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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",
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"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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"slug": "lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history",
"title": "Lil Nas X Lassos The Record For Longest-Running No. 1 Song In U.S. Chart History",
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"headTitle": "Lil Nas X Lassos The Record For Longest-Running No. 1 Song In U.S. Chart History | KQED",
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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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"excerpt": "The song's now-unparalleled success is, more than anything else, a pure expression of how the Internet is now everything. Welcome to the future, y'all.",
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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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"title": "Ruth Bader Ginsburg On Love And Other Things",
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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>\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>\u003c/p>\u003c/div>",
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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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"slug": "mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it",
"title": "'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It",
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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. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\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>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": "\u003cdiv class=\"post-body\">\u003cp>\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. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\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": "Justice Ginsburg: 'I Am Very Much Alive'",
"headTitle": "Justice Ginsburg: ‘I Am Very Much Alive’ | KQED",
"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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"content": "\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13862057\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/GodsofJade-800x1235.jpg\" alt=\"'Gods of Jade and Shadow' by Silvia Moreno-Garcia\" width=\"800\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-800x1235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-768x1186.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-1020x1575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-777x1200.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gods of Jade and Shadow’ by Silvia Moreno-Garcia\u003c/figcaption>\u003c/figure>\n\u003cp>Novelist and NPR contributor Silvia Moreno-Garcia’s new fantasy, \u003cem>Gods of Jade and Shadow\u003c/em>, is at its witty, compelling, and merciless best when it is fully rooted in its setting, a perfectly organic combination of 1920s Jazz Age Mexico and the Mayan mythological text, the \u003cem>Popol Vuh\u003c/em>. The plot of the book is simple: A young woman, Casiopeia Tun, is suffering Cinderella-esque deprivation in the house of her grandfather, a wealthy rural landholder in the Yucatán. She stumbles upon a locked chest containing (most of) the dismembered body of one of the Lords of Xilbalba, a Mayan god of death called Hun-Kamé, and frees him — becoming spiritually linked to him in the process. Hun-Kamé has been deposed from his throne by his twin brother, Vucub-Kamé, and Casiopeia finds herself first an unwilling and then an active participant in his quest to take revenge and reclaim his standing as the ruler of Xilbaba.\u003c/p>\n\u003cp>So far, so fairy-tale — though the pleasure of seeing Mayan mythology underlying what at first seems to be a straightforward rendition of the Cinderella trope adds immediate interest to Moreno-Garcia’s work. Nevertheless, for the first few chapters of \u003cem>Gods of Jade and Shadow\u003c/em>, the dominant tone is that of the basic fairy-tale retelling, and while Casiopeia’s anger, frustration, and family entanglements are all well-drawn, they are nothing particularly special. The book comes into itself the moment Casiopeia is entangled with Hun-Kamé, and Moreno-Garcia takes her, and the reader, on a whirlwind tour of a 1920s Mexico vivid with jazz, the memories of revolution, and gods, demons, and magic which are both indigenous and foreign-born.