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"content": "\u003cp>Harmony Korine has spent much of his cinematic career walking his audience through the depths of Hell in films like the poverty-stricken \u003cem>Gummo\u003c/em>, the schizophrenic nightmare \u003cem>Julien Donkey-Boy\u003c/em>, and his candy-colored, millennial opus \u003cem>Spring Breakers\u003c/em> (his first Floridian foray). He’s spent some time in Purgatory too (as in his offbeat 2007 drama \u003cem>Mister Lonely\u003c/em>, about a commune of celebrity impersonators). In his newest film, \u003cem>The Beach Bum\u003c/em>, artist, writer, poet, director Korine may have finally found what he was looking fo all along: a little bit of Heaven. \u003c/p>\n\u003cp>Narrative and plot don’t chug along, machine-like, in any of Korine’s work, least of all \u003cem>The Beach Bum\u003c/em>; rather, his tale of weirdo hedonistic poet Moondog (Matthew McConaughey) and his quest to finish his Great American Novel for the love of his wife, Minnie (Isla Fisher), gently unfurls like ribbons of marijuana smoke from the grizzled mouth of a once-great writer/current drifter. Korine is happy to let his film sail along, luxuriate in particular moments, elliptically recall the past, or burst briefly into the future. If \u003cem>Spring Breakers\u003c/em> could be compared structurally to a pop song, \u003cem>The Beach Bum\u003c/em> is more like a Jimmy Buffett record (more on him later). Scenery changes mid-conversation, and the movie begs a writer to bust out the word “hallucinatory” to describe its relationship to time and space. It is a pleasant, buoyant, joyful approximation of being happily stoned, with Moondog bubbling from one scenario to the next without too much thought. \u003c/p>\n\u003cp>https://youtu.be/3J7iyrFwPAY\u003c/p>\n\u003cp>In an oversized, barely buttoned canary yellow shirt, McConaughey easily taps into Moondog’s hippie-dippy attitude, here defined by a taste for excess rooted in benevolence and a genuine desire to find what little good life has left to offer him. He sails around Key West and Miami, almost floating on air when he’s not stumbling about, crab-like, on land. He throws back beers and burns through blunts like a pro, rubbing shoulders with Snoop Dog and Martin Lawrence (owner of a coke-addled parrot), emitting a hyena-like laugh infused with euphoria and kindness. The character waddles along, ready for whatever’s next—even when he decides to go to, and promptly skip out on, rehab. \u003c/p>\n\u003cp>Korine’s unusual brand of abrasive, provocative filmmaking (he was the first American director to take the “Vow of Chastity” and make a Dogme 95 film—the Danish manifesto calling for a back-to-basics approach to form), employs guns, drugs, and detritus to signify an atrophying American Dream. For those familiar with his work, the first ten minutes or so of \u003cem>The Beach Bum\u003c/em> will unsettle, because the film is imbued with a distinctly un-Harmony-ious tenderness and thoughtful sentimentality. But soon enough, a sun-drenched ecstasy leaches its way into Benoît Debie’s cinematography, as does a circuitous manner of exploring Moondog’s creative process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It doesn’t really matter if Moondog’s poetry is good, by conventional standards. The way he negotiates his art (he is frequently, rightfully or otherwise, referred to as a genius) either eschews artist-movie tropes or subverts them; the film’s meandering quality never gives in to the typical rise-and-fall trajectory for Moondog and his work. Rather, it allows him to revel in his method of indulging in “total excess” to unlock his creative juices. Moondog’s best friend Lingerie (Snoop Dogg) offers him one strain of very strong weed which he calls “the safe cracker.” Moondog smokes, he has sex, he gets drunk, he writes; rinse, repeat. But unlike other portraits of the artist as a young genius, Moondog knows both the clock is ticking, and that his legacy in question. Yet, as driven as he is to complete his book, he’s less fixated on his own relevance; he values basic, sensual pleasures over wealth. \u003c/p>\n\u003cp>Korine offers moments for Moondog to reflect on the consequences of his actions … sort of. It’s not insincere, but there is a cheekiness to the character’s brief determination to clean up his act; he doesn’t ditch the excess, but the emotional transformation he’s urged to undergo by Lingerie and Jimmy Buffett(!) frees him up, and becomes a touching ode to love and art. Korine’s film is an unusual but much needed balm, a wild and wonderful guide to finding compassion and beauty in the strangest of places: Florida. I cannot think of another film that represents the perfect confluence of my own sensibilities with those of my father, or of another film that could move me to tears at the sound of “Margaritaville.” \u003c/p>\n\u003cp>Moondog and Minnie play Peggy Lee’s existential pop ballad “Is That All There Is?” as they dance around and smoke and drink up each other’s bodies and emotions, their love for one another offering a kind of high that narcotics can only approximate. This dizzying, funny, and moving combination of a love for the creative process, and love for the bodies around them, suggest that Korine has finally found in his films the Heaven that his characters have always chased. An American Dream presented as perverted, and decaying, yet splashed in neon and soaked in sunshine, \u003cem>The Beach Bum\u003c/em>‘s brilliant embrace of body, pleasure and art feels like Paradise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harmony Korine has spent much of his cinematic career walking his audience through the depths of Hell in films like the poverty-stricken \u003cem>Gummo\u003c/em>, the schizophrenic nightmare \u003cem>Julien Donkey-Boy\u003c/em>, and his candy-colored, millennial opus \u003cem>Spring Breakers\u003c/em> (his first Floridian foray). He’s spent some time in Purgatory too (as in his offbeat 2007 drama \u003cem>Mister Lonely\u003c/em>, about a commune of celebrity impersonators). In his newest film, \u003cem>The Beach Bum\u003c/em>, artist, writer, poet, director Korine may have finally found what he was looking fo all along: a little bit of Heaven. \u003c/p>\n\u003cp>Narrative and plot don’t chug along, machine-like, in any of Korine’s work, least of all \u003cem>The Beach Bum\u003c/em>; rather, his tale of weirdo hedonistic poet Moondog (Matthew McConaughey) and his quest to finish his Great American Novel for the love of his wife, Minnie (Isla Fisher), gently unfurls like ribbons of marijuana smoke from the grizzled mouth of a once-great writer/current drifter. Korine is happy to let his film sail along, luxuriate in particular moments, elliptically recall the past, or burst briefly into the future. If \u003cem>Spring Breakers\u003c/em> could be compared structurally to a pop song, \u003cem>The Beach Bum\u003c/em> is more like a Jimmy Buffett record (more on him later). Scenery changes mid-conversation, and the movie begs a writer to bust out the word “hallucinatory” to describe its relationship to time and space. It is a pleasant, buoyant, joyful approximation of being happily stoned, with Moondog bubbling from one scenario to the next without too much thought. \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/3J7iyrFwPAY'\n title='//www.youtube.com/embed/3J7iyrFwPAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an oversized, barely buttoned canary yellow shirt, McConaughey easily taps into Moondog’s hippie-dippy attitude, here defined by a taste for excess rooted in benevolence and a genuine desire to find what little good life has left to offer him. He sails around Key West and Miami, almost floating on air when he’s not stumbling about, crab-like, on land. He throws back beers and burns through blunts like a pro, rubbing shoulders with Snoop Dog and Martin Lawrence (owner of a coke-addled parrot), emitting a hyena-like laugh infused with euphoria and kindness. The character waddles along, ready for whatever’s next—even when he decides to go to, and promptly skip out on, rehab. \u003c/p>\n\u003cp>Korine’s unusual brand of abrasive, provocative filmmaking (he was the first American director to take the “Vow of Chastity” and make a Dogme 95 film—the Danish manifesto calling for a back-to-basics approach to form), employs guns, drugs, and detritus to signify an atrophying American Dream. For those familiar with his work, the first ten minutes or so of \u003cem>The Beach Bum\u003c/em> will unsettle, because the film is imbued with a distinctly un-Harmony-ious tenderness and thoughtful sentimentality. But soon enough, a sun-drenched ecstasy leaches its way into Benoît Debie’s cinematography, as does a circuitous manner of exploring Moondog’s creative process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It doesn’t really matter if Moondog’s poetry is good, by conventional standards. The way he negotiates his art (he is frequently, rightfully or otherwise, referred to as a genius) either eschews artist-movie tropes or subverts them; the film’s meandering quality never gives in to the typical rise-and-fall trajectory for Moondog and his work. Rather, it allows him to revel in his method of indulging in “total excess” to unlock his creative juices. Moondog’s best friend Lingerie (Snoop Dogg) offers him one strain of very strong weed which he calls “the safe cracker.” Moondog smokes, he has sex, he gets drunk, he writes; rinse, repeat. But unlike other portraits of the artist as a young genius, Moondog knows both the clock is ticking, and that his legacy in question. Yet, as driven as he is to complete his book, he’s less fixated on his own relevance; he values basic, sensual pleasures over wealth. \u003c/p>\n\u003cp>Korine offers moments for Moondog to reflect on the consequences of his actions … sort of. It’s not