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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": "\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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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"title": "Shudder Puts the Screaming in Streaming Video",
"headTitle": "Shudder Puts the Screaming in Streaming Video | KQED",
"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",
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"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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"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>\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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"content": "\u003cp>It is both a positive and negative attribute of the anthology series that it tends to be uneven. \u003cem>Black Mirror \u003c/em>is, the new \u003cem>Twilight Zone \u003c/em>was, \u003cem>Room 104 \u003c/em>is. And now, Amazon is presenting an eight-episode series based on the loved, hated, and love-to-hated \u003cem>New York Times \u003c/em>column \u003cem>Modern Love\u003c/em>. Created by John Carney, who directed \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, it is—of course—uneven.\u003c/p>\n\u003cp>The column has a cozy (or is it irritating?) tendency to build itself around a hook, a little lesson about How Love Works. Each of these episodes is based on an existing column, and shares that tendency to tie itself up a little too neatly, as a New York tale with an indie-music, coffee-shop gentility. The first episode, “When The Doorman Is Your Main Man,” finds a young woman (Cristin Milioti) relying on her kindly doorman (Laurentiu Possa) to help her cope with her dating life and then her unexpected pregnancy. Another, “Rallying To Keep The Game Alive,” tracks a couple (Tina Fey and John Slattery) discovering that tennis can serve as a bond as their marriage weathers midlife stresses. “Love works this way,” each episode suggests as it tucks you into its pretty and friendly New York City like a wool blanket.\u003c/p>\n\u003cp>Carney is a curious choice to head up this series, because \u003cem>Once \u003c/em>and \u003cem>Sing Street \u003c/em>are both about ideas of love that are much less neat. In fact, perhaps surprisingly, the neatness and the lesson-learning of \u003cem>Modern Love \u003c/em>are what often makes the series seem slight. You would expect, maybe, a Carney take on a romantic anthology to be about less obvious angles than the fact that older people on their second marriages can still fall meaningfully in love, or that the last thing you want is to find yourself with regrets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=650Mt63HIBU\u003c/p>\n\u003cp>Where \u003cem>Modern Love \u003c/em>gets most of its shine is from its cast. In addition to all those mentioned above, it also features Anne Hathaway, Andrew Scott (yes, that’s Hot Priest to you \u003cem>Fleabag \u003c/em>people), Andy Garcia, James Saito, Jane Alexander, Catherine Keener, Dev Patel, and many others. It is \u003cem>definitively \u003c/em>a good idea for Tina Fey and John Slattery to play a New York married couple; that is a gift. That their story isn’t all that compelling doesn’t mean it’s not worth watching, simply to see them interact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while the stories often feel pat, there are some interesting experiments to be found here. Hathaway plays a woman who isn’t sure how to tell potential dates she’s bipolar, and the way music and fantasy sequences are deployed turn out to be a pretty effective method of demonstrating how completely different she feels like she is, depending on what her brain is doing. (It’s probably also the story that feels the least like the rest.)\u003c/p>\n\u003cp>Some episodes are more true to their source material than others. An essay by Dan Savage about the very complicated open adoption of his son becomes the episode starring Andrew Scott and Brandon Kyle Goodman as a gay couple who adopt from a homeless woman (Olivia Cooke). Where Savage’s piece is full of frustration and uncertainty about the child’s relationship with his birth mother, the episode is mostly about a worrying father-to-be learning to embrace the uncertainty of a quirky homeless person’s existence. It’s a reductive take on the story, and not at all true to either this particular real-life tale or Savage’s general posture as a writer.\u003c/p>\n\u003cp>It’s not easy to tell a romantic story in a half-hour, which is the approximate length of these episodes (within, say, five minutes). You have to establish two people (sometimes more), set the stage, create a problem, and create some resolution to that problem—in a third of the length of a feature film. And anthologies are, in general, a good thing, in that they allow for people to try things: combinations of actors, formal experiments, directing strategies, and so forth. But \u003cem>Modern Love \u003c/em>really feels like it would have benefited from less tidiness, less ponderousness—maybe even, dare I say, a little less \u003cem>New York Times\u003c/em>-iness. Where it wants to be whimsical it comes across as cloying, and where it wants to speak to something common to multiple stories of (mostly white, mostly affluent) New York love, the emotions almost feel franchised.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like the \u003cem>Modern Love \u003c/em>column itself, the series does have its pleasures and its truths. But—again, like the column—there’s a little less there than meets the eye.