\u003c/p>\n\u003cp>Casiopeia and Hun-Kamé travel from Casiopeia’s small Yucatán town to the rural “big city” of Merída — and then on to Veracruz, Mexico City, and Baja California, acquiring Hun-Kamé’s stolen magic (and body parts) as they go. But the real fascination of their journey is the relationship between them: Hun-Kamé is using Casiopeia’s mortal life force to remain present in the world of men, but the process is both killing her and making him less of a god of death and more a young man. Casiopeia is rightfully angry at what Hun-Kamé demands of her; but they develop a complex, shifting, and deepening understanding of one another. Their travels are not merely those of an underprivileged and oppressed young woman finding her place in the wide and exciting world of the Jazz Age — nor are they the (expected) version of a love story, where the devotion of a mortal woman redeems and saves the heart of a god.\u003c/p>\n\u003cp>This is not your European mythological landscape, after all. And the Xilbalba of \u003cem>Gods of Jade and Shadow\u003c/em> is not even slightly defanged — it is a place of blood sacrifice, hungry ghosts, despair and confusion. Hun-Kamé is merciless, as death is; his twin, Vucub-Kamé, is both merciless and \u003cem>cruel\u003c/em>. (Vucub-Kamé’s cooption of the will, desires, and eventually body of Casiopeia’s unpleasant cousin Martín is one of the more disturbing threads woven through the novel. His plans to reinstitute human sacrifice across the Mesoamerican peninsula are actually less upsetting in comparison.)\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] Moreno-Garcia’s book is a dispatch from a universe where indigenous American legends have always been part of the lexicon of fantasy. That universe gets closer to being ours every day, and we are better for it. [/pullquote]\u003c/p>\n\u003cp>At the end of a quest, or a fairytale, the hero must make a choice: usually selfishness or selflessness, safety and power or love. Casiopeia, even before she experiences the emotional and physical excoriation of walking the Black Road through Xilbaba for Hun-Kamé’s sake, has already made her choice. Confronted with the option of either having a version of Hun-Kamé who has come to love her, or losing him entirely in exchange for both keeping her promises to him and freeing herself, her cousin, and possibly all of Mexico from Vucub-Kamé’s plans, she chooses like a hero, like an adult. Like a woman who sees a future for herself that she might build even beyond the first flush of love and freedom.\u003c/p>\n\u003cp>\u003cem>Gods of Jade and Shadow \u003c/em>does not offer easy or simple answers. It dazzles, instead, showing the reader a world that seems entirely inevitable, a Mexico of the 1920s that would naturally be infused with Precolumbian magic — a magic which evolves and changes with colonization and modernity, and is as current, vital, and strange as any more expected mythological underpinning for a story about figuring out how to be a woman, a free spirit, and an ethical person in a rapidly changing world. It is effervescent and surprising. Like Rebecca Roanhorse’s Navajo-based Sixth World fantasy series (the most recent of which is \u003cem>Storm of Locusts\u003c/em>), Moreno-Garcia’s book is a dispatch from a universe where indigenous American legends have always been part of the lexicon of fantasy. That universe gets closer to being ours every day, and we are better for it.\u003c/p>\n\u003cp>\u003cem>Arkady Martine is a speculative fiction writer, a Byzantinist, and a city planner — the latter two as Dr. AnnaLinden Weller. She tweets\u003c/em> \u003ca href=\"https://twitter.com/arkadymartine\">@ArkadyMartine.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gods+Of+Jade+And+Shadow%27+Spins+A+Dark%2C+Dazzling+Fairy+Tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13862057\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/GodsofJade-800x1235.jpg\" alt=\"'Gods of Jade and Shadow' by Silvia Moreno-Garcia\" width=\"800\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-800x1235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-768x1186.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-1020x1575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade-777x1200.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/GodsofJade.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gods of Jade and Shadow’ by Silvia Moreno-Garcia\u003c/figcaption>\u003c/figure>\n\u003cp>Novelist and NPR contributor Silvia Moreno-Garcia’s new fantasy, \u003cem>Gods of Jade and Shadow\u003c/em>, is at its witty, compelling, and merciless best when it is fully rooted in its setting, a perfectly organic combination of 1920s Jazz Age Mexico and the Mayan mythological text, the \u003cem>Popol Vuh\u003c/em>. The plot of the book is simple: A young woman, Casiopeia Tun, is suffering Cinderella-esque deprivation in the house of her grandfather, a wealthy rural landholder in the Yucatán. She stumbles upon a locked chest containing (most of) the dismembered body of one of the Lords of Xilbalba, a Mayan god of death called Hun-Kamé, and frees him — becoming spiritually linked to him in the process. Hun-Kamé has been deposed from his throne by his twin brother, Vucub-Kamé, and Casiopeia finds herself first an unwilling and then an active participant in his quest to take revenge and reclaim his standing as the ruler of Xilbaba.