insincere, but there is a cheekiness to the character’s brief determination to clean up his act; he doesn’t ditch the excess, but the emotional transformation he’s urged to undergo by Lingerie and Jimmy Buffett(!) frees him up, and becomes a touching ode to love and art. Korine’s film is an unusual but much needed balm, a wild and wonderful guide to finding compassion and beauty in the strangest of places: Florida. I cannot think of another film that represents the perfect confluence of my own sensibilities with those of my father, or of another film that could move me to tears at the sound of “Margaritaville.” \u003c/p>\n\u003cp>Moondog and Minnie play Peggy Lee’s existential pop ballad “Is That All There Is?” as they dance around and smoke and drink up each other’s bodies and emotions, their love for one another offering a kind of high that narcotics can only approximate. This dizzying, funny, and moving combination of a love for the creative process, and love for the bodies around them, suggest that Korine has finally found in his films the Heaven that his characters have always chased. An American Dream presented as perverted, and decaying, yet splashed in neon and soaked in sunshine, \u003cem>The Beach Bum\u003c/em>‘s brilliant embrace of body, pleasure and art feels like Paradise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 3:48 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Prosecutors are dropping all charges against \u003cem>Empire\u003c/em> actor Jussie Smollett\u003cstrong> \u003c/strong>in a surprising and controversial move that has exposed a stark fault line between Chicago’s local authorities and their county and state counterparts. The decision Tuesday appears to clear Smollett of allegations that he filed a false police report \u003ca href=\"https://www.npr.org/2019/03/14/703325175/jussie-smollett-pleads-not-guilty-to-charges-he-faked-brutal-attack-against-hims\">earlier this year\u003c/a> when the actor, who is gay and black, claimed that he was attacked in Chicago in a possible hate crime.\u003c/p>\n\u003cp>Prosecutors in Cook County, Ill., said they would not pursue \u003ca href=\"https://www.npr.org/2019/03/08/701751613/jussie-smollett-indicted-on-16-felony-counts-by-chicago-grand-jury\">the grand jury indictment\u003c/a> against Smollett, which returned 16 felony counts of disorderly conduct against him. Tuesday’s decision, according to the Cook County State’s Attorney’s Office, had to do, in part, with the actor’s community service and bond payment to the city.\u003c/p>\n\u003cp>“After reviewing all of the facts and circumstances of the case, including Mr. Smollet[t]’s volunteer service in the community and agreement to forfeit his [$10,000] bond to the City of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the office led by \u003ca href=\"https://www.cookcountystatesattorney.org/about/kimberly-foxx\">State’s Attorney Kim Foxx\u003c/a> said in a statement emailed to NPR.\u003c/p>\n\u003cp>Foxx \u003ca href=\"https://www.nbcchicago.com/news/local/kim-foxx-jussie-smollett-recused-506070211.html\">recused herself\u003c/a> from the Smollett investigation last month to “address potential questions of impartiality based upon familiarity with potential witnesses in the case,” according to a statement released at the time. First Assistant State’s Attorney Joseph Magats, who took over on her behalf, said the decision should not necessarily be viewed as an exoneration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fact there was an alternative disposition in this case is not and should not be viewed as some kind of admission there was something wrong with the case or something wrong with the investigation that the Chicago police did,” Magats \u003ca href=\"https://chicago.suntimes.com/entertainment/empire-jussie-smollett-emergency-court-hearing/\">told the Chicago Sun-Times\u003c/a>, explaining: “It’s a nonviolent crime. He has no felony criminal background.”\u003c/p>\n\u003cp>The city’s police and mayor vehemently disagree with the move, however. \u003c/p>\n\u003cp>At a news conference called after the announcement, Mayor Rahm Emanuel, together with police Superintendent Eddie Johnson, railed against it as a “whitewash of justice.”\u003c/p>\n\u003cp>“It is not on the level, from beginning to end,” a visibly angry Emanuel told reporters. “There needs to be a level of accountability throughout the system, and this sends an unambiguous message that there is no accountability. And that is wrong.”\u003c/p>\n\u003cp>Last month, during a \u003ca href=\"https://www.npr.org/2019/02/21/696593870/chicago-police-empire-actor-jessie-smollett-faked-attack\">lengthy statement to the media\u003c/a>, Johnson explained the allegations: that Smollett paid two brothers to carry out a fake attack against him — involving racial and anti-gay slurs and a rope around his neck — and that Smollett filed a police report to that effect, all in an attempt to “further his own public profile.”\u003c/p>\n\u003cp>The police superintendent still stands by those accusations.\u003c/p>\n\u003cp>“I’ve been a cop now for about 31 years, and when I came on this job, I came on with my honor, my integrity and my reputation,” Johnson said Tuesday. “If someone accused me of doing anything that would circumvent that, then I would want my day in court, period — to clear my name. \u003c/p>\n\u003cp>“I’ve heard that they wanted their day in court with TV cameras so America could know the truth,” he added, “and now they chose to hide behind secrecy and broker a deal, to circumvent the judicial system.”\u003c/p>\n\u003cp>Chicago police spokesman Anthony Guglielmi summed up the department’s position more succinctly: “In our experience,” \u003ca href=\"https://twitter.com/i/web/status/1110600312887361536\">he tweeted\u003c/a>, “innocent individuals don’t forget bond & perform community service in exchange for dropped charges.”\u003c/p>\n\u003cp>Smollett’s attorneys, for their part, celebrated the decision to drop the charges as a vindication. They say the actor’s record has been “wiped clean of the filing of this tragic complaint against him.”\u003c/p>\n\u003cp>“He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgement,” attorneys Tina Glandian and Patricia Brown Holmes said in a statement released by a spokesperson.\u003c/p>\n\u003cp>“Jussie and many others were hurt by these unfair and unwarranted actions,” they continued. “This entire situation is a reminder that there should never be an attempt to prove a case in the court of public opinion. That is wrong. It is a reminder that a victim, in this case Jussie, deserves dignity and respect. Dismissal of charges against the victim in this case was the only just result.”\u003c/p>\n\u003cp>Not long after his arrest in February, the actor was removed from the final episodes of \u003cem>Empire\u003c/em>‘s season — “to avoid further disruption on set,” the show’s producers \u003ca href=\"https://www.npr.org/2019/02/22/697008758/jussie-smolletts-character-removed-from-final-episodes-of-empire-season\">said at the time\u003c/a>. 20th Century Fox Television, the company behind the show, issued a brief statement after Tuesday’s announcement.\u003c/p>\n\u003cp>“Jussie Smollett has always maintained his innocence and we are gratified that all charges against him have been dismissed,” the company said in its statement to NPR.\u003c/p>\n\u003cp>Smollett himself reasserted his innocence at a news conference after his hearing.\u003c/p>\n\u003cp>“I’ve been truthful and consistent on every single level since day one. I would not be my mother’s son if I was capable of one drop of what I was being accused of,” he said, in his first public comments since \u003ca href=\"https://www.youtube.com/watch?v=pXLx5OY21Bk\">an interview last month\u003c/a> with ABC News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This has been an incredibly difficult time — honestly, one of the worst of my entire life. But I’m a man of faith and I’m a man that has knowledge of my history, and I would not bring my family, our lives or the movement through a fire like this.” \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=Prosecutors+Drop+Smollett+Charges+In+Move+Decried+As+%27Whitewash+Of+Justice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 3:48 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Prosecutors are dropping all charges against \u003cem>Empire\u003c/em> actor Jussie Smollett\u003cstrong> \u003c/strong>in a surprising and controversial move that has exposed a stark fault line between Chicago’s local authorities and their county and state counterparts. The decision Tuesday appears to clear Smollett of allegations that he filed a false police report \u003ca href=\"https://www.npr.org/2019/03/14/703325175/jussie-smollett-pleads-not-guilty-to-charges-he-faked-brutal-attack-against-hims\">earlier this year\u003c/a> when the actor, who is gay and black, claimed that he was attacked in Chicago in a possible hate crime.\u003c/p>\n\u003cp>Prosecutors in Cook County, Ill., said they would not pursue \u003ca href=\"https://www.npr.org/2019/03/08/701751613/jussie-smollett-indicted-on-16-felony-counts-by-chicago-grand-jury\">the grand jury indictment\u003c/a> against Smollett, which returned 16 felony counts of disorderly conduct against him. Tuesday’s decision, according to the Cook County State’s Attorney’s Office, had to do, in part, with the actor’s community service and bond payment to the city.\u003c/p>\n\u003cp>“After reviewing all of the facts and circumstances of the case, including Mr. Smollet[t]’s volunteer service in the community and agreement to forfeit his [$10,000] bond to the City of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the office led by \u003ca href=\"https://www.cookcountystatesattorney.org/about/kimberly-foxx\">State’s Attorney Kim Foxx\u003c/a> said in a statement emailed to NPR.