A.F.I.A., were on-site and believed it was a setup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joel Anderson says there’s no evidence to suggest that Biggie was involved in this shooting, but Pac thought otherwise. He and other West Coast rappers released a string of songs dissing Biggie and his label, Bad Boy Records. In turn, Biggie released songs such as “Who Shot Ya” that many interpreted as replies.\u003c/p>\n\u003cp>Anderson says that the loss of these two artists speaks volumes about the state of black people in America, even today.\u003c/p>\n\u003cp>“You have two guys, two of the brightest stars to emerge out of the hip-hop era in that time, and they’re gone, just like that,” Anderson says. “And if those two guys can get killed and nothing can happen, then what does that say for the rest of us? As you see, it’s not like we’ve been able to solve that problem.”\u003c/p>\n\u003cp>\u003cem>The first two episodes of \u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/slow-burn/id1315040130\">Slow Burn\u003c/a>\u003cem> season three from Slate are out now. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Digital intern Mano Sundaresan and digital editor Cyrena Touros\u003c/em> \u003cem>contributed to this story\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Slow+Burn%27+Season+3+Turns+Its+Investigative+Eye+To+The+Murders+Of+Biggie+And+Tupac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Massive anti-government protests in Chile over the past few weeks have united demonstrators in song. Last week, up to a million people protesting in Santiago were joined by a cavalry of guitarists. They played a song called “El Derecho de Vivir en Paz,” which once stood as an anthem for resistance against the brutal regime of Augusto Pinochet that began in 1973.\u003c/p>\n\u003cp>Written by Chilean composer and singer-songwriter Víctor Jara, “El Derecho de Vivir en Paz” — translated as “The Right to Live in Peace” — was originally a tribute to Vietnamese communist leader Ho Chi Minh. Jara, an outspoken political activist, was imprisoned by the Chilean military during Pinochet’s dictatorship, and his song quickly became a protest anthem after Jara was assassinated on Pinochet’s orders. Pop star \u003ca href=\"https://www.npr.org/artists/757561005/francisca-valenzuela\">Francisca Valenzuela\u003c/a> says Jara is an icon who put his voice to the service of his fellow Chileans, calling him “a beacon of hope and resistance.”\u003c/p>\n\u003cp>Valenzuela is among 30 Chilean artists — including singers \u003ca href=\"https://www.npr.org/artists/605840833/mon-laferte\">Mon Laferte\u003c/a>, \u003ca href=\"https://www.npr.org/sections/world-cafe/2016/05/19/478693062/latin-roots-gepe\">Gepe\u003c/a>, Camila Moreno, rapper Pedropiedra, and rocker Fernando Milagros — who collaborated on a new recording of “El Derecho de Vivir en Paz” that was released earlier this week.\u003c/p>\n\u003cp>https://youtu.be/wlfAf2AibA8\u003c/p>\n\u003cp>Part of this new rendition references “el Nuevo Pacto Social,” or the new social agreement, adding lyrics that correspond to the specific requests of protesters: “Dignidad y educación / Que no haya desigualdad.” (“Dignity and education / So that there is no inequality.”)\u003c/p>\n\u003cp>“I really feel very proud of my cultural community,” Valenzuela says. “Everyone’s been very active and really putting their voice and their music at the service of this movement.” One might call it a Chilean tradition.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Massive anti-government protests in Chile over the past few weeks have united demonstrators in song. Last week, up to a million people protesting in Santiago were joined by a cavalry of guitarists. They played a song called “El Derecho de Vivir en Paz,” which once stood as an anthem for resistance against the brutal regime of Augusto Pinochet that began in 1973.\u003c/p>\n\u003cp>Written by Chilean composer and singer-songwriter Víctor Jara, “El Derecho de Vivir en Paz” — translated as “The Right to Live in Peace” — was originally a tribute to Vietnamese communist leader Ho Chi Minh. Jara, an outspoken political activist, was imprisoned by the Chilean military during Pinochet’s dictatorship, and his song quickly became a protest anthem after Jara was assassinated on Pinochet’s orders. Pop star \u003ca href=\"https://www.npr.org/artists/757561005/francisca-valenzuela\">Francisca Valenzuela\u003c/a> says Jara is an icon who put his voice to the service of his fellow Chileans, calling him “a beacon of hope and resistance.”\u003c/p>\n\u003cp>Valenzuela is among 30 Chilean artists — including singers \u003ca href=\"https://www.npr.org/artists/605840833/mon-laferte\">Mon Laferte\u003c/a>, \u003ca href=\"https://www.npr.org/sections/world-cafe/2016/05/19/478693062/latin-roots-gepe\">Gepe\u003c/a>, Camila Moreno, rapper Pedropiedra, and rocker Fernando Milagros — who collaborated on a new recording of “El Derecho de Vivir en Paz” that was released earlier this week.\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/wlfAf2AibA8'\n title='//www.youtube.com/embed/wlfAf2AibA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of this new rendition references “el Nuevo Pacto Social,” or the new social agreement, adding lyrics that correspond to the specific requests of protesters: “Dignidad y educación / Que no haya desigualdad.” (“Dignity and education / So that there is no inequality.”)\u003c/p>\n\u003cp>“I really feel very proud of my cultural community,” Valenzuela says. “Everyone’s been very active and really putting their voice and their music at the service of this movement.” One might call it a Chilean tradition.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Emilia Clarke on 'Last Christmas,' Brexit and Life After 'Game of Thrones'",
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"content": "\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z9CEIcmWmtA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\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/z9CEIcmWmtA'\n title='//www.youtube.com/embed/z9CEIcmWmtA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "De Niro, Pesci and Pacino are at the Top of Their Game in 'The Irishman'",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=937067\">Martin Scorsese\u003c/a> has made so many terrific crime pictures that you would be forgiven for doubting whether he had another one in him. The great surprise of his haunting and elegiac new movie, \u003cem>The Irishman, \u003c/em>is that it doesn’t play like a retread so much as a reckoning.\u003c/p>\n\u003cp>It reunites Scorsese with \u003cem>Goodfellas \u003c/em>actors Robert De Niro and Joe Pesci, but while his earlier mob classic had an exhilarating energy, \u003cem>The Irishman\u003c/em> is suffused with loss. It feels older, wiser and infinitely sadder. There are still wisecracks and double-crosses and whackings aplenty, but there’s no kicky thrill to the violence this time—just a harsh aftertaste of emptiness and futility.\u003c/p>\n\u003cp>Since the movie spans several decades and runs 3 1/2 hours, that’s admittedly a lot of futility. But \u003cem>The Irishman \u003c/em>is a richly involving experience. Its measured pace is entirely gripping, and its gorgeous images are well worth seeing in a theater if you live near one of the few venues where it’s playing (before it hits Netflix on Nov. 27). On a big screen, you might notice some of the minor imperfections of the “digital de-aging” technology that Scorsese uses to make the actors look younger in different time frames, but you stop noticing them after a few moments as the illusion takes hold.\u003c/p>\n\u003cp>De Niro stars as Frank Sheeran, the Irishman of the title, and the movie is essentially his account of his life and crimes. Shortly before his death from cancer in 2003, Sheeran claimed that he had killed Teamsters boss Jimmy Hoffa, who had gone mysteriously missing in 1975. One of his former attorneys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3804209\">Charles Brandt\u003c/a>, reported that claim in his biography of Sheeran, \u003cem>I Heard You Paint Houses\u003c/em>, which serves as the foundation for Steven Zaillian’s screenplay.\u003c/p>\n\u003cp>But Sheeran, narrating his story from a retirement home at the age of 82, has a lot to tell us before he gets to that point. He takes us back to the 1940s, when he was a Pennsylvania truck driver who managed to ingratiate himself with local mafioso Russell Bufalino, wonderfully played by Pesci in a long-overdue return to the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sheeran becomes Bufalino’s most reliable hit man: Desensitized to violence by his World War II military service, he kills efficiently and doesn’t ask too many questions. He’s so good at his job that Bufalino soon introduces him over the phone to Hoffa, played by Al Pacino.