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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",
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"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": "\u003cdiv class=\"post-body\">\u003cp>\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>\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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"title": "Debut Book Tells of the Real-Life Longings and Frustrations of 'Three Women'",
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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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"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>\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>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a \u003ca href=\"https://twitter.com/jazzzhand/status/1145691391034445824\">statement\u003c/a> posted to Twitter on Monday, drummer Janet Weiss announced that she is leaving \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a>.\u003c/p>\n\u003cp>“After intense deliberation and heavy sadness, I have decided to leave Sleater-Kinney,” she writes. “The band is heading in a new direction and it is time for me to move on.”\u003c/p>\n\u003cp>The departure comes ahead of the release of a new album by the band, \u003cem>The Center Won’t Hold\u003c/em>, out Aug. 16 and produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>.\u003c/p>\n\u003cp>“I will never forget the heights we reached or the magnificent times Corin, Carrie and I shared,” Weiss continues. “We were a force of nature. To the dearest SK fans — you’re the raddest fans in the universe and I love you. Experiencing the music together has been the honor of a lifetime. Thank you sustaining me the past 24 years and proving without a doubt that love and connection are what saves us.”\u003c/p>\n\u003cp>Reached for comment, a representative for the band directed NPR to Sleater-Kinney’s \u003ca href=\"https://www.instagram.com/p/BzYGow6AMTx/\">statement\u003c/a>, shared on Instagram.\u003c/p>\n\u003cblockquote>\n\u003cp>We are saddened by Janet’s decision to leave Sleater-Kinney. It has been an incredible privilege to work with such a talented musician and drummer over the course of so many albums, including \u003cem>The Center Won’t Hold\u003c/em>.\u003c/p>\n\u003cp>We thank her for joining us on this journey many years ago; we will always cherish our friendship and our time together. We wish Janet all the best as she starts a new chapter in life.\u003c/p>\n\u003cp>We are so excited for everyone to hear the record, and see you on the road this fall and beyond.\u003c/p>\n\u003c/blockquote>\n\u003cp>Sleater-Kinney’s first scheduled show of the fall is Sept. 5 at the Hopscotch Music Festival, followed by a U.S. tour in October. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Drummer+Janet+Weiss+Leaves+Sleater-Kinney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"https://twitter.com/jazzzhand/status/1145691391034445824\">statement\u003c/a> posted to Twitter on Monday, drummer Janet Weiss announced that she is leaving \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a>.\u003c/p>\n\u003cp>“After intense deliberation and heavy sadness, I have decided to leave Sleater-Kinney,” she writes. “The band is heading in a new direction and it is time for me to move on.”\u003c/p>\n\u003cp>The departure comes ahead of the release of a new album by the band, \u003cem>The Center Won’t Hold\u003c/em>, out Aug. 16 and produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>.\u003c/p>\n\u003cp>“I will never forget the heights we reached or the magnificent times Corin, Carrie and I shared,” Weiss continues. “We were a force of nature. To the dearest SK fans — you’re the raddest fans in the universe and I love you. Experiencing the music together has been the honor of a lifetime. Thank you sustaining me the past 24 years and proving without a doubt that love and connection are what saves us.”\u003c/p>\n\u003cp>Reached for comment, a representative for the band directed NPR to Sleater-Kinney’s \u003ca href=\"https://www.instagram.com/p/BzYGow6AMTx/\">statement\u003c/a>, shared on Instagram.\u003c/p>\n\u003cblockquote>\n\u003cp>We are saddened by Janet’s decision to leave Sleater-Kinney. It has been an incredible privilege to work with such a talented musician and drummer over the course of so many albums, including \u003cem>The Center Won’t Hold\u003c/em>.\u003c/p>\n\u003cp>We thank her for joining us on this journey many years ago; we will always cherish our friendship and our time together. We wish Janet all the best as she starts a new chapter in life.\u003c/p>\n\u003cp>We are so excited for everyone to hear the record, and see you on the road this fall and beyond.