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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": "\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>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. 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. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. 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. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\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>\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>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\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/UbxUSsFXYo4'\n title='//www.youtube.com/embed/UbxUSsFXYo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. 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. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\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/AqUKOV27tAM'\n title='//www.youtube.com/embed/AqUKOV27tAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Smithsonian Museum Considers Collecting Drawings Made By Detained Migrant Children",
"headTitle": "Smithsonian Museum Considers Collecting Drawings Made By Detained Migrant Children | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s National Museum of American History may add drawings made by formerly detained migrant children to its famous collection.\u003c/p>\n\u003cp>The drawings depict time spent in the custody of U.S. Customs and Border Protection. Some of the children’s images appeared to show stick figures with frowns and people on floors under blankets.\u003c/p>\n\u003cp>They \u003ca href=\"https://www.nbcnews.com/news/latino/drawings-migrant-children-detention-show-them-cages-n1026311\">made headlines\u003c/a> last week, after the American Academy of Pediatrics toured CBP facilities at the U.S. southern border and released the images to media outlets.\u003c/p>\n\u003cp>Three children between 10 and 11 years old who had been separated from their parents made the drawings in a Texas facility overseen by the Roman Catholic Church after being released from CBP custody, \u003ca href=\"https://www.cnn.com/2019/07/03/health/migrant-drawings-cbp-children/index.html\">according to CNN.\u003c/a>\u003c/p>\n\u003cp>[aside postID='arts_13859794' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/kronos-trio-da-kali-credit_Lenny_Gonzalez_13_12.7_0450B-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>A spokesperson for the National Museum of American History, Laura Duff, told NPR that the museum is in the early stages of planning.\u003c/p>\n\u003cp>In an emailed \u003ca href=\"https://www.documentcloud.org/documents/6185908-Immigration-Collecting-Statement.html\">statement\u003c/a>, the museum said a curator had contacted the American Academy of Pediatrics and CNN on July 4 to ask about the drawings “as part of an exploratory process.”\u003c/p>\n\u003cp>It went on to explain why the museum was considering acquiring the drawings. “The museum has a long commitment to telling the complex and complicated history of the United States and to documenting that history as it unfolds, such as it did following 9/11 and Hurricane Katrina, and as it does with political campaigns,” the statement read.\u003c/p>\n\u003cp>\u003ca href=\"http://brentdglass.com/our-team\">Brent Glass\u003c/a>, director emeritus of the National Museum of American History, told NPR that the initiative is consistent with the museum’s mission “to inspire people to know more about American history and to hopefully create a more humane society.”\u003c/p>\n\u003cp>He said he thinks the move was not a political decision. Much of the Washington museum’s work “has some political value or some political implication or consequence,” but the curators’ decisions “will be made based on what kind of documentary record they’re trying to create rather than making a political statement,” Glass said.\u003c/p>\n\u003cfigure id=\"attachment_13861011\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861011 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg\" alt=\"A drawing by a migrant child.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A drawing by a migrant child. \u003ccite>(American Academy of Pediatrics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jas Chana, a spokesperson for New York’s \u003ca href=\"https://www.tenement.org/\">Tenement Museum\u003c/a>, which documents immigrant and refugee stories, says the drawings are future artifacts of history. “The United States has always had a complicated relationship with immigration,” and the drawings “serve as reminder — for current and future generations — that we all have a role to play in reckoning with our fraught immigration history to move forward as a nation,” Chana said via email.