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Stenberg was 10 when she began attending a school across town; she was one of just four black girls in her grade.\u003c/p>\n\u003cp>“I became really familiar with the experience of being isolated in my ethnicity,” Stenberg says. She found it hard to “show all the way up” or be fully herself.\u003c/p>\n\u003cp>“I wanted to fit into this space in which the culture was really white and privileged and kind of alternative,” she says. “So I learned how to adapt to that environment in order to feel included.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\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/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\u003c/p>\n\u003cp>https://youtu.be/ek1ePFp-nBI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\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/ek1ePFp-nBI'\n title='//www.youtube.com/embed/ek1ePFp-nBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'First Man' Considers Glory, Grief And A Famous Walk On The Moon",
"headTitle": "‘First Man’ Considers Glory, Grief And A Famous Walk On The Moon | KQED",
"content": "\u003cp>“You’re bouncing off the atmosphere.”\u003c/p>\n\u003cp>Early in director Damien Chazelle’s \u003cem>First Man\u003c/em>, this is one of the cautions given to Neil Armstrong (Ryan Gosling) during his pilot training, years before he walked on the moon. That idea of the barrier between Earth and space, the violence of making the journey through it and the almost mystical experience of being on the other side of it forms the spine of the film.\u003c/p>\n\u003cp>We encounter Armstrong at three points: 1961, leading up to the start of his training as an astronaut; 1965, just before his first space flight; and 1968, as he prepares to be the first person to walk on the moon. His family life progresses alongside his much more famous professional one: the loss of his two-year-old daughter from brain cancer, the grief that nearly consumes him after, the sacrifices that his service demands from his wife, Janet (Claire Foy), and his relationship with his two boys, to whom he hesitates to explain the dangers of space travel.\u003c/p>\n\u003cp>https://youtu.be/PSoRx87OO6k\u003c/p>\n\u003cp>It makes all the sense in the world that this screenplay is written by Josh Singer, who has screenwriting credits on \u003cem>Spotlight\u003c/em> and \u003cem>The Post\u003c/em> and, long ago, \u003cem>The West Wing\u003c/em>. Singer seems drawn to stories that often make up a certain American integrity narrative—the noble presidency, a justice-seeking press, and here, the moon landing. But while those pieces favor high drama in their declaration of principle, this one is a little quieter. It shows streaks of rah-rah nostalgia for a terribly troubled age with not a lot of discussion of what made it so troubled (save for a reading of Gil Scott-Heron’s “Whitey On The Moon”). But Gosling’s version of Armstrong is intriguingly turned inward, deeply feeling but outwardly passive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This comes up first in his relationship with his daughter, with whom he is warm and affectionate, far from the distant ’50s and ’60s dad often drawn in popular culture as a symbol of regressive and emotionless ideas about masculinity. This despite the fact that his work requires—as we learn in the opening sequence—an almost impossible level of detached poise as his cockpit shakes and bangs and gives every indication that it is about to blow apart.\u003c/p>\n\u003cp>Chazelle shoots the cockpit scenes with claustrophobic disorientation, so that the clanging and banging and vibrating is all that exists in the small spaces astronauts inhabit. You see a similar setup several times in the film. The technique creates a sharper sense of the violence—and therefore the risk—of space flight. It’s impossible to watch these scenes and not wonder whether these men are doing something that they are not meant to do. The wonder of all this, as it were, is not an abstract concept of the grandeur of space, or at least it is not only that. It is that we are more than obviously not designed to pass through this barrier, except in that we are designed to find ways to do unlikely things.\u003c/p>\n\u003cp>Astronauts, and the many many many \u003cem>many\u003c/em> people who support them, suppress every natural instinct that tells you that when you are vomiting and shaking and everything in your ears is roaring and there’s no air to breathe, you stop going wherever you are going, and you go back where you came from. That understanding informs the film’s idea of Armstrong as a man who, both changed by grief and committed to flight and to duty, can take enormous risks to explore space, but must be forced by his wife to face his young sons and explain those risks. There are risks and there are risks.\u003c/p>\n\u003cp>Foy’s character is unavoidably secondary to what we might call the HGM (Historically Great Man) to whom she is married. But she carries a significant piece of the emotional weight of the story. Her husband doesn’t always understand that Janet sits and listens to the radio when he’s on a flight, just in case he dies. He doesn’t initially grasp the burden on her of being responsible for managing their sons’ anxieties. There’s an excellent sequence in which the administrators at NASA decide that in a dangerous situation, the best thing to do is just turn off the radio so families can’t listen—which, obviously, is an absurd miscalculation if the idea is to reduce worry. Foy drives the scene with her balanced presentation of Janet’s understanding of command and her expectations as a person who also serves.\u003c/p>\n\u003cp>Structurally, the film leads up to Armstrong’s walk on the moon. But it leads to that moment tonally as well. The peace and silence of that sequence underscore that on the other side of this historically difficult barrier to cross was an end to the shaking and banging and defiance of every sign of … well, doom. This is hope, really; not just the hope of space travel, but every hope. Your capsule shakes, the air roars, you even risk your life, all because maybe there is something on the other side that nobody has ever seen before. And maybe over there, you stop shaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>First Man \u003c/em>does romanticize space travel and some of the iconography of the Historically Great Man (and, as critic Yolanda Machado \u003ca href=\"https://twitter.com/SassyMamainLA/status/1049470438609276929\" target=\"_blank\" rel=\"noopener\">has noted\u003c/a>, its vision of NASA in the 1960s seems awfully white, even for NASA in the 1960s). But the imagery of a struggle against an unforgiving onslaught of heat and hazards, and against the forces that constantly try to return you to your place, is effective. Whether it’s grief or gravity you fight, those battles are won only with great steadfastness and support—and the hope that they will end in peace.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You’re bouncing off the atmosphere.”\u003c/p>\n\u003cp>Early in director Damien Chazelle’s \u003cem>First Man\u003c/em>, this is one of the cautions given to Neil Armstrong (Ryan Gosling) during his pilot training, years before he walked on the moon. That idea of the barrier between Earth and space, the violence of making the journey through it and the almost mystical experience of being on the other side of it forms the spine of the film.\u003c/p>\n\u003cp>We encounter Armstrong at three points: 1961, leading up to the start of his training as an astronaut; 1965, just before his first space flight; and 1968, as he prepares to be the first person to walk on the moon. His family life progresses alongside his much more famous professional one: the loss of his two-year-old daughter from brain cancer, the grief that nearly consumes him after, the sacrifices that his service demands from his wife, Janet (Claire Foy), and his relationship with his two boys, to whom he hesitates to explain the dangers of space travel.