\u003c/p>\n\u003cp>So far, so fairy-tale — though the pleasure of seeing Mayan mythology underlying what at first seems to be a straightforward rendition of the Cinderella trope adds immediate interest to Moreno-Garcia’s work. Nevertheless, for the first few chapters of \u003cem>Gods of Jade and Shadow\u003c/em>, the dominant tone is that of the basic fairy-tale retelling, and while Casiopeia’s anger, frustration, and family entanglements are all well-drawn, they are nothing particularly special. The book comes into itself the moment Casiopeia is entangled with Hun-Kamé, and Moreno-Garcia takes her, and the reader, on a whirlwind tour of a 1920s Mexico vivid with jazz, the memories of revolution, and gods, demons, and magic which are both indigenous and foreign-born.\u003c/p>\n\u003cp>Casiopeia and Hun-Kamé travel from Casiopeia’s small Yucatán town to the rural “big city” of Merída — and then on to Veracruz, Mexico City, and Baja California, acquiring Hun-Kamé’s stolen magic (and body parts) as they go. But the real fascination of their journey is the relationship between them: Hun-Kamé is using Casiopeia’s mortal life force to remain present in the world of men, but the process is both killing her and making him less of a god of death and more a young man. Casiopeia is rightfully angry at what Hun-Kamé demands of her; but they develop a complex, shifting, and deepening understanding of one another. Their travels are not merely those of an underprivileged and oppressed young woman finding her place in the wide and exciting world of the Jazz Age — nor are they the (expected) version of a love story, where the devotion of a mortal woman redeems and saves the heart of a god.\u003c/p>\n\u003cp>This is not your European mythological landscape, after all. And the Xilbalba of \u003cem>Gods of Jade and Shadow\u003c/em> is not even slightly defanged — it is a place of blood sacrifice, hungry ghosts, despair and confusion. Hun-Kamé is merciless, as death is; his twin, Vucub-Kamé, is both merciless and \u003cem>cruel\u003c/em>. (Vucub-Kamé’s cooption of the will, desires, and eventually body of Casiopeia’s unpleasant cousin Martín is one of the more disturbing threads woven through the novel. His plans to reinstitute human sacrifice across the Mesoamerican peninsula are actually less upsetting in comparison.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of a quest, or a fairytale, the hero must make a choice: usually selfishness or selflessness, safety and power or love. Casiopeia, even before she experiences the emotional and physical excoriation of walking the Black Road through Xilbaba for Hun-Kamé’s sake, has already made her choice. Confronted with the option of either having a version of Hun-Kamé who has come to love her, or losing him entirely in exchange for both keeping her promises to him and freeing herself, her cousin, and possibly all of Mexico from Vucub-Kamé’s plans, she chooses like a hero, like an adult. Like a woman who sees a future for herself that she might build even beyond the first flush of love and freedom.\u003c/p>\n\u003cp>\u003cem>Gods of Jade and Shadow \u003c/em>does not offer easy or simple answers. It dazzles, instead, showing the reader a world that seems entirely inevitable, a Mexico of the 1920s that would naturally be infused with Precolumbian magic — a magic which evolves and changes with colonization and modernity, and is as current, vital, and strange as any more expected mythological underpinning for a story about figuring out how to be a woman, a free spirit, and an ethical person in a rapidly changing world. It is effervescent and surprising. Like Rebecca Roanhorse’s Navajo-based Sixth World fantasy series (the most recent of which is \u003cem>Storm of Locusts\u003c/em>), Moreno-Garcia’s book is a dispatch from a universe where indigenous American legends have always been part of the lexicon of fantasy. That universe gets closer to being ours every day, and we are better for it.\u003c/p>\n\u003cp>\u003cem>Arkady Martine is a speculative fiction writer, a Byzantinist, and a city planner — the latter two as Dr. AnnaLinden Weller. She tweets\u003c/em> \u003ca href=\"https://twitter.com/arkadymartine\">@ArkadyMartine.