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"content": "\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \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=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A newspaper in Norway says it got a hold of internal data from the streaming service, which showed that 90 percent of users had unknowingly been playing songs from 'Lemonade' and 'The Life of Pablo.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \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=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct",
"title": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For 'Hateful Conduct'",
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"headTitle": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For ‘Hateful Conduct’ | KQED",
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"content": "\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\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=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\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=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Artist Christina Eve has synesthesia, a rare neurological condition that entwines the senses. In Christina Eve’s case, she sees sounds. Last year she sent me a handful of her colorful paintings she made based on music she heard and the visions she had when she listened. I was so fascinated by the way she interprets songs with imagery that I asked her to document the process. You can watch her paint the music of Moses Sumney and Bleachers in the videos below and read her describe what her brain is like on music. – \u003c/em>All Songs Considered\u003cem>‘s \u003c/em>\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>I’d never be a visual artist if I was not first a musician. I have a deep love of music and especially love how a good song can arrest your heart or communicate things for which there are no words. I began studying music as a child and went on to get a degree in classical music. I geek-out over music theory and love the thrill of performing on stage with other musicians. Yet beyond all this, I experience another dimension of music that most do not.\u003c/p>\n\u003cp>I have synesthesia, a neurological phenomenon that involuntarily merges senses in the brain. Auditory stimuli activate my visual sense, so whenever I hear sound I see a unique light and color show. Listening to music is always a remarkable experience as the ears, eyes, heart, and mind are all inundated. For me, music reveals shimmering lights and geometric textures in bright colors, and light and dark swell and spin around each other.\u003c/p>\n\u003cp>As a synesthetic visual artist, I translate what I hear into visible form so others can see the beauty of sound. My artwork begins with a song I’ve fallen in love with, emotionally, aurally, and visually. In the studio, I put the song on loop and listen and watch to see what shapes and colors appear. I pull out corresponding bottles of ink and begin spilling them on the canvas. I blow air into the color, creating a contrasting lightness to the dark, and form the ink into shapes with palette knives and sponges.\u003c/p>\n\u003cp>https://vimeo.com/245458363\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In my work for Bleachers’ “Don’t Take The Money,” I focus on the many sounds contained in the pre-chorus. Each main vocal phrase (“In my dreams, I’m to blame / Different sides of the bed / Roll your eyes, shave my head”) produces rapidly-ascending towers of hot pink and lime-green. The bass, plus the interspersed, digitized backing vocals in lower octaves, provide a dark and bubbly foundation. The percussion and all the fun sounds moving in and out add-in flashes of different hues and textures. I collect all these colors and shape them into what I see in the buildup and hit just before chorus: a staircase-shaped, sunshine-colored explosion.\u003c/p>\n\u003cp>https://vimeo.com/245458956\u003c/p>\n\u003cp>The very first chord of Moses Sumney’s “Doomed” is an oceanic, dark blue paired with a rich vermilion. Moses’ voice is interesting to watch – sometimes it’s a saturated charcoal-black, sometimes it’s a smooth aqua – and that captivating, quick, occasional catch in his voice that sounds like an alto sax… it’s a moment of sandpaper-textured gold. Warm light enters the scene the first time Moses sings “Am I doomed?” As the song progresses, I’m emotionally affected by the sonic expansion and the emotional heaviness of the lyrics, and I incorporate it into the work. The soaring, far-away vocal cries in the background are a writhing purple. At the apex of the song, light pushes back the dark colors, and recedes again as the song draws back into itself.\u003c/p>\n\u003cp>As I’ve continued to create synesthetic artwork, I’ve discovered that much of the aurally-stimulated imagery I see can also effectively communicate other invisible concepts, like joy or despair or loneliness or hope. There are some sounds that produce a distinct type of deep and powerfully evocative imagery and these rich visuals are able to depict difficult ideas and emotions that might be too elusive to paint, or even verbally express. Music is what allows me to create synesthetic artwork, offering a visual voice to the hidden, complex, and inexpressible experiences of humanity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More from Christina Eve can be found \u003ca href=\"https://christinaeveartist.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\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=How+A+Synesthetic+Artist+Sees+Sounds+And+Turns+Music+Into+Paintings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The very first chord of Moses Sumney’s “Doomed” is an oceanic, dark blue paired with a rich vermilion. Moses’ voice is interesting to watch – sometimes it’s a saturated charcoal-black, sometimes it’s a smooth aqua – and that captivating, quick, occasional catch in his voice that sounds like an alto sax… it’s a moment of sandpaper-textured gold. Warm light enters the scene the first time Moses sings “Am I doomed?” As the song progresses, I’m emotionally affected by the sonic expansion and the emotional heaviness of the lyrics, and I incorporate it into the work. The soaring, far-away vocal cries in the background are a writhing purple. At the apex of the song, light pushes back the dark colors, and recedes again as the song draws back into itself.