\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=%27Modern+Love%27+Is+An+Uneven+Tour+Of+New+York+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is both a positive and negative attribute of the anthology series that it tends to be uneven. \u003cem>Black Mirror \u003c/em>is, the new \u003cem>Twilight Zone \u003c/em>was, \u003cem>Room 104 \u003c/em>is. And now, Amazon is presenting an eight-episode series based on the loved, hated, and love-to-hated \u003cem>New York Times \u003c/em>column \u003cem>Modern Love\u003c/em>. Created by John Carney, who directed \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, it is—of course—uneven.\u003c/p>\n\u003cp>The column has a cozy (or is it irritating?) tendency to build itself around a hook, a little lesson about How Love Works. Each of these episodes is based on an existing column, and shares that tendency to tie itself up a little too neatly, as a New York tale with an indie-music, coffee-shop gentility. The first episode, “When The Doorman Is Your Main Man,” finds a young woman (Cristin Milioti) relying on her kindly doorman (Laurentiu Possa) to help her cope with her dating life and then her unexpected pregnancy. Another, “Rallying To Keep The Game Alive,” tracks a couple (Tina Fey and John Slattery) discovering that tennis can serve as a bond as their marriage weathers midlife stresses. “Love works this way,” each episode suggests as it tucks you into its pretty and friendly New York City like a wool blanket.\u003c/p>\n\u003cp>Carney is a curious choice to head up this series, because \u003cem>Once \u003c/em>and \u003cem>Sing Street \u003c/em>are both about ideas of love that are much less neat. In fact, perhaps surprisingly, the neatness and the lesson-learning of \u003cem>Modern Love \u003c/em>are what often makes the series seem slight. You would expect, maybe, a Carney take on a romantic anthology to be about less obvious angles than the fact that older people on their second marriages can still fall meaningfully in love, or that the last thing you want is to find yourself with regrets.\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/650Mt63HIBU'\n title='//www.youtube.com/embed/650Mt63HIBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Where \u003cem>Modern Love \u003c/em>gets most of its shine is from its cast. In addition to all those mentioned above, it also features Anne Hathaway, Andrew Scott (yes, that’s Hot Priest to you \u003cem>Fleabag \u003c/em>people), Andy Garcia, James Saito, Jane Alexander, Catherine Keener, Dev Patel, and many others. It is \u003cem>definitively \u003c/em>a good idea for Tina Fey and John Slattery to play a New York married couple; that is a gift. That their story isn’t all that compelling doesn’t mean it’s not worth watching, simply to see them interact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while the stories often feel pat, there are some interesting experiments to be found here. Hathaway plays a woman who isn’t sure how to tell potential dates she’s bipolar, and the way music and fantasy sequences are deployed turn out to be a pretty effective method of demonstrating how completely different she feels like she is, depending on what her brain is doing. (It’s probably also the story that feels the least like the rest.)\u003c/p>\n\u003cp>Some episodes are more true to their source material than others. An essay by Dan Savage about the very complicated open adoption of his son becomes the episode starring Andrew Scott and Brandon Kyle Goodman as a gay couple who adopt from a homeless woman (Olivia Cooke). Where Savage’s piece is full of frustration and uncertainty about the child’s relationship with his birth mother, the episode is mostly about a worrying father-to-be learning to embrace the uncertainty of a quirky homeless person’s existence. It’s a reductive take on the story, and not at all true to either this particular real-life tale or Savage’s general posture as a writer.\u003c/p>\n\u003cp>It’s not easy to tell a romantic story in a half-hour, which is the approximate length of these episodes (within, say, five minutes). You have to establish two people (sometimes more), set the stage, create a problem, and create some resolution to that problem—in a third of the length of a feature film. And anthologies are, in general, a good thing, in that they allow for people to try things: combinations of actors, formal experiments, directing strategies, and so forth. But \u003cem>Modern Love \u003c/em>really feels like it would have benefited from less tidiness, less ponderousness—maybe even, dare I say, a little less \u003cem>New York Times\u003c/em>-iness. Where it wants to be whimsical it comes across as cloying, and where it wants to speak to something common to multiple stories of (mostly white, mostly affluent) New York love, the emotions almost feel franchised.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like the \u003cem>Modern Love \u003c/em>column itself, the series does have its pleasures and its truths. But—again, like the column—there’s a little less there than meets the eye.\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=%27Modern+Love%27+Is+An+Uneven+Tour+Of+New+York+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VqqqaV0Cn3M\u003c/p>\n\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\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=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VqqqaV0Cn3M'\n title='//www.youtube.com/embed/VqqqaV0Cn3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\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=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Zombieland: Double Tap' Taps Into Nostalgia For Its Predecessor",
"headTitle": "‘Zombieland: Double Tap’ Taps Into Nostalgia For Its Predecessor | KQED",
