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"content": "\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9gIwn5llbTM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. 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That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m-UKG1gCJnE\u003c/p>\n\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. 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Just as other people won’t want this one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\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/m-UKG1gCJnE'\n title='//www.youtube.com/embed/m-UKG1gCJnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
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"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Peppa is a 4-year-old, cartoon pig whose award-winning TV show airs in more than 180 countries. For the last 13 years she's been played by Harley Bird, who got the part when she was only 5 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\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/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\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/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\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>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Double Indemnity' is 75, But Film Noir is Forever",
"headTitle": "‘Double Indemnity’ is 75, But Film Noir is Forever | KQED",
"content": "\u003cp>Let’s get right to the point. Walter Neff is a murderer: “Yes, I killed him. I killed him for money, and for a woman. I didn’t get the money and I didn’t get the woman.”\u003c/p>\n\u003cp>Fred MacMurray plays the hapless insurance salesman in the classic noir \u003cem>Double Indemnity\u003c/em>, which turns 75 this month—and helped launch a fraternity of films about wounded men in fedoras falling for sultry femmes fatales.\u003c/p>\n\u003cp>Walter’s confession comes at the start of the film—so I haven’t spoiled anything. The woman is Phyllis Dietrichson, played by Barbara Stanwyck. She’s a seductive housewife who would be much happier without her husband around. “The other night we drove home from a party, he was drunk again,” she says at one point. “When we drove into the garage, he just sat there with his head on the steering wheel with the motor still running. And I thought what it would be like if I didn’t switch it off. Just close the garage doors and left him there.”\u003c/p>\n\u003cp>Together, Phyllis and Walter hatch a scheme to kill her husband and make it look like an accident. But in \u003cem>Double Indemnity\u003c/em>, it’s also a given that the protagonists are doomed. “Suddenly it came over me that everything would go wrong. I couldn’t hear my own footsteps. It was the walk of a dead man,” Walter agonizes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yKrrAa2o9Eg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s no doubt in my mind that it was not only the commercial, but the artistic success of this film is what triggered the film noir movement in Hollywood,” says Eddie Muller—the Czar of the Noir, as he likes to call himself. He’s the host of Turner Classic Movies’ Noir Alley. “And I think that what makes it so special is that the protagonists are the villains,” he adds.\u003c/p>\n\u003cp>75 years ago, that was a big deal. Hollywood was heavily policed by production codes, and it was bold for director Billy Wilder to take his popular stars and turn them into killers. “We’re both rotten,” Phyllis says at one point. “Only you’re a little more rotten,” Walter shoots back. “You got me to take care of your husband for you.”\u003c/p>\n\u003cp>Film noir: Stories that exposed the dark underbelly of the American dream. Rich black and white with heavy shadows, and witty double entendres that skirted the censors. And the smoking. SO much smoking. After all, they were as good as dead anyway.\u003c/p>\n\u003cp>Film noir came from the hard-boiled fiction of writers like Dashiell Hammett, James M. Cain and Raymond Chandler. It took off in Hollywood during and after World War II, when Eddie Muller says you couldn’t sell people just on happy-ever-after anymore, “and so finally, here were stories on the big screen at the movie house that reflected that pessimism.”\u003c/p>\n\u003cp>That strain of pessimism and the visual style have never gone away, though it’s mostly on TV now, from \u003cem>The Sopranos\u003c/em> to Walter White in \u003cem>Breaking Bad\u003c/em>, or \u003cem>Jessica Jones\u003c/em>, with its tortured female protagonist. “Jessica Jones is sort of in the role of the, what would typically be the male hero, you know, the Humphrey Bogart, Fred MacMurray, where she’s the anti-hero,” says \u003cem>Jessica Jones\u003c/em> creator and showrunner Melissa Rosenberg, who adds that she could draw a line between Jessica Jones and \u003cem>Double Indemnity\u003c/em>‘s femme fatale. “She’s driving the story, she’s the smart, ambitious one who does what she has to to get what she wants.”\u003c/p>\n\u003cp>Today’s audiences are no longer shocked by this kind of story. In fact, says Eddie Muller, people now watch old movies like \u003cem>Double Indemnity\u003c/em> because they’re a little like comfort food, “like wow, that’s great—look, here’s a murder story from a more innocent time.”\u003c/p>\n\u003cp>Just don’t go looking for innocence down the mean streets of \u003cem>Double Indemnity\u003c/em>. You won’t find any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Ted Robbins, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Double+Indemnity%27+Is+75%2C+But+Anklets+%28And+Film+Noir%29+Are+Forever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get right to the point. Walter Neff is a murderer: “Yes, I killed him. I killed him for money, and for a woman. I didn’t get the money and I didn’t get the woman.”\u003c/p>\n\u003cp>Fred MacMurray plays the hapless insurance salesman in the classic noir \u003cem>Double Indemnity\u003c/em>, which turns 75 this month—and helped launch a fraternity of films about wounded men in fedoras falling for sultry femmes fatales.\u003c/p>\n\u003cp>Walter’s confession comes at the start of the film—so I haven’t spoiled anything. The woman is Phyllis Dietrichson, played by Barbara Stanwyck. She’s a seductive housewife who would be much happier without her husband around. “The other night we drove home from a party, he was drunk again,” she says at one point. “When we drove into the garage, he just sat there with his head on the steering wheel with the motor still running. And I thought what it would be like if I didn’t switch it off. Just close the garage doors and left him there.”\u003c/p>\n\u003cp>Together, Phyllis and Walter hatch a scheme to kill her husband and make it look like an accident. But in \u003cem>Double Indemnity\u003c/em>, it’s also a given that the protagonists are doomed. “Suddenly it came over me that everything would go wrong. I couldn’t hear my own footsteps. It was the walk of a dead man,” Walter agonizes.