\u003c/p>\n\u003cp>As I’ve continued to create synesthetic artwork, I’ve discovered that much of the aurally-stimulated imagery I see can also effectively communicate other invisible concepts, like joy or despair or loneliness or hope. There are some sounds that produce a distinct type of deep and powerfully evocative imagery and these rich visuals are able to depict difficult ideas and emotions that might be too elusive to paint, or even verbally express. Music is what allows me to create synesthetic artwork, offering a visual voice to the hidden, complex, and inexpressible experiences of humanity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More from Christina Eve can be found \u003ca href=\"https://christinaeveartist.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\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=How+A+Synesthetic+Artist+Sees+Sounds+And+Turns+Music+Into+Paintings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hungarian Metal, Israeli Pop, Dancing Robots: It Must Be Time for Eurovision",
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"content": "\u003cp>Fans of key changes, pyrotechnics and nonsensical lyrics are getting ready for their equivalent of the World Cup, taking place in Lisbon, Portugal this week, the first time the country has hosted the competition. The 63rd edition of the Eurovision Song Contest semi-finals start Tuesday and continue this Thursday, with the singing competition’s grand finals on Saturday.\u003c/p>\n\u003cp>Each year, the contest is hosted by the previous year’s winner, with an audience estimated to be around 180 million people worldwide. The contest helped launch the careers of Abba and Celine Dion, and is known for its idiosyncratic, over-the-top performances.\u003c/p>\n\u003cp>Salvador Sobral \u003ca href=\"https://www.npr.org/sections/therecord/2017/05/14/528352454/after-a-fraught-year-eurovision-crowns-portugals-salvador-sobral\">won on behalf of Portugal last year\u003c/a> with an understated but emotional performance of his song “Amar Pelos Dois.” After winning, Sobral decried what he called “fast-food music,” a seeming swipe at the cheeseball pop that is Eurovision’s bread-and-butter.\u003c/p>\n\u003cp>He told the crowd at the time that his win “could be a victory for … people that make music that actually means something. Music is not fireworks, music is feeling. So let’s try to change this and bring music back, which is really what matters.”\u003c/p>\n\u003cp>Despite Sobral’s overtures to the higher-brow and the progress to that end his win represented, it appears it could be a short-lived victory — most of this year’s favorites to win fall firmly into the category of campy, classically Eurovision, pop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year’s favorite to win — at least, \u003ca href=\"https://eurovisionworld.com/odds/eurovision\">according\u003c/a> to bookies — is Israel’s entry, the song \u003ca href=\"https://www.youtube.com/watch?v=CziHrYYSyPc\">“Toy” by Netta\u003c/a>. It’s a catchy dance number, buttressed with a message of female empowerment, with Netta declaring: “I’m not your toy, you stupid boy.” And for reasons not entirely made clear, she and her backup dancers also lean heavily into what can only be described as a chicken dance routine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CziHrYYSyPc\u003c/p>\n\u003cp>The betting public also think Norway’s Alexander Rybak (who was behind 2009’s winning entry, the song “Fairytale”) might win with his on-the-nose “\u003ca href=\"https://www.youtube.com/watch?v=Mvxni-WcD9A\">That’s How You Write A Song\u003c/a>.” It’s a cheesy, upbeat tune that… well, features advice on how to write a song. Eurovision does not shy away from the meta.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mvxni-WcD9A\u003c/p>\n\u003cp>There’s another favorite going into the contest that breaks from the cheesy to take on a political issue. Madame Monsieur’s “\u003ca href=\"https://www.youtube.com/watch?v=dHb-gWC-WTc\">Mercy\u003c/a>,” France’s entry, is an electro-pop tune inspired by the story of a baby named Mercy, \u003ca href=\"https://www.billboard.com/articles/news/8390266/madame-monsieur-mercy-eurovision\">born to a refugee\u003c/a> on a French rescue ship in the Mediterranean.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=y4xlvh6qW6M\" target=\"_blank\" rel=\"noopener\">Finland\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=eDSgs6syrgg\" target=\"_blank\" rel=\"noopener\">Cyprus\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=k6_oxE2MxZE\" target=\"_blank\" rel=\"noopener\">Czech Republic\u003c/a> have also fielded strong contenders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dHb-gWC-WTc\u003c/p>\n\u003cp>And it’s not just pop music competing. There’s \u003ca href=\"https://www.youtube.com/watch?v=76KOUIfDry8\">opera from Estonia\u003c/a>; country \u003ca href=\"https://www.youtube.com/watch?v=8TowcElmyek\">from the Netherlands\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=w00c8KbQIME\">metal from Hungary\u003c/a>. But it wouldn’t be Eurovision without performances that leave you unsure of what, exactly, just happened.\u003c/p>\n\u003cp>San Marino, the micro-state with a population of just 33,000, has taken an early lead when it comes to inexplicable staging, with its entry featuring miniature dancing robots and a rapper from San Marino’s (presumably) nascent rap scene recommending personal strength in the face of online bullying: “If they dissin’ you on Twitter / Don’t get sad, don’t be bitter / Don’t give up and be a quitter / Show em’ you’re better.