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WHXxVmeGQUc\u003c/p>\n\u003cp>Before long, Sheeran is handling Hoffa’s dirty work as well, and in their bond, we see the insidious ties between unionized labor and organized crime. \u003cem>The Irishman\u003c/em> compresses a lot of tumultuous history: There are reenactments of famous mob killings, drive-by references to events such as the \u003ca href=\"https://www.npr.org/2011/04/17/135444482/50-years-later-learning-from-the-bay-of-pigs\">Bay of Pigs invasion\u003c/a>, and even a brief nod to the conspiracy theory that the mob ordered the \u003ca href=\"https://www.npr.org/series/243938281/the-jfk-assassination-50-years-later\">assassination of President John F. Kennedy\u003c/a>.\u003c/p>\n\u003cp>But for all the movie’s historical sweep and its colorful supporting turns by actors like \u003ca href=\"https://www.npr.org/2016/03/30/472385235/ray-romano-gets-deep-dark-and-angsty-for-martin-scorsese-s-vinyl\">Ray Romano\u003c/a>, \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\">Bobby Cannavale\u003c/a> and \u003ca href=\"https://www.npr.org/2015/12/05/458573116/moment-of-truth-in-youth-hits-home-for-actor-harvey-keitel\">Harvey Keitel\u003c/a>, it’s the three central personalities that make the movie so engrossing. Scorsese is fascinated by the codes of loyalty that bind Sheeran, Bufalino and Hoffa—and also by the petty rivalries and power struggles that threaten to destroy them.\u003c/p>\n\u003cp>De Niro, Pesci and Pacino are at the top of their game, in part because they aren’t simply rehashing the iconic gangster types they’ve played before. Pesci makes Bufalino quiet and calculating—the complete opposite of the short-fused goodfella character that won him an Oscar.\u003c/p>\n\u003cp>Pacino gets to go big and boisterous without tilting into bombast. He pours enormous affection into the role of Hoffa, a man of simple pleasures—he loves ice cream more than anything—and old-school habits, as we see when he unleashes hell on someone who shows up late to a meeting.\u003c/p>\n\u003cp>As for De Niro, he gives a quietly chilling and finally wrenching performance as a man who dutifully aligns himself with evil. The last third of \u003cem>The Irishman \u003c/em>slows to a riveting crawl as it reconstructs what may or may not have happened in Hoffa’s final hours. Scorsese draws out the tension to an unbearable degree; he wants us to feel in our bones the horror and gravity of what it means to take someone else’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I haven’t yet mentioned Sheeran’s wives and children, which is fitting, since he mostly treats them as afterthoughts. Scorsese doesn’t make the same mistake. Sheeran’s daughter Peggy, played at different ages by Lucy Gallina and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=105174915\">Anna Paquin\u003c/a>, becomes the movie’s moral center. Peggy doesn’t say much, but her silence cuts right through all the movie’s male bluster. With every withering stare, she offers a brutal judgment of her father and the ghastly, corrupt world to which he belongs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+Niro%2C+Pesci+And+Pacino+Are+At+The+Top+Of+Their+Game+In+%27The+Irishman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=937067\">Martin Scorsese\u003c/a> has made so many terrific crime pictures that you would be forgiven for doubting whether he had another one in him. The great surprise of his haunting and elegiac new movie, \u003cem>The Irishman, \u003c/em>is that it doesn’t play like a retread so much as a reckoning.\u003c/p>\n\u003cp>It reunites Scorsese with \u003cem>Goodfellas \u003c/em>actors Robert De Niro and Joe Pesci, but while his earlier mob classic had an exhilarating energy, \u003cem>The Irishman\u003c/em> is suffused with loss. It feels older, wiser and infinitely sadder. There are still wisecracks and double-crosses and whackings aplenty, but there’s no kicky thrill to the violence this time—just a harsh aftertaste of emptiness and futility.\u003c/p>\n\u003cp>Since the movie spans several decades and runs 3 1/2 hours, that’s admittedly a lot of futility. But \u003cem>The Irishman \u003c/em>is a richly involving experience. Its measured pace is entirely gripping, and its gorgeous images are well worth seeing in a theater if you live near one of the few venues where it’s playing (before it hits Netflix on Nov. 27). On a big screen, you might notice some of the minor imperfections of the “digital de-aging” technology that Scorsese uses to make the actors look younger in different time frames, but you stop noticing them after a few moments as the illusion takes hold.\u003c/p>\n\u003cp>De Niro stars as Frank Sheeran, the Irishman of the title, and the movie is essentially his account of his life and crimes. Shortly before his death from cancer in 2003, Sheeran claimed that he had killed Teamsters boss Jimmy Hoffa, who had gone mysteriously missing in 1975. One of his former attorneys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3804209\">Charles Brandt\u003c/a>, reported that claim in his biography of Sheeran, \u003cem>I Heard You Paint Houses\u003c/em>, which serves as the foundation for Steven Zaillian’s screenplay.\u003c/p>\n\u003cp>But Sheeran, narrating his story from a retirement home at the age of 82, has a lot to tell us before he gets to that point. He takes us back to the 1940s, when he was a Pennsylvania truck driver who managed to ingratiate himself with local mafioso Russell Bufalino, wonderfully played by Pesci in a long-overdue return to the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sheeran becomes Bufalino’s most reliable hit man: Desensitized to violence by his World War II military service, he kills efficiently and doesn’t ask too many questions. He’s so good at his job that Bufalino soon introduces him over the phone to Hoffa, played by Al Pacino.\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/WHXxVmeGQUc'\n title='//www.youtube.com/embed/WHXxVmeGQUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, Sheeran is handling Hoffa’s dirty work as well, and in their bond, we see the insidious ties between unionized labor and organized crime. \u003cem>The Irishman\u003c/em> compresses a lot of tumultuous history: There are reenactments of famous mob killings, drive-by references to events such as the \u003ca href=\"https://www.npr.org/2011/04/17/135444482/50-years-later-learning-from-the-bay-of-pigs\">Bay of Pigs invasion\u003c/a>, and even a brief nod to the conspiracy theory that the mob ordered the \u003ca href=\"https://www.npr.org/series/243938281/the-jfk-assassination-50-years-later\">assassination of President John F. Kennedy\u003c/a>.\u003c/p>\n\u003cp>But for all the movie’s historical sweep and its colorful supporting turns by actors like \u003ca href=\"https://www.npr.org/2016/03/30/472385235/ray-romano-gets-deep-dark-and-angsty-for-martin-scorsese-s-vinyl\">Ray Romano\u003c/a>, \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\">Bobby Cannavale\u003c/a> and \u003ca href=\"https://www.npr.org/2015/12/05/458573116/moment-of-truth-in-youth-hits-home-for-actor-harvey-keitel\">Harvey Keitel\u003c/a>, it’s the three central personalities that make the movie so engrossing. Scorsese is fascinated by the codes of loyalty that bind Sheeran, Bufalino and Hoffa—and also by the petty rivalries and power struggles that threaten to destroy them.\u003c/p>\n\u003cp>De Niro, Pesci and Pacino are at the top of their game, in part because they aren’t simply rehashing the iconic gangster types they’ve played before. Pesci makes Bufalino quiet and calculating—the complete opposite of the short-fused goodfella character that won him an Oscar.\u003c/p>\n\u003cp>Pacino gets to go big and boisterous without tilting into bombast. He pours enormous affection into the role of Hoffa, a man of simple pleasures—he loves ice cream more than anything—and old-school habits, as we see when he unleashes hell on someone who shows up late to a meeting.\u003c/p>\n\u003cp>As for De Niro, he gives a quietly chilling and finally wrenching performance as a man who dutifully aligns himself with evil. The last third of \u003cem>The Irishman \u003c/em>slows to a riveting crawl as it reconstructs what may or may not have happened in Hoffa’s final hours. Scorsese draws out the tension to an unbearable degree; he wants us to feel in our bones the horror and gravity of what it means to take someone else’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I haven’t yet mentioned Sheeran’s wives and children, which is fitting, since he mostly treats them as afterthoughts. Scorsese doesn’t make the same mistake. Sheeran’s daughter Peggy, played at different ages by Lucy Gallina and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=105174915\">Anna Paquin\u003c/a>, becomes the movie’s moral center. Peggy doesn’t say much, but her silence cuts right through all the movie’s male bluster. With every withering stare, she offers a brutal judgment of her father and the ghastly, corrupt world to which he belongs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+Niro%2C+Pesci+And+Pacino+Are+At+The+Top+Of+Their+Game+In+%27The+Irishman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Andrea Long Chu Conjures the Spirit of Valerie Solanas For Provocative 'Females'",