\u003c/p>\n\u003c/blockquote>\n\u003cp>Sleater-Kinney’s first scheduled show of the fall is Sept. 5 at the Hopscotch Music Festival, followed by a U.S. tour in October. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Drummer+Janet+Weiss+Leaves+Sleater-Kinney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/16/723554077/meet-quinn-christopherson-winner-of-the-2019-tiny-desk-contest\">Quinn Christopherson\u003c/a> may be the winner of the 2019 Tiny Desk Contest, but this year’s 6,000-plus entries included many outstanding performances.\u003c/p>\n\u003cp>One of those standouts came from rapper Ruby Ibarra and her band The Balikbayans, a group of Filipino-American musicians based out of the San Francisco Bay Area. Ibarra — who was born in Tacloban City in the Philippines and immigrated to the United States with her family in the 1990s — calls the song she submitted, “Someday,” an ode to her mother.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Ibarra reflects on the song in a note that she sent to NPR:\u003c/p>\n\u003cp>\u003cem>It is my declaration that my mother and I will make it in this country. I think that when we talk about immigration, especially in mainstream media, much of that is often romanticized and simplified; the experience and struggles are overlooked and the formation of identity and sense of belonging are neglected. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When my mom moved to California from the Philippines in 1991, she went from being an accountant to a fast food janitor/cashier. She left everything behind in her motherland in hopes to provide better opportunities for me and my younger sister. She learned quickly how to be on survival mode and realized that the American Dream was far more complex than the mainstream narrative. The song “Someday” captures these themes and most importantly, captures my mother’s story, which is ultimately a similar story for many immigrants — trying to find a place to call home.\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ruby Ibarra & The Balikbayans - Someday [2019 NPR Tiny Desk]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SCd3iSfnWSw?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>Ibarra describes her art as unfiltered, a quality that shines through in her band’s Tiny Desk submission. “I feel like when I am on that stage, or when I’m expressing myself through the lyrics that I rap, I feel like that’s me in my rawest form,” she says.\u003c/p>\n\u003cp>Ibarra’s verses on “Someday,” addressed to her mother, are a testament to this rawness. “Mama, I know it’s gon’ be fine wherever we go / ‘Cause we know, you raised this girl to dream and be a hero / What’s an ego to an eagle? I free-flow when I speak though / My pipe dreams through a peephole, my skin so Filipino,” she raps.\u003c/p>\n\u003cp>After earning an accounting degree \u003cem>cum laude \u003c/em>at her university in the Philippines, Ibarra’s mother decided to come to the United States.\u003c/p>\n\u003cp>“Especially during the ’80s and the ’90s, the economy wasn’t doing so well in the Philippines. And a lot of people really had this mentality that, ‘If I go to America, I’m gonna have better educated children or a better life,’ basically,” Ibarra says. “Upon moving here, I think that’s when my mom realized that it wasn’t all she expected it to be.”\u003c/p>\n\u003cp>But the rapper says that her mother always remained a model of resilience for Ibarra and her sister. “She was the matriarch and the patriarch in our household,” Ibarra says. “She was always my example of what it meant to be \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/05/24/478560399/filipino-americans-blending-cultures-redefining-race\">\u003cem>Pinay\u003c/em>\u003c/a>, a woman who pretty much did s*** on her own, carried everything on her own back.”\u003c/p>\n\u003cp>Ibarra expresses her profound admiration for her mother in the lyrics of “Someday.” When she raps, “Mama we goin’ make it here someday” it’s meant to be a promise.\u003c/p>\n\u003cp>“I want to reach a point someday where I can look at her in the face and say that we made it,” Ibarra says. “I think that sense of belonging, that sense of hope, is a thread that’s very common in a lot of immigrant stories.”\u003c/p>\n\u003cp>In addition to expressing her truest self through her music, Ibarra says that she hopes to pass inspiration on to others who want to do the same.\u003c/p>\n\u003cp>“I am what I talk about in my music. I am \u003cem>Pinay\u003c/em>, I’m powerful, I’m fearless, I’m unfiltered,” Ibarra says. “And I like to hope that there’s young women out there who feel the same way. Or even if they don’t feel the same way, I hope to inspire young women out there to want to use their voice, to claim who they are and to embrace their identity.”