"content": "\u003cp>Had you told me even a month ago that Academy Award-nominee Jesse Eisenberg, Academy Award-nominee Abigail Breslin, three-time Academy Award-nominee Woody Harrelson, and three-time Academy Award-nominee/one-time Academy Award-winner Emma Stone were reuniting for the long-unawaited, highly unanticipated sequel to \u003cem>Zombieland \u003c/em>—the 42nd highest grossing picture of 2009 and to be fair, a perfectly agreeable expenditure of 88 minutes—I would’ve assumed someone in the Culver City offices of Sony Pictures was embezzling. \u003c/p>\n\u003cp>But I can now report that \u003cem>Zombieland: Double Tap\u003c/em> is a real movie, or at least the \u003cem>Another 48 Hours\u003c/em> of undead epics, one for which the entire creative team has reconvened. Director Ruben Fleischer and screenwriters Rhett Reese & Paul Wernick (assisted this time by David Callaham) have had much bigger hits in the intervening years with \u003cem>Venom\u003c/em> and the \u003cem>Deadpool movies\u003c/em>, respectively. Those pictures were more smug and less funny than \u003cem>Zombieland\u003c/em>, but they share its caustic self-awareness and its ultraviolence. \u003cem>Double Tap \u003c/em>is a second (or fifth) helping of the same, its episodic plot mere scaffolding from which to hang variations on the same jokes that worked 10 years ago, when the distance between the post-apocalyptic world and our own felt a lot more … distant. But they’re solid jokes, and like its Obama-era ancestor, \u003cem>Double Tap\u003c/em> doesn’t overstay. For all the snacked-on viscera and exploding brains this low-ambition, slightly-higher-return sequel asks you to stomach, its Muppety determination to please is even sort of sweet. As Eisenberg says in the opening voiceover: “We know you have a lot of choices in zombie entertainment, so thank you for picking us.”\u003c/p>\n\u003cp>https://youtu.be/ZlW9yhUKlkQ\u003c/p>\n\u003cp>Less time seems to have passed in Z-land than in our world, but the creators remain uninterested in the big picture of how the plague began or how it has reordered the globe. We’re not privy to any news our post-meltdown nuclear family of Columbus (Eisenberg), Wichita (Stone), Tallahasse (Harrelson), and Little Rock (Breslin) has not experienced firsthand. Columbus and Wichita are now in a cozy romantic relationship, and Little Rock has grown into late adolescence, with all the restlessness and craving for independence that that entrails—er, entails. (The real-life Breslin is 23 years old.) The foursome spends the first chapter of the movie living large in the vacant-but-fully intact White House because why not, which tells you how seriously the creators are taking their premise. But a Lincoln Bedroom marriage proposal from Columbus triggers Wichita’s attachment issues and sends her and Little Rock packing, again. So the menfolk and the womenfolk find themselves once again wandering the earth in pairs, each duo picking up its own idiot.\u003c/p>\n\u003cp>The newbie who rates the most screen time is Zoey Deutch’s Madison, a vapid, juicy-suit wearing mallrat whose characterization recalls an element of \u003cem>Zombieland\u003c/em> that has aged poorly—namely, its suggestion that Columbus was on his way to becoming what we’d now call an incel before the plague struck. Deutch is a good comic actor, and she fully commits to playing the fool, but it’s hard not to spend the movie waiting for the writers to let her have \u003cem>something\u003c/em>. The film’s other airheard, Avan Jogia’s Berkeley, is a ponytailed troubadour who persuades the smitten Little Rock to accompany him to Babylon, a rumored pacifist commune that has remained inexplicably untouched by the zombie uprising. It would be in keeping with the film’s gleeful embrace of stereotypes if it offered a late revelation that zombies were repelled by patchouli oil, for instance, but the writers never supply \u003cem>any\u003c/em> explanation for Babylon’s proof against the undead, hack or otherwise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We do get a side-quest to Graceland, or what remains of it, where Harrelson’s Tallahassee forges an alliance, as it were, with another flinty survivor in the person of Rosario Dawson, always a welcome comic presence. \u003c/p>\n\u003cp>What’s touching about \u003cem>Double Tap\u003c/em> is also what’s exhausting about it: It has even more callbacks to its predecessor than it does to a much older, more substantial post-apocalyptic movie franchise. The new, harder-to-kill species of zombie \u003cem>Double Tap\u003c/em> introduces is referred to as a T-800, for example. For readers who haven’t had the benefit of a well-rounded liberal arts education with a concentration in the classics, that was the model number of the cyborg tactical infiltrator Arnold Schwarzenegger played in \u003cem>The Terminator\u003c/em> 35 years ago and shall again in that film’s imminent fifth sequel. So in the parlance of this movie, nut up for \u003cem>Zombieland: Triple Threat\u003c/em>, coming 2029, probably. Aw. It’s almost like a real franchise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The in-jokes and callbacks come at you faster than the zombies do in this agreeable return to the world of the 2009 horror-comedy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Had you told me even a month ago that Academy Award-nominee Jesse Eisenberg, Academy Award-nominee Abigail Breslin, three-time Academy Award-nominee Woody Harrelson, and three-time Academy Award-nominee/one-time Academy Award-winner Emma Stone were reuniting for the long-unawaited, highly unanticipated sequel to \u003cem>Zombieland \u003c/em>—the 42nd highest grossing picture of 2009 and to be fair, a perfectly agreeable expenditure of 88 minutes—I would’ve assumed someone in the Culver City offices of Sony Pictures was embezzling. \u003c/p>\n\u003cp>But I can now report that \u003cem>Zombieland: Double Tap\u003c/em> is a real movie, or at least the \u003cem>Another 48 Hours\u003c/em> of undead epics, one for which the entire creative team has reconvened. Director Ruben Fleischer and screenwriters Rhett Reese & Paul Wernick (assisted this time by