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"content": "\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\u003c/p>\n\u003cp>https://youtu.be/qI7Jla3UgSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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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"title": "'90s Kids, Rejoice: 'Invader Zim,' a Cult-Classic Nicktoon, Returns",
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"content": "\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TDnKp83IOPA\u003c/p>\n\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v92Ql8p8-EM\u003c/p>\n\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\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=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\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/TDnKp83IOPA'\n title='//www.youtube.com/embed/TDnKp83IOPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\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/v92Ql8p8-EM'\n title='//www.youtube.com/embed/v92Ql8p8-EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\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=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Look What They Made Her Do: Taylor Swift To Re-Record Her Catalog",
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"content": "\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\u003c/p>\n\u003cp>https://youtu.be/ellK-CXh7B4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\n\u003cp>https://twitter.com/kellyclarkson/status/1150168164853882880\u003c/p>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\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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"excerpt": "The pop star said Thursday she plans to record new versions of her self-titled album, \u003cem>Fearless\u003c/em>, \u003cem>Speak Now\u003c/em>, \u003cem>Red\u003c/em> and \u003cem>1989\u003c/em>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\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/ellK-CXh7B4'\n title='//www.youtube.com/embed/ellK-CXh7B4'\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>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\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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"content": "\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\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=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\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=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Kochland' Explores How The Famous Brother Duo Made Their Money",
"headTitle": "‘Kochland’ Explores How The Famous Brother Duo Made Their Money | KQED",
"content": "\u003cp>The Koch brothers are a ripe target: political plutocrats who have spent hundreds of millions of dollars in a decades-long effort to reshape the country and the Republican Party.\u003c/p>\n\u003cp>They’ve used their vast wealth to build a hydra-headed network of think tanks, lobbying shops, and “astroturf” advocacy groups to advance a philosophy that conveniently overlaps with the economic interests of their Wichita-based corporation.\u003c/p>\n\u003cp>None of this is exactly a secret, though. Jane Mayer’s 2010 \u003cem>New Yorker\u003c/em> \u003ca href=\"https://www.newyorker.com/magazine/2010/08/30/covert-operations\">article\u003c/a> and subsequent book shined a bright spotlight on how the Kochs and other wealthy patrons use their Dark Money to wield outsize influence on American politics.\u003c/p>\n\u003cfigure id=\"attachment_13864583\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/kochland.jpg\" alt=\"\" width=\"267\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/kochland.jpg 267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/kochland-160x243.jpg 160w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003cfigcaption class=\"wp-caption-text\">‘Kochland,’ Chistopher Leonard.\u003c/figcaption>\u003c/figure>\n\u003cp>What \u003cem>Kochland\u003c/em>, the new book from Christopher Leonard, adds to the story is not so much an account of the ways in which the brothers \u003cem>spend\u003c/em> their money, but rather, a richly reported tale of how they \u003cem>make\u003c/em> it—the inner workings of one of the nation’s largest private corporations.\u003c/p>\n\u003cp>To be sure, the Koch brothers aren’t entirely self-made. They got a sizable head start from their father. Fred Koch, a co-founder of the far-right John Birch Society, assembled his own mini-empire of ranches, factories and oil pipelines. But Charles and David Koch supersized this fortune. They added a Minnesota refinery that was well-positioned to turn cheap, Canadian crude oil into pricey gasoline for the fuel-thirsty Midwest. Over time, they expanded into fertilizer, paper products, options trading and even greeting cards.\u003c/p>\n\u003cp>The Kochs make big bets, and they have the patience to wait for results. (They play the long game in politics, too.) Koch Industries “thought on a timeline of ten or twenty years, not twelve to eighteen months. And, unlike virtually any other private equity firm, Koch’s group only had two shareholders to answer to: Charles and David Koch.” (David Koch retired from the business and public advocacy in 2018. Two other brothers, Bill and Fred, were bought out in 1983.)\u003c/p>\n\u003cp>Leonard quotes an employee of a Georgia Pacific pulp mill, Wesley Jones, who was stunned when the Kochs greenlighted a $40 million investment after a single phone call. “I remember putting the phone down and thinking, \u003cem>Damn \u003c/em>…” [aside postid='arts_13864560']\u003c/p>\n\u003cp>After seven years of research, Leonard is able to tell this story with an insider’s vantage point. We hear from refinery operators, warehouse workers, options traders and whistleblowers.\u003c/p>\n\u003cp>The prose is occasionally over the top. Do we really need to know about the white marble slabs between urinals in the men’s room of a Senate office building? But for the most part, this is fast-paced business history. An episode about ammonia runoff at an oil refinery keeps you turning pages like a John Grisham thriller.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Koch Industries has some parallels with Enron, but without the flash. The company’s low-key employees often come from state schools in the middle of the country. They don’t pretend to be the smartest guys in the room, just the most disciplined.