\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/yKrrAa2o9Eg'\n title='//www.youtube.com/embed/yKrrAa2o9Eg'\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>“There’s no doubt in my mind that it was not only the commercial, but the artistic success of this film is what triggered the film noir movement in Hollywood,” says Eddie Muller—the Czar of the Noir, as he likes to call himself. He’s the host of Turner Classic Movies’ Noir Alley. “And I think that what makes it so special is that the protagonists are the villains,” he adds.\u003c/p>\n\u003cp>75 years ago, that was a big deal. Hollywood was heavily policed by production codes, and it was bold for director Billy Wilder to take his popular stars and turn them into killers. “We’re both rotten,” Phyllis says at one point. “Only you’re a little more rotten,” Walter shoots back. “You got me to take care of your husband for you.”\u003c/p>\n\u003cp>Film noir: Stories that exposed the dark underbelly of the American dream. Rich black and white with heavy shadows, and witty double entendres that skirted the censors. And the smoking. SO much smoking. After all, they were as good as dead anyway.\u003c/p>\n\u003cp>Film noir came from the hard-boiled fiction of writers like Dashiell Hammett, James M. Cain and Raymond Chandler. It took off in Hollywood during and after World War II, when Eddie Muller says you couldn’t sell people just on happy-ever-after anymore, “and so finally, here were stories on the big screen at the movie house that reflected that pessimism.”\u003c/p>\n\u003cp>That strain of pessimism and the visual style have never gone away, though it’s mostly on TV now, from \u003cem>The Sopranos\u003c/em> to Walter White in \u003cem>Breaking Bad\u003c/em>, or \u003cem>Jessica Jones\u003c/em>, with its tortured female protagonist. “Jessica Jones is sort of in the role of the, what would typically be the male hero, you know, the Humphrey Bogart, Fred MacMurray, where she’s the anti-hero,” says \u003cem>Jessica Jones\u003c/em> creator and showrunner Melissa Rosenberg, who adds that she could draw a line between Jessica Jones and \u003cem>Double Indemnity\u003c/em>‘s femme fatale. “She’s driving the story, she’s the smart, ambitious one who does what she has to to get what she wants.”\u003c/p>\n\u003cp>Today’s audiences are no longer shocked by this kind of story. In fact, says Eddie Muller, people now watch old movies like \u003cem>Double Indemnity\u003c/em> because they’re a little like comfort food, “like wow, that’s great—look, here’s a murder story from a more innocent time.”\u003c/p>\n\u003cp>Just don’t go looking for innocence down the mean streets of \u003cem>Double Indemnity\u003c/em>. You won’t find any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Ted Robbins, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Double+Indemnity%27+Is+75%2C+But+Anklets+%28And+Film+Noir%29+Are+Forever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The musical theater director and producer Hal Prince, winner of an unprecedented 21 Tony Awards, has died in Iceland after a brief illness. He was 91.\u003c/p>\n\u003cp>Prince worked on such major shows as \u003cem>Cabaret\u003c/em>, \u003cem>Sweeney Todd\u003c/em> and \u003cem>The Phantom of the Opera. \u003c/em>But he was always looking forward to the next show, regardless of how the last one turned out.\u003c/p>\n\u003cp>In 1965, composer John Kander was working on a show that Prince produced called \u003cem>Flora, The Red Menace\u003c/em> — and it was not going well.\u003c/p>\n\u003cp>“A week before the show opened, Hal had said, ‘Whatever happens to \u003cem>Flora\u003c/em>, we’ll meet at my apartment and work on the next piece,'” Kander says. “And that’s exactly what happened. The show was not a success and we met at Hal’s apartment and started working on a piece which eventually became \u003cem>Cabaret\u003c/em>.”\u003c/p>\n\u003cp>Prince was born in New York in 1928 and fell in love with the theater as a kid. He said that as soon as he graduated from the University of Pennsylvania, he approached Broadway producer and director George Abbott to ask for a job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I worked for nothing,” Prince said. “That was my proposal and he accepted it. And then he paid me after about six months. I went backstage on a show and I had a decent salary. And from then on, I’ve been living a comfortable life in those terms.”\u003c/p>\n\u003cp>Prince learned not only his work ethic from George Abbott — he became a producer himself. And in 1954 he produced \u003cem>The Pajama Game\u003c/em> and hired Abbott to direct it.\u003c/p>\n\u003cp>It was the beginning of a phenomenally successful career as a producer. Among Prince’s other shows were \u003cem>Damn Yankees\u003c/em>, \u003cem>West Side Story\u003c/em> and \u003cem>Fiddler on the Roof\u003c/em>.\u003c/p>\n\u003cp>But Prince had other ambitions.\u003c/p>\n\u003cp>“I wanted to be a playwright, which I couldn’t do,” he said. “And I wanted to be a director which I could do.”\u003c/p>\n\u003cp>So Prince hired himself to direct shows like \u003cem>Cabaret\u003c/em> and \u003cem>Zorba.\u003c/em> In 1970, he began a remarkable period of collaboration with composer/lyricist Stephen Sondheim. They worked together on six shows, which Prince both directed and produced.\u003c/p>\n\u003cp>“He always makes me want to go to the piano and write,” Sondheim says. “I always leave meetings with Hal just bursting with ideas. Hal’s as stimulating as anybody I’ve ever met.”\u003c/p>\n\u003cp>Among their shows were \u003cem>Company\u003c/em>, \u003cem>Follies\u003c/em> and \u003cem>Sweeney Todd\u003c/em>, which expanded and transformed musical theater. They were often referred to as “concept” musicals — serious works on serious topics, like contemporary marriage, disillusion of the American dream, the corrosive nature of the Industrial Revolution.\u003c/p>\n\u003cp>“I’m very issue-oriented and I like a good story in the theater, obviously,” Prince said. “But I have to have — in order to do decent work, me — I have to have some kind of metaphor or I can’t do it.”\u003c/p>\n\u003cp>Prince’s shows were always impeccably staged and designed, says another frequent collaborator, composer Andrew Lloyd Webber.\u003c/p>\n\u003cp>“He is so visual,” Webber says. “And when he gets something right, visually, I mean, nobody gets it more right than him.”\u003c/p>\n\u003cp>They worked together on \u003cem>Evita\u003c/em> and \u003cem>The\u003c/em> \u003cem>Phantom of the Opera\u003c/em>. The latter is by far the biggest hit Hal Prince ever directed. It’s the longest-running show on Broadway.\u003c/p>\n\u003cp>But Prince also had his share of flops. His wife Judy confronted him one day.\u003c/p>\n\u003cp>“She said, ‘I’m sick to death of you talking about hits and flops,'” he said. “‘Do you not acknowledge that some of your greatest successes were flops at the box office and some of your biggest hits were not such damn successes artistically?'”\u003c/p>\n\u003cp>So he kept on working. Still, Prince acknowledged it wasn’t enough to have talent or intellectual curiosity or an impeccable work ethic.\u003c/p>\n\u003cp>“There is not an artist in the world who achieves any success who hasn’t had a lot of luck,” Prince said. “You’re lucky to be born when you are, where you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the American musical theater was lucky that Hal Prince helped to shape and define it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musical theater director and producer Hal Prince, winner of an unprecedented 21 Tony Awards, has died in Iceland after a brief illness. He was 91.