David Callaham) have had much bigger hits in the intervening years with \u003cem>Venom\u003c/em> and the \u003cem>Deadpool movies\u003c/em>, respectively. Those pictures were more smug and less funny than \u003cem>Zombieland\u003c/em>, but they share its caustic self-awareness and its ultraviolence. \u003cem>Double Tap \u003c/em>is a second (or fifth) helping of the same, its episodic plot mere scaffolding from which to hang variations on the same jokes that worked 10 years ago, when the distance between the post-apocalyptic world and our own felt a lot more … distant. But they’re solid jokes, and like its Obama-era ancestor, \u003cem>Double Tap\u003c/em> doesn’t overstay. For all the snacked-on viscera and exploding brains this low-ambition, slightly-higher-return sequel asks you to stomach, its Muppety determination to please is even sort of sweet. As Eisenberg says in the opening voiceover: “We know you have a lot of choices in zombie entertainment, so thank you for picking us.”\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/ZlW9yhUKlkQ'\n title='//www.youtube.com/embed/ZlW9yhUKlkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Less time seems to have passed in Z-land than in our world, but the creators remain uninterested in the big picture of how the plague began or how it has reordered the globe. We’re not privy to any news our post-meltdown nuclear family of Columbus (Eisenberg), Wichita (Stone), Tallahasse (Harrelson), and Little Rock (Breslin) has not experienced firsthand. Columbus and Wichita are now in a cozy romantic relationship, and Little Rock has grown into late adolescence, with all the restlessness and craving for independence that that entrails—er, entails. (The real-life Breslin is 23 years old.) The foursome spends the first chapter of the movie living large in the vacant-but-fully intact White House because why not, which tells you how seriously the creators are taking their premise. But a Lincoln Bedroom marriage proposal from Columbus triggers Wichita’s attachment issues and sends her and Little Rock packing, again. So the menfolk and the womenfolk find themselves once again wandering the earth in pairs, each duo picking up its own idiot.\u003c/p>\n\u003cp>The newbie who rates the most screen time is Zoey Deutch’s Madison, a vapid, juicy-suit wearing mallrat whose characterization recalls an element of \u003cem>Zombieland\u003c/em> that has aged poorly—namely, its suggestion that Columbus was on his way to becoming what we’d now call an incel before the plague struck. Deutch is a good comic actor, and she fully commits to playing the fool, but it’s hard not to spend the movie waiting for the writers to let her have \u003cem>something\u003c/em>. The film’s other airheard, Avan Jogia’s Berkeley, is a ponytailed troubadour who persuades the smitten Little Rock to accompany him to Babylon, a rumored pacifist commune that has remained inexplicably untouched by the zombie uprising. It would be in keeping with the film’s gleeful embrace of stereotypes if it offered a late revelation that zombies were repelled by patchouli oil, for instance, but the writers never supply \u003cem>any\u003c/em> explanation for Babylon’s proof against the undead, hack or otherwise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We do get a side-quest to Graceland, or what remains of it, where Harrelson’s Tallahassee forges an alliance, as it were, with another flinty survivor in the person of Rosario Dawson, always a welcome comic presence. \u003c/p>\n\u003cp>What’s touching about \u003cem>Double Tap\u003c/em> is also what’s exhausting about it: It has even more callbacks to its predecessor than it does to a much older, more substantial post-apocalyptic movie franchise. The new, harder-to-kill species of zombie \u003cem>Double Tap\u003c/em> introduces is referred to as a T-800, for example. For readers who haven’t had the benefit of a well-rounded liberal arts education with a concentration in the classics, that was the model number of the cyborg tactical infiltrator Arnold Schwarzenegger played in \u003cem>The Terminator\u003c/em> 35 years ago and shall again in that film’s imminent fifth sequel. So in the parlance of this movie, nut up for \u003cem>Zombieland: Triple Threat\u003c/em>, coming 2029, probably. Aw. It’s almost like a real franchise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ronan Farrow: 'Catch and Kill' Tactics Protected Both Weinstein and Trump",
"headTitle": "Ronan Farrow: ‘Catch and Kill’ Tactics Protected Both Weinstein and Trump | KQED",
"content": "\u003cp>Ronan Farrow’s 2017 \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">exposé \u003c/a>of the sexual misconduct allegations against film producer Harvey Weinstein in \u003cem>The New Yorker\u003c/em> earned him a Pulitzer Prize and helped usher in the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a> movement. Now, in his new book, \u003cem>Catch and Kill,\u003c/em> Farrow writes about the extreme tactics Weinstein allegedly used in an attempt to keep him from reporting the story.\u003c/p>\n\u003cp>“Harvey Weinstein’s attorneys … signed a contract with this Israeli private intelligence firm \u003ca href=\"https://www.npr.org/tags/562631560/black-cube\">Black Cube \u003c/a>explicitly tasking secret agents with killing reporting on Harvey Weinstein,” Farrow says. “There was a full-on international espionage operation that was built up around this.”\u003c/p>\n\u003cp>Farrow says that he was followed and that his house was bugged as a result of his work on the story. He eventually moved into a safe house and put his reporting documents into a safe deposit box with a note reading, “Should anything happen to me, please make sure this information is released.”