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gods+Of+Jade+And+Shadow%27+Spins+A+Dark%2C+Dazzling+Fairy+Tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13861576\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/theycalledusenemy-cover-800x1158.jpeg\" alt=\"'They Called Us Enemy' by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\" width=\"800\" height=\"1158\">\u003cfigcaption class=\"wp-caption-text\">‘They Called Us Enemy’\u003cbr>by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\u003c/figcaption>\u003c/figure>\n\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send.\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cfigure id=\"attachment_13861572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg\" alt=\"An image from 'They Called Us Enemy.'\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-768x237.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy.’ \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cfigure id=\"attachment_13861573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg\" alt=\"An image from 'They Called Us Enemy,' by George Takei. \" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-768x236.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy,’ by George Takei. \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13861576\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/theycalledusenemy-cover-800x1158.jpeg\" alt=\"'They Called Us Enemy' by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\" width=\"800\" height=\"1158\">\u003cfigcaption class=\"wp-caption-text\">‘They Called Us Enemy’\u003cbr>by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\u003c/figcaption>\u003c/figure>\n\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send.\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cfigure id=\"attachment_13861572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg\" alt=\"An image from 'They Called Us Enemy.'\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-768x237.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy.’ \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cfigure id=\"attachment_13861573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg\" alt=\"An image from 'They Called Us Enemy,' by George Takei. \" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-768x236.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy,’ by George Takei. \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\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": "'Go Back Where You Came From': The Long Rhetorical Roots Of Trump's Racist Tweets",
"headTitle": "‘Go Back Where You Came From’: The Long Rhetorical Roots Of Trump’s Racist Tweets | KQED",
"content": "\u003cfigure id=\"attachment_13861530\" class=\"wp-caption alignright\" style=\"max-width: 714px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg\" alt='\"You can go back to wherever you came from\" Editorial cartoon drawing shows \"L.B.J.\" standing on the back of a truck with another man labeled \"89th Congress\" who wields a hand truck for the removal of \"Immigration Snobbery\" from the Statue of Liberty.' width=\"714\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack-160x181.jpg 160w\" sizes=\"(max-width: 714px) 100vw, 714px\">\u003cfigcaption class=\"wp-caption-text\">Editorial cartoon drawing shows “L.B.J.” standing on the back of a truck with another man labeled “89th Congress” who wields a hand truck for the removal of “Immigration Snobbery” from the Statue of Liberty. \u003ccite>(Herbert Block, 1965 / Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When President Trump \u003ca href=\"https://www.npr.org/2019/07/14/741630889/congresswomen-denounce-trump-tweets-telling-them-to-go-back-to-their-home-countr\">tweeted his racist remarks\u003c/a> Sunday, asking why certain Democratic congresswomen don’t just “go back and help fix the totally broken and crime infested places from which they came,” he did not just take aim at the \u003ca href=\"https://www.npr.org/2019/07/15/741771445/trump-continues-twitter-assault-on-4-minority-congresswomen\">four women of color\u003c/a> — three of whom were born in the U.S.\u003c/p>\n\u003cp>He did so using a taunt that has long, deeply entrenched roots in American history: Why don’t you just go back where you came from?\u003c/p>\n\u003cp>The question doesn’t always appear in those precise words, nor does it always surface in the same situations. And it doesn’t always get directed at the same groups of people — far from it, in fact. But more often than not, it conveys the same sentiment: You — and others like you — are not welcome here.\u003c/p>\n\u003cp>“There have been different phrases that have been used,” says \u003ca href=\"https://gspm.gwu.edu/dr-michael-cornfield\">Michael Cornfield\u003c/a>, a scholar of rhetoric at \u003ca href=\"https://gspm.gwu.edu/\">George Washington University\u003c/a>, “but the idea that we don’t have any more room for people, or those people don’t look like us, this is a long, ugly strain in American history.