\u003c/p>\n\u003cp>Prince worked on such major shows as \u003cem>Cabaret\u003c/em>, \u003cem>Sweeney Todd\u003c/em> and \u003cem>The Phantom of the Opera. \u003c/em>But he was always looking forward to the next show, regardless of how the last one turned out.\u003c/p>\n\u003cp>In 1965, composer John Kander was working on a show that Prince produced called \u003cem>Flora, The Red Menace\u003c/em> — and it was not going well.\u003c/p>\n\u003cp>“A week before the show opened, Hal had said, ‘Whatever happens to \u003cem>Flora\u003c/em>, we’ll meet at my apartment and work on the next piece,'” Kander says. “And that’s exactly what happened. The show was not a success and we met at Hal’s apartment and started working on a piece which eventually became \u003cem>Cabaret\u003c/em>.”\u003c/p>\n\u003cp>Prince was born in New York in 1928 and fell in love with the theater as a kid. He said that as soon as he graduated from the University of Pennsylvania, he approached Broadway producer and director George Abbott to ask for a job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I worked for nothing,” Prince said. “That was my proposal and he accepted it. And then he paid me after about six months. I went backstage on a show and I had a decent salary. And from then on, I’ve been living a comfortable life in those terms.”\u003c/p>\n\u003cp>Prince learned not only his work ethic from George Abbott — he became a producer himself. And in 1954 he produced \u003cem>The Pajama Game\u003c/em> and hired Abbott to direct it.\u003c/p>\n\u003cp>It was the beginning of a phenomenally successful career as a producer. Among Prince’s other shows were \u003cem>Damn Yankees\u003c/em>, \u003cem>West Side Story\u003c/em> and \u003cem>Fiddler on the Roof\u003c/em>.\u003c/p>\n\u003cp>But Prince had other ambitions.\u003c/p>\n\u003cp>“I wanted to be a playwright, which I couldn’t do,” he said. “And I wanted to be a director which I could do.”\u003c/p>\n\u003cp>So Prince hired himself to direct shows like \u003cem>Cabaret\u003c/em> and \u003cem>Zorba.\u003c/em> In 1970, he began a remarkable period of collaboration with composer/lyricist Stephen Sondheim. They worked together on six shows, which Prince both directed and produced.\u003c/p>\n\u003cp>“He always makes me want to go to the piano and write,” Sondheim says. “I always leave meetings with Hal just bursting with ideas. Hal’s as stimulating as anybody I’ve ever met.”\u003c/p>\n\u003cp>Among their shows were \u003cem>Company\u003c/em>, \u003cem>Follies\u003c/em> and \u003cem>Sweeney Todd\u003c/em>, which expanded and transformed musical theater. They were often referred to as “concept” musicals — serious works on serious topics, like contemporary marriage, disillusion of the American dream, the corrosive nature of the Industrial Revolution.\u003c/p>\n\u003cp>“I’m very issue-oriented and I like a good story in the theater, obviously,” Prince said. “But I have to have — in order to do decent work, me — I have to have some kind of metaphor or I can’t do it.”\u003c/p>\n\u003cp>Prince’s shows were always impeccably staged and designed, says another frequent collaborator, composer Andrew Lloyd Webber.\u003c/p>\n\u003cp>“He is so visual,” Webber says. “And when he gets something right, visually, I mean, nobody gets it more right than him.”\u003c/p>\n\u003cp>They worked together on \u003cem>Evita\u003c/em> and \u003cem>The\u003c/em> \u003cem>Phantom of the Opera\u003c/em>. The latter is by far the biggest hit Hal Prince ever directed. It’s the longest-running show on Broadway.\u003c/p>\n\u003cp>But Prince also had his share of flops. His wife Judy confronted him one day.\u003c/p>\n\u003cp>“She said, ‘I’m sick to death of you talking about hits and flops,'” he said. “‘Do you not acknowledge that some of your greatest successes were flops at the box office and some of your biggest hits were not such damn successes artistically?'”\u003c/p>\n\u003cp>So he kept on working. Still, Prince acknowledged it wasn’t enough to have talent or intellectual curiosity or an impeccable work ethic.\u003c/p>\n\u003cp>“There is not an artist in the world who achieves any success who hasn’t had a lot of luck,” Prince said. “You’re lucky to be born when you are, where you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the American musical theater was lucky that Hal Prince helped to shape and define it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Art Installation Along the U.S.-Mexico Border Creates Joyful 'Togetherness'",
"headTitle": "Art Installation Along the U.S.-Mexico Border Creates Joyful ‘Togetherness’ | KQED",
"content": "\u003cp>A stretch of the border wall between the U.S. and Mexico was adorned with a set of pink see-saws this week — allowing children (and grownups) to play together across the barrier. The event was “filled with joy, excitement, and togetherness,” says University of California, Berkeley professor and architect Ronald Rael, a leader of the project.\u003c/p>\n\u003cp>The seesaws were installed on Sunday, when their steel beams were eased through the slats of the tall fence that divides Sunland Park, N.M., from Colonia Anapra — a community on the western side of Ciudad Juárez in Mexico.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael says via email, describing the mood at Sunday’s event. And while he admits to being a little nervous about the completion of a project that had been brewing for 10 years, he says it went off without a hitch.\u003c/p>\n\u003cp>“It was peaceful and fun — a day at a park for the children and mothers of Anapra,” Rael says.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0fY2R6hfKr/\u003c/p>\n\u003cp>The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence.\u003c/p>\n\u003cp>“The wall became a literal fulcrum for U.S. – Mexico relations” once the seesaws were added, Rael said in \u003ca href=\"https://www.instagram.com/p/B0fY2R6hfKr/\">an Instagram post\u003c/a> about the project.\u003c/p>\n\u003cp>Rael added, “children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”\u003c/p>\n\u003cp>In a statement to NPR, Rael and San Fratello say the installation was made to be temporary, adding that the seesaws — fabricated in Juarez — could be installed quickly.\u003c/p>\n\u003cp>As for why they turned an idea from 2009 into a reality in 2019, they say the project “is incredibly important at a time when relationships between people on both sides are being severed by the wall and the politics of the wall.”\u003c/p>\n\u003cp>[aside postID='arts_11806906' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2016/07/EmergingObjects01.jpg' target='_blank']\u003c/p>\n\u003cp>To help install the seesaws, Rael and San Fratello collaborated with Colectivo Chopeke, a Juarez-based artist collective. And when everything was finally in place, children from Anapra joined Rael in riding on the seats, bouncing up and down with their fellow riders on the U.S. side.\u003c/p>\n\u003cp>Of course, it’s unlikely that three seesaws could recast the tense and difficult discussions around U.S. immigration policies that have divided families from loved ones. Reflecting the high-profile attention the border has gotten, both Mexican soldiers and U.S. Border Patrol agents were present during Sunday’s event.