\u003c/p>\n\u003cp>Foxx \u003ca href=\"https://www.nbcchicago.com/news/local/kim-foxx-jussie-smollett-recused-506070211.html\">recused herself\u003c/a> from the Smollett investigation last month to “address potential questions of impartiality based upon familiarity with potential witnesses in the case,” according to a statement released at the time. First Assistant State’s Attorney Joseph Magats, who took over on her behalf, said the decision should not necessarily be viewed as an exoneration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact there was an alternative disposition in this case is not and should not be viewed as some kind of admission there was something wrong with the case or something wrong with the investigation that the Chicago police did,” Magats \u003ca href=\"https://chicago.suntimes.com/entertainment/empire-jussie-smollett-emergency-court-hearing/\">told the Chicago Sun-Times\u003c/a>, explaining: “It’s a nonviolent crime. He has no felony criminal background.”\u003c/p>\n\u003cp>The city’s police and mayor vehemently disagree with the move, however. \u003c/p>\n\u003cp>At a news conference called after the announcement, Mayor Rahm Emanuel, together with police Superintendent Eddie Johnson, railed against it as a “whitewash of justice.”\u003c/p>\n\u003cp>“It is not on the level, from beginning to end,” a visibly angry Emanuel told reporters. “There needs to be a level of accountability throughout the system, and this sends an unambiguous message that there is no accountability. And that is wrong.”\u003c/p>\n\u003cp>Last month, during a \u003ca href=\"https://www.npr.org/2019/02/21/696593870/chicago-police-empire-actor-jessie-smollett-faked-attack\">lengthy statement to the media\u003c/a>, Johnson explained the allegations: that Smollett paid two brothers to carry out a fake attack against him — involving racial and anti-gay slurs and a rope around his neck — and that Smollett filed a police report to that effect, all in an attempt to “further his own public profile.”\u003c/p>\n\u003cp>The police superintendent still stands by those accusations.\u003c/p>\n\u003cp>“I’ve been a cop now for about 31 years, and when I came on this job, I came on with my honor, my integrity and my reputation,” Johnson said Tuesday. “If someone accused me of doing anything that would circumvent that, then I would want my day in court, period — to clear my name. \u003c/p>\n\u003cp>“I’ve heard that they wanted their day in court with TV cameras so America could know the truth,” he added, “and now they chose to hide behind secrecy and broker a deal, to circumvent the judicial system.”\u003c/p>\n\u003cp>Chicago police spokesman Anthony Guglielmi summed up the department’s position more succinctly: “In our experience,” \u003ca href=\"https://twitter.com/i/web/status/1110600312887361536\">he tweeted\u003c/a>, “innocent individuals don’t forget bond & perform community service in exchange for dropped charges.”\u003c/p>\n\u003cp>Smollett’s attorneys, for their part, celebrated the decision to drop the charges as a vindication. They say the actor’s record has been “wiped clean of the filing of this tragic complaint against him.”\u003c/p>\n\u003cp>“He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgement,” attorneys Tina Glandian and Patricia Brown Holmes said in a statement released by a spokesperson.\u003c/p>\n\u003cp>“Jussie and many others were hurt by these unfair and unwarranted actions,” they continued. “This entire situation is a reminder that there should never be an attempt to prove a case in the court of public opinion. That is wrong. It is a reminder that a victim, in this case Jussie, deserves dignity and respect. Dismissal of charges against the victim in this case was the only just result.”\u003c/p>\n\u003cp>Not long after his arrest in February, the actor was removed from the final episodes of \u003cem>Empire\u003c/em>‘s season — “to avoid further disruption on set,” the show’s producers \u003ca href=\"https://www.npr.org/2019/02/22/697008758/jussie-smolletts-character-removed-from-final-episodes-of-empire-season\">said at the time\u003c/a>. 20th Century Fox Television, the company behind the show, issued a brief statement after Tuesday’s announcement.\u003c/p>\n\u003cp>“Jussie Smollett has always maintained his innocence and we are gratified that all charges against him have been dismissed,” the company said in its statement to NPR.\u003c/p>\n\u003cp>Smollett himself reasserted his innocence at a news conference after his hearing.\u003c/p>\n\u003cp>“I’ve been truthful and consistent on every single level since day one. I would not be my mother’s son if I was capable of one drop of what I was being accused of,” he said, in his first public comments since \u003ca href=\"https://www.youtube.com/watch?v=pXLx5OY21Bk\">an interview last month\u003c/a> with ABC News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This has been an incredibly difficult time — honestly, one of the worst of my entire life. But I’m a man of faith and I’m a man that has knowledge of my history, and I would not bring my family, our lives or the movement through a fire like this.” \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=Prosecutors+Drop+Smollett+Charges+In+Move+Decried+As+%27Whitewash+Of+Justice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\n\u003cp>https://twitter.com/AlJean/status/1108134895799267329\u003c/p>\n\u003cp>Now that Fox Corp. has sold off most of its entertainment properties, it has become a standalone company that will retain ownership of its broadcast network, owned-and-operated network affiliates, the Fox News Channel, Fox Business Network and Fox Sports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former House speaker Paul Ryan is joining the board of directors of the new Fox Corp. NPR’s David Folkenflik \u003ca href=\"https://www.wbur.org/hereandnow/2019/03/19/paul-ryan-joins-fox\">told WBUR’s “Here and Now”\u003c/a> that Fox’s decision to retain Ryan “is in keeping with the way in which Rupert Murdoch and his family has operated over the years, where they have acquired, essentially, a lot of major political heavyweights to be on their corporate boards, occasionally as top executives — essentially as a hedge” against the fairly heavy regulations that media companies sometimes face.\u003c/p>\n\u003cp>https://twitter.com/VancityReynolds/status/1108002378064822272\u003c/p>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former House speaker Paul Ryan is joining the board of directors of the new Fox Corp. NPR’s David Folkenflik \u003ca href=\"https://www.wbur.org/hereandnow/2019/03/19/paul-ryan-joins-fox\">told WBUR’s “Here and Now”\u003c/a> that Fox’s decision to retain Ryan “is in keeping with the way in which Rupert Murdoch and his family has operated over the years, where they have acquired, essentially, a lot of major political heavyweights to be on their corporate boards, occasionally as top executives — essentially as a hedge” against the fairly heavy regulations that media companies sometimes face.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sylvester, 'Super Fly,' and 'La Bamba' Added To National Recording Registry",
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"content": "\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\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=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\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=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Night Witches' Sheds Some Light On Daring Female Flyers",
"headTitle": "‘Night Witches’ Sheds Some Light On Daring Female Flyers | KQED",
"content": "\u003cfigure id=\"attachment_13853247\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg\" alt=\"'Night Witches' by Garth Ennis and Russ Braun.\" width=\"387\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover-160x248.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">‘Night Witches’ by Garth Ennis and Russ Braun.\u003c/figcaption>\u003c/figure>\n\u003cp>Reading the graphic novel \u003cem>The Night Witches, \u003c/em>about female pilots who flew for the Russians in World War II, I thought about Jane Austen. More specifically, I thought about Helena Kelly’s 2017 book \u003cem>Jane Austen: The Secret Radical\u003c/em>, which issued an audacious call to incorporate creativity and imagination into women’s history. Noting that information about her subject is riddled with “so many gaps, so many silences,” Kelly feels free to invent “an imaginary Jane Austen.” The novelist herself would have approved, Kelly contends: “It’s in fiction, Jane says, that we should look for ‘the most thorough knowledge of human nature.'”\u003c/p>\n\u003cp>If women’s history sometimes needs fictional stories to flesh it out, it needs them most of all when it comes to women’s role in war. In fact, Garth Ennis was inspired to write \u003cem>The Night Witches\u003c/em> by the great historian John Keegan’s shocking dismissal of the very possibility that women have been fighters. Ennis quotes Keegan’s \u003cem>A History of Warfare\u003c/em>: “‘Warfare is … the one human activity from which women, with the most insignificant exceptions, have always and everywhere stood apart … [women] never, in any military sense, fight men.'” Ennis set out to rectify this assumption with \u003cem>The Night Witches\u003c/em> — originally published in 2009 and newly reissued.\u003c/p>\n\u003cp>Like Kelly, though, Ennis ran into a shortage of source material. Despite the efforts of recent researchers like Anne Noggle, who interviewed veteran flyers for 1994’s \u003cem>A Dance With Death: Soviet Airwomen in World War II\u003c/em>, little is known about the real lives of the Night Witches — or more properly, the 588th Night Bomber Regiment. After the war, the Soviet government downplayed the role of female personnel, and the women themselves were told not to talk about their experiences.