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a University of Houston professor who has looked at rhetoric and immigrant communities, traces this sentiment at least to 1798, when the U.S. passed a series of laws — together known as the the \u003ca href=\"http://www.ushistory.org/us/19e.asp\">Alien and Sedition Acts\u003c/a> — that were aimed at making citizenship more difficult for immigrants and deportation easier for U.S. authorities to carry out.\u003c/p>\n\u003cp>“The legislation is actually constructed for the ability to remove immigrants who are saying things against the U.S. government,” she says, explaining that these laws were passed in a tumultuous political climate.\u003c/p>\n\u003cp>“We were starting to see different political parties and different politicians arguing for different ways that the government should be run. And it just happened that politically, they could try to maintain and try to withhold the status quo by putting it on the backs of immigrants.”\u003c/p>\n\u003cp>Those laws established a pattern, she says, that would resurface with new waves of immigration and new perceived threats — from the Great Famine in Ireland and the Spanish-American War to the Great Depression and the attacks on Sept. 11.\u003c/p>\n\u003cfigure id=\"attachment_13861531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg\" alt=\"This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ.\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-768x586.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ. \u003ccite>(Nathaniel Currier/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every wave of immigration that gets in sees the next wave as the threat. That is the wave that is now going to take the jobs, that is now going to take things away,” Wingard says. “The latest flow in is always the one that seems the most threatening.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.american.edu/cas/faculty/akraut.cfm\">Alan Kraut\u003c/a>, a scholar at American University who is writing a history of anti-immigrant feeling in the U.S., says he saw this kind of thing play out firsthand when he was a child growing up in the Bronx.\u003c/p>\n\u003cp>“When kids had a fight in the street and the kids were from different ethnic groups, one kid would often say to the other: ‘You and your parents go back where you came from,’ ” Kraut recalls.\u003c/p>\n\u003cp>“You know, it could mean Brooklyn. But it could also mean go back where you came from — you know, Russian Jews who came to the United States, southern Italians who came to the United States, Puerto Ricans newly arrived,” he continues. “So when this came out of the mouth of this president who’s from Queens, it sounded almost like a child saying that in my memory on the streets of New York.”\u003c/p>\n\u003cp>The process renews often, Wingard says, and she says the sentiment remains steady even if the names of the targeted groups change.\u003c/p>\n\u003cfigure id=\"attachment_13861529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg\" alt='A cartoon, published in 1891, titled \"Where the Blame Lies.\" shows a man gesturing toward a crowd of immigrants — including the \"German socialist,\" \"Italian brigand\" and \"English convict.\" The gesturing man tells a sagging Uncle Sam: \"If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!\"' width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-768x499.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cartoon, published in 1891, titled “Where the Blame Lies.” shows a man gesturing toward a crowd of immigrants — including the “German socialist,” “Italian brigand” and “English convict.” The gesturing man tells a sagging Uncle Sam: “If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!” \u003ccite>(Sackett & Wilhelms Litho. Co./Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a fancy theoretical term — it’s called a palimpsest,” says \u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a rhetoric scholar at the \u003ca href=\"https://www.uh.edu/\">University of Houston\u003c/a>. A palimpsest, she explains, is a text that has been erased and overwritten — but that nevertheless continues to bear many of the markings and meanings largely concealed beneath the new writing.\u003c/p>\n\u003cp>“They carry these sentiments that we have seen over centuries, but then they get repurposed for the current moment — and a phrase like that [racist taunt] becomes almost like a shorthand for anti-immigrant sentiment,” Wingard says. “You know, ‘go back where you came from’ is the same as ‘go back to your own country’ is the same as ‘you are not allowed here’ is the same as ‘no immigrants allowed.’ Yet it carries all of this historical shorthand with it.”\u003c/p>\n\u003cp>Cornfield says it’s partly the statement’s variability that makes it so powerful.\u003c/p>\n\u003cp>“It plays to the fear that somehow America is getting too full or that the mixing of ethnicities and races would somehow aggravate issues,” he says. “It’s a potent phrase and part of its potency is its ambiguity.”\u003c/p>\n\u003cp>It’s simplicity, too.\u003c/p>\n\u003cp>“When you use a phrase like this, you’re just asking people to forget about context and forget about policy choices,” he adds, “and just get angry at people who don’t look or sound like you do.”\u003c/p>\n\u003cp>\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "When the president told several new congresswomen of color to \"go back\" to where they came from, he borrowed nativist language about as old as the country itself. Here's a little history.",