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"content": "\u003cp>Simone de Beauvoir famously wrote that “one is not born, but rather becomes, a woman,” a claim I could imagine making writer and critic Andrea Long Chu roll her eyes.\u003c/p>\n\u003cp>At the very least, Chu has an update: “Everyone is female,” she writes in the appropriately titled \u003cem>Females, \u003c/em>her first book, “and everyone hates it.”\u003c/p>\n\u003cp>Chu has earned a reputation over the past few years as one of the sharpest new thinkers on gender and sexuality with her essays on, among other topics, transgender identity, feminism and television. (She has also picked up a rather loyal following \u003ca href=\"http://twitter.com/theorygurl\">on Twitter\u003c/a>, where she treats her mental health, PhD candidature and pop-culture diet all with equal wit and consideration.) In \u003cem>Females\u003c/em>—part memoir, part theoretical intervention—Chu explores and defends this claim about universal femaleness, perhaps as much to herself as to anyone else.\u003c/p>\n\u003cp>Of course, the “female” identity on which the book is based is admittedly less a biological condition than an existential one. Chu describes it as an experience “defined by self-negation” that includes “any psychic operation in which the self is sacrificed to make room for the desires of another.” In other words, to be female—which, remember, we all are—is to not express your own desires, identity, personality but rather those of others, impressed upon you. And gender, it follows for Chu, is what people do to deal with the terrible fact of being female.\u003c/p>\n\u003cp>If that sounds dramatic or provocative, that’s largely Chu’s style. In 2018, she wrote a \u003ca href=\"https://nplusonemag.com/issue-30/essays/on-liking-women/\">powerful essay\u003c/a> in the magazine \u003cem>n+1\u003c/em> about transness and the history of feminist organizing that theorist Sandy Stone credited with launching a “second wave” of transgender studies; later that year, Chu wrote an \u003ca href=\"https://www.nytimes.com/2018/11/24/opinion/sunday/vaginoplasty-transgender-medicine.html\">opinion piece\u003c/a> for \u003cem>The New York Times\u003c/em> about transgender people’s rights to medical care. In both cases—and in much of her writing—Chu meticulously frames the popular debate about transgender people, then positions her own point of view on another plane entirely. She’s just as bored by those known colloquially as trans-exclusionary radical feminists, or TERFs, who deny transgender people’s identities outright as she is by the common refrain that transgender people are simply “born in the wrong body” (as when Caitlyn Jenner joked to Diane Sawyer that God gave her “the soul of a woman”). At a moment when society is largely starting to gain a vocabulary for talking, albeit in less-than-nuanced ways, about transgender civil rights, Chu’s refusal to support any mainstream narratives have made her a somewhat controversial figure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But she simply isn’t interested in straightforward, respectable answers. What most of these narratives don’t account for, she argues in \u003cem>Females\u003c/em>, is desire, in all its messy, definitional power. Chu asks: Instead of something stable and inherent—known and knowable, and inescapable right down to our very souls—what if gender is an extension of who we \u003cem>want\u003c/em> to be? What if this quality of \u003cem>wanting\u003c/em> didn’t separate transgender people from cisgender people, but were instead a universal condition of gender itself?\u003c/p>\n\u003cp>Chu writes ferociously and exactingly about the nature of desire: what it makes us do; who it makes us become; grounding these questions in the culture of everyday life. Desire is how \u003cem>Fight Club\u003c/em> and \u003cem>The Matrix\u003c/em> get twisted in the hands of the internet “manosphere” into models of male supremacy; it’s what lies beneath feminist disagreements about pornography from the ’90s and why they play out today both in the alt-right and in Hollywood movies; it’s there in the scrupulous beauty routines of a famous trans YouTuber. “Most desire is nonconsensual,” she admits in a chapter of \u003cem>Females\u003c/em> about pornography, and all the ways we try to engage with it—hide from it, ignore it, indulge it—indelibly shape us. Desire, for Chu, is gender’s centrifugal force; it’s what makes us all so \u003cem>female\u003c/em> to begin with.\u003c/p>\n\u003cp>Chu puts these cultural products in conversation with the work of revered theorists: Sigmund Freud; Catharine MacKinnon; Andrea Dworkin; and Shulamith Firestone. But no one is so close to Chu’s heart in \u003cem>Females\u003c/em> as Valerie Solanas, the author and artist famous for writing the \u003cem>SCUM Manifesto\u003c/em>, a radical text bent on eliminating the male sex (and for shooting and nearly killing Andy Warhol in 1968). \u003cem>Females\u003c/em> started as an essay about Solanas’ play \u003cem>Up Your A–\u003c/em>—which Solanas hoped, desperately and unsuccessfully, that Warhol would produce—and lines from the play anchor each chapter. Solanas didn’t just give Chu an entrypoint into her first book; it was after encountering Solanas’ work, Chu writes, that she began to come to terms with being transgender. (At the end of one chapter, she reflects on being told about a pornographic video in which two characters are seduced by a professor who reads \u003cem>SCUM\u003c/em>, “turning them into lesbians.” Chu says the plotline “made instant, perfect sense. It’s what Valerie did to me.”)\u003c/p>\n\u003cp>Solanas is often written off as an extremist, or an unfortunate and problematic accident of the second wave—but it’s heartening to watch Chu take her seriously, taking her to task while looking at her legacy with generosity and scrutiny. If Chu knows that \u003cem>Females\u003c/em>‘ central organizing thesis is wildly untenable, it’s in Solanas’ spirit that she pursues it nonetheless. “Valerie would make statements not because they were accurate or true, but simply because she wanted to,” Chu writes; later, “We share this, I think: a preference for indefensible claims, for following our ambivalence to the end.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, \u003cem>Females\u003c/em> is not a polemic; it’s not a guide to escaping the tyranny of our supposed powerlessness in the face of desire. Instead, it is one woman’s attempt to make sense of a time when the possibilities for identity feel terrifying and punishingly limitless, wondering what it might look like to accept our inescapable femaleness—even if we don’t always play by its rules, Chu argues, it might help to know how the points are scored. Beneath the veneer of \u003cem>Females\u003c/em>‘ provocation, those indefensible ideas, it is a surprisingly tender book that aims to tend to a universal ache: the frayed knot of selfhood, desire and power through which, Chu argues, we might try to see ourselves and each other more clearly.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=In+%27Females%2C%27+The+State+Is+Less+A+Biological+Condition+Than+An+Existential+One&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Simone de Beauvoir famously wrote that “one is not born, but rather becomes, a woman,” a claim I could imagine making writer and critic Andrea Long Chu roll her eyes.\u003c/p>\n\u003cp>At the very least, Chu has an update: “Everyone is female,” she writes in the appropriately titled \u003cem>Females, \u003c/em>her first book, “and everyone hates it.”\u003c/p>\n\u003cp>Chu has earned a reputation over the past few years as one of the sharpest new thinkers on gender and sexuality with her essays on, among other topics, transgender identity, feminism and television. (She has also picked up a rather loyal following \u003ca href=\"http://twitter.com/theorygurl\">on Twitter\u003c/a>, where she treats her mental health, PhD candidature and pop-culture diet all with equal wit and consideration.) In \u003cem>Females\u003c/em>—part memoir, part theoretical intervention—Chu explores and defends this claim about universal femaleness, perhaps as much to herself as to anyone else.