\u003c/p>\n\u003cp>“U.S. Border Patrol did not have a problem with it, nor did soldiers from Mexico,” Rael says.\u003c/p>\n\u003cp>The bright pink teetertotters brought a new chance to see the border through the eyes of people who live along the divide — and for those people to see each other in a new light, even if their view was confined by tall steel slats.\u003c/p>\n\u003cp>“The joy that was shared this day on both sides is something that will stay with me forever,” \u003ca href=\"https://www.instagram.com/p/B0iALEOBMfP/\">Rael said\u003c/a> on Instagram Tuesday, in an update about the project. With that message, he posted a video of people playing on the pink seesaws, smiling at each other through the fence.\u003c/p>\n\u003cp>\u003ca href=\"https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\">https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\u003c/a>\u003c/p>\n\u003cp>Even before Sunday, the concept of putting seesaws on a border fence had already drawn acclaim for Rael and San Fratello. They note that their original drawings and models for a “Teeter-Totter Wall” are held by the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>While the original idea sprang forth as a way to contemplate trade and labor imbalances, the seesaws have taken on added meaning as President Trump has imposed strict policies along the border and vehemently spoken out against illegal immigration.\u003c/p>\n\u003cp>As Rael and San Fratello said via email, the seesaws are meant to tell the story of “how the actions on one side of the border have direct consequences on the other.”\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>A stretch of the border wall between the U.S. and Mexico was adorned with a set of pink see-saws this week — allowing children (and grownups) to play together across the barrier. The event was “filled with joy, excitement, and togetherness,” says University of California, Berkeley professor and architect Ronald Rael, a leader of the project.\u003c/p>\n\u003cp>The seesaws were installed on Sunday, when their steel beams were eased through the slats of the tall fence that divides Sunland Park, N.M., from Colonia Anapra — a community on the western side of Ciudad Juárez in Mexico.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael says via email, describing the mood at Sunday’s event. And while he admits to being a little nervous about the completion of a project that had been brewing for 10 years, he says it went off without a hitch.\u003c/p>\n\u003cp>“It was peaceful and fun — a day at a park for the children and mothers of Anapra,” Rael says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence.\u003c/p>\n\u003cp>“The wall became a literal fulcrum for U.S. – Mexico relations” once the seesaws were added, Rael said in \u003ca href=\"https://www.instagram.com/p/B0fY2R6hfKr/\">an Instagram post\u003c/a> about the project.\u003c/p>\n\u003cp>Rael added, “children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”\u003c/p>\n\u003cp>In a statement to NPR, Rael and San Fratello say the installation was made to be temporary, adding that the seesaws — fabricated in Juarez — could be installed quickly.\u003c/p>\n\u003cp>As for why they turned an idea from 2009 into a reality in 2019, they say the project “is incredibly important at a time when relationships between people on both sides are being severed by the wall and the politics of the wall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To help install the seesaws, Rael and San Fratello collaborated with Colectivo Chopeke, a Juarez-based artist collective. And when everything was finally in place, children from Anapra joined Rael in riding on the seats, bouncing up and down with their fellow riders on the U.S. side.\u003c/p>\n\u003cp>Of course, it’s unlikely that three seesaws could recast the tense and difficult discussions around U.S. immigration policies that have divided families from loved ones. Reflecting the high-profile attention the border has gotten, both Mexican soldiers and U.S. Border Patrol agents were present during Sunday’s event.\u003c/p>\n\u003cp>“U.S. Border Patrol did not have a problem with it, nor did soldiers from Mexico,” Rael says.\u003c/p>\n\u003cp>The bright pink teetertotters brought a new chance to see the border through the eyes of people who live along the divide — and for those people to see each other in a new light, even if their view was confined by tall steel slats.\u003c/p>\n\u003cp>“The joy that was shared this day on both sides is something that will stay with me forever,” \u003ca href=\"https://www.instagram.com/p/B0iALEOBMfP/\">Rael said\u003c/a> on Instagram Tuesday, in an update about the project. With that message, he posted a video of people playing on the pink seesaws, smiling at each other through the fence.\u003c/p>\n\u003cp>\u003ca href=\"https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\">https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\u003c/a>\u003c/p>\n\u003cp>Even before Sunday, the concept of putting seesaws on a border fence had already drawn acclaim for Rael and San Fratello. They note that their original drawings and models for a “Teeter-Totter Wall” are held by the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>While the original idea sprang forth as a way to contemplate trade and labor imbalances, the seesaws have taken on added meaning as President Trump has imposed strict policies along the border and vehemently spoken out against illegal immigration.\u003c/p>\n\u003cp>As Rael and San Fratello said via email, the seesaws are meant to tell the story of “how the actions on one side of the border have direct consequences on the other.”\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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"content": "\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\u003c/p>\n\u003cp>https://youtu.be/0KSOMA3QBU0\u003c/p>\n\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\u003c/p>\n\u003cp>https://youtu.be/QCcW-guAs_s\u003c/p>\n\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\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>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\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/0KSOMA3QBU0'\n title='//www.youtube.com/embed/0KSOMA3QBU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\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/QCcW-guAs_s'\n title='//www.youtube.com/embed/QCcW-guAs_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\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": "'Secret Obsession': Six Unforgettable Lessons From Netflix's Imperiled Amnesiac",
"headTitle": "‘Secret Obsession’: Six Unforgettable Lessons From Netflix’s Imperiled Amnesiac | KQED",