\u003c/p>\n\u003cp>Farrow had started investigating Weinstein as a reporter at NBC News. But, he says, network executives blocked the story from ever being broadcast and eventually let Farrow go. Farrow speculates that the network was doing so, in part, to protect news anchor Matt Lauer, who was subsequently accused of sexual misconduct. Farrow spoke about NBC’s efforts to stifle the Weinstein story in \u003ca href=\"https://www.npr.org/2019/10/11/769326096/ronan-farrow-stands-by-his-reporting-on-nbc-s-corrosive-secrecy-around-sexual-ab\">this NPR interview\u003c/a>. NBC News has maintained that Farrow’s story on the sexual misconduct allegations was not solid—that he had no accusers on record, specifically—when it refused to move forward with the story in 2017 before he took it to \u003cem>The New Yorker\u003c/em>.\u003c/p>\n\u003cp>Farrow notes that NBC’s efforts to quash the story are part of a broader “catch and kill” strategy, whereby powerful entities and individuals go to extreme lengths to keep unfavorable stories from being reported. His book alleges that American Media Inc., the parent company of the tabloid \u003cem>National Enquirer, \u003c/em>engaged in such practices in an effort to control negative stories about then- presidential candidate Donald Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I personally reported a number of stories about cases in which AMI sought or actually did buy the rights to a story in order to get rid of it during the election, and that subsequently has become the subject of a serious criminal investigation,” Farrow says.\u003c/p>\n\u003cp>He adds that the practice of catch and kill is “used both literally in the plot with respect to several stories that AMI goes after and tries to bury for Donald Trump and others, but also figuratively about the media’s role in sometimes not just advancing, but also suppressing, stories.”\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the backlash he has experienced because of the book \u003c/strong>\u003c/p>\n\u003cp>Doing these kinds of investigations of powerful interests means that you get a whole smear machine spun up against you every single time. It happened on the Weinstein story; it happened on the CBS story; it happened on the NBC story; it happened on the AMI story. And all I can say is I’ve been immensely heartened, Terry, by the way in which fellow reporters have rallied around the journalism in this book and defended it and independently corroborated it. And the reaction has been pretty uniform.\u003c/p>\n\u003cp>Just like with the Harvey Weinstein story, I think people have seen through the spin and I think that they have correctly pulled out of this book the important themes which is there are systems still in place at some of the top institutions in this country that aid and abet and protect people accused of serious crimes and silence accusers and shut down reporting. But there are also really brave sources who continue to speak and reporters who continue to bang their heads against the wall trying to make sure the truth comes out. And I leave this process of reporting this book with immense hope and immense optimism, because I don’t see any signs of that stopping.\u003c/p>\n\u003cp>\u003cstrong>On how AMI’s catch-and-kill efforts relate to the Weinstein story\u003c/strong>\u003c/p>\n\u003cp>[AMI] had what’s called a “kill file,” which they have for various celebrities containing all of the dirt that they haven’t published on someone. … There’s various reasons why AMI doesn’t publish things. … In a number of cases they don’t publish things because of an arrangement they broker with a powerful person. … [Chief Content Officer and Vice President] Dylan Howard develops a very close relationship with Harvey Weinstein. We have all of his statements saying, “This was purely a professional relationship,” but we document [that their relationship] extended to secretly recording people who might be used to impeach Harvey Weinstein’s accusers, really going after accusers in collaboration with Harvey Weinstein.\u003c/p>\n\u003cp>\u003cstrong>On AMI’s kill file on Donald Trump \u003c/strong>\u003c/p>\n\u003cp>AMI did indeed purchase the rights to [\u003cem>Playboy \u003c/em>model] Karen McDougal’s story in order to bury it. Another story that I broke … is about a case in which they purchased the rights to a claim by a Trump Tower doorman that he was aware of a relationship Trump had had that had produced a “love child.” …\u003c/p>\n\u003cp>Like many of these catch-and-kill stories, it’s unclear whether the underlying claim has any veracity. The love child story … may or may not be spurious, and also on some level, who cares, right? … The thing that is absolutely worth caring about is the transaction, the fact that there was a potential violation of campaign finance law here and a media outlet acting as an arm of a political candidate. Here again there is an example of collaboration between the candidate and the news outlet, \u003cem>The National Enquirer, \u003c/em>to try to go after a story, and here again, the underlying claim in that lawsuit raises a lot of question marks. … But the fact that AMI went after it has not been disputed by them—they’ve confirmed it—and is yet another interesting data point in this unfolding saga which is still a subject of serious criminal investigation.