\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/PSoRx87OO6k'\n title='//www.youtube.com/embed/PSoRx87OO6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes all the sense in the world that this screenplay is written by Josh Singer, who has screenwriting credits on \u003cem>Spotlight\u003c/em> and \u003cem>The Post\u003c/em> and, long ago, \u003cem>The West Wing\u003c/em>. Singer seems drawn to stories that often make up a certain American integrity narrative—the noble presidency, a justice-seeking press, and here, the moon landing. But while those pieces favor high drama in their declaration of principle, this one is a little quieter. It shows streaks of rah-rah nostalgia for a terribly troubled age with not a lot of discussion of what made it so troubled (save for a reading of Gil Scott-Heron’s “Whitey On The Moon”). But Gosling’s version of Armstrong is intriguingly turned inward, deeply feeling but outwardly passive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This comes up first in his relationship with his daughter, with whom he is warm and affectionate, far from the distant ’50s and ’60s dad often drawn in popular culture as a symbol of regressive and emotionless ideas about masculinity. This despite the fact that his work requires—as we learn in the opening sequence—an almost impossible level of detached poise as his cockpit shakes and bangs and gives every indication that it is about to blow apart.\u003c/p>\n\u003cp>Chazelle shoots the cockpit scenes with claustrophobic disorientation, so that the clanging and banging and vibrating is all that exists in the small spaces astronauts inhabit. You see a similar setup several times in the film. The technique creates a sharper sense of the violence—and therefore the risk—of space flight. It’s impossible to watch these scenes and not wonder whether these men are doing something that they are not meant to do. The wonder of all this, as it were, is not an abstract concept of the grandeur of space, or at least it is not only that. It is that we are more than obviously not designed to pass through this barrier, except in that we are designed to find ways to do unlikely things.\u003c/p>\n\u003cp>Astronauts, and the many many many \u003cem>many\u003c/em> people who support them, suppress every natural instinct that tells you that when you are vomiting and shaking and everything in your ears is roaring and there’s no air to breathe, you stop going wherever you are going, and you go back where you came from. That understanding informs the film’s idea of Armstrong as a man who, both changed by grief and committed to flight and to duty, can take enormous risks to explore space, but must be forced by his wife to face his young sons and explain those risks. There are risks and there are risks.\u003c/p>\n\u003cp>Foy’s character is unavoidably secondary to what we might call the HGM (Historically Great Man) to whom she is married. But she carries a significant piece of the emotional weight of the story. Her husband doesn’t always understand that Janet sits and listens to the radio when he’s on a flight, just in case he dies. He doesn’t initially grasp the burden on her of being responsible for managing their sons’ anxieties. There’s an excellent sequence in which the administrators at NASA decide that in a dangerous situation, the best thing to do is just turn off the radio so families can’t listen—which, obviously, is an absurd miscalculation if the idea is to reduce worry. Foy drives the scene with her balanced presentation of Janet’s understanding of command and her expectations as a person who also serves.\u003c/p>\n\u003cp>Structurally, the film leads up to Armstrong’s walk on the moon. But it leads to that moment tonally as well. The peace and silence of that sequence underscore that on the other side of this historically difficult barrier to cross was an end to the shaking and banging and defiance of every sign of … well, doom. This is hope, really; not just the hope of space travel, but every hope. Your capsule shakes, the air roars, you even risk your life, all because maybe there is something on the other side that nobody has ever seen before. And maybe over there, you stop shaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>First Man \u003c/em>does romanticize space travel and some of the iconography of the Historically Great Man (and, as critic Yolanda Machado \u003ca href=\"https://twitter.com/SassyMamainLA/status/1049470438609276929\" target=\"_blank\" rel=\"noopener\">has noted\u003c/a>, its vision of NASA in the 1960s seems awfully white, even for NASA in the 1960s). But the imagery of a struggle against an unforgiving onslaught of heat and hazards, and against the forces that constantly try to return you to your place, is effective. Whether it’s grief or gravity you fight, those battles are won only with great steadfastness and support—and the hope that they will end in peace.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bigger-than-disco-you-make-me-feel-mighty-real-is-a-celebration-of-self",
"title": "Bigger Than Disco, 'You Make Me Feel (Mighty Real)' Is A Celebration Of Self",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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/651794925/655529024\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Dick Clark couldn’t get his \u003cem>American Bandstand\u003c/em> crowd to stop cheering. It was early December, 1978, around the peak of disco’s popularity — and Clark’s studio audience had just heard Sylvester and his backup singers, Two Tons O’ Fun, perform their first hit, “\u003ca href=\"https://www.youtube.com/watch?v=Nhcm5yWWdAE\">Dance (Disco Heat)\u003c/a>“.\u003c/p>\n\u003cp>After Clark got the crowd to pipe down and conducted an \u003ca href=\"https://www.youtube.com/watch?v=VKKsI2seeTM\">awkward interview\u003c/a>, the gender-bending singer — wearing makeup, a loose kimono and leather pants — performed his follow-up single. The song, “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\">You Make Me Feel (Mighty Real)\u003c/a>,” hit the top of Billboard’s dance chart that year. Forty years later, its greater legacy is as an \u003ca href=\"https://www.billboard.com/photos/7408710/gay-anthems-lgbt-pride-top-songs\">LGBTQ anthem\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dick Clark Interviews Sylvester - American Bandstand 1978\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/VKKsI2seeTM?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>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a song of freedom,” says \u003ca href=\"https://www.usfca.edu/faculty/joshua-gamson\">Joshua Gamson\u003c/a>, Sylvester’s biographer. In his book \u003ca href=\"https://www.amazon.com/dp/B00DXIU6JQ\">\u003cem>The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco\u003c/em>\u003c/a>, Gamson makes the case that the artist became a kind of folk hero for many young LGBTQ people, because his life was theirs.\u003c/p>\n\u003cp>[contextly_sidebar id=”DX8CVmChGyCDKVAere6SHhEx4c61Rsz4″]\u003c/p>\n\u003cp>“You’ve come out of the closet. It’s been difficult,” he says. “Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then … this person comes out into public life that sounds like what you were feeling when you made yourself free.\u003c/p>\n\u003cp>“For him to be celebrated for all of his strangeness and all of the ways he inhabited who he wanted to be — who he felt himself to be — felt like \u003cem>you\u003c/em> being celebrated for that.”\u003c/p>\n\u003cp>And it wasn’t just how Sylvester looked and sounded. The song’s lyrics openly celebrated that liberation:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When we’re out there dancing on the floor, darlin’\u003cbr>\nAnd I feel like I need some more\u003cbr>\nAnd I feel your body close to mine\u003cbr>\nAnd I know, my love, it’s about that time\u003cbr>\nMake me feel mighty real\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’ve got the words of a person who is just matter-of-fact about their sexual desires, about the freedom to do with their bodies and their desires whatever they want to do,” Gamson says. “And you can dance to it!”