"content": "\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nc6loZU3kjQ\u003c/p>\n\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix has been going through all the cable TV genres and trying to elbow its way into them, one at a time. Hallmark movies, Nat Geo Wild vet shows, Food Network food competitions, comedy specials, travel specials … it makes sense that here, they’re right in the heart of Imperiled Lady Theater. This is a pretty bad movie, but it seems to be bad in the way it’s meant to be bad. It’s cheerfully trashy, and if that’s up your alley, have at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Secret+Obsession%27%3A+Six+Unforgettable+Lessons+From+Netflix%27s+Imperiled+Amnesiac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Brenda Song stars in Netflix's version of the Woman In Danger thriller, in which she is sent home with a stranger by the worst hospital in the world. Unintentional hilarity ensues.",
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"description": "Brenda Song stars in Netflix's version of the Woman In Danger thriller, in which she is sent home with a stranger by the worst hospital in the world. Unintentional hilarity ensues.",
"title": "'Secret Obsession': Six Unforgettable Lessons From Netflix's Imperiled Amnesiac | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\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/Nc6loZU3kjQ'\n title='//www.youtube.com/embed/Nc6loZU3kjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix has been going through all the cable TV genres and trying to elbow its way into them, one at a time. Hallmark movies, Nat Geo Wild vet shows, Food Network food competitions, comedy specials, travel specials … it makes sense that here, they’re right in the heart of Imperiled Lady Theater. This is a pretty bad movie, but it seems to be bad in the way it’s meant to be bad. It’s cheerfully trashy, and if that’s up your alley, have at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Secret+Obsession%27%3A+Six+Unforgettable+Lessons+From+Netflix%27s+Imperiled+Amnesiac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>[aside postID='arts_13859988' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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>Finding love is not easy.\u003c/p>\n\u003cp>But Supreme Court Justice Ruth Bader Ginsburg counts herself among the lucky ones.\u003c/p>\n\u003cp>She had an epic marriage to her late husband, Marty Ginsburg, that has been detailed in many places (\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128249680\">here\u003c/a>, \u003ca href=\"https://www.townandcountrymag.com/society/money-and-power/a26292252/ruth-bader-ginsburg-martin-husband-love-story-rbg/\">here \u003c/a>and \u003ca href=\"https://www.biography.com/news/ruth-bader-ginsburg-husband-marty-love-story\">here\u003c/a>), including the \u003ca href=\"https://www.rbgmovie.com/\">RBG documentary.\u003c/a>\u003c/p>\n\u003cp>But this past year tested Ginsburg in a new way without the love of her life. She was diagnosed with cancer for the third time in 20 years late last year, and it was the first time she has had to wage the fight without Marty.\u003c/p>\n\u003cp>“My first two cancer bouts — both colorectal cancer at Washington Hospital Center and pancreatic cancer at Sloan Kettering — Marty stayed with me,” \u003ca href=\"https://www.npr.org/744633713\">Ginsburg told NPR’s Nina Totenberg\u003c/a> in an interview on July 23. “He stayed with me in the hospital sleeping on an uncomfortable couch despite his bad back. And I knew that someone was there who really cared about me and would make sure that things didn’t go wrong.”\u003c/p>\n\u003cp>[aside postID='arts_13862182' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/2019-07-23-rbg-shuang-01-4caed7196bf81612daab9a602174546fd22b9734-1020x765.jpg' target='_blank'] \u003c/p>\n\u003cp>Throughout his life, Marty, who was one of the preeminent tax lawyers in the country, was a principal booster of his wife. He played a behind-the-scenes lobbying role, for example, in her eventual appointment to the Supreme Court. He was even the principal cook for his wife and children in an era when most men took a back seat on domestic duties, and no one seemed to relish Ruth’s accomplishments more than Marty.\u003c/p>\n\u003cp>And he was always looking out for her, like that one time in the hospital when, without him there, Justice Ginsburg might have died.\u003c/p>\n\u003cp>“There was one day during [the] colon cancer bout when I was getting a blood transfusion, and Marty saw that something was very wrong,” Ginsburg said, “and he immediately yanked the needle out of me. It turned out that there was a mismatch not in the type of blood but in some antigen. I might not have lived it if he hadn’t been there.”\u003c/p>\n\u003cp>He encouraged her to go to a physical therapist. That famous exercise regimen of hers might not have happened were it not for Marty.\u003c/p>\n\u003cp>“I didn’t want to do it,” Ginsburg said. “I was exhausted, and Marty said, ‘You do it.’ And he was quite insistent about that. So, to have his loving care and yet his determination that I do what was necessary to heal faster, it was hard to be alone.”\u003c/p>\n\u003cp>When she was recovering from cancer twice before, Marty would cook for her, walk with her, read to her and make her laugh.\u003c/p>\n\u003cp>“Marty had a wonderful sense of humor, as you know,” Ginsburg said.\u003c/p>\n\u003cp>Ginsburg is reminded of Marty every day, especially, she said, when the newspaper arrives.\u003c/p>\n\u003cp>“He was my clipping service with \u003cem>The New York Times \u003c/em>and \u003cem>The [Washington] Post\u003c/em>,” she said. “I miss him every morning, because I have no one to go through the paper and pick out what I should read.”\u003c/p>\n\u003cp>Now with him gone, Justice Ginsburg cherishes Marty’s memory. But, to get by, she has dived into her work at the court.\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the brief doing a draft of an opinion, and I knew that had to get done. So I had to get past whatever my aches and pains were. Just do the job.”\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> \u003c/p>\n\u003cp>Throughout his life, Marty, who was one of the preeminent tax lawyers in the country, was a principal booster of his wife. He played a behind-the-scenes lobbying role, for example, in her eventual appointment to the Supreme Court. He was even the principal cook for his wife and children in an era when most men took a back seat on domestic duties, and no one seemed to relish Ruth’s accomplishments more than Marty.\u003c/p>\n\u003cp>And he was always looking out for her, like that one time in the hospital when, without him there, Justice Ginsburg might have died.\u003c/p>\n\u003cp>“There was one day during [the] colon cancer bout when I was getting a blood transfusion, and Marty saw that something was very wrong,” Ginsburg said, “and he immediately yanked the needle out of me. It turned out that there was a mismatch not in the type of blood but in some antigen. I might not have lived it if he hadn’t been there.”\u003c/p>\n\u003cp>He encouraged her to go to a physical therapist. That famous exercise regimen of hers might not have happened were it not for Marty.\u003c/p>\n\u003cp>“I didn’t want to do it,” Ginsburg said. “I was exhausted, and Marty said, ‘You do it.’ And he was quite insistent about that. So, to have his loving care and yet his determination that I do what was necessary to heal faster, it was hard to be alone.”\u003c/p>\n\u003cp>When she was recovering from cancer twice before, Marty would cook for her, walk with her, read to her and make her laugh.