\u003c/p>\n\u003cp>The museum’s inquiry about the drawings comes after reports of detained children \u003ca href=\"https://www.npr.org/2019/06/27/736781192/scenes-of-tearful-flu-stricken-and-underfed-migrant-kids-emerge-in-new-accounts\">living in squalor\u003c/a> sparked nationwide outcry. Lawyers and lawmakers have cited appalling conditions at some Border Patrol facilities where basic items, such as soap and running water, are not provided. CBP has denied that children have been mistreated at its facilities.\u003c/p>\n\u003cp>[aside postID='arts_13835709' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.MAIN_-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>In a recent rebuke, U.N. High Commissioner for Human Rights Michelle Bachelet said she was appalled by the conditions children faced. “As a paediatrician, but also as a mother and a former head of State, I am deeply shocked that children are forced to sleep on the floor in overcrowded facilities, without access to adequate healthcare or food, and with poor sanitation conditions,” she said \u003ca href=\"https://www.ohchr.org/EN/NewsEvents/Pages/DisplayNews.aspx?NewsID=24800\">in a statement\u003c/a>.\u003c/p>\n\u003cp>“Detaining a child even for short periods under good conditions can have a serious impact on their health and development — consider the damage being done every day by allowing this alarming situation to continue,” Bachelet added.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/realDonaldTrump/status/1146514575048790019\">President Trump said\u003c/a> last week in a tweet that if migrants were “unhappy with the conditions in the quickly built or refitted detentions centers, just tell them not to come.” He has also \u003ca href=\"https://twitter.com/realDonaldTrump/status/1147955460403859462\">accused\u003c/a> media outlets of writing exaggerated accounts of detention centers and said border patrol agents were doing a “\u003ca href=\"https://twitter.com/realDonaldTrump/status/1147955463201480704\">great job\u003c/a>.”\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>\u003cstrong>Updated at 1 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s National Museum of American History may add drawings made by formerly detained migrant children to its famous collection.\u003c/p>\n\u003cp>The drawings depict time spent in the custody of U.S. Customs and Border Protection. Some of the children’s images appeared to show stick figures with frowns and people on floors under blankets.\u003c/p>\n\u003cp>They \u003ca href=\"https://www.nbcnews.com/news/latino/drawings-migrant-children-detention-show-them-cages-n1026311\">made headlines\u003c/a> last week, after the American Academy of Pediatrics toured CBP facilities at the U.S. southern border and released the images to media outlets.\u003c/p>\n\u003cp>Three children between 10 and 11 years old who had been separated from their parents made the drawings in a Texas facility overseen by the Roman Catholic Church after being released from CBP custody, \u003ca href=\"https://www.cnn.com/2019/07/03/health/migrant-drawings-cbp-children/index.html\">according to CNN.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A spokesperson for the National Museum of American History, Laura Duff, told NPR that the museum is in the early stages of planning.\u003c/p>\n\u003cp>In an emailed \u003ca href=\"https://www.documentcloud.org/documents/6185908-Immigration-Collecting-Statement.html\">statement\u003c/a>, the museum said a curator had contacted the American Academy of Pediatrics and CNN on July 4 to ask about the drawings “as part of an exploratory process.”\u003c/p>\n\u003cp>It went on to explain why the museum was considering acquiring the drawings. “The museum has a long commitment to telling the complex and complicated history of the United States and to documenting that history as it unfolds, such as it did following 9/11 and Hurricane Katrina, and as it does with political campaigns,” the statement read.\u003c/p>\n\u003cp>\u003ca href=\"http://brentdglass.com/our-team\">Brent Glass\u003c/a>, director emeritus of the National Museum of American History, told NPR that the initiative is consistent with the museum’s mission “to inspire people to know more about American history and to hopefully create a more humane society.”\u003c/p>\n\u003cp>He said he thinks the move was not a political decision. Much of the Washington museum’s work “has some political value or some political implication or consequence,” but the curators’ decisions “will be made based on what kind of documentary record they’re trying to create rather than making a political statement,” Glass said.\u003c/p>\n\u003cfigure id=\"attachment_13861011\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861011 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg\" alt=\"A drawing by a migrant child.