\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/VyAHULpMXKQ\">http://youtu.be/VyAHULpMXKQ\u003c/a>\u003c/p>\n\u003cp>Sylvester James grew up singing in a Pentecostal church in the Watts neighborhood of Los Angeles. His mother was a devout member of the church and couldn’t accept the early signs of her son’s sexuality.\u003c/p>\n\u003cp>“When I was little, I used to dress up, right? And my mother said, ‘You can’t dress up,’ ” Sylvester told Joan Rivers \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\">when he appeared on The Tonight Show in 1986\u003c/a>. ” ‘You gotta wear these pants and these shoes. And you have to, like, drink beer and play football.’ And I said, ‘No I don’t!’ And she said, ‘You’re very strange.’ And I said, ‘That’s OK!’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”3WTfhvRC1lCwVO0uNQncpTN6ko1JXC2Y”]\u003c/p>\n\u003cp>“The [Pentecostal] church was oppressive,” says singer Jeanie Tracy, who shared Sylvester’s religious background and became his friend and collaborator. “They just didn’t tolerate gayness. They didn’t tolerate a lot of things. They didn’t allow you to wear makeup. You couldn’t wear toeless shoes or sleeveless dresses. It was just real … controlled.”\u003c/p>\n\u003cp>Too much so for Sylvester. At 13, he left the church. Two years later, he left home. He lived with friends and his grandmother, who accepted him as he was.\u003c/p>\n\u003cp>In his early 20s, Sylvester moved to San Francisco to join an avant-garde theatre troupe called \u003ca href=\"https://en.wikipedia.org/wiki/The_Cockettes\">The Cockettes\u003c/a>, whose fans included Truman Capote and Gloria Vanderbilt. But he left the group soon after — to front his own act. Jeanie Tracy remembers being introduced to him by friends in the music industry.\u003c/p>\n\u003cp>“They said, ‘Oh, Jeanie, this is Sylvester,'” she says. “And I said, ‘Sylvester? I thought you were a woman.’ And then I said, ‘Oops! I’m sorry!’ He goes, ‘Oh, no, girl, that’s okay!'”\u003c/p>\n\u003cp>When guitarist and songwriter James Wirrick saw the singer for the first time, Sylvester was backed by a tight three-piece band and flanked by two drag queens — “in full drag, with full neck-beards,” he laughs.\u003c/p>\n\u003cp>[contextly_sidebar id=”WeX9Pk3YLSO5mIo6h3pmTN2LiUZUIu6M”]\u003c/p>\n\u003cp>Wirrick became Sylvester’s bandmate and collaborator a few months later. By then, the drag queens had been replaced by backup singers Izora Rhodes and Martha Wash, aka Two Tons O’ Fun. (They went on to record another anthem — \u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\">“It’s Raining Men”\u003c/a> — as The Weather Girls.) Wirrick and Sylvester wrote “You Make Me Feel (Mighty Real)” together. Getting the rest of the band on board was a challenge.\u003c/p>\n\u003cp>“At first the band didn’t wanna play it as a dance tune,” Wirrick says. “They were kinda snotty about it. ‘We don’t really wanna do that,’ y’know? And Sylvester and I kept saying, ‘No, you have to do that because that’s what’s on the radio.’ ”\u003c/p>\n\u003cp>More than on the radio, the song was huge in discos — and its falsetto vocals, four-on-the-floor beat and bouncing synthesizer influenced generations of electronic dance music producers to follow. Eleven years after the original came out, vocalist Jimmy Sommerville of the British band Bronski Beat \u003ca href=\"https://www.youtube.com/watch?v=nZtdcMIR5do\">paid tribute with a cover\u003c/a>. The following decade, Chicago House vocalist \u003ca href=\"https://www.youtube.com/watch?v=psi7c64mdWk\">Byron Stingily’s version\u003c/a> once again took the song to the top of the U.S. dance chart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-large wp-image-13842259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg\" alt=\"\" width=\"640\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1920x2507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1180x1541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22.jpg 1568w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>The song also went on to become the centerpiece of a 2014 \u003ca href=\"https://www.broadway.com/shows/mighty-real-fabulous-sylvester-musical/\">off-Broadway musical\u003c/a> that tells Sylvester’s life story. It’s appeared in ads, films, and TV shows. So far this year, James Wirrick says he’s gotten eight requests for permission to use the song he co-wrote: a video game, three television commercials, three movies and an episode of \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Sylvester never had a mainstream hit after “You Make Me Feel (Mighty Real)”. A year after it came out, Chicago radio DJ Steve Dahl made “Disco sucks!” a rallying cry with his \u003ca href=\"https://en.wikipedia.org/wiki/Disco_Demolition_Night\">“Disco Demolition” promotion between the games of a White Sox doubleheader\u003c/a>; the ensuing melee forced the Sox to forfeit the second game.\u003c/p>\n\u003cp>Joshua Gamson says the event was a reaction by straight white fans of classic rock against a music that they saw as too black and too queer — and that that backlash is partly why he missed the anthem’s power when it first came out.\u003c/p>\n\u003cp>“In a way, if I had felt that earlier, I’d have come out earlier,” he says. “Embracing who you are, celebrating who you are, being as fabulous as you could possibly be, I think that’s the message that he’s preaching in the song. And I could’ve used a dose of that as a teenager.”\u003c/p>\n\u003cp>But Sylvester remained popular among dance music fans, and he leveraged that popularity to raise AIDS awareness. He played benefit shows and distributed safe-sex information to his audiences. When he appeared on \u003cem>The Tonight Show\u003c/em>, he thanked Joan Rivers and guest Charles Nelson Reilly for their early support of what was becoming a movement. “I was there trying to do whatever we could at the time to get it together. And now it’s like a national thing to do,” Sylvester said. “I want to thank you myself.”\u003c/p>\n\u003cp>[contextly_sidebar id=”T2fVkkiaGtKy3pbsh8wpi99OACVQwyoF”]\u003c/p>\n\u003cp>Less than 10 years after “You Make Me Feel (Mighty Real)” came out, Sylvester’s husband died of complications from AIDS. The singer was never tested for HIV — he told friends there was no point, because he knew he had the virus. Within a few months, his own health was deteriorating. But, Jeanie Tracy says, his senses of style and humor stayed intact, even as he was planning his own funeral. “He looked at me and he says, ‘I wanna be buried in a pearl-colored casket,’ ” she recalls. ” ‘Don’t bury me in a white casket, ’cause I don’t wanna look like I’m lyin’ in a white refrigerator!'”\u003c/p>\n\u003cp>A few months before he died, Sylvester appeared in the 1988 gay pride parade in San Francisco. He was emaciated and weak and rode in a wheelchair. But he didn’t want to hide, Gamson says — he wanted the crowds along Castro Street to see him.\u003c/p>\n\u003cp>“It was part of the same almost philosophy of realness — like, this, this is being real,” Gamson says. “This is mighty real, to be marching in the Gay Freedom parade looking, like, 40 years older than you are. And people, knowing that they’ve seen this icon of their freedom, they see him [as] a symbol of the devastation that AIDS took on the community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sylvester made sure to champion that community even after he died. In his will, he left his share of future royalties for “You Make Me Feel (Mighty Real)” to two San Francisco nonprofits: the \u003ca href=\"https://prcsf.org/aids-emergency-fund/\">AIDS Emergency Fund\u003c/a> and the meals program \u003ca href=\"https://www.openhand.org/\">Project Open Hand\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bigger+Than+Disco%2C+%27You+Make+Me+Feel+%28Mighty+Real%29%27+Is+A+Celebration+Of+Self&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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/651794925/655529024\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Dick Clark couldn’t get his \u003cem>American Bandstand\u003c/em> crowd to stop cheering. It was early December, 1978, around the peak of disco’s popularity — and Clark’s studio audience had just heard Sylvester and his backup singers, Two Tons O’ Fun, perform their first hit, “\u003ca href=\"https://www.youtube.com/watch?v=Nhcm5yWWdAE\">Dance (Disco Heat)\u003c/a>“.