\u003c/p>\n\u003cp>And so Ennis invents Anna Kharkova, a composite of female pilots from the same period. With this fiction, he does a remarkable service to women’s history. There are other books about the Night Witches, but none could possibly be this much fun. Anna, who’s so short she has to sit on a cushion in the cockpit, is sent with a handful of other women to fly nighttime raids across enemy lines — a mission with, at best, tepid support from the brass. The women are relegated to flying rattletrap biplanes so out-of-date and noisy, they dub them “sewing machines.” They have to turn off the engines and glide toward their targets so the Germans won’t hear them coming. Even so, they’re able to do plenty of damage to German equipment — and to the enemy soldiers’ nerves. It’s the Germans who dub the women flyers “Nachthexen.”\u003c/p>\n\u003cp>Ennis has Anna turn up everywhere from the Battle of Kursk to the fringes of the Korean War. She finds herself on the wrong side of both the German and Soviet governments, doing time in two different prison camps. She has various love affairs, but remains a fighter to the end — as is evident in the book’s most page-turning episode, when she’s shot down behind enemy lines. Anna may be female, but she teaches the enemy not to underestimate her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">Ennis’ secondary characters aren’t as complex as Anna, but her fellow flyer Zoya shines. All the characters are realized more through their dialogue and actions than through Russ Braun and Tony Aviña’s art, which tends to look stiff when people express strong emotions. In every other respect, though, Braun and Aviña’s work is downright glorious. Scenes of ferocious dogfights, with planes peppered by bullets or exploding in midair, are as gripping as they are beautiful. Back on the ground, Braun draws people with formal precision and an almost frozen quality that makes every panel iconic. Aviña’s colors are gorgeously versatile, ranging from subtly enameled tones for the people to flat, bright hues for the action in the sky.\u003c/p>\n\u003cp style=\"font-weight: 400\">Most impressive of all is how vividly the artists show Anna’s progression from eager recruit to cynical veteran. She remains recognizable even as experience scars her beyond belief. In this regard, she illuminates the nature of warfare, no matter who’s fighting. Anna may be just a character, but she still represents an important contribution to women’s history. In this field, fiction can tell vital truths — as even Jane Austen would probably agree.\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 style=\"font-weight: 400\">\u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__etelkawrites.com&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=JUbZuVGcudZcgORe1Tg8pNLoUkGn74HD8lH9PQjh1vM&e=\">Etelka Lehoczky\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\"> has written about comics for\u003c/em>\u003c/i> The Atlantic and The Los Angeles Review of Books. \u003ci>\u003cem style=\"font-weight: inherit\">She tweets at\u003c/em>\u003c/i> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13853247\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg\" alt=\"'Night Witches' by Garth Ennis and Russ Braun.\" width=\"387\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover-160x248.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">‘Night Witches’ by Garth Ennis and Russ Braun.\u003c/figcaption>\u003c/figure>\n\u003cp>Reading the graphic novel \u003cem>The Night Witches, \u003c/em>about female pilots who flew for the Russians in World War II, I thought about Jane Austen. More specifically, I thought about Helena Kelly’s 2017 book \u003cem>Jane Austen: The Secret Radical\u003c/em>, which issued an audacious call to incorporate creativity and imagination into women’s history. Noting that information about her subject is riddled with “so many gaps, so many silences,” Kelly feels free to invent “an imaginary Jane Austen.” The novelist herself would have approved, Kelly contends: “It’s in fiction, Jane says, that we should look for ‘the most thorough knowledge of human nature.'”\u003c/p>\n\u003cp>If women’s history sometimes needs fictional stories to flesh it out, it needs them most of all when it comes to women’s role in war. In fact, Garth Ennis was inspired to write \u003cem>The Night Witches\u003c/em> by the great historian John Keegan’s shocking dismissal of the very possibility that women have been fighters. Ennis quotes Keegan’s \u003cem>A History of Warfare\u003c/em>: “‘Warfare is … the one human activity from which women, with the most insignificant exceptions, have always and everywhere stood apart … [women] never, in any military sense, fight men.'” Ennis set out to rectify this assumption with \u003cem>The Night Witches\u003c/em> — originally published in 2009 and newly reissued.\u003c/p>\n\u003cp>Like Kelly, though, Ennis ran into a shortage of source material. Despite the efforts of recent researchers like Anne Noggle, who interviewed veteran flyers for 1994’s \u003cem>A Dance With Death: Soviet Airwomen in World War II\u003c/em>, little is known about the real lives of the Night Witches — or more properly, the 588th Night Bomber Regiment. After the war, the Soviet government downplayed the role of female personnel, and the women themselves were told not to talk about their experiences.\u003c/p>\n\u003cp>And so Ennis invents Anna Kharkova, a composite of female pilots from the same period. With this fiction, he does a remarkable service to women’s history. There are other books about the Night Witches, but none could possibly be this much fun. Anna, who’s so short she has to sit on a cushion in the cockpit, is sent with a handful of other women to fly nighttime raids across enemy lines — a mission with, at best, tepid support from the brass. The women are relegated to flying rattletrap biplanes so out-of-date and noisy, they dub them “sewing machines.” They have to turn off the engines and glide toward their targets so the Germans won’t hear them coming. Even so, they’re able to do plenty of damage to German equipment — and to the enemy soldiers’ nerves. It’s the Germans who dub the women flyers “Nachthexen.”\u003c/p>\n\u003cp>Ennis has Anna turn up everywhere from the Battle of Kursk to the fringes of the Korean War. She finds herself on the wrong side of both the German and Soviet governments, doing time in two different prison camps. She has various love affairs, but remains a fighter to the end — as is evident in the book’s most page-turning episode, when she’s shot down behind enemy lines. Anna may be female, but she teaches the enemy not to underestimate her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">Ennis’ secondary characters aren’t as complex as Anna, but her fellow flyer Zoya shines. All the characters are realized more through their dialogue and actions than through Russ Braun and Tony Aviña’s art, which tends to look stiff when people express strong emotions. In every other respect, though, Braun and Aviña’s work is downright glorious. Scenes of ferocious dogfights, with planes peppered by bullets or exploding in midair, are as gripping as they are beautiful. Back on the ground, Braun draws people with formal precision and an almost frozen quality that makes every panel iconic. Aviña’s colors are gorgeously versatile, ranging from subtly enameled tones for the people to flat, bright hues for the action in the sky.\u003c/p>\n\u003cp style=\"font-weight: 400\">Most impressive of all is how vividly the artists show Anna’s progression from eager recruit to cynical veteran. She remains recognizable even as experience scars her beyond belief. In this regard, she illuminates the nature of warfare, no matter who’s fighting. Anna may be just a character, but she still represents an important contribution to women’s history. In this field, fiction can tell vital truths — as even Jane Austen would probably agree.\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 style=\"font-weight: 400\">\u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__etelkawrites.com&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=JUbZuVGcudZcgORe1Tg8pNLoUkGn74HD8lH9PQjh1vM&e=\">Etelka Lehoczky\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\"> has written about comics for\u003c/em>\u003c/i> The Atlantic and The Los Angeles Review of Books. \u003ci>\u003cem style=\"font-weight: inherit\">She tweets at\u003c/em>\u003c/i> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dick Dale, the surf rock pioneer who took reverb to new levels, died on Saturday night. He was 81. The guitarist’s health had declined over the past 20 years due to a number of illnesses, including diabetes, kidney disease and rectal cancer. The news was confirmed to NPR by Dusty Watson, a drummer who worked and toured with Dale between 1995 and 2006, who says he spoke with Dale’s wife, Lana Dale. No cause was given.\u003c/p>\n\u003cp>Dale, born Richard Anthony Monsour in 1937, changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. Born and originally raised in Massachusetts, he found his aesthetic when his family moved to Orange County, California in 1954—where he took up surfing.\u003c/p>\n\u003cp>[contextly_sidebar id=”183YBqjoFCgM3n39IS44W6BARMAjhZrL”]\u003c/p>\n\u003cp>His high-energy interpretation of \u003ca href=\"https://www.youtube.com/watch?v=LW6qGy3RtwY\">an old song from Asia Minor\u003c/a>, “Misirlou” (Egyptian Girl), became the most famous song of surf rock: He had learned the tune from his Lebanese uncles, who played it on the \u003cem>oud\u003c/em>.\u003c/p>\n\u003cp>“I started playing it,” Dale, who had started out as a drummer, told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=130111454\">NPR in a 2010 interview\u003c/a>, “and I said, ‘Oh no, that’s too slow.’ And I thought of Gene Krupa’s drumming, his staccato drumming… When we went to California, I got my first guitar, but I was using this rocket-attack, Gene Krupa rhythm on the guitar.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that wildfire-tempo song became his signature: Dale self-released “Misirlou” as a single on Deltone Records in 1962, which led in part to a deal with Capitol Records to distribute his first album, 1962’s \u003cem>Surfer’s Choice\u003c/em>. Dale’s first album for Capitol was 1963’s \u003cem>King of the Surf Guitar\u003c/em>; he said that fans at an early show came up with the honorary moniker.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miserlou\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/mKpsuGMeqHI?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>Dale’s collaborations with guitar inventor Leo Fender also made sonic history. “I met a man called Leo Fender,” he told NPR, “who is the Einstein of the guitar and the amplifiers. He says, ‘Here, I just made a guitar, it’s a Stratocaster. You just beat it to death and tell me what you think. So when I started playing on that thing, I wanted to get it to be as loud as I could, like Gene Krupa drums. And as I was surfing, when the waves picked me up and took me through the tubes, I would get that rumble sound.”\u003c/p>\n\u003cp>Fender and Dale also worked together on amplifiers, Dale told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 1993. “I wanted to get a fat, thick, deep sound,” Dale remarked.\u003c/p>\n\u003cp>[contextly_sidebar id=”5u88zYVPpPEqRdoseCXB3TYcWpy63tAH”]\u003c/p>\n\u003cp>Fender kept trying options, but Dale still wasn’t satisfied. “We kept on making all these adjustments with output transformers, with speakers,” Dale told \u003cem>Fresh Air\u003c/em>, “and that’s how I blew up over 48 speakers and amplifiers. They’d catch on fire, the speakers would freeze, the speakers would tear from the coils … So he went back to the drawing board came up and invented the Dick Dale Showman amplifier, and the dual Showman amplifier with the 15 inch Lansing speaker. That was the end result … along with the creations that we did on the Stratocaster guitar, making it a real thick body because the thicker the wood, the purer the sound.”\u003c/p>\n\u003cp>Three decades after he first released his most famous tune, Dale and “Misirlou” had a wave of resurgence after the song was featured in the opening credits of Quentin Tarantino’s 1994 film \u003cem>Pulp Fiction\u003c/em>. The movie’s soundtrack sold more than 3 million copies and helped put surf rock—and Dale himself—in front of a new generation of music fans. New compilations were issued and he was even booked on the 1996 Warped Tour.\u003c/p>\n\u003cp>Over the decades that followed, he released two more albums and kept playing in front of live audiences. “I make my guitar scream with pain or pleasure or sensuality,” he told NPR. “It makes people move their feet and shake their bodies. That’s what music does.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Andrew Flanagan contributed additional reporting.\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=Dick+Dale%2C+Surf+Guitar+Legend%2C+Dead+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dick Dale, the surf rock pioneer who took reverb to new levels, died on Saturday night. He was 81. The guitarist’s health had declined over the past 20 years due to a number of illnesses, including diabetes, kidney disease and rectal cancer. The news was confirmed to NPR by Dusty Watson, a drummer who worked and toured with Dale between 1995 and 2006, who says he spoke with Dale’s wife, Lana Dale. No cause was given.\u003c/p>\n\u003cp>Dale, born Richard Anthony Monsour in 1937, changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. Born and originally raised in Massachusetts, he found his aesthetic when his family moved to Orange County, California in 1954—where he took up surfing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His high-energy interpretation of \u003ca href=\"https://www.youtube.com/watch?v=LW6qGy3RtwY\">an old song from Asia Minor\u003c/a>, “Misirlou” (Egyptian Girl), became the most famous song of surf rock: He had learned the tune from his Lebanese uncles, who played it on the \u003cem>oud\u003c/em>.\u003c/p>\n\u003cp>“I started playing it,” Dale, who had started out as a drummer, told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=130111454\">NPR in a 2010 interview\u003c/a>, “and I said, ‘Oh no, that’s too slow.’ And I thought of Gene Krupa’s drumming, his staccato drumming… When we went to California, I got my first guitar, but I was using this rocket-attack, Gene Krupa rhythm on the guitar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that wildfire-tempo song became his signature: Dale self-released “Misirlou” as a single on Deltone Records in 1962, which led in part to a deal with Capitol Records to distribute his first album, 1962’s \u003cem>Surfer’s Choice\u003c/em>. Dale’s first album for Capitol was 1963’s \u003cem>King of the Surf Guitar\u003c/em>; he said that fans at an early show came up with the honorary moniker.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miserlou\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/mKpsuGMeqHI?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>Dale’s collaborations with guitar inventor Leo Fender also made sonic history. “I met a man called Leo Fender,” he told NPR, “who is the Einstein of the guitar and the amplifiers. He says, ‘Here, I just made a guitar, it’s a Stratocaster. You just beat it to death and tell me what you think. So when I started playing on that thing, I wanted to get it to be as loud as I could, like Gene Krupa drums. And as I was surfing, when the waves picked me up and took me through the tubes, I would get that rumble sound.”\u003c/p>\n\u003cp>Fender and Dale also worked together on amplifiers, Dale told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 1993. “I wanted to get a fat, thick, deep sound,” Dale remarked.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fender kept trying options, but Dale still wasn’t satisfied. “We kept on making all these adjustments with output transformers, with speakers,” Dale told \u003cem>Fresh Air\u003c/em>, “and that’s how I blew up over 48 speakers and amplifiers. They’d catch on fire, the speakers would freeze, the speakers would tear from the coils … So he went back to the drawing board came up and invented the Dick Dale Showman amplifier, and the dual Showman amplifier with the 15 inch Lansing speaker. That was the end result … along with the creations that we did on the Stratocaster guitar, making it a real thick body because the thicker the wood, the purer the sound.”\u003c/p>\n\u003cp>Three decades after he first released his most famous tune, Dale and “Misirlou” had a wave of resurgence after the song was featured in the opening credits of Quentin Tarantino’s 1994 film \u003cem>Pulp Fiction\u003c/em>. The movie’s soundtrack sold more than 3 million copies and helped put surf rock—and Dale himself—in front of a new generation of music fans. New compilations were issued and he was even booked on the 1996 Warped Tour.\u003c/p>\n\u003cp>Over the decades that followed, he released two more albums and kept playing in front of live audiences. “I make my guitar scream with pain or pleasure or sensuality,” he told NPR. “It makes people move their feet and shake their bodies. That’s what music does.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Andrew Flanagan contributed additional reporting.\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=Dick+Dale%2C+Surf+Guitar+Legend%2C+Dead+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors",
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"content": "\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5766750-Complaint.html” width=800 height=800]\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>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=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"excerpt": "Actresses Felicity Huffman and Lori Loughlin are among 33 parents who paid large sums of money to cheat admissions standards at prestigious schools, federal prosecutors say. ",
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"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>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=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "menstruate-celebrate-new-novel-urges-girls-to-embrace-the-moon-within",
"title": "Menstruate? Celebrate! New Novel Urges Girls To Embrace 'The Moon Within'",
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"headTitle": "Menstruate? Celebrate! New Novel Urges Girls To Embrace ‘The Moon Within’ | KQED",