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A drawing by a migrant child. \u003ccite>(American Academy of Pediatrics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jas Chana, a spokesperson for New York’s \u003ca href=\"https://www.tenement.org/\">Tenement Museum\u003c/a>, which documents immigrant and refugee stories, says the drawings are future artifacts of history. “The United States has always had a complicated relationship with immigration,” and the drawings “serve as reminder — for current and future generations — that we all have a role to play in reckoning with our fraught immigration history to move forward as a nation,” Chana said via email.\u003c/p>\n\u003cp>The museum’s inquiry about the drawings comes after reports of detained children \u003ca href=\"https://www.npr.org/2019/06/27/736781192/scenes-of-tearful-flu-stricken-and-underfed-migrant-kids-emerge-in-new-accounts\">living in squalor\u003c/a> sparked nationwide outcry. Lawyers and lawmakers have cited appalling conditions at some Border Patrol facilities where basic items, such as soap and running water, are not provided. CBP has denied that children have been mistreated at its facilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s summer in Harlem. It’s blazing hot. But that hasn’t stopped Dapper Dan from holding court on the street in front of his atelier, greeting people as they pass by.\u003c/p>\n\u003cfigure id=\"attachment_13860988\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-800x1177.jpg\" alt='\"Dapper Dan Made in Harlem: A Memoir\" by Daniel R. Day' width=\"800\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-768x1130.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Dapper Dan Made in Harlem: A Memoir” by Daniel R. Day\u003c/figcaption>\u003c/figure>\n\u003cp>I met up with him to talk about his new memoir, \u003cem>Dapper Dan: Made in Harlem\u003c/em>, about his journey from hustler to respected taste-maker and businessman. Today he’s wearing a pastel green suit jacket over a couture vest and matching pants that he designed himself for the European fashion giant Gucci. “This is fine polka dot, Gucci loafers, semi-loafers they call them,” and yes — those are gold moths on the back.\u003c/p>\n\u003cp>Dan says these daily greetings are important to him. “The cheapest jacket I have inside is $2700. So the people in my community I know cannot afford that, so I make sure I stand outside and engage them every day.”\u003c/p>\n\u003cp>Now, Dan’s selling jackets for nearly three grand — but when he was a kid, here in Harlem, his family didn’t have that kind of money. He tells a story in his book about shopping for an Easter suit with his father: “We went to Ripley’s department store. I was gonna get my first suit. I think I was in eighth grade, seventh or eighth grade and we went to Ripley’s department store. I saw a charcoal brown suit with pinstripes. I loved it, and my father was going to give it to me, right? We were gonna get it on credit, cause we couldn’t pay cash. We didn’t have the money,” Dan remembers.\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.” —Dapper Dan [/pullquote]\u003c/p>\n\u003cp>“And so I said, ‘Daddy, let me see the contract.’ And I read the contract and figured out the mathematics. And I said, ‘Dad, you’re gonna end up paying two and a half times what this suit is worth.’ I said, ‘Don’t get it, Dad.’ And we came on out the store, and on the way down the steps my father stopped me, and he said he said ‘Boy, don’t you know you can read? Boy, you could read!’ You know? And I’m looking at my father’s face, you know and the intensity of his face, right? Then it all came back to me cause my father only went to the third grade and he had to teach himself to read. So everything I’ve encountered, I know that I could read my way out of it.”\u003c/p>\n\u003cp>He never did get that Easter suit. “I got a better suit,” he says. “I got something that suited me for life. So I’m glad. That’s one suit I’m glad I didn’t get.”\u003c/p>\n\u003cp>Dan is partners with Gucci now — the fashion giant struck a deal with him in 2017 — but when he was making clothes in the ’80s, he wasn’t asking permission to use the Gucci logo. Back then, after he’d been making and selling furs for a few years, he noticed a new trend: Designer bags, by brands like Gucci and Louis Vuitton, printed with the labels’ logos all over them. And he thought, I can do that. But bigger. “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.”\u003c/p>\n\u003cp>He bootlegged the logo prints and made bespoke suits and dresses, even custom upholstery for cars with the material. The actual clothing labels weren’t making anything like it. And so he became a favorite designer for rappers and hustlers, Harlem’s black and Latino clientele with money to spend — money the major fashion houses didn’t welcome.