\u003c/p>\n\u003cp>After Clark got the crowd to pipe down and conducted an \u003ca href=\"https://www.youtube.com/watch?v=VKKsI2seeTM\">awkward interview\u003c/a>, the gender-bending singer — wearing makeup, a loose kimono and leather pants — performed his follow-up single. The song, “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\">You Make Me Feel (Mighty Real)\u003c/a>,” hit the top of Billboard’s dance chart that year. Forty years later, its greater legacy is as an \u003ca href=\"https://www.billboard.com/photos/7408710/gay-anthems-lgbt-pride-top-songs\">LGBTQ anthem\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dick Clark Interviews Sylvester - American Bandstand 1978\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/VKKsI2seeTM?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/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a song of freedom,” says \u003ca href=\"https://www.usfca.edu/faculty/joshua-gamson\">Joshua Gamson\u003c/a>, Sylvester’s biographer. In his book \u003ca href=\"https://www.amazon.com/dp/B00DXIU6JQ\">\u003cem>The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco\u003c/em>\u003c/a>, Gamson makes the case that the artist became a kind of folk hero for many young LGBTQ people, because his life was theirs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You’ve come out of the closet. It’s been difficult,” he says. “Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then … this person comes out into public life that sounds like what you were feeling when you made yourself free.\u003c/p>\n\u003cp>“For him to be celebrated for all of his strangeness and all of the ways he inhabited who he wanted to be — who he felt himself to be — felt like \u003cem>you\u003c/em> being celebrated for that.”\u003c/p>\n\u003cp>And it wasn’t just how Sylvester looked and sounded. The song’s lyrics openly celebrated that liberation:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When we’re out there dancing on the floor, darlin’\u003cbr>\nAnd I feel like I need some more\u003cbr>\nAnd I feel your body close to mine\u003cbr>\nAnd I know, my love, it’s about that time\u003cbr>\nMake me feel mighty real\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’ve got the words of a person who is just matter-of-fact about their sexual desires, about the freedom to do with their bodies and their desires whatever they want to do,” Gamson says. “And you can dance to it!”\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/VyAHULpMXKQ\">http://youtu.be/VyAHULpMXKQ\u003c/a>\u003c/p>\n\u003cp>Sylvester James grew up singing in a Pentecostal church in the Watts neighborhood of Los Angeles. His mother was a devout member of the church and couldn’t accept the early signs of her son’s sexuality.\u003c/p>\n\u003cp>“When I was little, I used to dress up, right? And my mother said, ‘You can’t dress up,’ ” Sylvester told Joan Rivers \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\">when he appeared on The Tonight Show in 1986\u003c/a>. ” ‘You gotta wear these pants and these shoes. And you have to, like, drink beer and play football.’ And I said, ‘No I don’t!’ And she said, ‘You’re very strange.’ And I said, ‘That’s OK!’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The [Pentecostal] church was oppressive,” says singer Jeanie Tracy, who shared Sylvester’s religious background and became his friend and collaborator. “They just didn’t tolerate gayness. They didn’t tolerate a lot of things. They didn’t allow you to wear makeup. You couldn’t wear toeless shoes or sleeveless dresses. It was just real … controlled.”\u003c/p>\n\u003cp>Too much so for Sylvester. At 13, he left the church. Two years later, he left home. He lived with friends and his grandmother, who accepted him as he was.\u003c/p>\n\u003cp>In his early 20s, Sylvester moved to San Francisco to join an avant-garde theatre troupe called \u003ca href=\"https://en.wikipedia.org/wiki/The_Cockettes\">The Cockettes\u003c/a>, whose fans included Truman Capote and Gloria Vanderbilt. But he left the group soon after — to front his own act. Jeanie Tracy remembers being introduced to him by friends in the music industry.\u003c/p>\n\u003cp>“They said, ‘Oh, Jeanie, this is Sylvester,'” she says. “And I said, ‘Sylvester? I thought you were a woman.’ And then I said, ‘Oops! I’m sorry!’ He goes, ‘Oh, no, girl, that’s okay!'”\u003c/p>\n\u003cp>When guitarist and songwriter James Wirrick saw the singer for the first time, Sylvester was backed by a tight three-piece band and flanked by two drag queens — “in full drag, with full neck-beards,” he laughs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Wirrick became Sylvester’s bandmate and collaborator a few months later. By then, the drag queens had been replaced by backup singers Izora Rhodes and Martha Wash, aka Two Tons O’ Fun. (They went on to record another anthem — \u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\">“It’s Raining Men”\u003c/a> — as The Weather Girls.) Wirrick and Sylvester wrote “You Make Me Feel (Mighty Real)” together. Getting the rest of the band on board was a challenge.\u003c/p>\n\u003cp>“At first the band didn’t wanna play it as a dance tune,” Wirrick says. “They were kinda snotty about it. ‘We don’t really wanna do that,’ y’know? And Sylvester and I kept saying, ‘No, you have to do that because that’s what’s on the radio.’ ”\u003c/p>\n\u003cp>More than on the radio, the song was huge in discos — and its falsetto vocals, four-on-the-floor beat and bouncing synthesizer influenced generations of electronic dance music producers to follow. Eleven years after the original came out, vocalist Jimmy Sommerville of the British band Bronski Beat \u003ca href=\"https://www.youtube.com/watch?v=nZtdcMIR5do\">paid tribute with a cover\u003c/a>. The following decade, Chicago House vocalist \u003ca href=\"https://www.youtube.com/watch?v=psi7c64mdWk\">Byron Stingily’s version\u003c/a> once again took the song to the top of the U.S. dance chart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-large wp-image-13842259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg\" alt=\"\" width=\"640\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1920x2507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1180x1541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22.jpg 1568w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>The song also went on to become the centerpiece of a 2014 \u003ca href=\"https://www.broadway.com/shows/mighty-real-fabulous-sylvester-musical/\">off-Broadway musical\u003c/a> that tells Sylvester’s life story. It’s appeared in ads, films, and TV shows. So far this year, James Wirrick says he’s gotten eight requests for permission to use the song he co-wrote: a video game, three television commercials, three movies and an episode of \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Sylvester never had a mainstream hit after “You Make Me Feel (Mighty Real)”. A year after it came out, Chicago radio DJ Steve Dahl made “Disco sucks!” a rallying cry with his \u003ca href=\"https://en.wikipedia.org/wiki/Disco_Demolition_Night\">“Disco Demolition” promotion between the games of a White Sox doubleheader\u003c/a>; the ensuing melee forced the Sox to forfeit the second game.\u003c/p>\n\u003cp>Joshua Gamson says the event was a reaction by straight white fans of classic rock against a music that they saw as too black and too queer — and that that backlash is partly why he missed the anthem’s power when it first came out.\u003c/p>\n\u003cp>“In a way, if I had felt that earlier, I’d have come out earlier,” he says. “Embracing who you are, celebrating who you are, being as fabulous as you could possibly be, I think that’s the message that he’s preaching in the song. And I could’ve used a dose of that as a teenager.”