\u003c/p>\n\u003cp>Of course, the “female” identity on which the book is based is admittedly less a biological condition than an existential one. Chu describes it as an experience “defined by self-negation” that includes “any psychic operation in which the self is sacrificed to make room for the desires of another.” In other words, to be female—which, remember, we all are—is to not express your own desires, identity, personality but rather those of others, impressed upon you. And gender, it follows for Chu, is what people do to deal with the terrible fact of being female.\u003c/p>\n\u003cp>If that sounds dramatic or provocative, that’s largely Chu’s style. In 2018, she wrote a \u003ca href=\"https://nplusonemag.com/issue-30/essays/on-liking-women/\">powerful essay\u003c/a> in the magazine \u003cem>n+1\u003c/em> about transness and the history of feminist organizing that theorist Sandy Stone credited with launching a “second wave” of transgender studies; later that year, Chu wrote an \u003ca href=\"https://www.nytimes.com/2018/11/24/opinion/sunday/vaginoplasty-transgender-medicine.html\">opinion piece\u003c/a> for \u003cem>The New York Times\u003c/em> about transgender people’s rights to medical care. In both cases—and in much of her writing—Chu meticulously frames the popular debate about transgender people, then positions her own point of view on another plane entirely. She’s just as bored by those known colloquially as trans-exclusionary radical feminists, or TERFs, who deny transgender people’s identities outright as she is by the common refrain that transgender people are simply “born in the wrong body” (as when Caitlyn Jenner joked to Diane Sawyer that God gave her “the soul of a woman”). At a moment when society is largely starting to gain a vocabulary for talking, albeit in less-than-nuanced ways, about transgender civil rights, Chu’s refusal to support any mainstream narratives have made her a somewhat controversial figure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But she simply isn’t interested in straightforward, respectable answers. What most of these narratives don’t account for, she argues in \u003cem>Females\u003c/em>, is desire, in all its messy, definitional power. Chu asks: Instead of something stable and inherent—known and knowable, and inescapable right down to our very souls—what if gender is an extension of who we \u003cem>want\u003c/em> to be? What if this quality of \u003cem>wanting\u003c/em> didn’t separate transgender people from cisgender people, but were instead a universal condition of gender itself?\u003c/p>\n\u003cp>Chu writes ferociously and exactingly about the nature of desire: what it makes us do; who it makes us become; grounding these questions in the culture of everyday life. Desire is how \u003cem>Fight Club\u003c/em> and \u003cem>The Matrix\u003c/em> get twisted in the hands of the internet “manosphere” into models of male supremacy; it’s what lies beneath feminist disagreements about pornography from the ’90s and why they play out today both in the alt-right and in Hollywood movies; it’s there in the scrupulous beauty routines of a famous trans YouTuber. “Most desire is nonconsensual,” she admits in a chapter of \u003cem>Females\u003c/em> about pornography, and all the ways we try to engage with it—hide from it, ignore it, indulge it—indelibly shape us. Desire, for Chu, is gender’s centrifugal force; it’s what makes us all so \u003cem>female\u003c/em> to begin with.\u003c/p>\n\u003cp>Chu puts these cultural products in conversation with the work of revered theorists: Sigmund Freud; Catharine MacKinnon; Andrea Dworkin; and Shulamith Firestone. But no one is so close to Chu’s heart in \u003cem>Females\u003c/em> as Valerie Solanas, the author and artist famous for writing the \u003cem>SCUM Manifesto\u003c/em>, a radical text bent on eliminating the male sex (and for shooting and nearly killing Andy Warhol in 1968). \u003cem>Females\u003c/em> started as an essay about Solanas’ play \u003cem>Up Your A–\u003c/em>—which Solanas hoped, desperately and unsuccessfully, that Warhol would produce—and lines from the play anchor each chapter. Solanas didn’t just give Chu an entrypoint into her first book; it was after encountering Solanas’ work, Chu writes, that she began to come to terms with being transgender. (At the end of one chapter, she reflects on being told about a pornographic video in which two characters are seduced by a professor who reads \u003cem>SCUM\u003c/em>, “turning them into lesbians.” Chu says the plotline “made instant, perfect sense. It’s what Valerie did to me.”)\u003c/p>\n\u003cp>Solanas is often written off as an extremist, or an unfortunate and problematic accident of the second wave—but it’s heartening to watch Chu take her seriously, taking her to task while looking at her legacy with generosity and scrutiny. If Chu knows that \u003cem>Females\u003c/em>‘ central organizing thesis is wildly untenable, it’s in Solanas’ spirit that she pursues it nonetheless. “Valerie would make statements not because they were accurate or true, but simply because she wanted to,” Chu writes; later, “We share this, I think: a preference for indefensible claims, for following our ambivalence to the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Females\u003c/em> is not a polemic; it’s not a guide to escaping the tyranny of our supposed powerlessness in the face of desire. Instead, it is one woman’s attempt to make sense of a time when the possibilities for identity feel terrifying and punishingly limitless, wondering what it might look like to accept our inescapable femaleness—even if we don’t always play by its rules, Chu argues, it might help to know how the points are scored. Beneath the veneer of \u003cem>Females\u003c/em>‘ provocation, those indefensible ideas, it is a surprisingly tender book that aims to tend to a universal ache: the frayed knot of selfhood, desire and power through which, Chu argues, we might try to see ourselves and each other more clearly.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=In+%27Females%2C%27+The+State+Is+Less+A+Biological+Condition+Than+An+Existential+One&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Each year, October brings pumpkins, witches and candy. But for artists, it also brings the annual tradition of \u003ca href=\"https://inktober.com/\">Inktober\u003c/a>. Illustrator and writer \u003ca href=\"https://www.mrjakeparker.com/\">Jake Parker\u003c/a> created the drawing challenge 10 years ago as a way to strengthen his ink-drawing skills.\u003c/p>\n\u003cp>In 2009, he announced on his blog that he was going to create and post an ink drawing every day in October, and he invited other artists to join him. Now, millions of drawings are posted to \u003ca href=\"https://www.instagram.com/explore/tags/inktober/\">#inktober\u003c/a> on Instagram.\u003c/p>\n\u003cp>“It’s a lot to absorb and follow,” Parker says.\u003c/p>\n\u003cp>A few years ago, \u003ca href=\"https://inktober.com/rules\">Parker introduced daily prompts\u003c/a>: a daily word that could serve as inspiration for a drawing during Inktober. Some artists work on a consistent theme or project throughout the month; others prefer a less rigid approach.\u003c/p>\n\u003cp>“Every year, it’s a chance to spend that time focused on a project that can be finished in a month or get a good chunk of it done in a month,” Parker says. Some Inktober projects have turned into published books.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The goal is to post a new drawing each day, but it can be demanding to meet that pace.\u003c/p>\n\u003cp>“I’m all about building habits and even if I can find only 15 minutes to draw, I’ll use this time the best I can,” \u003ca href=\"https://dariagolab.com/\">artist and illustrator Daria Golab\u003c/a> writes in an email. “At the same time if I miss a few days, I don’t worry about it and will try to catch up but without putting too much pressure on it.”\u003c/p>\n\u003cp>Any artist can join the challenge, using any creative process the person wishes. Here is a selection of artists creating work for Inktober and their experiences, shared via email:\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FOJvGD8R5/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I usually draw something simple every day,” \u003ca href=\"https://www.nicole-xu.com/\">illustrator Nicole Xu\u003c/a> writes. ” It’s not a strict rule though. This Inktober, I was swamped with freelance work, so I had to take a break from inking so it didn’t feel like a chore.