\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” —Dapper Dan [/pullquote]\u003c/p>\n\u003cp>Dapper Dan was the king of hip hop fashion before the labels shut him down in the ’90s. The photos on the walls of his atelier tell the story, and one, in particular, jumped out at me — it’s the rapper Rakim, and the legendary Gucci-patterned jacket Dapper Dan made him. “The black leather jacket, black leather plongé with gold colored Gucci G’s all over, and trimmed in metallic gold piping, with his name on the back, and his Five Percenter sign. That’s a historical jacket. That is probably the most important jacket in hip-hop.”\u003c/p>\n\u003cp>It’s also part of Dan’s transition from outfitting neighborhood gangsters to designing for hip-hop artists. “Back then, the rappers wanted to be like the gangsters, they wanted to dress like the gangsters,” he says. “Today, we have the opposite going on. The gangsters want to be like the rappers. And Eric B.& Rakim, those were the first ones that really, yo, gangsters really liked they style.”\u003c/p>\n\u003cp>When Dan wants to get into something new, like furs or custom tailoring, he studies — he goes around to manufacturers and learns everything he can. He calls it “sciencing,” and he does it over and over again. “Over and over again! And you know what? I find it exciting. Right now, my children think I’m crazy, ’cause I stay on the Internet. They have no clue how important this is to me. I can press a button and get information that I used to have to go into garbage and get. That wasn’t revealed to me.”\u003c/p>\n\u003cp>Dan says he had to get into clothing factories, “and find a way to get in there and talk to the owners, talk to the workers … In addition to that, I would go to the people who made these machines, and people who used these machines, to pretend I was gonna place an order with them, so I could see how they work. And the first thing I would do … I would shake their hand, look in their eyes and look behind them to see what they’re reading, or see what books are on their desk. I would look for information like that. And I would always try to find a person of color that worked there, if I couldn’t get the information, then afterwards I’d pay them to tell me something — and if that didn’t work, I’d go through their garbage.”\u003c/p>\n\u003cp>Dan doesn’t like the word “designer” — but he does like the word “creative.” “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” he says. “I wanna tell stories that tell people’s lives, like I make clothes that change people’s attitudes about how they feel about theyself. That’s it, that’s the core of who I am.”\u003c/p>\n\u003cp>\u003cem>Jolie Myers and Christina Cala produced this story for radio, and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dapper+Dan%2C+Telling+Stories+In+Leather%2C+Fur+And+Logos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\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>It’s summer in Harlem. It’s blazing hot. But that hasn’t stopped Dapper Dan from holding court on the street in front of his atelier, greeting people as they pass by.\u003c/p>\n\u003cfigure id=\"attachment_13860988\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-800x1177.jpg\" alt='\"Dapper Dan Made in Harlem: A Memoir\" by Daniel R. Day' width=\"800\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-768x1130.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Dapper Dan Made in Harlem: A Memoir” by Daniel R. Day\u003c/figcaption>\u003c/figure>\n\u003cp>I met up with him to talk about his new memoir, \u003cem>Dapper Dan: Made in Harlem\u003c/em>, about his journey from hustler to respected taste-maker and businessman. Today he’s wearing a pastel green suit jacket over a couture vest and matching pants that he designed himself for the European fashion giant Gucci. “This is fine polka dot, Gucci loafers, semi-loafers they call them,” and yes — those are gold moths on the back.\u003c/p>\n\u003cp>Dan says these daily greetings are important to him. “The cheapest jacket I have inside is $2700. So the people in my community I know cannot afford that, so I make sure I stand outside and engage them every day.”\u003c/p>\n\u003cp>Now, Dan’s selling jackets for nearly three grand — but when he was a kid, here in Harlem, his family didn’t have that kind of money. He tells a story in his book about shopping for an Easter suit with his father: “We went to Ripley’s department store. I was gonna get my first suit. I think I was in eighth grade, seventh or eighth grade and we went to Ripley’s department store. I saw a charcoal brown suit with pinstripes. I loved it, and my father was going to give it to me, right? We were gonna get it on credit, cause we couldn’t pay cash. We didn’t have the money,” Dan remembers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Female desire has been seen as a problem since long before Freud, vexed, wondered what on Earth women want.