\u003c/p>\n\u003cp>\u003cstrong>On Trump’s personal lawyer \u003c/strong>\u003ca href=\"https://www.npr.org/2019/02/27/696752450/michael-cohen-to-testify-publicly-before-congress-on-alleged-trump-lawbreaking\">\u003cstrong>Michael Cohen\u003c/strong>\u003c/a>\u003cstrong> going to the \u003c/strong>\u003cem>\u003cstrong>Enquirer \u003c/strong>\u003c/em>\u003cstrong>and requesting the kill file \u003c/strong>\u003c/p>\n\u003cp>I talk about for the first time seeing the master list of all of the Trump dirt, if you will, that AMI had in its vaults. Early in 2016 … the \u003cem>National Enquirer\u003c/em> and Dylan Howard created a master list of everything that they had on Trump. And again, you’ll sense a running theme here. The story here is not what was on the list we saw. It’s about 60 entries and this is the first time a reporter has seen the insides of the vault, if you will. It is mostly news that has already been out there. There’s about five affairs—some of those haven’t become public—but consensual affairs-type items. There’s at least one allegation of abuse, but it’s the \u003ca href=\"https://www.npr.org/2016/10/13/497799354/a-list-of-donald-trumps-accusers-of-inappropriate-sexual-conduct\">Jill Harth \u003c/a>allegation, which ultimately did become public. But what is a significant story is that this list was made and we have a multiple-sourced account backed by documentation of \u003cem>National Enquirer\u003c/em> leadership beginning to shred documents related to Trump in the days before the election—and this is strenuously denied by Dylan Howard. We have that denial in the book, but there are ironclad accounts of him ordering a destruction of documents and, a year later—when a senior official at the\u003cem> National Enquirer \u003c/em>went to check whether all of the Trump dirt still existed in the vault—there were documents that were missing consistent with that account of document destruction.\u003c/p>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003cem>\u003cstrong>Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s endorsement of candidate Trump \u003c/strong>\u003c/p>\n\u003cp>Throughout the election, the\u003cem> Enquirer, \u003c/em>as it was seeking to catch and kill stories for Trump, was also sort of descending farther and farther into this rabbit hole of endorsing Trump and really hammering on Hillary Clinton. … For the whole year she was about to die, according to the \u003cem>National Enquirer. \u003c/em>And I think that a lot of us in the press discounted the significance of that. We weren’t conscious of all of this real estate on checkout stands at grocery stores all around the country being devoted to pushing one candidate. And that’s where the criminal investigation and the nonprosecution agreement signed between AMI and prosecutors is significant, because it acknowledges that something quite possibly illegal and quite possibly material to the election and the future of this country played out. The stakes … are very high, both for the individuals involved and for the future of our democracy. We had an election that was very much, I think, affected by this practice of catch and kill.\u003c/p>\n\u003cp>\u003cstrong>On what AMI got in return for killing unflattering stories about Trump \u003c/strong>\u003c/p>\n\u003cp>They have now admitted that there was a quid pro quo and that there were meetings in which a deal was struck to collaborate in this way. … You saw things like [AMI CEO] \u003ca href=\"https://www.npr.org/2018/08/24/641490961/david-pecker-of-national-enquirer-publisher-said-to-have-immunity-in-cohen-case\">David Pecker \u003c/a>getting a lot of access to the White House, suddenly getting a lot of access to potential Saudi donors at a time when the\u003cem> Enquirer\u003c/em> was on its last legs and suffering from declining circulation numbers and a lot of debt. So we’re very careful not to say anything speculative, but certainly there are ways in which David Pecker, the head of the\u003cem> National Enquirer, \u003c/em>the head of AMI and others at the\u003cem> Enquirer\u003c/em> benefited from this. And we talk about Dylan Howard … the editor of the\u003cem> National Enquirer,\u003c/em> who worked under David Pecker, sending friends pictures from inaugural events, really having access and being in the corridors of power. So there was an exchange of access and largesse for killing these stories, it appears.\u003c/p>\n\u003cp>\u003cstrong>On the\u003c/strong>\u003cem>\u003cstrong> Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s attempts to discredit Farrow \u003c/strong>\u003c/p>\n\u003cp>As I began to break these stories about the\u003cem> National Enquirer\u003c/em> I, too, became in Dylan Howard’s words, “\u003cem>National Enquirer\u003c/em> fodder,” and he sent a letter to [\u003cem>New Yorker\u003c/em> Editor] David Remnick, very furiously railing against me and saying, “Ronan is about to become \u003cem>National Enquirer\u003c/em> fodder,” and indeed I did. For a brief shining moment, Terry, I was an all-caps sans serif villain in the pages of the\u003cem> National Enquirer,\u003c/em> and I joke about it, but it is actually painful and intrusive and an ugly business to have an outlet that is essentially a thinly veiled attack dog for powerful people come at you and say, you better come in and talk or we’re going to just unleash whatever we want to make up or dig up about you, and with the\u003cem> Enquirer \u003c/em>it’s usually a lot of both.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\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=Ronan+Farrow%3A+%27Catch+And+Kill%27+Tactics+Protected+Both+Weinstein+And+Trump+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "He was followed and his house bugged as he reported on allegations against Harvey Weinstein. Farrow says it's part of a pattern in which powerful entities go to extremes to quash unfavorable stories.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ronan Farrow’s 2017 \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">exposé \u003c/a>of the sexual misconduct allegations against film producer Harvey Weinstein in \u003cem>The New Yorker\u003c/em> earned him a Pulitzer Prize and helped usher in the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a> movement. Now, in his new book, \u003cem>Catch and Kill,\u003c/em> Farrow writes about the extreme tactics Weinstein allegedly used in an attempt to keep him from reporting the story.