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3kHYUQJtky/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I think of everyday items or topics that interest me and begin brainstorming how I can turn those subjects into art in the most eccentric way possible, while still keeping animals and nature as the main focus,” \u003ca href=\"http://www.dominiqueramsey.com/\">illustrator Dominique Ramsey\u003c/a> writes.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3M4330FiTQ/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I like to create pieces as often as I can,” \u003ca href=\"https://www.instagram.com/dustybrockway/\">artist Michael Lindberg\u003c/a> writes. “Sometimes that means several drawings a week or just one. I enjoy the process of generating ideas and getting them out of my head.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B34Kk9jHOMg/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“When it comes to Inktober or any other challenge, I try to post every single piece,” Golab writes. “Even if I don’t really like it, I try not to subscribe to the idea of only showing good results. Good artists make bad works too!”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3l6UosA6rX/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have been creating pieces almost everyday this month,” \u003ca href=\"https://www.instagram.com/the.arti.tect/\">artist and architect Anu Sam\u003c/a> writes. “However it takes me much longer to perfect an artwork otherwise, seeking for just the right mood. Since my method of execution involves stippling I tend to work for hours on a single inked drawing for the day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inktober+Challenge+Pushes+Artists+To+Flex+Their+Creative+Muscles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year, October brings pumpkins, witches and candy. But for artists, it also brings the annual tradition of \u003ca href=\"https://inktober.com/\">Inktober\u003c/a>. Illustrator and writer \u003ca href=\"https://www.mrjakeparker.com/\">Jake Parker\u003c/a> created the drawing challenge 10 years ago as a way to strengthen his ink-drawing skills.\u003c/p>\n\u003cp>In 2009, he announced on his blog that he was going to create and post an ink drawing every day in October, and he invited other artists to join him. Now, millions of drawings are posted to \u003ca href=\"https://www.instagram.com/explore/tags/inktober/\">#inktober\u003c/a> on Instagram.\u003c/p>\n\u003cp>“It’s a lot to absorb and follow,” Parker says.\u003c/p>\n\u003cp>A few years ago, \u003ca href=\"https://inktober.com/rules\">Parker introduced daily prompts\u003c/a>: a daily word that could serve as inspiration for a drawing during Inktober. Some artists work on a consistent theme or project throughout the month; others prefer a less rigid approach.\u003c/p>\n\u003cp>“Every year, it’s a chance to spend that time focused on a project that can be finished in a month or get a good chunk of it done in a month,” Parker says. Some Inktober projects have turned into published books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Dos and Don'ts of Halloween Costumes and Decorations",
"headTitle": "The Dos and Don’ts of Halloween Costumes and Decorations | KQED",
"content": "\u003cp>It’s that time of year: Leaves are falling, temperatures are dropping, families are heading out to the pumpkin patch and that \u003cem>one \u003c/em>neighbor is preparing to hand out raisins to kids who’d much, much rather have candy. All is well—at least until our social media feeds are flooded with the annual onslaught of racial Halloween faux pas.\u003c/p>\n\u003cp>Often these incidents trigger debate about what should and shouldn’t be allowed when it comes to festivities. It’s a tired conversation that often ends in diatribes about the tyranny of political correctness and how no one knows how to have \u003cem>fun \u003c/em>anymore. We don’t want to have that conversation; we’d rather just eat our treats in peace. That’s why we’re bringing you our \u003ca href=\"https://www.npr.org/sections/codeswitch/\" target=\"_blank\" rel=\"noopener\">\u003cem>Code Switch\u003c/em>\u003c/a> Guide to Halloween\u003cem>. \u003c/em>Unsure if your decorations have racial overtones? Wondering what costumes\u003cem> are\u003c/em> fair game? We’ve got you covered so you can have some fearful fun.\u003c/p>\n\u003chr>\n\u003cp>Let’s start with some terminology: Halloween is all about the fantastical world of horror. Scary costumes, eerie noises, creepy decorations, \u003ca href=\"https://twitter.com/cursedimages?lang=en\">cursed images\u003c/a>. But … “spooky”? It’s a term some people use around this time of year without much thought. But in the era after World War II, it also became a slur for black people. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask Code Switch\u003c/a> reader wrote in 2017 to ask us about the appropriate use of “spook” and “spooky,” so we dove into its history and \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/24/559502238/this-halloween-what-does-it-mean-to-call-something-spooky\">offered some guidance\u003c/a>:\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” sociolinguist Renee Blake told us. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, okay, you mean ‘Did you get scared or frightened?’ That’s fine—I get it.” In other words, be conscious of your surroundings.\u003c/p>\n\u003cp>Of course, when it comes to Halloween, language is just the beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We have a joke here at \u003cem>Code Switch\u003c/em> that Halloween is like blackface Christmas. And every year, there’s at least one headline with the story of one very tasteless costume. These scandals cycle back around \u003ca href=\"https://www.nytimes.com/2013/10/31/fashion/a-halloween-risk-racism-in-disguise.html?smid=tw-nytstyles&seid=auto&_r=1&\">again\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/10/23/media/megyn-kelly-blackface/index.html\">again\u003c/a> and \u003ca href=\"https://www.npr.org/2019/09/20/762643480/trudeaus-blackface-incidents-reveal-another-side-of-canada\">again\u003c/a>.\u003c/p>\n\u003cp>When it comes to this topic, we’ve been there before—with a \u003ca href=\"https://www.npr.org/2019/02/07/692237314/were-going-to-start-a-dialogue-again\">whole podcast episode\u003c/a> about it. As our very own Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">put it\u003c/a>, in response to the infamous Megyn Kelly statement that she didn’t understand why blackface on Halloween is a problem: “Maybe these annual conversations should be less about \u003cem>whether\u003c/em> blackface is bad, but why so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>Sure, no one \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/northam-mum-about-his-plans-after-a-flood-of-calls-for-his-resignation-for-racist-and-offensive-photo/2019/02/02/5883402a-26e9-11e9-90cd-dedb0c92dc17_story.html?wpisrc=al_news__alert-national--alert-politics--alert-local-politics&wpmk=1\">ever\u003c/a> *\u003ca href=\"https://www.shreveporttimes.com/story/news/2017/02/27/political-website-shows-la-house-candidate-blackface/98478246/\">really\u003c/a>* \u003ca href=\"https://www.cnn.com/2017/12/18/football/antoine-griezmann-blackface-costume-atletico-madrid/index.html\">intends\u003c/a> to offend others with their rendition of a famous black character or icon (do they?), but intent shouldn’t be at the forefront of our examination (nor should it take precedent in the apology that follows).\u003c/p>\n\u003cp>Moving on from shoe polish, here are some more costume ideas that fit into our do’s and don’ts.\u003c/p>\n\u003cp>First, under the do’s:\u003c/p>\n\u003cp>Go for one of the classics: pirate, astronaut, ghost, cheerleader. You know the drill. Or spice it up with some pop culture creativity: Harness physiological terror by dressing up as a Tethered from \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\">Us\u003c/a>, an alien at Area 51 or, if you’re looking for a group costume, \u003ca href=\"https://www.vox.com/future-perfect/2019/8/6/20756162/30-to-50-feral-hogs-meme-assault-weapons-guns-kids\">30 to 50 feral hogs\u003c/a>.\u003c/p>\n\u003cp>Now for some don’ts:\u003c/p>\n\u003cp>Let’s start with the obvious. Stay away from the \u003ca href=\"https://www.hcn.org/articles/tribal-affairs-lingerie-company-quietly-removes-native-american-themed-costumes\">sexy Indian\u003c/a> fringe-and-headdresses idea (there’s nothing erotic about genocide!). Geisha wear (yes, this includes kimonos) and \u003ca href=\"https://splinternews.com/psa-transphobic-halloween-costumes-like-this-one-are-a-1793862442\">transphobic ensembles\u003c/a> are also off-limits. Anything that makes a spectacle out of a culture or ethnicity is to be avoided.