\u003c/p>\n\u003cp>Entire vocabularies of insult are devoted to girls and women who dare to proclaim their existence as sexual beings. The protagonists in Lisa Taddeo’s new book, \u003cem>Three Women\u003c/em>, are not unusual in their complicated sexual histories; what makes their stories revolutionary is the exquisite candor with which Taddeo gives them voice. \u003c/p>\n\u003cfigure id=\"attachment_13860949\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/three-women-book-cover-800x1193.jpg\" alt=\"'Three Women,' Lisa Taddeo.\" width=\"800\" height=\"1193\" class=\"size-medium wp-image-13860949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-768x1145.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Three Women,’ Lisa Taddeo. \u003ccite>(Avid Reader Press / Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the tradition of Adrian Nicole LeBlanc’s \u003cem>Random Family\u003c/em> or Katherine Boo’s \u003cem>Behind the Beautiful Forevers\u003c/em>, Taddeo’s book—her first—is a work of deep observation, long conversations, and a kind of journalistic alchemy. Taddeo spent years with the subjects of \u003cem>Three Women\u003c/em>, and the investment pays off. As she writes in the book’s prologue, “it’s the quotidian minutes of our lives that will go on forever, that will tell us who we were,” and she seamlessly weaves together everyday details and startlingly intimate moments into narratives that feel as real, as vital, as the pulse in your wrist.\u003c/p>\n\u003cp>The women she profiles are not diverse in most demographic senses—all are white, for instance—but each inhabits a different life trajectory. There’s Sloane, a glamorous and successful restaurateur whose marriage includes sexual relationships with third parties, voyeurism, and a dawning realization (when reading \u003cem>Fifty Shades of Grey\u003c/em>) that she is a submissive to her husband’s dominant. There’s a poor little rich girl aspect to her story. Sloane’s privileged childhood included brittle and distracted parents, and by adolescence she was “not only an anorexic-bulimic, but the absolute best anorexic-bulimic she could be.” Of the three, Sloane’s tale feels the least satisfying, or perhaps the most perplexing, but it also allows Taddeo to practice a lack of judgment that seems almost radical: As long as things are working for all the adults involved, and nobody is being harmed, then sex and relationships can take many forms.\u003c/p>\n\u003cp>Lina (like Sloane, this is a pseudonym) is also sleeping with someone outside her marriage, but after that their stories diverge. Married for more than a decade to a man who won’t kiss her, she loves her children but the rest of her life is suffocating her. “She wishes she could stop caring everything,” Taddeo writes. “She wishes she could burn the house down.” She reconnects online with her first love, who as a boy in high school had been “strong and hot and extremely quiet so that every time he opens his mouth it’s exciting.” Years of emotional and physical neglect, during which time she’s also developed a panoply of aches and pains, have primed Lina for the glory of their reunion. Their affair is passionate, the attraction magnetic. Aidan is still hot as far as Lina is concerned, still quiet, withholding. He’s married, too, and their meetings become an excruciating waiting game, one Lina worries she’s losing. “Even in love Lina understands there is competition—a frantic need to be the one who will hurt less than the other.” There’s a kind of sexual idealism in Lina’s yearning, and the reader aches to see what she doesn’t, the disregard lurking behind Aidan’s laconic “Hey, Kid” when he sees her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there’s Maggie—alone among the women, her real name is used, partly because of the extensive public record due to court proceedings in her case. When she first meets English teacher Aaron Knodel in the second semester of her freshman year, Knodel is considered the hot teacher at the North Dakota school Maggie attends; Maggie is “at that precipice, possessing, still, the dreams of a child, but now able to press them up against the potential of an adult.” The teacher is “wholesomely carnal, wearing a drugstore cologne but possessing the strut of a movie star,” in the eyes of his enthralled student. Over the course of high school, Aaron draws Maggie closer and closer, beguiling and seducing her—although refusing, in a kind of parody of principle, to let her unzip his pants. They do everything else, until his wife catches them.