\u003c/p>\n\u003cp>“Marty had a wonderful sense of humor, as you know,” Ginsburg said.\u003c/p>\n\u003cp>Ginsburg is reminded of Marty every day, especially, she said, when the newspaper arrives.\u003c/p>\n\u003cp>“He was my clipping service with \u003cem>The New York Times \u003c/em>and \u003cem>The [Washington] Post\u003c/em>,” she said. “I miss him every morning, because I have no one to go through the paper and pick out what I should read.”\u003c/p>\n\u003cp>Now with him gone, Justice Ginsburg cherishes Marty’s memory. But, to get by, she has dived into her work at the court.\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the brief doing a draft of an opinion, and I knew that had to get done. So I had to get past whatever my aches and pains were. Just do the job.”\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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"content": "\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\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/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Justice Ruth Bader Ginsburg said in an interview Tuesday that she does not favor proposals put forth by some Democratic presidential candidates who have advocated changing the number of Supreme Court justices if the Democrats win the presidency.\u003c/p>\n\u003cp>Ginsburg, who got herself in trouble criticizing candidate Donald Trump in 2016, this time was critical not of any particular Democratic contender, but of their proposals to offset President Trump’s two conservative appointments to the court.\u003c/p>\n\u003cp>“Nine seems to be a good number. It’s been that way for a long time,” she said, adding, “I think it was a bad idea when President Franklin Roosevelt tried to pack the court.”\u003c/p>\n\u003cp>Several Democratic candidates have indicated an openness, if they were to win the presidency, to adding to the number of justices on the Supreme Court to reduce the power of the current conservative majority. Some would also like to enact term limits for Supreme Court justices.\u003c/p>\n\u003cp>The term-limits proposal doesn’t worry Ginsburg because she sees it as unrealistic, given that the Constitution specifies life terms for federal judges and because, as she puts it, “Our Constitution is powerfully hard to amend.”\u003c/p>\n\u003cp>https://twitter.com/NPR/status/1154017100186443776\u003c/p>\n\u003cp>Indeed, it takes the votes of two-thirds of the Senate and the House, and three-quarters of the state legislatures.\u003c/p>\n\u003cp>But, in contrast, as Ginsburg notes, there is no fixed number of justices specified by the Constitution, and the court over the course of history has had as few as five justices and as many as 10.\u003c/p>\n\u003cp>Roosevelt’s proposal would have given him six additional Supreme Court appointments, expanding the court to 15 members. And Ginsburg sees any similar plan as very damaging to the court and the country.\u003c/p>\n\u003cp>“If anything would make the court look partisan,” she said, “it would be that — one side saying, ‘When we’re in power, we’re going to enlarge the number of judges, so we would have more people who would vote the way we want them to.’ ”\u003c/p>\n\u003cp>That impairs the idea of an independent judiciary, she said.\u003c/p>\n\u003cp>“We are blessed in the way no other judiciary in the world is,” she noted. “We have life tenure. The only way to get rid of a federal judge is by impeachment. Congress can’t retaliate by reducing our salary, so the safeguards for judicial independence in this country, I think, are as great or greater than anyplace else in the world.”\u003c/p>\n\u003cp>But the whole notion of the country’s independent judiciary hinges on public trust, she noted.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Justice Ruth Bader Ginsburg on coping with her latest bout with cancer'] “The work is really what saved me.” [/pullquote]\u003c/p>\n\u003cp>“The court has no troops at its command,” Ginsburg pointed out, “doesn’t have the power of the purse, and yet time and again, when the courts say something, people accept it.”\u003c/p>\n\u003cp>She recalled \u003cem>Bush v. Gore\u003c/em>, the controversial case in which the Supreme Court stopped a Florida recount in the 2000 presidential election.\u003c/p>\n\u003cp>“I dissented from that decision,” Ginsburg said. “I thought it was unwise. A lot of people disagreed with it. And yet the day after the court rendered its decision, there were no riots in the streets. People adjusted to it. And life went on.”\u003c/p>\n\u003cp>Ginsburg’s interview with NPR was wide-ranging, discussing, among other things, her health. She has had three major bouts with cancer over the past 20 years. In 1999, she underwent surgery for colorectal cancer, followed by nine months of chemotherapy and radiation. In 2009, she underwent surgery for pancreatic cancer, and late last year, for lung cancer.\u003c/p>\n\u003cp>\u003cstrong>Outlasting the naysayers\u003c/strong>\u003c/p>\n\u003cp>Ginsburg’s iconic status with women, in particular, and her leadership of the liberal wing of the Supreme Court mean any health news involving the tiny, 86-year-old justice can cause something of a panic in certain quarters.\u003c/p>\n\u003cp>Ginsburg is not oblivious to health concerns, but she waves away worries about her future.\u003c/p>\n\u003cp>“There was a senator, I think it was after my pancreatic cancer, who announced with great glee that I was going to be dead within six months,” she recalled. “That senator, whose name I have forgotten, is now himself dead, and I,” she added with a smile, “am very much alive.”\u003c/p>\n\u003cp>That said, most cancer patients do worry. Some view one cancer, never mind three, as a sword of Damocles over their heads. So how does Ginsburg manage? She said she has followed the advice of the opera singer Marilyn Horne, who was asked about her pancreatic cancer diagnosis in 2005.\u003c/p>\n\u003cp>“And she said, ‘I will live,’ not that ‘I hope I live,’ or ‘I want to live,’ but ‘I will live.’ ”\u003c/p>\n\u003cp>But fighting cancer is wearing and hard. How does she manage her work?\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the briefs, doing a draft of an opinion, and I knew it had to get done. So I had to get past whatever my aches and pains were just to do the job.”\u003c/p>\n\u003cp>\u003cstrong>Missing Marty\u003c/strong>\u003c/p>\n\u003cp>Her lung cancer last year, however, was the first time she did not have her beloved husband, Marty, with her. He died in 2010, and she said she misses him every day, maybe especially now.\u003c/p>\n\u003cp>Her children have visited frequently to lift her spirits, but her husband, she said, always was there before, taking care of her, sleeping next to her on some uncomfortable cot or couch in the hospital, despite his bad back.\u003c/p>\n\u003cp>He looked after her so completely that at one point, when she was getting a blood transfusion, he ripped out the IV because he noticed that one of the antigens did not match.\u003c/p>\n\u003cp>“I might not have lived if he hadn’t been there,” she said.