\u003c/p>\n\u003cp>But Sylvester remained popular among dance music fans, and he leveraged that popularity to raise AIDS awareness. He played benefit shows and distributed safe-sex information to his audiences. When he appeared on \u003cem>The Tonight Show\u003c/em>, he thanked Joan Rivers and guest Charles Nelson Reilly for their early support of what was becoming a movement. “I was there trying to do whatever we could at the time to get it together. And now it’s like a national thing to do,” Sylvester said. “I want to thank you myself.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Less than 10 years after “You Make Me Feel (Mighty Real)” came out, Sylvester’s husband died of complications from AIDS. The singer was never tested for HIV — he told friends there was no point, because he knew he had the virus. Within a few months, his own health was deteriorating. But, Jeanie Tracy says, his senses of style and humor stayed intact, even as he was planning his own funeral. “He looked at me and he says, ‘I wanna be buried in a pearl-colored casket,’ ” she recalls. ” ‘Don’t bury me in a white casket, ’cause I don’t wanna look like I’m lyin’ in a white refrigerator!'”\u003c/p>\n\u003cp>A few months before he died, Sylvester appeared in the 1988 gay pride parade in San Francisco. He was emaciated and weak and rode in a wheelchair. But he didn’t want to hide, Gamson says — he wanted the crowds along Castro Street to see him.\u003c/p>\n\u003cp>“It was part of the same almost philosophy of realness — like, this, this is being real,” Gamson says. “This is mighty real, to be marching in the Gay Freedom parade looking, like, 40 years older than you are. And people, knowing that they’ve seen this icon of their freedom, they see him [as] a symbol of the devastation that AIDS took on the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sylvester made sure to champion that community even after he died. In his will, he left his share of future royalties for “You Make Me Feel (Mighty Real)” to two San Francisco nonprofits: the \u003ca href=\"https://prcsf.org/aids-emergency-fund/\">AIDS Emergency Fund\u003c/a> and the meals program \u003ca href=\"https://www.openhand.org/\">Project Open Hand\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bigger+Than+Disco%2C+%27You+Make+Me+Feel+%28Mighty+Real%29%27+Is+A+Celebration+Of+Self&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Ways Of Looking At A Police Shooting In The Powerful 'Monsters And Men'",
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"content": "\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\u003c/p>\n\u003cp>https://youtu.be/4AnpybNQ-hU\u003c/p>\n\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\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/4AnpybNQ-hU'\n title='//www.youtube.com/embed/4AnpybNQ-hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“This town could keep a secret,” says one of the small-town Arizonans who appears in \u003cem>Bisbee ’17\u003c/em>. But the people who most wanted Bisbee’s secret kept — the executives of a copper-mining company — are long-gone. And a centennial is a fine opportunity to discuss events of the past, however unspeakable they once were. \u003c/p>\n\u003cp>The not-quite-secret history told in Robert Greene’s thematically rich, narratively canny film involves the 1917 roundup and banishment of some 1,300 striking miners. A century ago, brother literally turned against brother when Bisbee’s copper baron mobilized a compliant sheriff and more than 2,000 deputized vigilantes against men organized by the Industrial Workers of the World (a union then considered the country’s most radical). \u003c/p>\n\u003cp>The primary issues were, as usual, money and control. But there was something else, Bisbee’s civic chroniclers reveal. About 90 percent of the workers who were expelled (to New Mexico, not from the country) were foreign-born. Most were Mexican and Eastern European in origin, and doubts about their allegiance to their new country were intensified by World War I fervor. \u003c/p>\n\u003cp>https://youtu.be/etwjMcdvxx8\u003c/p>\n\u003cp>The episode is pertinent today, since the town is just seven miles from the still-contested U.S. southern border. “The word ‘deportation’ is alive with meaning” in Bisbee, a local commentator explains. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many arty contemporary documentaries, \u003cem>Bisbee ’17\u003c/em> is rather theatrical. But that’s reasonable in this case, since Greene organized a 2017 reenactment of the 1917 incident in collaboration with residents of the town (where his mother-in-law lives). The resulting film recalls both \u003cem>Spettacolo\u003c/em>, in which Italian villagers prepare an annual play about their own lives, and \u003cem>The Act of Killing\u003c/em>, in which participants in Indonesia’s 1965 massacres are encouraged to simulate their crimes. \u003c/p>\n\u003cp>Another example of historical pageantry is much closer to Bisbee. To mount the centennial production, the town imports actors from nearby Tombstone, which 100 years ago provided deputies for the roundup. Tombstone is well-supplied with performers, since today one of its principal businesses is entertaining tourists with restagings of the gunfight at the OK Corral. Both Tombstone and \u003cem>Bisbee ’17\u003c/em>, which was shot in widescreen format to emulate Hollywood epics, trade in Wild West imagery. \u003c/p>\n\u003cp>Now that most of the copper has been extracted, history is among the scarce remaining natural resources of southern Arizona. Bisbee itself doesn’t market cowboy lore, but it does offer hardhat tours of an abandoned mine. \u003c/p>\n\u003cp>Bisbee’s version of its past is less of a crowd-pleaser than Tombstone’s, but it does culminate in a sweeping crowd scene, complete with guns, banners, and a mock-up of one of the cattle-cars in which strikers were sent away. Yet the movie’s overall vibe is subdued and the principal song — there are a couple — turns “Solidarity Forever” into a mournful lament. \u003c/p>\n\u003cp>Several of the on-screen players have personal links to the proceedings. Two siblings play their ancestors, a striker and the brother who helped arrest and eject him from Bisbee. An even more evocative figure is a young man of Mexican descent, Fernando Serrano, whose life story is scarred by his mother’s deportation. Less successfully, Greene attempts to connect Bisbee’s past with the sort of ghost stories people like to tell about vintage buildings and venerable personages. These predictable yarns aren’t nearly so compelling as the movie’s essential story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet the filmmakers do make effective use of Serrano’s ethereal presence, holding the camera on him as he walks through local sites both deserted and lively. If \u003cem>Bisbee ’17\u003c/em> is a ghost story, it’s haunted less by the events of 1917 than the way century-old conflicts play out today.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“This town could keep a secret,” says one of the small-town Arizonans who appears in \u003cem>Bisbee ’17\u003c/em>. But the people who most wanted Bisbee’s secret kept — the executives of a copper-mining company — are long-gone. And a centennial is a fine opportunity to discuss events of the past, however unspeakable they once were. \u003c/p>\n\u003cp>The not-quite-secret history told in Robert Greene’s thematically rich, narratively canny film involves the 1917 roundup and banishment of some 1,300 striking miners. A century ago, brother literally turned against brother when Bisbee’s copper baron mobilized a compliant sheriff and more than 2,000 deputized vigilantes against men organized by the Industrial Workers of the World (a union then considered the country’s most radical). \u003c/p>\n\u003cp>The primary issues were, as usual, money and control. But there was something else, Bisbee’s civic chroniclers reveal. About 90 percent of the workers who were expelled (to New Mexico, not from the country) were foreign-born. Most were Mexican and Eastern European in origin, and doubts about their allegiance to their new country were intensified by World War I fervor. \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/etwjMcdvxx8'\n title='//www.youtube.com/embed/etwjMcdvxx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The episode is pertinent today, since the town is just seven miles from the still-contested U.S. southern border. “The word ‘deportation’ is alive with meaning” in Bisbee, a local commentator explains. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like many arty contemporary documentaries, \u003cem>Bisbee ’17\u003c/em> is rather theatrical. But that’s reasonable in this case, since Greene organized a 2017 reenactment of the 1917 incident in collaboration with residents of the town (where his mother-in-law lives). The resulting film recalls both \u003cem>Spettacolo\u003c/em>, in which Italian villagers prepare an annual play about their own lives, and \u003cem>The Act of Killing\u003c/em>, in which participants in Indonesia’s 1965 massacres are encouraged to simulate their crimes. \u003c/p>\n\u003cp>Another example of historical pageantry is much closer to Bisbee. To mount the centennial production, the town imports actors from nearby Tombstone, which 100 years ago provided deputies for the roundup. Tombstone is well-supplied with performers, since today one of its principal businesses is entertaining tourists with restagings of the gunfight at the OK Corral. Both Tombstone and \u003cem>Bisbee ’17\u003c/em>, which was shot in widescreen format to emulate Hollywood epics, trade in Wild West imagery. \u003c/p>\n\u003cp>Now that most of the copper has been extracted, history is among the scarce remaining natural resources of southern Arizona. Bisbee itself doesn’t market cowboy lore, but it does offer hardhat tours of an abandoned mine. \u003c/p>\n\u003cp>Bisbee’s version of its past is less of a crowd-pleaser than Tombstone’s, but it does culminate in a sweeping crowd scene, complete with guns, banners, and a mock-up of one of the cattle-cars in which strikers were sent away. Yet the movie’s overall vibe is subdued and the principal song — there are a couple — turns “Solidarity Forever” into a mournful lament. \u003c/p>\n\u003cp>Several of the on-screen players have personal links to the proceedings. Two siblings play their ancestors, a striker and the brother who helped arrest and eject him from Bisbee. An even more evocative figure is a young man of Mexican descent, Fernando Serrano, whose life story is scarred by his mother’s deportation. Less successfully, Greene attempts to connect Bisbee’s past with the sort of ghost stories people like to tell about vintage buildings and venerable personages. These predictable yarns aren’t nearly so compelling as the movie’s essential story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet the filmmakers do make effective use of Serrano’s ethereal presence, holding the camera on him as he walks through local sites both deserted and lively. If \u003cem>Bisbee ’17\u003c/em> is a ghost story, it’s haunted less by the events of 1917 than the way century-old conflicts play out today.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lorraine Hansberry: Radiant, Radical—And More Than 'Raisin'",
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"content": "\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium\" src=\"https://images-na.ssl-images-amazon.com/images/I/A1%2B3MQC3caL.jpg\" alt=\"Cover of 'Looking for Lorraine: The Radient and Radical Life of Lorraine Hansberry' by Imani Perry\" width=\"1774\" height=\"2560\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry’ by Imani Perry\u003c/figcaption>\u003c/figure>\n\u003cp>You think you’re accomplishing something in life until you realize that at age 29, playwright Lorraine Hansberry had a play produced on Broadway. Not only did she have a play, but her drama, \u003cem>A Raisin in the Sun\u003c/em>, beat out Tennessee Williams and Eugene O’Neill to win the prestigious New York Drama Critics’ Circle for the best play of the year. Let that sink in.\u003c/p>\n\u003cp>\u003cem>Raisin\u003c/em> made Hansberry famous almost overnight. And while it’s what most people remember about her, there was so much more, says Princeton professor Imani Perry. Perry’s new biography, \u003cem>Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry \u003c/em>paints a much fuller picture of the playwright’s life.\u003c/p>\n\u003cp>It begins with her childhood as part of the politically active black elite on Chicago’s South Side. Perry examines Hansberry’s relationship with mentors W.E.B. Du Bois, Paul Robeson and Langston Hughes, to name a few, and her rich and complicated personal life.\u003c/p>\n\u003cp>In many areas Hansberry was ahead of her time, says Perry. “She was a feminist before the feminist movement. She identified as a lesbian and thought about LGBT organizing before there was a gay rights movement. She was an anti-colonialist before independences had been won in Africa and the Caribbean.”\u003c/p>\n\u003cp>In other words, she was intersectional before intersectionality became a thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though Hansberry’s fame put her in the company of some of the country’s most celebrated artists and intellectuals, Perry argues that she never lost grasp of her culture and people.\u003c/p>\n\u003ch2>Radiant race warrior\u003c/h2>\n\u003cp>“She reveled in her identity,” Perry explains, “even as she railed against injustice.” And Hansberry did it with perfect diction and aplomb.\u003c/p>\n\u003cp>The early 1960s was years after \u003cem>Brown v. Board\u003c/em> had been decided, but that didn’t mean separate-but-equal had been erased. (In fact, Hansberry’s father, a prosperous local businessman, made history when his lawsuit to break racial covenants in Chicago’s housing market went all the way to the Supreme Court. Carl Hansberry won, but the neighbors in the family’s new, formerly all-white neighborhood were about as welcoming as the white residents of Clybourne Park were in \u003cem>Raisin\u003c/em>. Memories of that time eventually inspired the play.)\u003c/p>\n\u003cp>So Negroes, as we were then called, were getting impatient with the abundance of segregation that remained. In New York, a group of protesters proposed blocking city streets to tie up traffic. Many New Yorkers were furious.\u003c/p>\n\u003cp>In a town hall meeting soon after, Hansberry tried to explain the thinking behind the protest (which actually became much smaller in scale because not all groups got behind it). “It isn’t as if we just got up today and said ‘What can we do to irritate America?’ ” Hansberry pointed out, to faint chuckles. “It’s because since 1619 Negroes have tried every method of communication, of transformation of their situation …” And white people, most of them, were still urging patience.\u003c/p>\n\u003cp>Hansberry was not just talking the talk, Imani Perry says. “She was willing to risk her fame and her recognition for her political convictions.”\u003c/p>\n\u003cp>In May 1963, she was invited to meet Robert F. Kennedy when the Attorney general had a glittering group of black activists and celebrities over to pat him on the back for the work the Kennedy administration had done in civil rights. Instead, Hansberry told him to get the lead out and do more. When Malcolm X chastised her publicly for having a white husband, she clapped back — and he later apologized. (He thought so much of her that when Hansberry died, Malcolm, then a convert to orthodox Islam, quietly came to her funeral, even though he was under a very public death threat from the Nation of Islam, and would in fact be assassinated three weeks after her service.)\u003c/p>\n\u003ch2>Close, complicated relationships\u003c/h2>\n\u003cp>Many people who knew Hansberry knew she had an interracial marriage at a time when, in some parts of the country, such unions were illegal. She and Robert Nemiroff met on a picket line, and married soon after. Perry says that by the time \u003cem>Raisin\u003c/em> debuted on Broadway, the two were no longer a romantic couple, “but he remained her best friend and closest confidant” until her death.