\u003c/p>\n\u003cp>The book begins with Maggie, now in her early 20s, headed to the courtroom, seeking some justice for what has been done to her, to her heart, to her trust, to her reputation. She knows the world sees her as “crazy and broken,” the same world that named Knodel teacher of the year. As the three women’s tales alternate, Taddeo narrates with a magically light touch, inhabiting each so fully we feel as if we’re living alongside them. The book is sexually explicit—you might blush when reading it—but it never feels gratuitous or clinical.\u003c/p>\n\u003cp>Its prose is gorgeous, nearly lyrical as it describes the longings and frustrations that propel these ordinary women. Blending the skills of an ethnographer and a poet, Taddeo renders them extraordinary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.npr.org/2019/07/08/739523657/katetuttle.net\">Kate Tuttle\u003c/a> has written about books for the \u003c/em>Boston Globe, The New York Times,\u003cem> the \u003c/em>Los Angeles Times,\u003cem> the \u003c/em>Washington Post, Salon and Atlantic.com\u003cem>, among others.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>2019 Copyright \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Author Lisa Taddeo traveled the country to study the intricacies of how desire impacts three women's lives. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Female desire has been seen as a problem since long before Freud, vexed, wondered what on Earth women want.\u003c/p>\n\u003cp>Entire vocabularies of insult are devoted to girls and women who dare to proclaim their existence as sexual beings. The protagonists in Lisa Taddeo’s new book, \u003cem>Three Women\u003c/em>, are not unusual in their complicated sexual histories; what makes their stories revolutionary is the exquisite candor with which Taddeo gives them voice. \u003c/p>\n\u003cfigure id=\"attachment_13860949\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/three-women-book-cover-800x1193.jpg\" alt=\"'Three Women,' Lisa Taddeo.\" width=\"800\" height=\"1193\" class=\"size-medium wp-image-13860949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-768x1145.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Three Women,’ Lisa Taddeo. \u003ccite>(Avid Reader Press / Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the tradition of Adrian Nicole LeBlanc’s \u003cem>Random Family\u003c/em> or Katherine Boo’s \u003cem>Behind the Beautiful Forevers\u003c/em>, Taddeo’s book—her first—is a work of deep observation, long conversations, and a kind of journalistic alchemy. Taddeo spent years with the subjects of \u003cem>Three Women\u003c/em>, and the investment pays off. As she writes in the book’s prologue, “it’s the quotidian minutes of our lives that will go on forever, that will tell us who we were,” and she seamlessly weaves together everyday details and startlingly intimate moments into narratives that feel as real, as vital, as the pulse in your wrist.\u003c/p>\n\u003cp>The women she profiles are not diverse in most demographic senses—all are white, for instance—but each inhabits a different life trajectory. There’s Sloane, a glamorous and successful restaurateur whose marriage includes sexual relationships with third parties, voyeurism, and a dawning realization (when reading \u003cem>Fifty Shades of Grey\u003c/em>) that she is a submissive to her husband’s dominant. There’s a poor little rich girl aspect to her story. Sloane’s privileged childhood included brittle and distracted parents, and by adolescence she was “not only an anorexic-bulimic, but the absolute best anorexic-bulimic she could be.” Of the three, Sloane’s tale feels the least satisfying, or perhaps the most perplexing, but it also allows Taddeo to practice a lack of judgment that seems almost radical: As long as things are working for all the adults involved, and nobody is being harmed, then sex and relationships can take many forms.\u003c/p>\n\u003cp>Lina (like Sloane, this is a pseudonym) is also sleeping with someone outside her marriage, but after that their stories diverge. Married for more than a decade to a man who won’t kiss her, she loves her children but the rest of her life is suffocating her. “She wishes she could stop caring everything,” Taddeo writes. “She wishes she could burn the house down.” She reconnects online with her first love, who as a boy in high school had been “strong and hot and extremely quiet so that every time he opens his mouth it’s exciting.” Years of emotional and physical neglect, during which time she’s also developed a panoply of aches and pains, have primed Lina for the glory of their reunion. Their affair is passionate, the attraction magnetic. Aidan is still hot as far as Lina is concerned, still quiet, withholding. He’s married, too, and their meetings become an excruciating waiting