\u003c/p>\n\u003cp>The Kochs successfully leverage the insight and experience gained in one industry to get a leg up in others. They aren’t always successful. A big push into agriculture and animal feed in the 1990s ended in disaster. But many of their moves pay off, sometimes lavishly. The Kochs were among the first to roll the dice on the shale oil boom, spending hundreds of millions of dollars on speculative pipelines from south Texas to their refinery in Corpus Christi.\u003c/p>\n\u003cp>“This investment was entirely a gamble,” Leonard writes. The Kochs could have been left with useless pipelines to dry wells. “Then the oil started to flow.” [aside postid='arts_13864511']\u003c/p>\n\u003cp>For Leonard, the rise of Koch Industries is a refined example of forces shaping the wider economy, with growing returns for corporate shareholders — in this case just two — and shrinking bargaining power for workers. Charles Koch’s philosophy of Market Based Management supposedly empowers workers to act as mini-entrepreneurs. But there’s little evidence of that among the Georgia Pacific warehouse workers, whose autonomy is steadily stripped away in the name of greater efficiency.\u003c/p>\n\u003cp>Leonard pays due attention to the tortured dynamics of the Koch family: Charles and David’s bitter feud with their brother Bill, and the looming question of who will take control when Charles eventually steps aside.\u003c/p>\n\u003cp>The legal battles with Bill spilled into a series of fines and criminal investigations in the 1980s and ’90s. Koch “developed a regulatory rap sheet that gave the company a reputation for borderline criminality.” Ultimately, Charles and David decided that was counterproductive and declared the company would comply with 100 percent of the rules, 100 percent of the time.\u003c/p>\n\u003cp>Of course, Koch’s political arm was simultaneously working to water down or eliminate those rules — a push that has been richly rewarded in the Trump administration.\u003c/p>\n\u003cp>A company that prizes information has been a central player in efforts to spread disinformation about climate science. “This wasn’t accidental,” Leonard writes. “As early as 1991, Charles Koch and other executives in the fossil fuel industry helped foster skepticism about the evidence of climate change.”\u003c/p>\n\u003cp>Even ExxonMobil eventually abandoned this strategy, acknowledging the scientific consensus. But the Koch political machine continue to fight any effort to limit carbon pollution, using the considerable resources that a $120 billion fortune can buy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10905230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Koch brothers are a ripe target: political plutocrats who have spent hundreds of millions of dollars in a decades-long effort to reshape the country and the Republican Party.\u003c/p>\n\u003cp>They’ve used their vast wealth to build a hydra-headed network of think tanks, lobbying shops, and “astroturf” advocacy groups to advance a philosophy that conveniently overlaps with the economic interests of their Wichita-based corporation.\u003c/p>\n\u003cp>None of this is exactly a secret, though. Jane Mayer’s 2010 \u003cem>New Yorker\u003c/em> \u003ca href=\"https://www.newyorker.com/magazine/2010/08/30/covert-operations\">article\u003c/a> and subsequent book shined a bright spotlight on how the Kochs and other wealthy patrons use their Dark Money to wield outsize influence on American politics.\u003c/p>\n\u003cfigure id=\"attachment_13864583\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/kochland.jpg\" alt=\"\" width=\"267\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/kochland.jpg 267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/kochland-160x243.jpg 160w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003cfigcaption class=\"wp-caption-text\">‘Kochland,’ Chistopher Leonard.\u003c/figcaption>\u003c/figure>\n\u003cp>What \u003cem>Kochland\u003c/em>, the new book from Christopher Leonard, adds to the story is not so much an account of the ways in which the brothers \u003cem>spend\u003c/em> their money, but rather, a richly reported tale of how they \u003cem>make\u003c/em> it—the inner workings of one of the nation’s largest private corporations.\u003c/p>\n\u003cp>To be sure, the Koch brothers aren’t entirely self-made. They got a sizable head start from their father. Fred Koch, a co-founder of the far-right John Birch Society, assembled his own mini-empire of ranches, factories and oil pipelines. But Charles and David Koch supersized this fortune. They added a Minnesota refinery that was well-positioned to turn cheap, Canadian crude oil into pricey gasoline for the fuel-thirsty Midwest. Over time, they expanded into fertilizer, paper products, options trading and even greeting cards.\u003c/p>\n\u003cp>The Kochs make big bets, and they have the patience to wait for results. (They play the long game in politics, too.) Koch Industries “thought on a timeline of ten or twenty years, not twelve to eighteen months. And, unlike virtually any other private equity firm, Koch’s group only had two shareholders to answer to: Charles and David Koch.” (David Koch retired from the business and public advocacy in 2018. Two other brothers, Bill and Fred, were bought out in 1983.)\u003c/p>\n\u003cp>Leonard quotes an employee of a Georgia Pacific pulp mill, Wesley Jones, who was stunned when the Kochs greenlighted a $40 million investment after a single phone call. “I remember putting the phone down and thinking, \u003cem>Damn \u003c/em>…” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After seven years of research, Leonard is able to tell this story with an insider’s vantage point. We hear from refinery operators, warehouse workers, options traders and whistleblowers.\u003c/p>\n\u003cp>The prose is occasionally over the top. Do we really need to know about the white marble slabs between urinals in the men’s room of a Senate office building? But for the most part, this is fast-paced business history. An episode about ammonia runoff at an oil refinery keeps you turning pages like a John Grisham thriller.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Koch Industries has some parallels with Enron, but without the flash. The company’s low-key employees often come from state schools in the middle of the country. They don’t pretend to be the smartest guys in the room, just the most disciplined.\u003c/p>\n\u003cp>The Kochs successfully leverage the insight and experience gained in one industry to get a leg up in others. They aren’t always successful. A big push into agriculture and animal feed in the 1990s ended in disaster. But many of their moves pay off, sometimes lavishly. The Kochs were among the first to roll the dice on the shale oil boom, spending hundreds of millions of dollars on speculative pipelines from south Texas to their refinery in Corpus Christi.