\u003c/p>\n\u003cp>But what if there hasn’t been a media storm condemning a certain costume and you still sense something is off? Like when a reader \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">wrote to us about\u003c/a> her child wanting to dress as a voodoo doll. “I don’t know enough about Louisiana culture or African religious traditions to know whether this would hurt or offend someone,” she said.\u003c/p>\n\u003cp>Her instinct that something felt off? Right on the mark. \u003cem>NPR\u003c/em>‘s Leah Donnella scouted out the origins of “voodoo” and its use as a catchall for many religions. The best known of those is Haitian Vodou, which is vastly misunderstood by Americans and is not to be confused with what you see in movies like \u003ca href=\"http://www.sciencefictionarchives.com/en/other-collections/583/original-indiana-jones-voodoo-doll\">Indiana Jones\u003c/a> or\u003ca href=\"http://religiondispatches.org/bad-magic-voodoo-according-to-disney/\"> The Princess and the Frog\u003c/a>. The conclusion, as \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">our story\u003c/a> put it, is that “when it comes to Halloween, treat Vodou like you would any other faith. That is to say, don’t delve into anyone else’s religious traditions (real or dreamed up by Hollywood) in search of a costume.”\u003c/p>\n\u003cp>All in all, you should trust your suspicions. If you have to ask yourself whether your costume is offensive, it likely is. And you don’t want to be the only one in on the joke.\u003c/p>\n\u003cp>Great. So your language is in check. Your costume is in check. You’re on track to become the best on the block. Now let’s talk decorations.\u003c/p>\n\u003cp>There are endless ways to funk up your displays: jack-o’-lanterns, broomsticks and cobwebs. But then there are optics that send a much more sinister message. In 2018 we answered a \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">question from a listener\u003c/a> who asked about hanging skeletons by a noose outside his home. Was this, he wanted to know, \u003ca href=\"https://www.nytimes.com/2019/10/25/nyregion/nooses-blackface-halloween-decorations.html\">reminiscent of a lynching\u003c/a>?\u003c/p>\n\u003cp>Well, yeah. Images carry meaning that far surpass what may appear to be true at face value. It’s our responsibility to seek that understanding even when—and especially if—our identities have shielded us from those legacies of horror. \u003ca href=\"http://www.monroeworktoday.org/lynching.html\">The era of lynching\u003c/a> in America began after Reconstruction, and between 1877 and 1950, over 4,000 African Americans were murdered in racial lynchings, often becoming public spectacles for white community residents. (Our podcast episode “\u003ca href=\"https://www.npr.org/2019/10/21/772080008/a-strange-and-bitter-crop\">A Strange and Bitter Crop\u003c/a>” explores the horror of the Claude Neal lynching of 1934.)\u003c/p>\n\u003cp>Don’t worry—you can still make use of your skeletons. NPR’s Mayowa Aina \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">suggests\u003c/a> sitting the skeleton up in a tree so it looks like someone died and decomposed or even using spiderwebs instead of rope. Decorations are fun because you can use your imagination, so get creative and avoid invoking historical trauma.\u003c/p>\n\u003cp>So this year and always, be mindful of your mischief. Entertainment this All Hallows’ Eve doesn’t have to come at a cost to anyone, and avoiding missteps doesn’t take much extra effort.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Oh, there’s still a perennial Halloween debate that we’re not going to solve here. Even after years of controversy, the C\u003cem>ode Switch\u003c/em> team is split on this one: Is \u003ca href=\"https://twitter.com/wbaltv11/status/1184967202665046017\">candy corn\u003c/a> good or bad? We’d love to know \u003ca href=\"mailto:codeswitch@npr.org\">what side you’re on\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Code+Switch+Guide+To+Halloween&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year: Leaves are falling, temperatures are dropping, families are heading out to the pumpkin patch and that \u003cem>one \u003c/em>neighbor is preparing to hand out raisins to kids who’d much, much rather have candy. All is well—at least until our social media feeds are flooded with the annual onslaught of racial Halloween faux pas.\u003c/p>\n\u003cp>Often these incidents trigger debate about what should and shouldn’t be allowed when it comes to festivities. It’s a tired conversation that often ends in diatribes about the tyranny of political correctness and how no one knows how to have \u003cem>fun \u003c/em>anymore. We don’t want to have that conversation; we’d rather just eat our treats in peace. That’s why we’re bringing you our \u003ca href=\"https://www.npr.org/sections/codeswitch/\" target=\"_blank\" rel=\"noopener\">\u003cem>Code Switch\u003c/em>\u003c/a> Guide to Halloween\u003cem>. \u003c/em>Unsure if your decorations have racial overtones? Wondering what costumes\u003cem> are\u003c/em> fair game? We’ve got you covered so you can have some fearful fun.\u003c/p>\n\u003chr>\n\u003cp>Let’s start with some terminology: Halloween is all about the fantastical world of horror. Scary costumes, eerie noises, creepy decorations, \u003ca href=\"https://twitter.com/cursedimages?lang=en\">cursed images\u003c/a>. But … “spooky”? It’s a term some people use around this time of year without much thought. But in the era after World War II, it also became a slur for black people. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask Code Switch\u003c/a> reader wrote in 2017 to ask us about the appropriate use of “spook” and “spooky,” so we dove into its history and \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/24/559502238/this-halloween-what-does-it-mean-to-call-something-spooky\">offered some guidance\u003c/a>:\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” sociolinguist Renee Blake told us. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, okay, you mean ‘Did you get scared or frightened?’ That’s fine—I get it.” In other words, be conscious of your surroundings.\u003c/p>\n\u003cp>Of course, when it comes to Halloween, language is just the beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We have a joke here at \u003cem>Code Switch\u003c/em> that Halloween is like blackface Christmas. And every year, there’s at least one headline with the story of one very tasteless costume. These scandals cycle back around \u003ca href=\"https://www.nytimes.com/2013/10/31/fashion/a-halloween-risk-racism-in-disguise.html?smid=tw-nytstyles&seid=auto&_r=1&\">again\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/10/23/media/megyn-kelly-blackface/index.html\">again\u003c/a> and \u003ca href=\"https://www.npr.org/2019/09/20/762643480/trudeaus-blackface-incidents-reveal-another-side-of-canada\">again\u003c/a>.\u003c/p>\n\u003cp>When it comes to this topic, we’ve been there before—with a \u003ca href=\"https://www.npr.org/2019/02/07/692237314/were-going-to-start-a-dialogue-again\">whole podcast episode\u003c/a> about it. As our very own Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">put it\u003c/a>, in response to the infamous Megyn Kelly statement that she didn’t understand why blackface on Halloween is a problem: “Maybe these annual conversations should be less about \u003cem>whether\u003c/em> blackface is bad, but why so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>Sure, no one \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/northam-mum-about-his-plans-after-a-flood-of-calls-for-his-resignation-for-racist-and-offensive-photo/2019/02/02/5883402a-26e9-11e9-90cd-dedb0c92dc17_story.html?wpisrc=al_news__alert-national--alert-politics--alert-local-politics&wpmk=1\">ever\u003c/a> *\u003ca href=\"https://www.shreveporttimes.com/story/news/2017/02/27/political-website-shows-la-house-candidate-blackface/98478246/\">really\u003c/a>* \u003ca href=\"https://www.cnn.com/2017/12/18/football/antoine-griezmann-blackface-costume-atletico-madrid/index.html\">intends\u003c/a> to offend others with their rendition of a famous black character or icon (do they?), but intent shouldn’t be at the forefront of our examination (nor should it take precedent in the apology that follows).\u003c/p>\n\u003cp>Moving on from shoe polish, here are some more costume ideas that fit into our do’s and don’ts.\u003c/p>\n\u003cp>First, under the do’s:\u003c/p>\n\u003cp>Go for one of the classics: pirate, astronaut, ghost, cheerleader. You know the drill. Or spice it up with some pop culture creativity: Harness physiological terror by dressing up as a Tethered from \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\">Us\u003c/a>, an alien at Area 51 or, if you’re looking for a group costume, \u003ca href=\"https://www.vox.com/future-perfect/2019/8/6/20756162/30-to-50-feral-hogs-meme-assault-weapons-guns-kids\">30 to 50 feral hogs\u003c/a>.