game, one Lina worries she’s losing. “Even in love Lina understands there is competition—a frantic need to be the one who will hurt less than the other.” There’s a kind of sexual idealism in Lina’s yearning, and the reader aches to see what she doesn’t, the disregard lurking behind Aidan’s laconic “Hey, Kid” when he sees her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s Maggie—alone among the women, her real name is used, partly because of the extensive public record due to court proceedings in her case. When she first meets English teacher Aaron Knodel in the second semester of her freshman year, Knodel is considered the hot teacher at the North Dakota school Maggie attends; Maggie is “at that precipice, possessing, still, the dreams of a child, but now able to press them up against the potential of an adult.” The teacher is “wholesomely carnal, wearing a drugstore cologne but possessing the strut of a movie star,” in the eyes of his enthralled student. Over the course of high school, Aaron draws Maggie closer and closer, beguiling and seducing her—although refusing, in a kind of parody of principle, to let her unzip his pants. They do everything else, until his wife catches them.\u003c/p>\n\u003cp>The book begins with Maggie, now in her early 20s, headed to the courtroom, seeking some justice for what has been done to her, to her heart, to her trust, to her reputation. She knows the world sees her as “crazy and broken,” the same world that named Knodel teacher of the year. As the three women’s tales alternate, Taddeo narrates with a magically light touch, inhabiting each so fully we feel as if we’re living alongside them. The book is sexually explicit—you might blush when reading it—but it never feels gratuitous or clinical.\u003c/p>\n\u003cp>Its prose is gorgeous, nearly lyrical as it describes the longings and frustrations that propel these ordinary women. Blending the skills of an ethnographer and a poet, Taddeo renders them extraordinary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.npr.org/2019/07/08/739523657/katetuttle.net\">Kate Tuttle\u003c/a> has written about books for the \u003c/em>Boston Globe, The New York Times,\u003cem> the \u003c/em>Los Angeles Times,\u003cem> the \u003c/em>Washington Post, Salon and Atlantic.com\u003cem>, among others.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>2019 Copyright \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\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>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\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>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the viscerally unnerving films of Ari Aster, there’s nothing more horrific than the reality of human grief. His haunted-house thriller, \u003ca href=\"https://www.npr.org/2018/06/06/617500062/a-family-moves-from-tragedy-to-terror-in-hereditary\" target=\"_blank\" rel=\"noopener\">\u003cem>Hereditary\u003c/em>\u003c/a>, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster’s new movie, \u003cem>Midsommar\u003c/em>, doesn’t pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas. It’s not interested in frightening you so much as seeping into your nervous system.\u003c/p>\n\u003cp>[aside postID='arts_13834624,pop_112213' label='Ari Aster, Auteur']\u003c/p>\n\u003cp>And like \u003cem>Hereditary\u003c/em>, \u003cem>Midsommar \u003c/em>is very much rooted in loss. It begins with a young American woman named Dani, played by the great English actress Florence Pugh, panicking over a family emergency that moves swiftly toward its worst possible outcome. As she tries to pick up the broken pieces of her life, Dani seeks solace from her boyfriend, Christian, and is surprised to learn that he’s about to go on a trip with some of his grad-school buddies. They’re headed to a remote Swedish commune that is holding a nine-day festival to observe the summer solstice. Dani presses him about why he didn’t tell her earlier, and an argument ensues.\u003c/p>\n\u003cp>The handsome Irish actor Jack Reynor clues you in to the selfishness beneath Christian’s quiet, sensitive-sounding demeanor. Dani doesn’t know that he was about to end their four-year relationship before tragedy struck, and he’s only staying with her now out of a sense of obligation. Christian reluctantly invites her to join him in Sweden, and she accepts, to the irritation of some of his friends, who don’t want his mopey girlfriend along to spoil their fun.