\u003c/p>\n\u003cp>“This investment was entirely a gamble,” Leonard writes. The Kochs could have been left with useless pipelines to dry wells. “Then the oil started to flow.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Leonard, the rise of Koch Industries is a refined example of forces shaping the wider economy, with growing returns for corporate shareholders — in this case just two — and shrinking bargaining power for workers. Charles Koch’s philosophy of Market Based Management supposedly empowers workers to act as mini-entrepreneurs. But there’s little evidence of that among the Georgia Pacific warehouse workers, whose autonomy is steadily stripped away in the name of greater efficiency.\u003c/p>\n\u003cp>Leonard pays due attention to the tortured dynamics of the Koch family: Charles and David’s bitter feud with their brother Bill, and the looming question of who will take control when Charles eventually steps aside.\u003c/p>\n\u003cp>The legal battles with Bill spilled into a series of fines and criminal investigations in the 1980s and ’90s. Koch “developed a regulatory rap sheet that gave the company a reputation for borderline criminality.” Ultimately, Charles and David decided that was counterproductive and declared the company would comply with 100 percent of the rules, 100 percent of the time.\u003c/p>\n\u003cp>Of course, Koch’s political arm was simultaneously working to water down or eliminate those rules — a push that has been richly rewarded in the Trump administration.\u003c/p>\n\u003cp>A company that prizes information has been a central player in efforts to spread disinformation about climate science. “This wasn’t accidental,” Leonard writes. “As early as 1991, Charles Koch and other executives in the fossil fuel industry helped foster skepticism about the evidence of climate change.”\u003c/p>\n\u003cp>Even ExxonMobil eventually abandoned this strategy, acknowledging the scientific consensus. But the Koch political machine continue to fight any effort to limit carbon pollution, using the considerable resources that a $120 billion fortune can buy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10905230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Why Do We Find True Crime Fascinating? 'Savage Appetites' Looks For Answers",
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"content": "\u003cp>A few months ago, I watched a chilling film, \u003ca href=\"https://www.youtube.com/watch?v=jmnuC7tn9D4\" target=\"_blank\" rel=\"noopener\">\u003cem>My Friend Dahmer\u003c/em>\u003c/a>, based on a graphic memoir written by a high school friend(ish) of infamous serial killer Jeffrey Dahmer.\u003c/p>\n\u003cp>While IMDB’s logline for the film reads, “A young Jeffrey Dahmer struggles to belong in high school,” I saw it more as an attempt to contextualize Dahmer. It showed his chaotic family life, the masculinity he was expected to perform yet couldn’t, his social ineptness, and the disturbing ways his instincts were and weren’t validated.\u003c/p>\n\u003cp>The film seemed to be asking the unanswerable question: What if? What if he had been able to come out to his family? What if someone had noticed his inability to connect with people and had tried to reach him? What if he was steered toward nurturing his anatomical interests? Could he have been a pathologist? A medical examiner?\u003c/p>\n\u003cp>The other unanswerable question—the one that might be going through many readers’ minds—is: Who cares?! He deliberately preyed on a vulnerable population, mostly young gay men of color. He killed a bunch of people!\u003c/p>\n\u003cp>I was so disturbed by my empathy for him—for how he was portrayed in the film, anyway—that I brought it up to my therapist. Her take? That I might be drawn to his overt cruelty, his capacity for violence, because I am incapable of it myself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a new, necessary and brilliant book, \u003cem>Savage Appetites: Four True Stories of Women, Crime, and Obsession,\u003c/em> journalist Rachel Monroe writes: “Most of the explanations I read for why women are drawn to true crime ended up feeling reductive and unsatisfying.” The explanations she had seen were that the interest was voyeuristic or feminist or self-preserving and practical. “By presuming that women’s dark thoughts were merely pragmatic, those thoughts were drained of their menace,” she adds. “A different, more alarming hypothesis was the one I tended to prefer: perhaps we liked creepy stories because something creepy was in us.”\u003c/p>\n\u003cp>The stories that are well-known, that get rehashed over and over again, are largely about white male perpetrators and white, middle-class, female victims, even though, as Monroe reminds us, “the people who are disproportionately at risk of homicide” are actually “sex workers, the homeless, young men of color, trans women” and, in fact, “the people who [are] most likely to be harmed by violent crime [are] young black men from low-income neighborhoods.”\u003c/p>\n\u003cp>So why do we find true crime fascinating? How are we relating to it? Who is telling what stories and why? Monroe doesn’t have one distinct answer for us—nor, I suspect, does she believe there is one—but she showcases several women, each with a different relationship to the genre. Frances Glessner Lee, considered by some the “mother of forensic science,” is the first; second is Alisa Statman who, whether in good faith or not, inserted herself into the lives and stories of Sharon Tate’s family; third is Lorri Davis, who ended up marrying and helping to free Damien Echols, who spent years on death row after what is widely believed to be his wrongful conviction for the murder of three small boys in West Memphis; and, finally, Lindsay Souvannarath, sentenced to life in prison in Canada after she and another young adult she had met online planned to vaguely emulate the Columbine shooters by wreaking havoc in a mall in Halifax (they never got that far).\u003c/p>\n\u003cp>Monroe treats each individual narrative with nuance, empathy and transparency, allowing both the protagonists and their supporting cast to remain complex. She delves into the social and political ramifications of each narrative, making accessible and visible what so often gets overlooked in these stories because it’s too complicated to put into a headline or summary.\u003c/p>\n\u003cp>Monroe’s book is a pleasure to read because it is smart, well-researched and well-written—beautifully, really, as each of the four long chapters takes the form of a braided essay that links two and sometimes three distinct stories together, showcasing Monroe’s own obsessions alongside those of the real-life characters she explores.