\u003c/p>\n\u003cp>Now for some don’ts:\u003c/p>\n\u003cp>Let’s start with the obvious. Stay away from the \u003ca href=\"https://www.hcn.org/articles/tribal-affairs-lingerie-company-quietly-removes-native-american-themed-costumes\">sexy Indian\u003c/a> fringe-and-headdresses idea (there’s nothing erotic about genocide!). Geisha wear (yes, this includes kimonos) and \u003ca href=\"https://splinternews.com/psa-transphobic-halloween-costumes-like-this-one-are-a-1793862442\">transphobic ensembles\u003c/a> are also off-limits. Anything that makes a spectacle out of a culture or ethnicity is to be avoided.\u003c/p>\n\u003cp>But what if there hasn’t been a media storm condemning a certain costume and you still sense something is off? Like when a reader \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">wrote to us about\u003c/a> her child wanting to dress as a voodoo doll. “I don’t know enough about Louisiana culture or African religious traditions to know whether this would hurt or offend someone,” she said.\u003c/p>\n\u003cp>Her instinct that something felt off? Right on the mark. \u003cem>NPR\u003c/em>‘s Leah Donnella scouted out the origins of “voodoo” and its use as a catchall for many religions. The best known of those is Haitian Vodou, which is vastly misunderstood by Americans and is not to be confused with what you see in movies like \u003ca href=\"http://www.sciencefictionarchives.com/en/other-collections/583/original-indiana-jones-voodoo-doll\">Indiana Jones\u003c/a> or\u003ca href=\"http://religiondispatches.org/bad-magic-voodoo-according-to-disney/\"> The Princess and the Frog\u003c/a>. The conclusion, as \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">our story\u003c/a> put it, is that “when it comes to Halloween, treat Vodou like you would any other faith. That is to say, don’t delve into anyone else’s religious traditions (real or dreamed up by Hollywood) in search of a costume.”\u003c/p>\n\u003cp>All in all, you should trust your suspicions. If you have to ask yourself whether your costume is offensive, it likely is. And you don’t want to be the only one in on the joke.\u003c/p>\n\u003cp>Great. So your language is in check. Your costume is in check. You’re on track to become the best on the block. Now let’s talk decorations.\u003c/p>\n\u003cp>There are endless ways to funk up your displays: jack-o’-lanterns, broomsticks and cobwebs. But then there are optics that send a much more sinister message. In 2018 we answered a \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">question from a listener\u003c/a> who asked about hanging skeletons by a noose outside his home. Was this, he wanted to know, \u003ca href=\"https://www.nytimes.com/2019/10/25/nyregion/nooses-blackface-halloween-decorations.html\">reminiscent of a lynching\u003c/a>?\u003c/p>\n\u003cp>Well, yeah. Images carry meaning that far surpass what may appear to be true at face value. It’s our responsibility to seek that understanding even when—and especially if—our identities have shielded us from those legacies of horror. \u003ca href=\"http://www.monroeworktoday.org/lynching.html\">The era of lynching\u003c/a> in America began after Reconstruction, and between 1877 and 1950, over 4,000 African Americans were murdered in racial lynchings, often becoming public spectacles for white community residents. (Our podcast episode “\u003ca href=\"https://www.npr.org/2019/10/21/772080008/a-strange-and-bitter-crop\">A Strange and Bitter Crop\u003c/a>” explores the horror of the Claude Neal lynching of 1934.)\u003c/p>\n\u003cp>Don’t worry—you can still make use of your skeletons. NPR’s Mayowa Aina \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">suggests\u003c/a> sitting the skeleton up in a tree so it looks like someone died and decomposed or even using spiderwebs instead of rope. Decorations are fun because you can use your imagination, so get creative and avoid invoking historical trauma.\u003c/p>\n\u003cp>So this year and always, be mindful of your mischief. Entertainment this All Hallows’ Eve doesn’t have to come at a cost to anyone, and avoiding missteps doesn’t take much extra effort.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, there’s still a perennial Halloween debate that we’re not going to solve here. Even after years of controversy, the C\u003cem>ode Switch\u003c/em> team is split on this one: Is \u003ca href=\"https://twitter.com/wbaltv11/status/1184967202665046017\">candy corn\u003c/a> good or bad? We’d love to know \u003ca href=\"mailto:codeswitch@npr.org\">what side you’re on\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Code+Switch+Guide+To+Halloween&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inzsKlVR_N8\u003c/p>\n\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KyoE0mSJXO8\u003c/p>\n\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\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/inzsKlVR_N8'\n title='//www.youtube.com/embed/inzsKlVR_N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\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/KyoE0mSJXO8'\n title='//www.youtube.com/embed/KyoE0mSJXO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Janis,' Joplin Shown to Be a Tangle of Talents, Contradictions and Mythology",
"headTitle": "In ‘Janis,’ Joplin Shown to Be a Tangle of Talents, Contradictions and Mythology | KQED",
"content": "\u003cp>In 1969, \u003cem>Newsweek\u003c/em> bestowed this honorific on Janis Joplin: “The first female superstar of rock music.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868998 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png\" alt=\"\" width=\"290\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png 290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM-160x241.png 160w\" sizes=\"(max-width: 290px) 100vw, 290px\">It’s also a claim that Holly George-Warren sets out to prove in \u003cem>Janis\u003c/em>, her new biography of the iconic Texan singer who rocketed to fame after becoming the frontwoman of the San Francisco blues-rock group Big Brother and the Holding Company—only to die four years later at the age of 27, a casualty of the freewheeling ’60s, the decade she came to embody.\u003c/p>\n\u003cp>Joplin was born in 1943 in Port Arthur, Texas, where she would spend much of her brief life. As a child, her tomboy brusqueness and outspoken charm complemented her complexity of mind and spirit; Port Arthur was a segregated “cultural backwater,” according to George-Warren, that only served to heighten Joplin’s independence and curiosity. After falling under the sway of blues and rock music as a teenager, she leapt eagerly into the beatnik scene. Beat author Jack Kerouac’s \u003cem>On the Road\u003c/em> floored her in 1957, and its exploration of freedom and countercultural notions set her soul ablaze. From there, sex and drugs became staples of her life, a progression that often feels formulaic in accounts of Boomer coming-of-age. But George-Warren’s deep research, eye for detail, illuminating contextualization, and clarity of delivery all make for a far more rounded and convincing image of Joplin’s precocity in the heady decades of post-World War II America.\u003c/p>\n\u003cp>But it was Joplin’s pilgrimage to San Francisco in 1966 to join the up-and-coming psychedelic band Big Brother and the Holding Company that catapulted her to the pop-culture pantheon. Her gritty, gutsy, godlike voice didn’t mesh well with the group at first; they had to bend their more progressive tendencies in order to accommodate their new singer’s far more direct and impactful sound. Big Brother’s searing appearance at the Monterey Pop Festival in the summer of 1967 cemented her stardom, and their hit single “Piece of My Heart,” an Erma Franklin cover, from their best-selling 1968 album \u003cem>Cheap Thrills \u003c/em>became an anthem for hippies and feminists everywhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7uG2gYE5KOs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George-Warren traces this rise meticulously, citing contemporaneous interviews as well as fresh sources in order to paint Joplin’s ascendance far more fully than has ever been accomplished before. And her riotous anecdotes splash color on the canvas, from the time Joplin started a massive bar-brawl thanks to her sensuous dancing one night in Austin to the snapshot of her getting into a fistfight with one of her heroes, Jerry Lee Lewis.