\u003c/p>\n\u003cp>\u003cem>Listen to the full aired story at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ibarra reflects on the song in a note that she sent to NPR:\u003c/p>\n\u003cp>\u003cem>It is my declaration that my mother and I will make it in this country. I think that when we talk about immigration, especially in mainstream media, much of that is often romanticized and simplified; the experience and struggles are overlooked and the formation of identity and sense of belonging are neglected. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When my mom moved to California from the Philippines in 1991, she went from being an accountant to a fast food janitor/cashier. She left everything behind in her motherland in hopes to provide better opportunities for me and my younger sister. She learned quickly how to be on survival mode and realized that the American Dream was far more complex than the mainstream narrative. The song “Someday” captures these themes and most importantly, captures my mother’s story, which is ultimately a similar story for many immigrants — trying to find a place to call home.\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ruby Ibarra & The Balikbayans - Someday [2019 NPR Tiny Desk]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SCd3iSfnWSw?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>Ibarra describes her art as unfiltered, a quality that shines through in her band’s Tiny Desk submission. “I feel like when I am on that stage, or when I’m expressing myself through the lyrics that I rap, I feel like that’s me in my rawest form,” she says.\u003c/p>\n\u003cp>Ibarra’s verses on “Someday,” addressed to her mother, are a testament to this rawness. “Mama, I know it’s gon’ be fine wherever we go / ‘Cause we know, you raised this girl to dream and be a hero / What’s an ego to an eagle? I free-flow when I speak though / My pipe dreams through a peephole, my skin so Filipino,” she raps.\u003c/p>\n\u003cp>After earning an accounting degree \u003cem>cum laude \u003c/em>at her university in the Philippines, Ibarra’s mother decided to come to the United States.\u003c/p>\n\u003cp>“Especially during the ’80s and the ’90s, the economy wasn’t doing so well in the Philippines. And a lot of people really had this mentality that, ‘If I go to America, I’m gonna have better educated children or a better life,’ basically,” Ibarra says. “Upon moving here, I think that’s when my mom realized that it wasn’t all she expected it to be.”\u003c/p>\n\u003cp>But the rapper says that her mother always remained a model of resilience for Ibarra and her sister. “She was the matriarch and the patriarch in our household,” Ibarra says. “She was always my example of what it meant to be \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/05/24/478560399/filipino-americans-blending-cultures-redefining-race\">\u003cem>Pinay\u003c/em>\u003c/a>, a woman who pretty much did s*** on her own, carried everything on her own back.”\u003c/p>\n\u003cp>Ibarra expresses her profound admiration for her mother in the lyrics of “Someday.” When she raps, “Mama we goin’ make it here someday” it’s meant to be a promise.\u003c/p>\n\u003cp>“I want to reach a point someday where I can look at her in the face and say that we made it,” Ibarra says. “I think that sense of belonging, that sense of hope, is a thread that’s very common in a lot of immigrant stories.”\u003c/p>\n\u003cp>In addition to expressing her truest self through her music, Ibarra says that she hopes to pass inspiration on to others who want to do the same.\u003c/p>\n\u003cp>“I am what I talk about in my music. I am \u003cem>Pinay\u003c/em>, I’m powerful, I’m fearless, I’m unfiltered,” Ibarra says. “And I like to hope that there’s young women out there who feel the same way. Or even if they don’t feel the same way, I hope to inspire young women out there to want to use their voice, to claim who they are and to embrace their identity.”\u003c/p>\n\u003cp>\u003cem>Listen to the full aired story at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \u003c/p>\n\u003cp>https://youtu.be/BV-WEb2oxLk\u003c/p>\n\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \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=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \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/BV-WEb2oxLk'\n title='//www.youtube.com/embed/BV-WEb2oxLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \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=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\u003c/p>\n\u003cp>https://youtu.be/1PrWA4C8eLw\u003c/p>\n\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\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/1PrWA4C8eLw'\n title='//www.youtube.com/embed/1PrWA4C8eLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\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=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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