\u003c/p>\n\u003cp>But more than that, \u003cem>Savage Appetites \u003c/em>is important because it refuses to sit inside binaries of good vs. evil, victim vs. perpetrator, innocent victim vs. mastermind criminal. It doesn’t give us easy answers for why women are the main consumers of true crime narratives, because there aren’t any because women as a category are not monolith and because it’s complicated and nuanced and different for everyone. The book is important also because I suspect there are more than a few of us who, like Monroe herself, feel conflicted about their desire to consume stories of murder and mayhem and wonder what it reflects about the world around us and ourselves.\u003c/p>\n\u003cp>While Monroe has the role of journalist here, probing the history, motives and psyches of her subjects, she also interrogates herself by weaving her stories into those of others. So it’s not without doing the work herself that she urges us not to turn off our brains in the pursuit of true crime’s anesthetizing effect: “We can use [sensational crime stories] as opportunities to be more honest about our appetites—and curious about them too.”\u003c/p>\n\u003cp>Looking away from a problem doesn’t make it go away, her narratives show us, and looking at the problem directly doesn’t mean easily or quickly solving it. But looking and looking and continuing to look until the layers begin to peel back and reveal the issues at the core of such stories—the systemic inequalities, the co-option of certain stories for political gain, the rhetoric used to make some victims more real than others—that’s the important work that we, and true crime, can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\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=Why+Do+We+Find+True+Crime+Fascinating%3F+%27Savage+Appetites%27+Looks+For+An+Answer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few months ago, I watched a chilling film, \u003ca href=\"https://www.youtube.com/watch?v=jmnuC7tn9D4\" target=\"_blank\" rel=\"noopener\">\u003cem>My Friend Dahmer\u003c/em>\u003c/a>, based on a graphic memoir written by a high school friend(ish) of infamous serial killer Jeffrey Dahmer.\u003c/p>\n\u003cp>While IMDB’s logline for the film reads, “A young Jeffrey Dahmer struggles to belong in high school,” I saw it more as an attempt to contextualize Dahmer. It showed his chaotic family life, the masculinity he was expected to perform yet couldn’t, his social ineptness, and the disturbing ways his instincts were and weren’t validated.\u003c/p>\n\u003cp>The film seemed to be asking the unanswerable question: What if? What if he had been able to come out to his family? What if someone had noticed his inability to connect with people and had tried to reach him? What if he was steered toward nurturing his anatomical interests? Could he have been a pathologist? A medical examiner?\u003c/p>\n\u003cp>The other unanswerable question—the one that might be going through many readers’ minds—is: Who cares?! He deliberately preyed on a vulnerable population, mostly young gay men of color. He killed a bunch of people!\u003c/p>\n\u003cp>I was so disturbed by my empathy for him—for how he was portrayed in the film, anyway—that I brought it up to my therapist. Her take? That I might be drawn to his overt cruelty, his capacity for violence, because I am incapable of it myself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a new, necessary and brilliant book, \u003cem>Savage Appetites: Four True Stories of Women, Crime, and Obsession,\u003c/em> journalist Rachel Monroe writes: “Most of the explanations I read for why women are drawn to true crime ended up feeling reductive and unsatisfying.” The explanations she had seen were that the interest was voyeuristic or feminist or self-preserving and practical. “By presuming that women’s dark thoughts were merely pragmatic, those thoughts were drained of their menace,” she adds. “A different, more alarming hypothesis was the one I tended to prefer: perhaps we liked creepy stories because something creepy was in us.”\u003c/p>\n\u003cp>The stories that are well-known, that get rehashed over and over again, are largely about white male perpetrators and white, middle-class, female victims, even though, as Monroe reminds us, “the people who are disproportionately at risk of homicide” are actually “sex workers, the homeless, young men of color, trans women” and, in fact, “the people who [are] most likely to be harmed by violent crime [are] young black men from low-income neighborhoods.”\u003c/p>\n\u003cp>So why do we find true crime fascinating? How are we relating to it? Who is telling what stories and why? Monroe doesn’t have one distinct answer for us—nor, I suspect, does she believe there is one—but she showcases several women, each with a different relationship to the genre. Frances Glessner Lee, considered by some the “mother of forensic science,” is the first; second is Alisa Statman who, whether in good faith or not, inserted herself into the lives and stories of Sharon Tate’s family; third is Lorri Davis, who ended up marrying and helping to free Damien Echols, who spent years on death row after what is widely believed to be his wrongful conviction for the murder of three small boys in West Memphis; and, finally, Lindsay Souvannarath, sentenced to life in prison in Canada after she and another young adult she had met online planned to vaguely emulate the Columbine shooters by wreaking havoc in a mall in Halifax (they never got that far).\u003c/p>\n\u003cp>Monroe treats each individual narrative with nuance, empathy and transparency, allowing both the protagonists and their supporting cast to remain complex. She delves into the social and political ramifications of each narrative, making accessible and visible what so often gets overlooked in these stories because it’s too complicated to put into a headline or summary.\u003c/p>\n\u003cp>Monroe’s book is a pleasure to read because it is smart, well-researched and well-written—beautifully, really, as each of the four long chapters takes the form of a braided essay that links two and sometimes three distinct stories together, showcasing Monroe’s own obsessions alongside those of the real-life characters she explores.\u003c/p>\n\u003cp>But more than that, \u003cem>Savage Appetites \u003c/em>is important because it refuses to sit inside binaries of good vs. evil, victim vs. perpetrator, innocent victim vs. mastermind criminal. It doesn’t give us easy answers for why women are the main consumers of true crime narratives, because there aren’t any because women as a category are not monolith and because it’s complicated and nuanced and different for everyone. The book is important also because I suspect there are more than a few of us who, like Monroe herself, feel conflicted about their desire to consume stories of murder and mayhem and wonder what it reflects about the world around us and ourselves.