\u003c/p>\n\u003cp>“Harvey Weinstein’s attorneys … signed a contract with this Israeli private intelligence firm \u003ca href=\"https://www.npr.org/tags/562631560/black-cube\">Black Cube \u003c/a>explicitly tasking secret agents with killing reporting on Harvey Weinstein,” Farrow says. “There was a full-on international espionage operation that was built up around this.”\u003c/p>\n\u003cp>Farrow says that he was followed and that his house was bugged as a result of his work on the story. He eventually moved into a safe house and put his reporting documents into a safe deposit box with a note reading, “Should anything happen to me, please make sure this information is released.”\u003c/p>\n\u003cp>Farrow had started investigating Weinstein as a reporter at NBC News. But, he says, network executives blocked the story from ever being broadcast and eventually let Farrow go. Farrow speculates that the network was doing so, in part, to protect news anchor Matt Lauer, who was subsequently accused of sexual misconduct. Farrow spoke about NBC’s efforts to stifle the Weinstein story in \u003ca href=\"https://www.npr.org/2019/10/11/769326096/ronan-farrow-stands-by-his-reporting-on-nbc-s-corrosive-secrecy-around-sexual-ab\">this NPR interview\u003c/a>. NBC News has maintained that Farrow’s story on the sexual misconduct allegations was not solid—that he had no accusers on record, specifically—when it refused to move forward with the story in 2017 before he took it to \u003cem>The New Yorker\u003c/em>.\u003c/p>\n\u003cp>Farrow notes that NBC’s efforts to quash the story are part of a broader “catch and kill” strategy, whereby powerful entities and individuals go to extreme lengths to keep unfavorable stories from being reported. His book alleges that American Media Inc., the parent company of the tabloid \u003cem>National Enquirer, \u003c/em>engaged in such practices in an effort to control negative stories about then- presidential candidate Donald Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I personally reported a number of stories about cases in which AMI sought or actually did buy the rights to a story in order to get rid of it during the election, and that subsequently has become the subject of a serious criminal investigation,” Farrow says.\u003c/p>\n\u003cp>He adds that the practice of catch and kill is “used both literally in the plot with respect to several stories that AMI goes after and tries to bury for Donald Trump and others, but also figuratively about the media’s role in sometimes not just advancing, but also suppressing, stories.”\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the backlash he has experienced because of the book \u003c/strong>\u003c/p>\n\u003cp>Doing these kinds of investigations of powerful interests means that you get a whole smear machine spun up against you every single time. It happened on the Weinstein story; it happened on the CBS story; it happened on the NBC story; it happened on the AMI story. And all I can say is I’ve been immensely heartened, Terry, by the way in which fellow reporters have rallied around the journalism in this book and defended it and independently corroborated it. And the reaction has been pretty uniform.\u003c/p>\n\u003cp>Just like with the Harvey Weinstein story, I think people have seen through the spin and I think that they have correctly pulled out of this book the important themes which is there are systems still in place at some of the top institutions in this country that aid and abet and protect people accused of serious crimes and silence accusers and shut down reporting. But there are also really brave sources who continue to speak and reporters who continue to bang their heads against the wall trying to make sure the truth comes out. And I leave this process of reporting this book with immense hope and immense optimism, because I don’t see any signs of that stopping.\u003c/p>\n\u003cp>\u003cstrong>On how AMI’s catch-and-kill efforts relate to the Weinstein story\u003c/strong>\u003c/p>\n\u003cp>[AMI] had what’s called a “kill file,” which they have for various celebrities containing all of the dirt that they haven’t published on someone. … There’s various reasons why AMI doesn’t publish things. … In a number of cases they don’t publish things because of an arrangement they broker with a powerful person. … [Chief Content Officer and Vice President] Dylan Howard develops a very close relationship with Harvey Weinstein. We have all of his statements saying, “This was purely a professional relationship,” but we document [that their relationship] extended to secretly recording people who might be used to impeach Harvey Weinstein’s accusers, really going after accusers in collaboration with Harvey Weinstein.\u003c/p>\n\u003cp>\u003cstrong>On AMI’s kill file on Donald Trump \u003c/strong>\u003c/p>\n\u003cp>AMI did indeed purchase the rights to [\u003cem>Playboy \u003c/em>model] Karen McDougal’s story in order to bury it. Another story that I broke … is about a case in which they purchased the rights to a claim by a Trump Tower doorman that he was aware of a relationship Trump had had that had produced a “love child.” …\u003c/p>\n\u003cp>Like many of these catch-and-kill stories, it’s unclear whether the underlying claim has any veracity. The love child story … may or may not be spurious, and also on some level, who cares, right? … The thing that is absolutely worth caring about is the transaction, the fact that there was a potential violation of campaign finance law here and a media outlet acting as an arm of a political candidate. Here again there is an example of collaboration between the candidate and the news outlet, \u003cem>The National Enquirer, \u003c/em>to try to go after a story, and here again, the underlying claim in that lawsuit raises a lot of question marks. … But the fact that AMI went after it has not been disputed by them—they’ve confirmed it—and is yet another interesting data point in this unfolding saga which is still a subject of serious criminal investigation.