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"content": "\u003cp>Given that approximately half of humanity menstruates at some point in their lives, Aida Salazar says it’s a real testament to the patriarchy that women feel shame or embarrassment about their periods.\u003c/p>\n\u003cfigure id=\"attachment_13852672\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg\" alt=\"'The Moon Within' by Aida Salazar\" width=\"300\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85-160x218.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘The Moon Within’ by Aida Salazar \u003ccite>(Aida Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salazar wanted better for her daughter’s generation, so she wrote \u003cem>The Moon Within, \u003c/em>a coming of age novel written in verse. The story centers around Celi Rivera, an 11-year-old girl growing up in Oakland, who is mortified that her mother wants to celebrate her first period with a moon ceremony.\u003c/p>\n\u003cp>Moon ceremonies date back to pre-colonial times, Salazar explains. Women across the Americas would gather to celebrate their bodies and their connection to the universe.\u003c/p>\n\u003cp>Salazar didn’t have a moon ceremony for her first period, but she did celebrate her daughter with one. “I wanted to reframe the conversation,” Salazar says. “I wanted to tell a different story to her.”\u003c/p>\n\u003cp>Salazar says she wrote \u003cem>The Moon Within \u003c/em>for her daughter, and her daughter’s generation … but she wrote it for someone else, too: “In some ways, I wrote it for myself, because I needed that kind of healing,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/701540827/701987132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her daughter’s moon ceremony\u003c/strong>\u003c/p>\n\u003cp>My daughter is a dancer and so she we invited her dance teachers, and we invited my sisters, and our family, and our chosen family as well. And we gathered beneath the full moon and we did many of the rituals that are described in the book. … There’s something very powerful about bringing intention to the understanding that we are connected to a cycle that is bigger than us.\u003c/p>\n\u003cp>\u003cstrong>On women feeling ashamed about menstruation \u003c/strong>\u003c/p>\n\u003cp>I wanted this book to be part of the movement to dismantle that — to take apart those notions, to reframe the idea that our menstruations are something dirty, or to be feared, or the “curse.”\u003c/p>\n\u003cp>I wanted to shed light on its power, and its beauty, and its really profound celebratory aspect. I think \u003cem>that’s\u003c/em> the way that we’re going to be able to change … those Puritanical and patriarchal views of menstruation. … I also wanted to reframe the way that we, as women, view our bodies, and how we teach our children to view their bodies: In a way that’s positive, in a way that’s celebratory — with reverence and respect and love.\u003c/p>\n\u003cp>[contextly_sidebar id=”gMIsoQ6WCgf0Q8rTFCIUE3dbnrk2PN9s”]\u003c/p>\n\u003cp>\u003cstrong>On the first time she read the Mayan poem “A Flower Song for Maidens Coming of Age,” which was written in 1440, and describes a moon ceremony\u003c/strong>\u003c/p>\n\u003cp>It really, really moved me profoundly. … Colonization basically eradicated all of our written documentation in the Americas, and we have very few fragments of knowledge. … All of our traditions have been passed down through word of mouth and also interpreted — which is a really powerful way to retain story on its own — but to have written documentation that women have been honoring the moon and celebrating their bodies, and their transitions, their milestones, in this way was such a blessing. I really felt like my ancestors were watching over and blessing this book.\u003c/p>\n\u003cp>\u003cstrong>On Celi’s gender-fluid best friend\u003c/strong>\u003c/p>\n\u003cp>I took my inspiration mostly from the pantheon. If we look at the [Meso-American] gods and goddesses, many of them were dual in nature. … Ōmeteōtl was the creator spirit and they were neither male or female but both — divine duality. And so I felt like this was an opportunity for us to remember — to rescue — some of this knowledge and be inspired to use it in a way that was compassionate and loving towards our gender expansive friends.\u003c/p>\n\u003cp>[contextly_sidebar id=”V6wjEnjJLrO7goz2kNtKbkOg2ZzmHJVS”]\u003c/p>\n\u003cp>\u003cstrong>On being a founding member of \u003c/strong>\u003ca href=\"https://www.lasmusasbooks.com/\">\u003cstrong>Las Musas\u003c/strong>\u003c/a>\u003cstrong>, a collective of women and non binary Latinx authors writing U.S. children’s literature\u003c/strong>\u003c/p>\n\u003cp>Las Musas is my heart and soul. … We’re seeing more and more Latinx people being published and … we wanted to come together as women and non binary people to make a claim that we are not only here, but that we are not in competition with one another. That there is enough space — and, in fact, we are so diverse that we need more space than what we’re given — to tell our stories. And that children in particular are ready and need what we have to bring to publishing and the book world.\u003c/p>\n\u003cp>\u003cstrong>On who she hopes will read \u003c/strong>\u003cstrong>\u003cem>The Moon Within\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I hope that it reaches boys, and girls, and gender-fluid children. I hope that it reaches the child that seeks to see themselves reflected in a book. I hope that it reaches the child who is ashamed of their menstruation or ashamed of who they are, [or] where their gender lies. I hope that it reaches children who need to feel empowered by the beauty of their bodies and the beauty of their own transformations.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audrey Nguyen, Sophia Boyd and Samantha Balaban produced and edited this interview for broadcast. Beth Novey 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>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given that approximately half of humanity menstruates at some point in their lives, Aida Salazar says it’s a real testament to the patriarchy that women feel shame or embarrassment about their periods.\u003c/p>\n\u003cfigure id=\"attachment_13852672\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg\" alt=\"'The Moon Within' by Aida Salazar\" width=\"300\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85-160x218.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘The Moon Within’ by Aida Salazar \u003ccite>(Aida Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salazar wanted better for her daughter’s generation, so she wrote \u003cem>The Moon Within, \u003c/em>a coming of age novel written in verse. The story centers around Celi Rivera, an 11-year-old girl growing up in Oakland, who is mortified that her mother wants to celebrate her first period with a moon ceremony.\u003c/p>\n\u003cp>Moon ceremonies date back to pre-colonial times, Salazar explains. Women across the Americas would gather to celebrate their bodies and their connection to the universe.\u003c/p>\n\u003cp>Salazar didn’t have a moon ceremony for her first period, but she did celebrate her daughter with one. “I wanted to reframe the conversation,” Salazar says. “I wanted to tell a different story to her.”\u003c/p>\n\u003cp>Salazar says she wrote \u003cem>The Moon Within \u003c/em>for her daughter, and her daughter’s generation … but she wrote it for someone else, too: “In some ways, I wrote it for myself, because I needed that kind of healing,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/701540827/701987132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her daughter’s moon ceremony\u003c/strong>\u003c/p>\n\u003cp>My daughter is a dancer and so she we invited her dance teachers, and we invited my sisters, and our family, and our chosen family as well. And we gathered beneath the full moon and we did many of the rituals that are described in the book. … There’s something very powerful about bringing intention to the understanding that we are connected to a cycle that is bigger than us.\u003c/p>\n\u003cp>\u003cstrong>On women feeling ashamed about menstruation \u003c/strong>\u003c/p>\n\u003cp>I wanted this book to be part of the movement to dismantle that — to take apart those notions, to reframe the idea that our menstruations are something dirty, or to be feared, or the “curse.”\u003c/p>\n\u003cp>I wanted to shed light on its power, and its beauty, and its really profound celebratory aspect. I think \u003cem>that’s\u003c/em> the way that we’re going to be able to change … those Puritanical and patriarchal views of menstruation. … I also wanted to reframe the way that we, as women, view our bodies, and how we teach our children to view their bodies: In a way that’s positive, in a way that’s celebratory — with reverence and respect and love.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On the first time she read the Mayan poem “A Flower Song for Maidens Coming of Age,” which was written in 1440, and describes a moon ceremony\u003c/strong>\u003c/p>\n\u003cp>It really, really moved me profoundly. … Colonization basically eradicated all of our written documentation in the Americas, and we have very few fragments of knowledge. … All of our traditions have been passed down through word of mouth and also interpreted — which is a really powerful way to retain story on its own — but to have written documentation that women have been honoring the moon and celebrating their bodies, and their transitions, their milestones, in this way was such a blessing. I really felt like my ancestors were watching over and blessing this book.\u003c/p>\n\u003cp>\u003cstrong>On Celi’s gender-fluid best friend\u003c/strong>\u003c/p>\n\u003cp>I took my inspiration mostly from the pantheon. If we look at the [Meso-American] gods and goddesses, many of them were dual in nature. … Ōmeteōtl was the creator spirit and they were neither male or female but both — divine duality. And so I felt like this was an opportunity for us to remember — to rescue — some of this knowledge and be inspired to use it in a way that was compassionate and loving towards our gender expansive friends.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On being a founding member of \u003c/strong>\u003ca href=\"https://www.lasmusasbooks.com/\">\u003cstrong>Las Musas\u003c/strong>\u003c/a>\u003cstrong>, a collective of women and non binary Latinx authors writing U.S. children’s literature\u003c/strong>\u003c/p>\n\u003cp>Las Musas is my heart and soul. … We’re seeing more and more Latinx people being published and … we wanted to come together as women and non binary people to make a claim that we are not only here, but that we are not in competition with one another. That there is enough space — and, in fact, we are so diverse that we need more space than what we’re given — to tell our stories. And that children in particular are ready and need what we have to bring to publishing and the book world.\u003c/p>\n\u003cp>\u003cstrong>On who she hopes will read \u003c/strong>\u003cstrong>\u003cem>The Moon Within\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I hope that it reaches boys, and girls, and gender-fluid children. I hope that it reaches the child that seeks to see themselves reflected in a book. I hope that it reaches the child who is ashamed of their menstruation or ashamed of who they are, [or] where their gender lies. I hope that it reaches children who need to feel empowered by the beauty of their bodies and the beauty of their own transformations.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audrey Nguyen, Sophia Boyd and Samantha Balaban produced and edited this interview for broadcast. Beth Novey 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>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "still-tippin-solange-at-home-in-houston",