\u003c/p>\n\u003cp>While Monroe has the role of journalist here, probing the history, motives and psyches of her subjects, she also interrogates herself by weaving her stories into those of others. So it’s not without doing the work herself that she urges us not to turn off our brains in the pursuit of true crime’s anesthetizing effect: “We can use [sensational crime stories] as opportunities to be more honest about our appetites—and curious about them too.”\u003c/p>\n\u003cp>Looking away from a problem doesn’t make it go away, her narratives show us, and looking at the problem directly doesn’t mean easily or quickly solving it. But looking and looking and continuing to look until the layers begin to peel back and reveal the issues at the core of such stories—the systemic inequalities, the co-option of certain stories for political gain, the rhetoric used to make some victims more real than others—that’s the important work that we, and true crime, can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\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=Why+Do+We+Find+True+Crime+Fascinating%3F+%27Savage+Appetites%27+Looks+For+An+Answer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'An American Sunrise,' Joy Harjo Speaks With A Timeless Compassion",
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"content": "\u003cp>There is occasional confusion about the nature of the United States poet laureateship: The selection of laureate has nothing to do with the president.\u003c/p>\n\u003cp>The poet is selected by the Librarian of Congress, meaning the laureate works for a completely different branch of the government. This is a smart and useful separation of powers: An advocate of free speech and education should not be beholden to a president, especially this one.\u003c/p>\n\u003cp>While I do not believe that Joy Harjo’s recent appointment to the laureateship was intended as an explicit rebuke to President Trump, the poetry in her new book, \u003cem>An American Sunrise\u003c/em>, casts an undeniably critical eye on the kinds of policies — and people — Trump tends to support.\u003c/p>\n\u003cp>The first Native American to hold the laureateship, Harjo recalls and laments the violence and displacement that has marked hundreds of years of Native American history: “The children were stolen from these beloved lands by the government./ … / …they were lined up to sleep alone in their army-issued cages.” She’s talking about Native American children forced from their homes in the 19th century, but it’s hard to imagine she does not also mean to call to mind the present horrors at the Southern border.\u003c/p>\n\u003cfigure id=\"attachment_13864505\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg\" alt=\"'An American Sunrise' book of poetry by Joy Harjo.\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘An American Sunrise’ book of poetry by Joy Harjo.\u003c/figcaption>\u003c/figure>\n\u003cp>Harjo began publishing poetry in the 1970s and has many collections, as well as a memoir, to her name. She belongs to the Muscogee Nation, has won lots of the major honors available to an American poet, and lives in Oklahoma. Her poems are accessible and easy to read, but making them no less penetrating and powerful, spoken from a deep and timeless source of compassion for all — but also from a very specific and justified well of anger: “They kill what they cannot take. They rape. What they cannot kill they take.” \u003cem>They\u003c/em> are white settlers, the soldiers pushing westward, forcing Native Americans from their homes, destroying their families and cultures. \u003cem>They\u003c/em> are also \u003cem>us\u003c/em>. “I returned,” Harjo writes, acknowledging this book’s act of imaginative memory, “to see what I find, in these lands we were forced to leave behind.”\u003c/p>\n\u003cp>The book opens with a long poem that blurs the distinction — to my ears at least — between historical Native Americans and contemporary situations where people are trying to cross borders into a new life. It then weaves through lyrics, songs, prose interludes, and meditations that mix history — the poet’s ancestor, the tribal leader and warrior Monahwee is a recurring character — personal recollection, and urgent calls for spiritual awakening and action: “Someone is always leaving/ By exile, death, or heartbreak,” she writes in “Break My Heart.” “Police with their guns/ Cannot enter here to move us off our lands/ Or kill our babies.”\u003c/p>\n\u003cp>Despite its many resonances with the present situation in America, this book was not written as a commentary on the Trump presidency: The horrors it recounts, and the hopes it upholds, were here long before — and will remain long after. This is an old and ongoing story in which “Even when I dreamed, I dreamed a chain around my neck.”\u003c/p>\n\u003cp>Harjo tells the tale of a fierce and ongoing fight for sovereignty, integrity, and basic humanity, a plea that we as Americans take responsibility for what’s been — and being done — in our names. Her work is also a stark reminder of what poetry is for and what it can do: how it can hold contradictory truths in mind, how it keeps the things we ought not to forget alive and present.\u003c/p>\n\u003cp>“What we speak always returns,” she writes, “With a spike of barbs/ Or the sweet taste of berries in summer.” We need — and deserve — both those barbs and berries right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author, most recently, of the poetry collection \u003c/em>The Trembling Answers\u003cem> and a collection of essays \u003c/em>We Begin In Gladness: How Poets Progress.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is occasional confusion about the nature of the United States poet laureateship: The selection of laureate has nothing to do with the president.\u003c/p>\n\u003cp>The poet is selected by the Librarian of Congress, meaning the laureate works for a completely different branch of the government. This is a smart and useful separation of powers: An advocate of free speech and education should not be beholden to a president, especially this one.\u003c/p>\n\u003cp>While I do not believe that Joy Harjo’s recent appointment to the laureateship was intended as an explicit rebuke to President Trump, the poetry in her new book, \u003cem>An American Sunrise\u003c/em>, casts an undeniably critical eye on the kinds of policies — and people — Trump tends to support.