\u003c/p>\n\u003cp>And then there were the more subtle ways that he buoyed her spirits and goaded her to do the physical therapy that she needed to get stronger again. Famous for his culinary skills, he would make meals for her. He would entertain her, reading her short stories, and he served as her news clipping service, she said.\u003c/p>\n\u003cp>He would find the articles in the newspaper that would interest and amuse her. With a wistful smile, she said, “I miss him every morning.”\u003c/p>\n\u003cp>She added, “I have no one to go through the papers and pick out what I should read.”\u003c/p>\n\u003cp>\u003cstrong>The late-Justice Stevens to Ginsburg: “Stay longer” than he did\u003c/strong>\u003c/p>\n\u003cp>The interview followed Ginsburg’s speech earlier in the day at the private funeral for Justice John Paul Stevens, who died July 16 at the age of 99.\u003c/p>\n\u003cp>Just days before, Ginsburg had been with him at a conference in Portugal.\u003c/p>\n\u003cp>Stevens retired from the court in 2010 at age 90, and, as the two traveled in a car together less than two weeks ago, Ginsburg told him her dream.\u003c/p>\n\u003cp>“I said that my dream is that I will stay at the court as long as he did,” she said. “And his immediate response was, ‘Stay longer!’ ”\u003c/p>\n\u003cp>\u003cstrong>Rebutting the partisan label for the Supreme Court\u003c/strong>\u003c/p>\n\u003cp>Like other members of the current Supreme Court, liberal and conservative alike, Ginsburg rebuts the notion that the court is a partisan institution.\u003c/p>\n\u003cp>Yes, it is definitely more conservative than she would like, and, yes, she has strong disagreements with some of her colleagues on some issues. But overall, she maintains that the justices are working well together.\u003c/p>\n\u003cp>She notes with a grin that President Trump’s two appointees to the court — Neil Gorsuch and Brett Kavanaugh — were law clerks in her early years as a justice. And she points out that this term she assigned each of them important opinions to write in cases where she was the senior justice in the majority and the chief justice was in dissent.\u003c/p>\n\u003cp>\u003cstrong>No “going back to old ways”\u003c/strong>\u003c/p>\n\u003cp>Interestingly, when the justice was asked to name her greatest accomplishments, she cited not her work on the court, but her work as a lawyer in the 1960s and ’70s, leading the legal fight for gender equality in the law.\u003c/p>\n\u003cp>Asked whether she worries that the current conservative court majority will retrench on questions of gender equality, she replied, “I don’t think there’s going to be any going back to old ways.”\u003c/p>\n\u003cp>And she noted that the late Justice Byron White, who was one of the two dissenters in \u003cem>Roe v. Wade\u003c/em>, the landmark case that made abortion legal in the United States, voted on her side in all the gender parity cases.\u003c/p>\n\u003cp>“The world has changed really in what women are doing,” she said, and there’s no going back.\u003c/p>\n\u003cp>\u003cstrong>Does she have any regrets? \u003c/strong>\u003c/p>\n\u003cp>Regrets? she asked, in amazement.\u003c/p>\n\u003cp>“I do think I was born under a very bright star,” she said. “I get out of law schools with top grades; no law firm in the city of New York will hire me; I end up with a teaching job and time to devote to evening out the rights of women and men.”\u003c/p>\n\u003cp>And on and on, Ginsburg thinks she has led a very lucky life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>The author interviewed Ginsburg in connection with a speech she will be giving before the American College of Surgeons. At that event, Ginsburg’s surgeon will be sworn in as the organization’s new president.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justice Ruth Bader Ginsburg said in an interview Tuesday that she does not favor proposals put forth by some Democratic presidential candidates who have advocated changing the number of Supreme Court justices if the Democrats win the presidency.\u003c/p>\n\u003cp>Ginsburg, who got herself in trouble criticizing candidate Donald Trump in 2016, this time was critical not of any particular Democratic contender, but of their proposals to offset President Trump’s two conservative appointments to the court.\u003c/p>\n\u003cp>“Nine seems to be a good number. It’s been that way for a long time,” she said, adding, “I think it was a bad idea when President Franklin Roosevelt tried to pack the court.”\u003c/p>\n\u003cp>Several Democratic candidates have indicated an openness, if they were to win the presidency, to adding to the number of justices on the Supreme Court to reduce the power of the current conservative majority. Some would also like to enact term limits for Supreme Court justices.\u003c/p>\n\u003cp>The term-limits proposal doesn’t worry Ginsburg because she sees it as unrealistic, given that the Constitution specifies life terms for federal judges and because, as she puts it, “Our Constitution is powerfully hard to amend.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Indeed, it takes the votes of two-thirds of the Senate and the House, and three-quarters of the state legislatures.\u003c/p>\n\u003cp>But, in contrast, as Ginsburg notes, there is no fixed number of justices specified by the Constitution, and the court over the course of history has had as few as five justices and as many as 10.\u003c/p>\n\u003cp>Roosevelt’s proposal would have given him six additional Supreme Court appointments, expanding the court to 15 members. And Ginsburg sees any similar plan as very damaging to the court and the country.\u003c/p>\n\u003cp>“If anything would make the court look partisan,” she said, “it would be that — one side saying, ‘When we’re in power, we’re going to enlarge the number of judges, so we would have more people who would vote the way we want them to.’ ”\u003c/p>\n\u003cp>That impairs the idea of an independent judiciary, she said.\u003c/p>\n\u003cp>“We are blessed in the way no other judiciary in the world is,” she noted. “We have life tenure. The only way to get rid of a federal judge is by impeachment. Congress can’t retaliate by reducing our salary, so the safeguards for judicial independence in this country, I think, are as great or greater than anyplace else in the world.”\u003c/p>\n\u003cp>But the whole notion of the country’s independent judiciary hinges on public trust, she noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The court has no troops at its command,” Ginsburg pointed out, “doesn’t have the power of the purse, and yet time and again, when the courts say something, people accept it.”\u003c/p>\n\u003cp>She recalled \u003cem>Bush v. Gore\u003c/em>, the controversial case in which the Supreme Court stopped a Florida recount in the 2000 presidential election.\u003c/p>\n\u003cp>“I dissented from that decision,” Ginsburg said. “I thought it was unwise. A lot of people disagreed with it. And yet the day after the court rendered its decision, there were no riots in the streets. People adjusted to it. And life went on.”\u003c/p>\n\u003cp>Ginsburg’s interview with NPR was wide-ranging, discussing, among other things, her health. She has had three major bouts with cancer over the past 20 years. In 1999, she underwent surgery for colorectal cancer, followed by nine months of chemotherapy and radiation. In 2009, she underwent surgery for pancreatic cancer, and late last year, for lung cancer.