\u003c/p>\n\u003cp>George-Warren’s prior work includes biographies of other troubled rockers with cult followings, most recently Big Star’s Alex Chilton in her book \u003ca href=\"https://www.npr.org/2014/03/27/289062063/the-backwards-life-of-alex-chilton-in-destruction\">\u003cem>A Man Called Destruction\u003c/em>\u003c/a>. Her knack for capturing conflicted subjects is uncanny; in \u003cem>Janis\u003c/em>, she digs into Joplin’s layered emotions, fluid sexuality, unshakably low self-esteem, and unquenchable urge to transcend her racist, restricted Port Arthur upbringing. Joplin left Big Brother in early 1969 to strike out on her own, and her solo career accelerated everything in her life, good and bad, toward a terminal velocity.\u003c/p>\n\u003cp>\u003cem>Janis \u003c/em>captivatingly tells the story of her two solo albums, 1969’s \u003cem>I Got Dem Ol’ Kozmic Blues Again Mama!\u003c/em> and 1971’s posthumous \u003cem>Pearl\u003c/em>, as well as the latter’s chart-topping hit “Me and Bobby McGee,” rendering the backdrop and behind-the-scenes genesis of these recordings with crystalline insight. Joplin’s death on Oct. 4, 1970, of an accidental heroin overdose seems like a tragic inevitability, the byproduct of a life spent leaning into the boundaries of expression and art. At \u003cem>Janis\u003c/em>‘s heart is Joplin’s voice—a ragged, sensitive, elemental howl that the singer herself explained by saying, “I just opened my mouth and that’s what I sounded like.”\u003c/p>\n\u003cp>“Domestic earth mother” versus “tough biker chick”: By book’s end, George-Warren has boiled down Joplin’s complicated psyche into this simple, vivid dichotomy. But the author is far from reductive as she does so. In encapsulating Joplin’s dual nature so concisely, George-Warren delivers the definitive portrait of one of pop culture’s most misunderstood martyrs. Joplin was both a product and an architect of her times; in dwelling so sympathetically on her tangle of talents, contradictions, and mythology, \u003cem>Janis \u003c/em>brings one of rock’s most enduring legends down to earth while holding her justly up to the light.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Heller is a Hugo Award-winning editor and author of the new book \u003c/em>Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded. \u003cem>He’s on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/jason_m_heller\">\u003cem>@jason_m_heller\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Janis%2C%27+Joplin+Shown+To+Be+A+Tangle+Of+Talents%2C+Contradictions+And+Mythology&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1969, \u003cem>Newsweek\u003c/em> bestowed this honorific on Janis Joplin: “The first female superstar of rock music.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868998 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png\" alt=\"\" width=\"290\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png 290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM-160x241.png 160w\" sizes=\"(max-width: 290px) 100vw, 290px\">It’s also a claim that Holly George-Warren sets out to prove in \u003cem>Janis\u003c/em>, her new biography of the iconic Texan singer who rocketed to fame after becoming the frontwoman of the San Francisco blues-rock group Big Brother and the Holding Company—only to die four years later at the age of 27, a casualty of the freewheeling ’60s, the decade she came to embody.\u003c/p>\n\u003cp>Joplin was born in 1943 in Port Arthur, Texas, where she would spend much of her brief life. As a child, her tomboy brusqueness and outspoken charm complemented her complexity of mind and spirit; Port Arthur was a segregated “cultural backwater,” according to George-Warren, that only served to heighten Joplin’s independence and curiosity. After falling under the sway of blues and rock music as a teenager, she leapt eagerly into the beatnik scene. Beat author Jack Kerouac’s \u003cem>On the Road\u003c/em> floored her in 1957, and its exploration of freedom and countercultural notions set her soul ablaze. From there, sex and drugs became staples of her life, a progression that often feels formulaic in accounts of Boomer coming-of-age. But George-Warren’s deep research, eye for detail, illuminating contextualization, and clarity of delivery all make for a far more rounded and convincing image of Joplin’s precocity in the heady decades of post-World War II America.\u003c/p>\n\u003cp>But it was Joplin’s pilgrimage to San Francisco in 1966 to join the up-and-coming psychedelic band Big Brother and the Holding Company that catapulted her to the pop-culture pantheon. Her gritty, gutsy, godlike voice didn’t mesh well with the group at first; they had to bend their more progressive tendencies in order to accommodate their new singer’s far more direct and impactful sound. Big Brother’s searing appearance at the Monterey Pop Festival in the summer of 1967 cemented her stardom, and their hit single “Piece of My Heart,” an Erma Franklin cover, from their best-selling 1968 album \u003cem>Cheap Thrills \u003c/em>became an anthem for hippies and feminists everywhere.\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/7uG2gYE5KOs'\n title='//www.youtube.com/embed/7uG2gYE5KOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George-Warren traces this rise meticulously, citing contemporaneous interviews as well as fresh sources in order to paint Joplin’s ascendance far more fully than has ever been accomplished before. And her riotous anecdotes splash color on the canvas, from the time Joplin started a massive bar-brawl thanks to her sensuous dancing one night in Austin to the snapshot of her getting into a fistfight with one of her heroes, Jerry Lee Lewis.\u003c/p>\n\u003cp>George-Warren’s prior work includes biographies of other troubled rockers with cult followings, most recently Big Star’s Alex Chilton in her book \u003ca href=\"https://www.npr.org/2014/03/27/289062063/the-backwards-life-of-alex-chilton-in-destruction\">\u003cem>A Man Called Destruction\u003c/em>\u003c/a>. Her knack for capturing conflicted subjects is uncanny; in \u003cem>Janis\u003c/em>, she digs into Joplin’s layered emotions, fluid sexuality, unshakably low self-esteem, and unquenchable urge to transcend her racist, restricted Port Arthur upbringing. Joplin left Big Brother in early 1969 to strike out on her own, and her solo career accelerated everything in her life, good and bad, toward a terminal velocity.\u003c/p>\n\u003cp>\u003cem>Janis \u003c/em>captivatingly tells the story of her two solo albums, 1969’s \u003cem>I Got Dem Ol’ Kozmic Blues Again Mama!\u003c/em> and 1971’s posthumous \u003cem>Pearl\u003c/em>, as well as the latter’s chart-topping hit “Me and Bobby McGee,” rendering the backdrop and behind-the-scenes genesis of these recordings with crystalline insight. Joplin’s death on Oct. 4, 1970, of an accidental heroin overdose seems like a tragic inevitability, the byproduct of a life spent leaning into the boundaries of expression and art. At \u003cem>Janis\u003c/em>‘s heart is Joplin’s voice—a ragged, sensitive, elemental howl that the singer herself explained by saying, “I just opened my mouth and that’s what I sounded like.”\u003c/p>\n\u003cp>“Domestic earth mother” versus “tough biker chick”: By book’s end, George-Warren has boiled down Joplin’s complicated psyche into this simple, vivid dichotomy. But the author is far from reductive as she does so. In encapsulating Joplin’s dual nature so concisely, George-Warren delivers the definitive portrait of one of pop culture’s most misunderstood martyrs. Joplin was both a product and an architect of her times; in dwelling so sympathetically on her tangle of talents, contradictions, and mythology, \u003cem>Janis \u003c/em>brings one of rock’s most enduring legends down to earth while holding her justly up to the light.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Heller is a Hugo Award-winning editor and author of the new book \u003c/em>Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded. \u003cem>He’s on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/jason_m_heller\">\u003cem>@jason_m_heller\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Janis%2C%27+Joplin+Shown+To+Be+A+Tangle+Of+Talents%2C+Contradictions+And+Mythology&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>[aside tag='prince' label='More on Prince']\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "hundreds-of-musicians-pledge-to-cut-ties-with-amazon-in-no-music-for-ice-letter",
"title": "Hundreds Of Musicians Pledge To Cut Ties With Amazon In 'No Music For ICE' Letter",
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"content": "\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>[aside postID='arts_13849625' label='Stories For You']\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13852882' label='Apple Isn't Paying Artists Who Perform at Its Stores']\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>[aside postID='arts_13859794' label='Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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