\u003c/p>\n\u003cp>The first Native American to hold the laureateship, Harjo recalls and laments the violence and displacement that has marked hundreds of years of Native American history: “The children were stolen from these beloved lands by the government./ … / …they were lined up to sleep alone in their army-issued cages.” She’s talking about Native American children forced from their homes in the 19th century, but it’s hard to imagine she does not also mean to call to mind the present horrors at the Southern border.\u003c/p>\n\u003cfigure id=\"attachment_13864505\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg\" alt=\"'An American Sunrise' book of poetry by Joy Harjo.\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘An American Sunrise’ book of poetry by Joy Harjo.\u003c/figcaption>\u003c/figure>\n\u003cp>Harjo began publishing poetry in the 1970s and has many collections, as well as a memoir, to her name. She belongs to the Muscogee Nation, has won lots of the major honors available to an American poet, and lives in Oklahoma. Her poems are accessible and easy to read, but making them no less penetrating and powerful, spoken from a deep and timeless source of compassion for all — but also from a very specific and justified well of anger: “They kill what they cannot take. They rape. What they cannot kill they take.” \u003cem>They\u003c/em> are white settlers, the soldiers pushing westward, forcing Native Americans from their homes, destroying their families and cultures. \u003cem>They\u003c/em> are also \u003cem>us\u003c/em>. “I returned,” Harjo writes, acknowledging this book’s act of imaginative memory, “to see what I find, in these lands we were forced to leave behind.”\u003c/p>\n\u003cp>The book opens with a long poem that blurs the distinction — to my ears at least — between historical Native Americans and contemporary situations where people are trying to cross borders into a new life. It then weaves through lyrics, songs, prose interludes, and meditations that mix history — the poet’s ancestor, the tribal leader and warrior Monahwee is a recurring character — personal recollection, and urgent calls for spiritual awakening and action: “Someone is always leaving/ By exile, death, or heartbreak,” she writes in “Break My Heart.” “Police with their guns/ Cannot enter here to move us off our lands/ Or kill our babies.”\u003c/p>\n\u003cp>Despite its many resonances with the present situation in America, this book was not written as a commentary on the Trump presidency: The horrors it recounts, and the hopes it upholds, were here long before — and will remain long after. This is an old and ongoing story in which “Even when I dreamed, I dreamed a chain around my neck.”\u003c/p>\n\u003cp>Harjo tells the tale of a fierce and ongoing fight for sovereignty, integrity, and basic humanity, a plea that we as Americans take responsibility for what’s been — and being done — in our names. Her work is also a stark reminder of what poetry is for and what it can do: how it can hold contradictory truths in mind, how it keeps the things we ought not to forget alive and present.\u003c/p>\n\u003cp>“What we speak always returns,” she writes, “With a spike of barbs/ Or the sweet taste of berries in summer.” We need — and deserve — both those barbs and berries right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author, most recently, of the poetry collection \u003c/em>The Trembling Answers\u003cem> and a collection of essays \u003c/em>We Begin In Gladness: How Poets Progress.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Righteous Gemstones' Takes Aim at Megachurch Millionaires",
"headTitle": "‘The Righteous Gemstones’ Takes Aim at Megachurch Millionaires | KQED",
"content": "\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqJRIQO7sqw\u003c/p>\n\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. From a thematic perspective, this show could have been written about televangelists in the 1980s, for instance. It’s focused on the weirdos in this family, not what the faith that happens to be their grift of choice has to do with anybody else.\u003c/p>\n\u003cp>With that tight focus on these characters comes a need to differentiate them from similar characters we’ve seen before. That’s the show’s most significant flaw. In comedy terms, it’s fine for everyone to be unsympathetic, but it’s more of a problem that they’re unsympathetic in such expected ways. John Goodman is an actor who can do a lot with a little, but this performance seems like a routine version of what you’d expect “greedy televangelist” to look like. Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On one hand, the release of Ibram X. Kendi’s new book, \u003cem>How To Be An Antiracist\u003c/em>, couldn’t come at a better time.\u003c/p>\n\u003cp>The book hits bookstores this week amid an ongoing national debate about what qualifies as racist—and who gets to decide. Its August arrival also coincides with the 400th anniversary of the first Africans documented to reach the colony of Virginia, entering involuntary bondage in what would become the United States.\u003c/p>\n\u003cp>This brings up the other hand: It’s difficult to imagine any point in (or, truly, before) the history of this country when Kendi’s guide to recognizing and dismantling racism wouldn’t be profoundly useful and necessary.\u003c/p>\n\u003cp>Despite the nature of its title, Kendi has gifted us with a book that is not only an essential instruction manual but also a memoir of the author’s own path from anti-black racism to anti-white racism and, finally, to antiracism. Such critical self-reflection is, in fact, the responsibility of the antiracist. Kendi explains that, “like fighting an addiction, being an antiracist requires persistent self-awareness, constant self-criticism, and regular self-examination.”\u003c/p>\n\u003cp>The National Book Award-winning author’s stories about his own racist behavior models this beautifully. Arranged chronologically, the book opens with the meeting of Kendi’s parents—and moves through his first memory of experiencing racism, to high school, college, grad school and the present day. At no point does Kendi fail to identify the mistakes he made along the way—such as overcompensating for colorism during his undergraduate years. Frustrated with friends who were enraptured by his light-skinned girlfriend but ignored her darker roommate, Kendi “pledged to date only Dark women.” He reflects, “I hardly realized my own racist hypocrisy: I was turning the color hierarchy upside down, but the color hierarchy remained.” This transparency serves as an invitation to all of us to accept and grow from our racist behavior. It is one of many components that makes \u003cem>How to Be an Antiracist\u003c/em> so accessible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book’s structure also exemplifies a commitment to clarity for the reader. Appreciating the impossibility of effectively confronting a problem that isn’t understood, Kendi begins each chapter, save the final two, with definitions. As he notes “definitions anchor us to principles. This is not a light point: If we don’t do the basic work of defining the kind of people we want to be in language that is stable and consistent, we can’t work toward stable, consistent goals.”