\u003c/p>\n\u003cp>(She chose Nemiroff to safeguard the integrity of her literary work, and since his death, in 1991, his heirs have taken on the job.) They talked nearly every day, and saw each other often — which became a source of puzzlement and annoyance for her lesbian friends in her Greenwich Village neighborhood.\u003c/p>\n\u003cp>“She wasn’t out in the traditional sense,” Perry says. During Hansberry’s time, homosexuality was illegal in New York. Gay gathering spots were often raided, and the people in them arrested. “It would have been very difficult and dangerous for her to be out in multiple ways.”\u003c/p>\n\u003cp>Hansberry and James Baldwin were exceedingly close. “She was one of the few people he could turn to in every way,” Perry says. They wrote each other often, exchanging opinions about their works-in-progress, gossiping about the black intelligensia they knew.\u003c/p>\n\u003cp>“Usually they spoke in the language used by many educated black people in the last part of the last century,” Perry observes. She means their speech was very careful, perfectly articulated. But when it was just them, Hansberry and Baldwin relaxed into what Perry calls “down-home talk,” full of cultural short cuts and easy vernacular.\u003c/p>\n\u003cp>When Hansberry died at 34 on Jan. 12, 1965, of pancreatic cancer, the arts community mourned. At her funeral, the Church of the Master near Harlem’s Morningside Park was filled; some 700 mourners had assembled.\u003c/p>\n\u003cp>There was standing room only inside the church. Outside, people who couldn’t get in stood in the bitter sleet. Her old mentor Paul Robeson sang. So did her friend Nina Simone. Langston Hughes read a poem. Baldwin, home in France with the flu, sent a tribute.\u003c/p>\n\u003cp>Since then, many have fretted about what Hansberry’s early death had stolen from the rest of the world. Imani Perry says they are focusing on the wrong thing, and it irks her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s been this constant theme for the past several decades,” she says: ” ‘Oh she died so young; what would she have produced had she lived longer?’ But the reality is she produced so much.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 \u003ca href=\"http://www.npr.org/\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though Hansberry’s fame put her in the company of some of the country’s most celebrated artists and intellectuals, Perry argues that she never lost grasp of her culture and people.\u003c/p>\n\u003ch2>Radiant race warrior\u003c/h2>\n\u003cp>“She reveled in her identity,” Perry explains, “even as she railed against injustice.” And Hansberry did it with perfect diction and aplomb.\u003c/p>\n\u003cp>The early 1960s was years after \u003cem>Brown v. Board\u003c/em> had been decided, but that didn’t mean separate-but-equal had been erased. (In fact, Hansberry’s father, a prosperous local businessman, made history when his lawsuit to break racial covenants in Chicago’s housing market went all the way to the Supreme Court. Carl Hansberry won, but the neighbors in the family’s new, formerly all-white neighborhood were about as welcoming as the white residents of Clybourne Park were in \u003cem>Raisin\u003c/em>. Memories of that time eventually inspired the play.)\u003c/p>\n\u003cp>So Negroes, as we were then called, were getting impatient with the abundance of segregation that remained. In New York, a group of protesters proposed blocking city streets to tie up traffic. Many New Yorkers were furious.\u003c/p>\n\u003cp>In a town hall meeting soon after, Hansberry tried to explain the thinking behind the protest (which actually became much smaller in scale because not all groups got behind it). “It isn’t as if we just got up today and said ‘What can we do to irritate America?’ ” Hansberry pointed out, to faint chuckles. “It’s because since 1619 Negroes have tried every method of communication, of transformation of their situation …” And white people, most of them, were still urging patience.\u003c/p>\n\u003cp>Hansberry was not just talking the talk, Imani Perry says. “She was willing to risk her fame and her recognition for her political convictions.”\u003c/p>\n\u003cp>In May 1963, she was invited to meet Robert F. Kennedy when the Attorney general had a glittering group of black activists and celebrities over to pat him on the back for the work the Kennedy administration had done in civil rights. Instead, Hansberry told him to get the lead out and do more. When Malcolm X chastised her publicly for having a white husband, she clapped back — and he later apologized. (He thought so much of her that when Hansberry died, Malcolm, then a convert to orthodox Islam, quietly came to her funeral, even though he was under a very public death threat from the Nation of Islam, and would in fact be assassinated three weeks after her service.)\u003c/p>\n\u003ch2>Close, complicated relationships\u003c/h2>\n\u003cp>Many people who knew Hansberry knew she had an interracial marriage at a time when, in some parts of the country, such unions were illegal. She and Robert Nemiroff met on a picket line, and married soon after. Perry says that by the time \u003cem>Raisin\u003c/em> debuted on Broadway, the two were no longer a romantic couple, “but he remained her best friend and closest confidant” until her death.\u003c/p>\n\u003cp>(She chose Nemiroff to safeguard the integrity of her literary work, and since his death, in 1991, his heirs have taken on the job.) They talked nearly every day, and saw each other often — which became a source of puzzlement and annoyance for her lesbian friends in her Greenwich Village neighborhood.\u003c/p>\n\u003cp>“She wasn’t out in the traditional sense,” Perry says. During Hansberry’s time, homosexuality was illegal in New York. Gay gathering spots were often raided, and the people in them arrested. “It would have been very difficult and dangerous for her to be out in multiple ways.”\u003c/p>\n\u003cp>Hansberry and James Baldwin were exceedingly close. “She was one of the few people he could turn to in every way,” Perry says. They wrote each other often, exchanging opinions about their works-in-progress, gossiping about the black intelligensia they knew.\u003c/p>\n\u003cp>“Usually they spoke in the language used by many educated black people in the last part of the last century,” Perry observes. She means their speech was very careful, perfectly articulated. But when it was just them, Hansberry and Baldwin relaxed into what Perry calls “down-home talk,” full of cultural short cuts and easy vernacular.\u003c/p>\n\u003cp>When Hansberry died at 34 on Jan. 12, 1965, of pancreatic cancer, the arts community mourned. At her funeral, the Church of the Master near Harlem’s Morningside Park was filled; some 700 mourners had assembled.\u003c/p>\n\u003cp>There was standing room only inside the church. Outside, people who couldn’t get in stood in the bitter sleet. Her old mentor Paul Robeson sang. So did her friend Nina Simone. Langston Hughes read a poem. Baldwin, home in France with the flu, sent a tribute.\u003c/p>\n\u003cp>Since then, many have fretted about what Hansberry’s early death had stolen from the rest of the world. Imani Perry says they are focusing on the wrong thing, and it irks her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\u003c/p>\n\u003cp>https://youtu.be/3Ro9ebQxEOY\u003c/p>\n\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\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/3Ro9ebQxEOY'\n title='//www.youtube.com/embed/3Ro9ebQxEOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticketmaster Has Its Own Secret 'Scalping Program,' Canadian Journalists Report",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>[contextly_sidebar id=”BuVGuCtbRdpVD00tgnEq1skdqKYTlv3L”]\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>We the Animals\u003c/em>, Jeremiah Zagar’s fever-dream of a movie, gets underway on a hot summer afternoon in upstate New York, with three shirtless, preteen boys running wild, the way kids do.