\u003c/p>\n\u003cp>\u003cstrong>Outlasting the naysayers\u003c/strong>\u003c/p>\n\u003cp>Ginsburg’s iconic status with women, in particular, and her leadership of the liberal wing of the Supreme Court mean any health news involving the tiny, 86-year-old justice can cause something of a panic in certain quarters.\u003c/p>\n\u003cp>Ginsburg is not oblivious to health concerns, but she waves away worries about her future.\u003c/p>\n\u003cp>“There was a senator, I think it was after my pancreatic cancer, who announced with great glee that I was going to be dead within six months,” she recalled. “That senator, whose name I have forgotten, is now himself dead, and I,” she added with a smile, “am very much alive.”\u003c/p>\n\u003cp>That said, most cancer patients do worry. Some view one cancer, never mind three, as a sword of Damocles over their heads. So how does Ginsburg manage? She said she has followed the advice of the opera singer Marilyn Horne, who was asked about her pancreatic cancer diagnosis in 2005.\u003c/p>\n\u003cp>“And she said, ‘I will live,’ not that ‘I hope I live,’ or ‘I want to live,’ but ‘I will live.’ ”\u003c/p>\n\u003cp>But fighting cancer is wearing and hard. How does she manage her work?\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the briefs, doing a draft of an opinion, and I knew it had to get done. So I had to get past whatever my aches and pains were just to do the job.”\u003c/p>\n\u003cp>\u003cstrong>Missing Marty\u003c/strong>\u003c/p>\n\u003cp>Her lung cancer last year, however, was the first time she did not have her beloved husband, Marty, with her. He died in 2010, and she said she misses him every day, maybe especially now.\u003c/p>\n\u003cp>Her children have visited frequently to lift her spirits, but her husband, she said, always was there before, taking care of her, sleeping next to her on some uncomfortable cot or couch in the hospital, despite his bad back.\u003c/p>\n\u003cp>He looked after her so completely that at one point, when she was getting a blood transfusion, he ripped out the IV because he noticed that one of the antigens did not match.\u003c/p>\n\u003cp>“I might not have lived if he hadn’t been there,” she said.\u003c/p>\n\u003cp>And then there were the more subtle ways that he buoyed her spirits and goaded her to do the physical therapy that she needed to get stronger again. Famous for his culinary skills, he would make meals for her. He would entertain her, reading her short stories, and he served as her news clipping service, she said.\u003c/p>\n\u003cp>He would find the articles in the newspaper that would interest and amuse her. With a wistful smile, she said, “I miss him every morning.”\u003c/p>\n\u003cp>She added, “I have no one to go through the papers and pick out what I should read.”\u003c/p>\n\u003cp>\u003cstrong>The late-Justice Stevens to Ginsburg: “Stay longer” than he did\u003c/strong>\u003c/p>\n\u003cp>The interview followed Ginsburg’s speech earlier in the day at the private funeral for Justice John Paul Stevens, who died July 16 at the age of 99.\u003c/p>\n\u003cp>Just days before, Ginsburg had been with him at a conference in Portugal.\u003c/p>\n\u003cp>Stevens retired from the court in 2010 at age 90, and, as the two traveled in a car together less than two weeks ago, Ginsburg told him her dream.\u003c/p>\n\u003cp>“I said that my dream is that I will stay at the court as long as he did,” she said. “And his immediate response was, ‘Stay longer!’ ”\u003c/p>\n\u003cp>\u003cstrong>Rebutting the partisan label for the Supreme Court\u003c/strong>\u003c/p>\n\u003cp>Like other members of the current Supreme Court, liberal and conservative alike, Ginsburg rebuts the notion that the court is a partisan institution.\u003c/p>\n\u003cp>Yes, it is definitely more conservative than she would like, and, yes, she has strong disagreements with some of her colleagues on some issues. But overall, she maintains that the justices are working well together.\u003c/p>\n\u003cp>She notes with a grin that President Trump’s two appointees to the court — Neil Gorsuch and Brett Kavanaugh — were law clerks in her early years as a justice. And she points out that this term she assigned each of them important opinions to write in cases where she was the senior justice in the majority and the chief justice was in dissent.\u003c/p>\n\u003cp>\u003cstrong>No “going back to old ways”\u003c/strong>\u003c/p>\n\u003cp>Interestingly, when the justice was asked to name her greatest accomplishments, she cited not her work on the court, but her work as a lawyer in the 1960s and ’70s, leading the legal fight for gender equality in the law.\u003c/p>\n\u003cp>Asked whether she worries that the current conservative court majority will retrench on questions of gender equality, she replied, “I don’t think there’s going to be any going back to old ways.”\u003c/p>\n\u003cp>And she noted that the late Justice Byron White, who was one of the two dissenters in \u003cem>Roe v. Wade\u003c/em>, the landmark case that made abortion legal in the United States, voted on her side in all the gender parity cases.\u003c/p>\n\u003cp>“The world has changed really in what women are doing,” she said, and there’s no going back.\u003c/p>\n\u003cp>\u003cstrong>Does she have any regrets? \u003c/strong>\u003c/p>\n\u003cp>Regrets? she asked, in amazement.\u003c/p>\n\u003cp>“I do think I was born under a very bright star,” she said. “I get out of law schools with top grades; no law firm in the city of New York will hire me; I end up with a teaching job and time to devote to evening out the rights of women and men.”\u003c/p>\n\u003cp>And on and on, Ginsburg thinks she has led a very lucky life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>The author interviewed Ginsburg in connection with a speech she will be giving before the American College of Surgeons. At that event, Ginsburg’s surgeon will be sworn in as the organization’s new president.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would",
"headTitle": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would | KQED",
"content": "\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>[aside postID='arts_13857471' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-non-binary-person-using-a-laptop-at-work-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-5.jpeg' target='_blank']\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>[aside postID='arts_13855172' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1066489488_wide-61db819e4bcc6427baa4a059bc65430dc162ed9a-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\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": "Since launching stateside in 2011, the green logo of Spotify has come to be, almost like Kleenex, synonymous with the weird new world of streaming. So, dozens of billions of dollars later, what's up?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\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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"order": 9
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"title": "Masters of Scale",
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"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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