\u003c/p>\n\u003cp>Clear definitions do not mean universally agreed upon ones, however. I consider myself to be well-versed in the language and concepts of antiracist theory, and I found myself resisting Kendi’s perspective on more than one occasion. Yet in every case, either his unassailable reasoning, helpful historical context, illuminating data, or some combination of the above won me over.\u003c/p>\n\u003cp>One of Kendi’s first aims, and one likely to invite argument, is to “return the word ‘racist’ itself back to its proper usage.” The term:\u003c/p>\n\u003cblockquote>\u003cp>“…is not the equivalent of a slur. It is descriptive, and the only way to undo racism is to consistently identify and describe it—and then dismantle it. The attempt to turn this usefully descriptive term into an almost unusable slur is, of course, designed to do the opposite: to freeze us into inaction.”\u003c/p>\u003c/blockquote>\n\u003cp>Even the central premise of the book—that there are two ways of being in the world: racist or antiracist—may be difficult to conceive for those unwilling to relinquish the “self-definition of ‘not racist.'” That’s because Kendi explains that “not racist” isn’t really a thing. Kendi argues that “not racist” is a term that “signifies neutrality…[b]ut there is no neutrality in the racism struggle. The opposite of ‘racist’ isn’t ‘not racist.’ It is ‘antiracist.’ … One either endorses the idea of a racial hierarchy as a racist or racial equality as an antiracist.”\u003c/p>\n\u003cp>Those who commit to striving to be the latter will find ample resources in this book. Kendi examines how racism and antiracism have played out historically and continues to manifest in the realms of biology, class, culture, space, behavior, color, ethnicity, and more. He also makes clear that antiracism “means standing ready to fight racism’s intersections with other bigotries,” from gender to gender identity to sexuality and beyond. Along the way, he explores everything from the history of racial categories to segregationist- and assimilationist-based racism to the OJ Simpson verdict, Chris Rock, and how race impacted the presidential election in 2000.\u003c/p>\n\u003cp>Throughout, while Kendi makes it plain that no race is superior to any other, he does identify a supremacy among strategies, eviscerating the idea of changing hearts and minds as the primary means of eradicating racism. Paraphrasing Assata Shakur, Kendi questions whether any “group in history has gained their freedom through appealing to the moral conscience of their oppressors.” He pushes us to instead focus on policy, because while other approaches may benefit individuals, “only policy change helps groups.”\u003c/p>\n\u003cp>Kendi’s book may reveal how to join him on his “lifelong mission to be antiracist,” but he doesn’t suggest the path is an easy one. Maintaining a commitment to seeing the intersections of racism and other bigotries, working to build antiracist power, helping develop antiracist strategies, thinking as an antiracist—all of these efforts are continuing struggles for Kendi. After all, he points out, “Racist ideas have defined our society since its beginning and can feel so natural and obvious as to be banal…. To be an antiracist is a radical choice in the face of this history, requiring radical reorientation of our consciousness.”\u003c/p>\n\u003cp>The effort may be daunting, but it’s one we must take on if we are to dismantle the policies that continue to produce racially inequitable results in every measure of health, wealth, and well-being. Thankfully, \u003cem>How to Be an Antiracist \u003c/em>gives us a clear and compelling way to approach, as Kendi puts it in his introduction, “the basic struggle we’re all in, the struggle to be fully human and to see that others are fully human.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the organizing director for DC Working Families and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\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=Ibram+X.+Kendi+Says+No+One+Is+%27Not+Racist.%27+So+What+Should+We+Do%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On one hand, the release of Ibram X. Kendi’s new book, \u003cem>How To Be An Antiracist\u003c/em>, couldn’t come at a better time.\u003c/p>\n\u003cp>The book hits bookstores this week amid an ongoing national debate about what qualifies as racist—and who gets to decide. Its August arrival also coincides with the 400th anniversary of the first Africans documented to reach the colony of Virginia, entering involuntary bondage in what would become the United States.\u003c/p>\n\u003cp>This brings up the other hand: It’s difficult to imagine any point in (or, truly, before) the history of this country when Kendi’s guide to recognizing and dismantling racism wouldn’t be profoundly useful and necessary.\u003c/p>\n\u003cp>Despite the nature of its title, Kendi has gifted us with a book that is not only an essential instruction manual but also a memoir of the author’s own path from anti-black racism to anti-white racism and, finally, to antiracism. Such critical self-reflection is, in fact, the responsibility of the antiracist. Kendi explains that, “like fighting an addiction, being an antiracist requires persistent self-awareness, constant self-criticism, and regular self-examination.”\u003c/p>\n\u003cp>The National Book Award-winning author’s stories about his own racist behavior models this beautifully. Arranged chronologically, the book opens with the meeting of Kendi’s parents—and moves through his first memory of experiencing racism, to high school, college, grad school and the present day. At no point does Kendi fail to identify the mistakes he made along the way—such as overcompensating for colorism during his undergraduate years. Frustrated with friends who were enraptured by his light-skinned girlfriend but ignored her darker roommate, Kendi “pledged to date only Dark women.” He reflects, “I hardly realized my own racist hypocrisy: I was turning the color hierarchy upside down, but the color hierarchy remained.” This transparency serves as an invitation to all of us to accept and grow from our racist behavior. It is one of many components that makes \u003cem>How to Be an Antiracist\u003c/em> so accessible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book’s structure also exemplifies a commitment to clarity for the reader. Appreciating the impossibility of effectively confronting a problem that isn’t understood, Kendi begins each chapter, save the final two, with definitions. As he notes “definitions anchor us to principles. This is not a light point: If we don’t do the basic work of defining the kind of people we want to be in language that is stable and consistent, we can’t work toward stable, consistent goals.”