\u003c/p>\n\u003cp>The youngest, Jonah (Evan Rosado), reads from a secret journal he scribbles at night, about wanting more: more noise, more muscles, more time with brothers Manny (Isaiah Kristian) and Joel (Josiah Gabriel).\u003c/p>\n\u003cp>The three boys are so inseparable they seem almost a single organism, bouncing off the walls, tearing across a field, baying at the moon, turning every flat object in the house into a drum … and when all of that gets old, huddling under a sheet, whispering.\u003c/p>\n\u003cp>Childhood is a magical time for these three, if also—when the discovery of that journal leads to unintended revelations—a fraught time. \u003c/p>\n\u003cp>https://youtu.be/jTRZsrj28C4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on Justin Torres’ 2011, autobiographical debut novel, \u003cem>We the Animals \u003c/em>seemed an unlikely candidate for film adaptation. The book is impressionistic, fragmented, deeply felt but nearly non-narrative as it tells of a working-class family’s turbulent home life. Somehow, though, Zagar has found a way to let the film’s scenes surface and recede the way memories do.\u003c/p>\n\u003cp>Scenes about breakfasts and truck rides, dancing, cuddling, and roughhousing in the care of a mixed-race couple who’ve moved upstate looking for a good life that hasn’t materialized. Paps (Raul Castillo), a night watchman, is Puerto Rican; Ma (Sheila Vand), who works in a bottling plant, is white. They met when she was underage, and a dozen years later are still crazy in love. \u003c/p>\n\u003cp>But dead-end-jobs and struggling-to-make-ends-meet was never the plan, so sometimes they’re not just lovers, but also fighters—she protective of the kids, he rough and tumble (or just rough)—which means the boys need to figure out what’s happening when, say, Paps packs his things and takes off after one fight that leaves Ma bruised, and in the words of her sons, “purple … crazy … tore-up.” That rates a note \u003cem>and\u003c/em> an illustration in Jonah’s journal, animated with Mark Samsonovich’s scratchy pen drawings for the film.\u003c/p>\n\u003cp>That fight also leaves Ma too depressed to leave her bed for a week or so, which gives the kids a chance to eat themselves out of house and home, and then go foraging at a convenience store, in the woods, and on a farm, where a gruff but kind-hearted farmer gives them a hot meal, while glimpses of his striking blond grandson give Jonah feelings he doesn’t quite know what to do with. \u003c/p>\n\u003cp>Filmmaker Zagar is a documentarian, making his first fiction feature here, working with youngsters who’d never acted before, and creating a dreamlike narrative where Jonah’s carousing merges with his fantasies about adulthood, and his confusion over things his parents say and do—Paps loving and leaving; Ma loving and clinging.\u003c/p>\n\u003cp>“I remember your heart inside me,” she whispers to Jonah as she hugs him close, “tickin’ like a bomb.”\u003c/p>\n\u003cp>That’s quite the image, and applies equally to Jonah at age nine—ticking like a bomb with explosive sensual feelings, and the realization that there are ways in which he is not like his brothers. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We the Animals\u003c/em> catches its characters as they are right on the cusp of the growth spurt that will propel them into their teens—into the years when they’ll finally grow out of the feral joys of childhood. Grow, in the case of journal-keeping Jonah, perhaps to be a writer who’ll try to capture in words this summer of wanting more—this summer when things began to change—and make it intense, scary and ecstatically lyrical.\u003c/p>\n\n",
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"content": "\u003cp>Actor Burt Reynolds, who played good ol’ boys and rugged action heroes in an acting career that spanned seven decades, has died. Reynolds died Thursday morning at a Florida hospital following a heart attack. He was 82.\u003c/p>\n\u003cp>Reynolds came to stardom in \u003cem>Deliverance\u003c/em> and \u003cem>Smokey and the Bandit\u003c/em> in the 1970s, and was still making movies more than 40 years later. In 1977’s \u003cem>Smokey and the Bandit\u003c/em>, Jackie Gleason was Smokey the sheriff, Burt Reynolds was Bandit, and the plot hinged on whether Bandit and a truck-driving pal could blow through Smokey’s roadblocks and make the run in 28 hours. The smile, the mustache, the twinkle in his eye … without them, would anyone have buckled up for that bootlegging run from Texarkana to Atlanta?\u003c/p>\n\u003cp>\u003cem>Smokey and the Bandit\u003c/em> opened the same year \u003cem>Star Wars\u003c/em> hit theaters. Reynolds had been offered the part of Han Solo, actually, and turned it down, just as he’d turned down the role of James Bond, and would later turn down \u003cem>Pretty Woman\u003c/em>. No one ever accused him of being smart about choosing film roles.\u003c/p>\n\u003cp>But smart in the films? No question.\u003c/p>\n\u003cp>\u003cem>Deliverance\u003c/em> was the one that made him famous. Years of bit parts on TV hadn’t prepared audiences for his scarily ripped outdoorsman, who led Jon Voight, Ronny Cox and Ned Beatty on what would end up being a harrowing canoe trip in the Georgia backwoods. There were dueling banjos, hillbilly rapists, and Reynolds using a bow and arrow to spear fish, and to meet nature on its own terms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After \u003cem>Deliverance\u003c/em> put him on the map, Reynolds more or less owned the rest of that decade. He played football players in \u003cem>The Longest Yard\u003c/em> and \u003cem>Semi-Tough\u003c/em> — not a huge stretch for him, since he’d attended college on a football scholarship. The bootlegger thing kept coming back in \u003cem>White Lightning\u003c/em> and \u003cem>Lucky Lady\u003c/em>. And off-screen, he also cultivated an outlaw vibe — including \u003ca href=\"https://www.cosmopolitan.com/entertainment/news/a48108/burt-reynolds-cosmo-classic/\">posing nude\u003c/a> on a bearskin rug for \u003cem>Cosmopolitan.\u003c/em>\u003c/p>\n\u003cp>Perhaps unsurprisingly, his marriages didn’t last. Nor did a relationship with sometime co-star Sally Field, whom he later called the love of his life — to her evident surprise.\u003c/p>\n\u003cp>His mistakes on screen included singing in the musical comedy \u003cem>The Best Little Whorehouse in Texas\u003c/em>. “I can sing,” he admitted to interviewers, “as well as Fred Astaire can act.”\u003c/p>\n\u003cp>He had no quips to offer for his business acumen. Reynolds briefly owned a football team, a nightclub and a chain of restaurants before declaring bankruptcy. He also took 22 years to pay a divorce settlement to Loni Anderson.\u003c/p>\n\u003cp>And somehow, he kept coming back — most famously, perhaps, in the 1997 award winner \u003cem>Boogie Nights\u003c/em>, where he played a porn director who had dreams of making movies that were more than (just) porn. “This is the film I want them to remember me by,” his character says — and they did, with an Oscar nomination for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost 20 years (and 60 roles) later, he \u003ca href=\"http://www.wbur.org/hereandnow/2016/10/17/memoir-burt-reynolds\">published a memoir\u003c/a> called \u003cem>But Enough About Me\u003c/em> — a jokey title for a bestseller that proved beyond a doubt, that audiences still weren’t tired of hearing about Burt Reynolds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burt+Reynolds%2C+Swaggering+Star+Actor%2C+Has+Died+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/493333311″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>[contextly_sidebar id=”6LDp5OL9qXWD314mcciCSVNBFnskJMA4″]\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/493333311″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/493333311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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