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"description": "When the president told several new congresswomen of color to "go back" to where they came from, he borrowed nativist language about as old as the country itself. Here's a little history.",
"title": "'Go Back Where You Came From': The Long Rhetorical Roots Of Trump's Racist Tweets | KQED",
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"headline": "'Go Back Where You Came From': The Long Rhetorical Roots Of Trump's Racist Tweets",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13861530\" class=\"wp-caption alignright\" style=\"max-width: 714px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg\" alt='\"You can go back to wherever you came from\" Editorial cartoon drawing shows \"L.B.J.\" standing on the back of a truck with another man labeled \"89th Congress\" who wields a hand truck for the removal of \"Immigration Snobbery\" from the Statue of Liberty.' width=\"714\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack-160x181.jpg 160w\" sizes=\"(max-width: 714px) 100vw, 714px\">\u003cfigcaption class=\"wp-caption-text\">Editorial cartoon drawing shows “L.B.J.” standing on the back of a truck with another man labeled “89th Congress” who wields a hand truck for the removal of “Immigration Snobbery” from the Statue of Liberty. \u003ccite>(Herbert Block, 1965 / Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When President Trump \u003ca href=\"https://www.npr.org/2019/07/14/741630889/congresswomen-denounce-trump-tweets-telling-them-to-go-back-to-their-home-countr\">tweeted his racist remarks\u003c/a> Sunday, asking why certain Democratic congresswomen don’t just “go back and help fix the totally broken and crime infested places from which they came,” he did not just take aim at the \u003ca href=\"https://www.npr.org/2019/07/15/741771445/trump-continues-twitter-assault-on-4-minority-congresswomen\">four women of color\u003c/a> — three of whom were born in the U.S.\u003c/p>\n\u003cp>He did so using a taunt that has long, deeply entrenched roots in American history: Why don’t you just go back where you came from?\u003c/p>\n\u003cp>The question doesn’t always appear in those precise words, nor does it always surface in the same situations. And it doesn’t always get directed at the same groups of people — far from it, in fact. But more often than not, it conveys the same sentiment: You — and others like you — are not welcome here.\u003c/p>\n\u003cp>“There have been different phrases that have been used,” says \u003ca href=\"https://gspm.gwu.edu/dr-michael-cornfield\">Michael Cornfield\u003c/a>, a scholar of rhetoric at \u003ca href=\"https://gspm.gwu.edu/\">George Washington University\u003c/a>, “but the idea that we don’t have any more room for people, or those people don’t look like us, this is a long, ugly strain in American history.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a University of Houston professor who has looked at rhetoric and immigrant communities, traces this sentiment at least to 1798, when the U.S. passed a series of laws — together known as the the \u003ca href=\"http://www.ushistory.org/us/19e.asp\">Alien and Sedition Acts\u003c/a> — that were aimed at making citizenship more difficult for immigrants and deportation easier for U.S. authorities to carry out.\u003c/p>\n\u003cp>“The legislation is actually constructed for the ability to remove immigrants who are saying things against the U.S. government,” she says, explaining that these laws were passed in a tumultuous political climate.\u003c/p>\n\u003cp>“We were starting to see different political parties and different politicians arguing for different ways that the government should be run. And it just happened that politically, they could try to maintain and try to withhold the status quo by putting it on the backs of immigrants.”\u003c/p>\n\u003cp>Those laws established a pattern, she says, that would resurface with new waves of immigration and new perceived threats — from the Great Famine in Ireland and the Spanish-American War to the Great Depression and the attacks on Sept. 11.