"title": "Still Tippin': Solange At Home In Houston",
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"headTitle": "Still Tippin’: Solange At Home In Houston | KQED",
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"content": "\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”qYTJZTHAJvWQ1Sqx5zX0jBqcwh5erf4r”]\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>[contextly_sidebar id=”fk0PNUrUjkPDutigRWGEhENWyHaULQ6m”]\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>[contextly_sidebar id=”ShFnV1kWWoMxrgeXFX1y5tu0ct9hpTul”]\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\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=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\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=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13851950\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851950\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/good-immigrant-full.jpg\" alt=\"'The Good Immigrant,' edited by by Nikesh Shukla and Chimene Suleyman. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/good-immigrant-full.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/good-immigrant-full-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘The Good Immigrant,’ edited by by Nikesh Shukla and Chimene Suleyman.\u003c/figcaption>\u003c/figure>\n\u003cp>During the 2016 presidential campaign, Fatima Farheen Mirza’s family received an unexpected gift.\u003c/p>\n\u003cp>At least, that’s how it seemed when a neighbor’s daughter delivered a bag of candy to their front door. Mirza’s parents had recently moved to Texas. At first, Mirza’s mother thought the candy might be a sort of welcome to the neighborhood.\u003c/p>\n\u003cp>“Then Mumma looked closer,” Mirza writes.\u003c/p>\n\u003cp>It wasn’t a gift bag, but a Ziploc plastic bag—”unadorned and filled only with Skittles.”\u003c/p>\n\u003cp>At the time, Donald Trump was running for president. And his son, Donald Trump Jr. had just compared Syrian refugees to Skittles. “If I had a bowl of Skittles and I told you just three would kill you,” Trump Jr. wrote on Twitter, “would you take a handful? That’s our Syrian refugee problem.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mirza’s parents insisted the Skittles were no big deal. Until finally, Mirza challenged her mother to eat one of them.\u003c/p>\n\u003cp>“Mumma stood from the couch,” she writes, “lifted the bag of Skittles, and emptied them all into the trash.”\u003c/p>\n\u003cp>Mirza’s essay appears in the new book \u003cem>The Good Immigrant: 26 Writers Reflect on America\u003c/em>, along with contributions from other first- and second-generation immigrants.\u003c/p>\n\u003cp>The debate over immigration has exposed real differences in how Americans understand America. Many on the political left say the country is great because of immigrants. Many on the right agree with President Trump—that America can only be great if immigration is dramatically curtailed, especially across the southern border.\u003c/p>\n\u003cp>In\u003cem> The Good Immigrant\u003c/em>, these up-and-coming writers, journalists and artists share personal stories that grapple with a country increasingly polarized about immigrants and immigration. [aside postID=\"arts_13850940\"]\u003c/p>\n\u003cp>Mirza, the author of the novel \u003cem>A Place for Us, \u003c/em>says she decided to write about the Skittles episode despite her father’s objections because it illustrates the fear and mistrust her family regularly encounters in the U.S., and how the family is divided about the right way to respond.\u003c/p>\n\u003cp>“One thing that my mom would always say after these kind of anti-immigrant interactions would be to say you know we’re just gonna lead by example and prove that we’re normal people,” said Mirza. But she found that approach frustrating, because it put her family in the position of having to “prove that you’re human.”\u003c/p>\n\u003cp>\u003cem>The Good Immigrant \u003c/em>is a sequel of sorts to a book of the same name published in the U.K. in 2016. The co-editor of the U.S. version, Chimene Suleyman, says the title is a nod to the constant pressure to demonstrate that you’re the right kind of immigrant.\u003c/p>\n\u003cp>“When you’re an immigrant, there’s kind of the default setting of suspicion and paranoia that surrounds you,” Suleyman said. “You’re not really the good immigrant. You don’t start from that position. And you have to jump through kind of almost superhuman hoops before [you’re] kind of allowed to [be] one of the good ones, before people stop being fearful of you.”\u003c/p>\n\u003cp>The other contributors talked about what being a “good immigrant” means to them.\u003c/p>\n\u003cp>“For me, the good immigrant was staying true to family, to what my parents wanted me to be,” said novelist Nicole Dennis-Benn. “That promise, that American dream that they sold to me.”\u003c/p>\n\u003cp>Dennis-Benn moved to New York from Jamaica when she was a teenager. She was the first in her family to go to college, where she was expected to study medicine.\u003c/p>\n\u003cp>“I was working class Jamaican. So that was the expectation,” she said. [aside postID=\"arts_13850545\"]\u003c/p>\n\u003cp>But after several years in school, Dennis-Benn realized she didn’t want to be a doctor. She wanted to be a writer.\u003c/p>\n\u003cp>In her essay for \u003cem>The Good Immigrant\u003c/em>, Dennis-Benn writes about moment when she confides to a few other immigrants in her pre-med program that she’s thinking of changing her major to English.\u003c/p>\n\u003cp>“Chi-Chi, the Nigerian in the group, made a clucking noise and said, ‘You can’t be serious,'” Dennis-Benn writes. “‘If you want English, then what you doing here?’ She emphasized ‘here’ to remind me that I was taking my opportunity for granted, that we were students at one of the most competitive schools for pre-med in the country, that any first-generation immigrant with the weight of her family on her back would kill to take my spot.”\u003c/p>\n\u003cp>Dennis-Benn’s debut novel \u003cem>Here Comes the Sun \u003c/em>was named one of the best books of 2016 by \u003cem>The New York Times\u003c/em> and others.\u003c/p>\n\u003cfigure id=\"attachment_13851947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/npr-author-collage-800x449.jpg\" alt=\"From left to right: Chimene Suleyman, Fatima Farheen Mirza, Daniel José Older and Nicole Dennis-Benn.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/npr-author-collage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/npr-author-collage-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/npr-author-collage-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Chimene Suleyman, Fatima Farheen Mirza, Daniel José Older and Nicole Dennis-Benn. \u003ccite>(Courtesy of the author, Juergen Frank, John Midgley, Jason Berger/Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several of the writers said they grew up feeling intense pressure to assimilate in order to play the part of the “good immigrant.” For the book, author Daniel José Older wrote about his childhood in Boston in the 1980s.\u003c/p>\n\u003cp>“I really feel like I looked out into the world outside of my doors and just saw a world that had no use for bilingualism. That had no use for Latino culture,” Older said.\u003c/p>\n\u003cp>Older says he resisted learning Spanish, the language his mother spoke growing up in Cuba, because he wanted to seem more American.\u003c/p>\n\u003cp>“And I think there’s a tragedy in that,” Older said. “In that form of the immigrant experience that so many of us have that tells us that where we come from doesn’t matter. Because of course it matters so deeply.”\u003c/p>\n\u003cp>All of the contributors I talked to say it’s important to write about these issues now. Because the Trump presidency has brought immigration to the forefront of national debate. And it has brought anti-immigrant bias out into the open.\u003c/p>\n\u003cp>“The Trump era is an explosion of what’s been going on for so long. This is all built into the fabric of this country,” Older said.\u003c/p>\n\u003cp>That sentiment resonated with co-editor Chimene Suleyman. She told the story of a recent argument with a stranger outside a bar in Brooklyn, where she lives. It’s what she wrote about in her essay for the book. [aside postID=\"arts_13851390\"]\u003c/p>\n\u003cp>“He was just like a drunk dude looking to have a fight,” Suleyman said. “And he started with this whole like in America, this is how we do things in America. If you don’t like it go back to where he came from, kind of thing.” \u003c/p>\n\u003cp>Suleyman grew up in London. Her parents immigrated to the U.K. from Turkey before she was born. But she never really felt like people accepted her as British, because she’s Muslim and clearly not Anglo-Saxon. \u003c/p>\n\u003cp>Now in New York, Suleyman says, her British accent changes the way people see her. Like the guy who overheard her talking outside the bar.\u003c/p>\n\u003cp>“It started with him calling me a white b-tch,” she said. “And then me foolishly being like, ‘I’m not white.’ Like that like that matters at one in the morning when you’re shouting at some man that you don’t know on the street. And it just sort of unraveled from that where he then called me a ‘Kim Kardashian b-tch’ instead.”\u003c/p>\n\u003cp>Earlier in her life, Suleyman says, she might have written an essay trying to change the mind of that drunk guy in the bar. But not anymore.\u003c/p>\n\u003cp>“We have to, I think, focus a lot less on trying to convince bigots to not be bigots. They can’t be the center of my attention,” she said.\u003c/p>\n\u003cp>“People like us sitting in this room, that has to be my focus. Helping each other and listening to each other is far more important to me than constantly arguing with people to allow us to just live and to exist and to be happy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In other words, Suleyman doesn’t want to wait for other people to decide who’s a good immigrant. She wants immigrants to answer that question for themselves.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mirza’s parents insisted the Skittles were no big deal. Until finally, Mirza challenged her mother to eat one of them.\u003c/p>\n\u003cp>“Mumma stood from the couch,” she writes, “lifted the bag of Skittles, and emptied them all into the trash.”\u003c/p>\n\u003cp>Mirza’s essay appears in the new book \u003cem>The Good Immigrant: 26 Writers Reflect on America\u003c/em>, along with contributions from other first- and second-generation immigrants.\u003c/p>\n\u003cp>The debate over immigration has exposed real differences in how Americans understand America. Many on the political left say the country is great because of immigrants. Many on the right agree with President Trump—that America can only be great if immigration is dramatically curtailed, especially across the southern border.\u003c/p>\n\u003cp>In\u003cem> The Good Immigrant\u003c/em>, these up-and-coming writers, journalists and artists share personal stories that grapple with a country increasingly polarized about immigrants and immigration. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mirza, the author of the novel \u003cem>A Place for Us, \u003c/em>says she decided to write about the Skittles episode despite her father’s objections because it illustrates the fear and mistrust her family regularly encounters in the U.S., and how the family is divided about the right way to respond.\u003c/p>\n\u003cp>“One thing that my mom would always say after these kind of anti-immigrant interactions would be to say you know we’re just gonna lead by example and prove that we’re normal people,” said Mirza. But she found that approach frustrating, because it put her family in the position of having to “prove that you’re human.”\u003c/p>\n\u003cp>\u003cem>The Good Immigrant \u003c/em>is a sequel of sorts to a book of the same name published in the U.K. in 2016. The co-editor of the U.S. version, Chimene Suleyman, says the title is a nod to the constant pressure to demonstrate that you’re the right kind of immigrant.\u003c/p>\n\u003cp>“When you’re an immigrant, there’s kind of the default setting of suspicion and paranoia that surrounds you,” Suleyman said. “You’re not really the good immigrant. You don’t start from that position. And you have to jump through kind of almost superhuman hoops before [you’re] kind of allowed to [be] one of the good ones, before people stop being fearful of you.”\u003c/p>\n\u003cp>The other contributors talked about what being a “good immigrant” means to them.\u003c/p>\n\u003cp>“For me, the good immigrant was staying true to family, to what my parents wanted me to be,” said novelist Nicole Dennis-Benn. “That promise, that American dream that they sold to me.”\u003c/p>\n\u003cp>Dennis-Benn moved to New York from Jamaica when she was a teenager. She was the first in her family to go to college, where she was expected to study medicine.\u003c/p>\n\u003cp>“I was working class Jamaican. So that was the expectation,” she said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after several years in school, Dennis-Benn realized she didn’t want to be a doctor. She wanted to be a writer.\u003c/p>\n\u003cp>In her essay for \u003cem>The Good Immigrant\u003c/em>, Dennis-Benn writes about moment when she confides to a few other immigrants in her pre-med program that she’s thinking of changing her major to English.\u003c/p>\n\u003cp>“Chi-Chi, the Nigerian in the group, made a clucking noise and said, ‘You can’t be serious,'” Dennis-Benn writes. “‘If you want English, then what you doing here?’ She emphasized ‘here’ to remind me that I was taking my opportunity for granted, that we were students at one of the most competitive schools for pre-med in the country, that any first-generation immigrant with the weight of her family on her back would kill to take my spot.”\u003c/p>\n\u003cp>Dennis-Benn’s debut novel \u003cem>Here Comes the Sun \u003c/em>was named one of the best books of 2016 by \u003cem>The New York Times\u003c/em> and others.\u003c/p>\n\u003cfigure id=\"attachment_13851947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/npr-author-collage-800x449.jpg\" alt=\"From left to right: Chimene Suleyman, Fatima Farheen Mirza, Daniel José Older and Nicole Dennis-Benn.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/npr-author-collage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/npr-author-collage-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/npr-author-collage-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Chimene Suleyman, Fatima Farheen Mirza, Daniel José Older and Nicole Dennis-Benn. \u003ccite>(Courtesy of the author, Juergen Frank, John Midgley, Jason Berger/Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several of the writers said they grew up feeling intense pressure to assimilate in order to play the part of the “good immigrant.” For the book, author Daniel José Older wrote about his childhood in Boston in the 1980s.\u003c/p>\n\u003cp>“I really feel like I looked out into the world outside of my doors and just saw a world that had no use for bilingualism. That had no use for Latino culture,” Older said.\u003c/p>\n\u003cp>Older says he resisted learning Spanish, the language his mother spoke growing up in Cuba, because he wanted to seem more American.\u003c/p>\n\u003cp>“And I think there’s a tragedy in that,” Older said. “In that form of the immigrant experience that so many of us have that tells us that where we come from doesn’t matter. Because of course it matters so deeply.”\u003c/p>\n\u003cp>All of the contributors I talked to say it’s important to write about these issues now. Because the Trump presidency has brought immigration to the forefront of national debate. And it has brought anti-immigrant bias out into the open.\u003c/p>\n\u003cp>“The Trump era is an explosion of what’s been going on for so long. This is all built into the fabric of this country,” Older said.\u003c/p>\n\u003cp>That sentiment resonated with co-editor Chimene Suleyman. She told the story of a recent argument with a stranger outside a bar in Brooklyn, where she lives. It’s what she wrote about in her essay for the book. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was just like a drunk dude looking to have a fight,” Suleyman said. “And he started with this whole like in America, this is how we do things in America. If you don’t like it go back to where he came from, kind of thing.” \u003c/p>\n\u003cp>Suleyman grew up in London. Her parents immigrated to the U.K. from Turkey before she was born. But she never really felt like people accepted her as British, because she’s Muslim and clearly not Anglo-Saxon. \u003c/p>\n\u003cp>Now in New York, Suleyman says, her British accent changes the way people see her. Like the guy who overheard her talking outside the bar.\u003c/p>\n\u003cp>“It started with him calling me a white b-tch,” she said. “And then me foolishly being like, ‘I’m not white.’ Like that like that matters at one in the morning when you’re shouting at some man that you don’t know on the street. And it just sort of unraveled from that where he then called me a ‘Kim Kardashian b-tch’ instead.”\u003c/p>\n\u003cp>Earlier in her life, Suleyman says, she might have written an essay trying to change the mind of that drunk guy in the bar. But not anymore.\u003c/p>\n\u003cp>“We have to, I think, focus a lot less on trying to convince bigots to not be bigots. They can’t be the center of my attention,” she said.\u003c/p>\n\u003cp>“People like us sitting in this room, that has to be my focus. Helping each other and listening to each other is far more important to me than constantly arguing with people to allow us to just live and to exist and to be happy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?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>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \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=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?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>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \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=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover",
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"content": "\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?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>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"title": "'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover | KQED",
"description": "When it focuses on 13-year-old Chengxi (Joseph Huang), this "shaggy-but-lovable" Taiwanese film now on Netflix dutifully tugs the heartstrings. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?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>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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