\u003c/p>\n\u003cp>Clear definitions do not mean universally agreed upon ones, however. I consider myself to be well-versed in the language and concepts of antiracist theory, and I found myself resisting Kendi’s perspective on more than one occasion. Yet in every case, either his unassailable reasoning, helpful historical context, illuminating data, or some combination of the above won me over.\u003c/p>\n\u003cp>One of Kendi’s first aims, and one likely to invite argument, is to “return the word ‘racist’ itself back to its proper usage.” The term:\u003c/p>\n\u003cblockquote>\u003cp>“…is not the equivalent of a slur. It is descriptive, and the only way to undo racism is to consistently identify and describe it—and then dismantle it. The attempt to turn this usefully descriptive term into an almost unusable slur is, of course, designed to do the opposite: to freeze us into inaction.”\u003c/p>\u003c/blockquote>\n\u003cp>Even the central premise of the book—that there are two ways of being in the world: racist or antiracist—may be difficult to conceive for those unwilling to relinquish the “self-definition of ‘not racist.'” That’s because Kendi explains that “not racist” isn’t really a thing. Kendi argues that “not racist” is a term that “signifies neutrality…[b]ut there is no neutrality in the racism struggle. The opposite of ‘racist’ isn’t ‘not racist.’ It is ‘antiracist.’ … One either endorses the idea of a racial hierarchy as a racist or racial equality as an antiracist.”\u003c/p>\n\u003cp>Those who commit to striving to be the latter will find ample resources in this book. Kendi examines how racism and antiracism have played out historically and continues to manifest in the realms of biology, class, culture, space, behavior, color, ethnicity, and more. He also makes clear that antiracism “means standing ready to fight racism’s intersections with other bigotries,” from gender to gender identity to sexuality and beyond. Along the way, he explores everything from the history of racial categories to segregationist- and assimilationist-based racism to the OJ Simpson verdict, Chris Rock, and how race impacted the presidential election in 2000.\u003c/p>\n\u003cp>Throughout, while Kendi makes it plain that no race is superior to any other, he does identify a supremacy among strategies, eviscerating the idea of changing hearts and minds as the primary means of eradicating racism. Paraphrasing Assata Shakur, Kendi questions whether any “group in history has gained their freedom through appealing to the moral conscience of their oppressors.” He pushes us to instead focus on policy, because while other approaches may benefit individuals, “only policy change helps groups.”\u003c/p>\n\u003cp>Kendi’s book may reveal how to join him on his “lifelong mission to be antiracist,” but he doesn’t suggest the path is an easy one. Maintaining a commitment to seeing the intersections of racism and other bigotries, working to build antiracist power, helping develop antiracist strategies, thinking as an antiracist—all of these efforts are continuing struggles for Kendi. After all, he points out, “Racist ideas have defined our society since its beginning and can feel so natural and obvious as to be banal…. To be an antiracist is a radical choice in the face of this history, requiring radical reorientation of our consciousness.”\u003c/p>\n\u003cp>The effort may be daunting, but it’s one we must take on if we are to dismantle the policies that continue to produce racially inequitable results in every measure of health, wealth, and well-being. Thankfully, \u003cem>How to Be an Antiracist \u003c/em>gives us a clear and compelling way to approach, as Kendi puts it in his introduction, “the basic struggle we’re all in, the struggle to be fully human and to see that others are fully human.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the organizing director for DC Working Families and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\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=Ibram+X.+Kendi+Says+No+One+Is+%27Not+Racist.%27+So+What+Should+We+Do%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss)",
"headTitle": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss) | KQED",
"content": "\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_37YRkp4hIQ\u003c/p>\n\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E5uAH0vNn2s\u003c/p>\n\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xfPoLEJpgY\u003c/p>\n\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cj2k3QsHmyM\u003c/p>\n\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\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=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "What happens when an artist you count on to be one way suddenly isn't? For writer Hanif Abdurraquib, appreciating the left-turn album 'The Center Won't Hold' has meant letting go of years of nostalgia.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\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/_37YRkp4hIQ'\n title='//www.youtube.com/embed/_37YRkp4hIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\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/E5uAH0vNn2s'\n title='//www.youtube.com/embed/E5uAH0vNn2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\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/_xfPoLEJpgY'\n title='//www.youtube.com/embed/_xfPoLEJpgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\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/Cj2k3QsHmyM'\n title='//www.youtube.com/embed/Cj2k3QsHmyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\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=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o47CwiJLpes\u003c/p>\n\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hhcoUnzMZw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon 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=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\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/o47CwiJLpes'\n title='//www.youtube.com/embed/o47CwiJLpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\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/2hhcoUnzMZw'\n title='//www.youtube.com/embed/2hhcoUnzMZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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