\u003c/p>\n\u003cfigure id=\"attachment_13861531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg\" alt=\"This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ.\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-768x586.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ. \u003ccite>(Nathaniel Currier/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every wave of immigration that gets in sees the next wave as the threat. That is the wave that is now going to take the jobs, that is now going to take things away,” Wingard says. “The latest flow in is always the one that seems the most threatening.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.american.edu/cas/faculty/akraut.cfm\">Alan Kraut\u003c/a>, a scholar at American University who is writing a history of anti-immigrant feeling in the U.S., says he saw this kind of thing play out firsthand when he was a child growing up in the Bronx.\u003c/p>\n\u003cp>“When kids had a fight in the street and the kids were from different ethnic groups, one kid would often say to the other: ‘You and your parents go back where you came from,’ ” Kraut recalls.\u003c/p>\n\u003cp>“You know, it could mean Brooklyn. But it could also mean go back where you came from — you know, Russian Jews who came to the United States, southern Italians who came to the United States, Puerto Ricans newly arrived,” he continues. “So when this came out of the mouth of this president who’s from Queens, it sounded almost like a child saying that in my memory on the streets of New York.”\u003c/p>\n\u003cp>The process renews often, Wingard says, and she says the sentiment remains steady even if the names of the targeted groups change.\u003c/p>\n\u003cfigure id=\"attachment_13861529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg\" alt='A cartoon, published in 1891, titled \"Where the Blame Lies.\" shows a man gesturing toward a crowd of immigrants — including the \"German socialist,\" \"Italian brigand\" and \"English convict.\" The gesturing man tells a sagging Uncle Sam: \"If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!\"' width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-768x499.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cartoon, published in 1891, titled “Where the Blame Lies.” shows a man gesturing toward a crowd of immigrants — including the “German socialist,” “Italian brigand” and “English convict.” The gesturing man tells a sagging Uncle Sam: “If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!” \u003ccite>(Sackett & Wilhelms Litho. Co./Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a fancy theoretical term — it’s called a palimpsest,” says \u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a rhetoric scholar at the \u003ca href=\"https://www.uh.edu/\">University of Houston\u003c/a>. A palimpsest, she explains, is a text that has been erased and overwritten — but that nevertheless continues to bear many of the markings and meanings largely concealed beneath the new writing.\u003c/p>\n\u003cp>“They carry these sentiments that we have seen over centuries, but then they get repurposed for the current moment — and a phrase like that [racist taunt] becomes almost like a shorthand for anti-immigrant sentiment,” Wingard says. “You know, ‘go back where you came from’ is the same as ‘go back to your own country’ is the same as ‘you are not allowed here’ is the same as ‘no immigrants allowed.’ Yet it carries all of this historical shorthand with it.”\u003c/p>\n\u003cp>Cornfield says it’s partly the statement’s variability that makes it so powerful.\u003c/p>\n\u003cp>“It plays to the fear that somehow America is getting too full or that the mixing of ethnicities and races would somehow aggravate issues,” he says. “It’s a potent phrase and part of its potency is its ambiguity.”\u003c/p>\n\u003cp>It’s simplicity, too.\u003c/p>\n\u003cp>“When you use a phrase like this, you’re just asking people to forget about context and forget about policy choices,” he adds, “and just get angry at people who don’t look or sound like you do.”\u003c/p>\n\u003cp>\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades",
"headTitle": "A Cup Of Ambition And Endurance: ‘9 To 5’ Unites Workers Across Decades | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. 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It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\n\u003cp>https://youtu.be/UbxUSsFXYo4\u003c/p>\n\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. 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And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. 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The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. 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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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