\u003c/p>\n\u003cp>They fly to Sweden and, after a few hours’ drive, arrive at a remote, centuries-old village where they are greeted by about 60 men and women wearing white robes embroidered with mysterious symbols. They are known as the Hårga, and they invite their American guests to participate in each day’s festivities, which include lavish feasts, silent meditations, exhausting maypole dances and the consumption of various mind-altering drugs. Aster has a gift for dreaming up fictitious subcultures, and he visualizes these ancient customs and artifacts with an almost anthropological attention to detail. The Hårga seem benevolent enough at first, and there’s something comforting about their strange rituals and their intimate communion with nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/1Vnghdsjmd0\u003c/p>\n\u003cp>But then the mood takes a sinister turn and Dani and Christian’s traveling companions start to disappear. The story owes a clear debt to\u003cem> The Wicker Man\u003c/em>, Robin Hardy’s 1973 horror classic about a pagan fertility cult, but \u003cem>Midsommar \u003c/em>is more ambiguous and slower to come into focus. This is a nightmare that unfolds in broad daylight, under a midnight sun that bears down relentlessly on the landscape. The sun could almost be a metaphor for Dani’s grief, something ever-present and all-consuming, especially since Christian seems to take so little interest in consoling her.\u003c/p>\n\u003cp>Aster has said that he was inspired to write \u003cem>Midsommar \u003c/em>after the end of a long-term relationship, and that Dani’s experience is a fictionalized version of his own. Whatever the real-life details, he’s made the ultimate bad-boyfriend movie, a withering portrait of emotional neglect that has nothing nice to say about Christian, his petty-minded friends or, indeed, the state of contemporary American masculinity. \u003c/p>\n\u003cp>Among other things, \u003cem>Midsommar \u003c/em>is a wickedly funny movie about the clash between pagan traditions and the ways of the modern world. One of its more provocative notions is that Dani may in fact be better off with the Hårga, with their seemingly selfless, utopian way of life. Sex and death, a source of so much pain and anxiety in the outside world, are here just part of life’s unending cycle.\u003c/p>\n\u003cp>\u003cem>Midsommar \u003c/em>is in no rush to solve its many mysteries. The third act is full of surreal images of revelry and ritual sacrifice, plus a sex scene that’s as hilarious as it is appalling. What you remember most is Pugh’s quietly mesmerizing performance. Your sympathies are with Dani at every moment, and so are the movie’s. Toward the end she fixes the camera with an extraordinary look of terror and exultation, as she beholds the stunning fate that awaits her. Her story may begin in heartbreak and end in madness, but Aster ensures that she gets the last laugh. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then the mood takes a sinister turn and Dani and Christian’s traveling companions start to disappear. The story owes a clear debt to\u003cem> The Wicker Man\u003c/em>, Robin Hardy’s 1973 horror classic about a pagan fertility cult, but \u003cem>Midsommar \u003c/em>is more ambiguous and slower to come into focus. This is a nightmare that unfolds in broad daylight, under a midnight sun that bears down relentlessly on the landscape. The sun could almost be a metaphor for Dani’s grief, something ever-present and all-consuming, especially since Christian seems to take so little interest in consoling her.\u003c/p>\n\u003cp>Aster has said that he was inspired to write \u003cem>Midsommar \u003c/em>after the end of a long-term relationship, and that Dani’s experience is a fictionalized version of his own. Whatever the real-life details, he’s made the ultimate bad-boyfriend movie, a withering portrait of emotional neglect that has nothing nice to say about Christian, his petty-minded friends or, indeed, the state of contemporary American masculinity. \u003c/p>\n\u003cp>Among other things, \u003cem>Midsommar \u003c/em>is a wickedly funny movie about the clash between pagan traditions and the ways of the modern world. One of its more provocative notions is that Dani may in fact be better off with the Hårga, with their seemingly selfless, utopian way of life. Sex and death, a source of so much pain and anxiety in the outside world, are here just part of life’s unending cycle.\u003c/p>\n\u003cp>\u003cem>Midsommar \u003c/em>is in no rush to solve its many mysteries. The third act is full of surreal images of revelry and ritual sacrifice, plus a sex scene that’s as hilarious as it is appalling. What you remember most is Pugh’s quietly mesmerizing performance. Your sympathies are with Dani at every moment, and so are the movie’s. Toward the end she fixes the camera with an extraordinary look of terror and exultation, as she beholds the stunning fate that awaits her. Her story may begin in heartbreak and end in madness, but Aster ensures that she gets the last laugh. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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