\u003c/p>\n\u003cp>\u003cstrong>On Trump’s personal lawyer \u003c/strong>\u003ca href=\"https://www.npr.org/2019/02/27/696752450/michael-cohen-to-testify-publicly-before-congress-on-alleged-trump-lawbreaking\">\u003cstrong>Michael Cohen\u003c/strong>\u003c/a>\u003cstrong> going to the \u003c/strong>\u003cem>\u003cstrong>Enquirer \u003c/strong>\u003c/em>\u003cstrong>and requesting the kill file \u003c/strong>\u003c/p>\n\u003cp>I talk about for the first time seeing the master list of all of the Trump dirt, if you will, that AMI had in its vaults. Early in 2016 … the \u003cem>National Enquirer\u003c/em> and Dylan Howard created a master list of everything that they had on Trump. And again, you’ll sense a running theme here. The story here is not what was on the list we saw. It’s about 60 entries and this is the first time a reporter has seen the insides of the vault, if you will. It is mostly news that has already been out there. There’s about five affairs—some of those haven’t become public—but consensual affairs-type items. There’s at least one allegation of abuse, but it’s the \u003ca href=\"https://www.npr.org/2016/10/13/497799354/a-list-of-donald-trumps-accusers-of-inappropriate-sexual-conduct\">Jill Harth \u003c/a>allegation, which ultimately did become public. But what is a significant story is that this list was made and we have a multiple-sourced account backed by documentation of \u003cem>National Enquirer\u003c/em> leadership beginning to shred documents related to Trump in the days before the election—and this is strenuously denied by Dylan Howard. We have that denial in the book, but there are ironclad accounts of him ordering a destruction of documents and, a year later—when a senior official at the\u003cem> National Enquirer \u003c/em>went to check whether all of the Trump dirt still existed in the vault—there were documents that were missing consistent with that account of document destruction.\u003c/p>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003cem>\u003cstrong>Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s endorsement of candidate Trump \u003c/strong>\u003c/p>\n\u003cp>Throughout the election, the\u003cem> Enquirer, \u003c/em>as it was seeking to catch and kill stories for Trump, was also sort of descending farther and farther into this rabbit hole of endorsing Trump and really hammering on Hillary Clinton. … For the whole year she was about to die, according to the \u003cem>National Enquirer. \u003c/em>And I think that a lot of us in the press discounted the significance of that. We weren’t conscious of all of this real estate on checkout stands at grocery stores all around the country being devoted to pushing one candidate. And that’s where the criminal investigation and the nonprosecution agreement signed between AMI and prosecutors is significant, because it acknowledges that something quite possibly illegal and quite possibly material to the election and the future of this country played out. The stakes … are very high, both for the individuals involved and for the future of our democracy. We had an election that was very much, I think, affected by this practice of catch and kill.\u003c/p>\n\u003cp>\u003cstrong>On what AMI got in return for killing unflattering stories about Trump \u003c/strong>\u003c/p>\n\u003cp>They have now admitted that there was a quid pro quo and that there were meetings in which a deal was struck to collaborate in this way. … You saw things like [AMI CEO] \u003ca href=\"https://www.npr.org/2018/08/24/641490961/david-pecker-of-national-enquirer-publisher-said-to-have-immunity-in-cohen-case\">David Pecker \u003c/a>getting a lot of access to the White House, suddenly getting a lot of access to potential Saudi donors at a time when the\u003cem> Enquirer\u003c/em> was on its last legs and suffering from declining circulation numbers and a lot of debt. So we’re very careful not to say anything speculative, but certainly there are ways in which David Pecker, the head of the\u003cem> National Enquirer, \u003c/em>the head of AMI and others at the\u003cem> Enquirer\u003c/em> benefited from this. And we talk about Dylan Howard … the editor of the\u003cem> National Enquirer,\u003c/em> who worked under David Pecker, sending friends pictures from inaugural events, really having access and being in the corridors of power. So there was an exchange of access and largesse for killing these stories, it appears.\u003c/p>\n\u003cp>\u003cstrong>On the\u003c/strong>\u003cem>\u003cstrong> Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s attempts to discredit Farrow \u003c/strong>\u003c/p>\n\u003cp>As I began to break these stories about the\u003cem> National Enquirer\u003c/em> I, too, became in Dylan Howard’s words, “\u003cem>National Enquirer\u003c/em> fodder,” and he sent a letter to [\u003cem>New Yorker\u003c/em> Editor] David Remnick, very furiously railing against me and saying, “Ronan is about to become \u003cem>National Enquirer\u003c/em> fodder,” and indeed I did. For a brief shining moment, Terry, I was an all-caps sans serif villain in the pages of the\u003cem> National Enquirer,\u003c/em> and I joke about it, but it is actually painful and intrusive and an ugly business to have an outlet that is essentially a thinly veiled attack dog for powerful people come at you and say, you better come in and talk or we’re going to just unleash whatever we want to make up or dig up about you, and with the\u003cem> Enquirer \u003c/em>it’s usually a lot of both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\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=Ronan+Farrow%3A+%27Catch+And+Kill%27+Tactics+Protected+Both+Weinstein+And+Trump+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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