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNflc1Zcw2A\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The finale of this year’s Eurovision Song Contest airs in the United States on Logo TV Saturday, May 12, with semi-finals scheduled for May 8 and 10.\u003c/em> \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=Hungarian+Metal%2C+Israeli+Pop%2C+Dancing+Robots%3A+It+Must+Be+Time+For+Eurovision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of key changes, pyrotechnics and nonsensical lyrics are getting ready for their equivalent of the World Cup, taking place in Lisbon, Portugal this week, the first time the country has hosted the competition. The 63rd edition of the Eurovision Song Contest semi-finals start Tuesday and continue this Thursday, with the singing competition’s grand finals on Saturday.\u003c/p>\n\u003cp>Each year, the contest is hosted by the previous year’s winner, with an audience estimated to be around 180 million people worldwide. The contest helped launch the careers of Abba and Celine Dion, and is known for its idiosyncratic, over-the-top performances.\u003c/p>\n\u003cp>Salvador Sobral \u003ca href=\"https://www.npr.org/sections/therecord/2017/05/14/528352454/after-a-fraught-year-eurovision-crowns-portugals-salvador-sobral\">won on behalf of Portugal last year\u003c/a> with an understated but emotional performance of his song “Amar Pelos Dois.” After winning, Sobral decried what he called “fast-food music,” a seeming swipe at the cheeseball pop that is Eurovision’s bread-and-butter.\u003c/p>\n\u003cp>He told the crowd at the time that his win “could be a victory for … people that make music that actually means something. Music is not fireworks, music is feeling. So let’s try to change this and bring music back, which is really what matters.”\u003c/p>\n\u003cp>Despite Sobral’s overtures to the higher-brow and the progress to that end his win represented, it appears it could be a short-lived victory — most of this year’s favorites to win fall firmly into the category of campy, classically Eurovision, pop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year’s favorite to win — at least, \u003ca href=\"https://eurovisionworld.com/odds/eurovision\">according\u003c/a> to bookies — is Israel’s entry, the song \u003ca href=\"https://www.youtube.com/watch?v=CziHrYYSyPc\">“Toy” by Netta\u003c/a>. It’s a catchy dance number, buttressed with a message of female empowerment, with Netta declaring: “I’m not your toy, you stupid boy.” And for reasons not entirely made clear, she and her backup dancers also lean heavily into what can only be described as a chicken dance routine.\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/CziHrYYSyPc'\n title='//www.youtube.com/embed/CziHrYYSyPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The betting public also think Norway’s Alexander Rybak (who was behind 2009’s winning entry, the song “Fairytale”) might win with his on-the-nose “\u003ca href=\"https://www.youtube.com/watch?v=Mvxni-WcD9A\">That’s How You Write A Song\u003c/a>.” It’s a cheesy, upbeat tune that… well, features advice on how to write a song. Eurovision does not shy away from the meta.\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/Mvxni-WcD9A'\n title='//www.youtube.com/embed/Mvxni-WcD9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s another favorite going into the contest that breaks from the cheesy to take on a political issue. Madame Monsieur’s “\u003ca href=\"https://www.youtube.com/watch?v=dHb-gWC-WTc\">Mercy\u003c/a>,” France’s entry, is an electro-pop tune inspired by the story of a baby named Mercy, \u003ca href=\"https://www.billboard.com/articles/news/8390266/madame-monsieur-mercy-eurovision\">born to a refugee\u003c/a> on a French rescue ship in the Mediterranean.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=y4xlvh6qW6M\" target=\"_blank\" rel=\"noopener\">Finland\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=eDSgs6syrgg\" target=\"_blank\" rel=\"noopener\">Cyprus\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=k6_oxE2MxZE\" target=\"_blank\" rel=\"noopener\">Czech Republic\u003c/a> have also fielded strong contenders.\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/dHb-gWC-WTc'\n title='//www.youtube.com/embed/dHb-gWC-WTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it’s not just pop music competing. There’s \u003ca href=\"https://www.youtube.com/watch?v=76KOUIfDry8\">opera from Estonia\u003c/a>; country \u003ca href=\"https://www.youtube.com/watch?v=8TowcElmyek\">from the Netherlands\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=w00c8KbQIME\">metal from Hungary\u003c/a>. But it wouldn’t be Eurovision without performances that leave you unsure of what, exactly, just happened.\u003c/p>\n\u003cp>San Marino, the micro-state with a population of just 33,000, has taken an early lead when it comes to inexplicable staging, with its entry featuring miniature dancing robots and a rapper from San Marino’s (presumably) nascent rap scene recommending personal strength in the face of online bullying: “If they dissin’ you on Twitter / Don’t get sad, don’t be bitter / Don’t give up and be a quitter / Show em’ you’re better.”\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/ZNflc1Zcw2A'\n title='//www.youtube.com/embed/ZNflc1Zcw2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The finale of this year’s Eurovision Song Contest airs in the United States on Logo TV Saturday, May 12, with semi-finals scheduled for May 8 and 10.\u003c/em> \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=Hungarian+Metal%2C+Israeli+Pop%2C+Dancing+Robots%3A+It+Must+Be+Time+For+Eurovision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kennedy Center Joins Institutions Stripping Bill Cosby of Awards",
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"content": "\u003cp>As Bill Cosby \u003ca href=\"https://www.kqed.org/arts/13830564/bill-cosby-found-guilty-of-all-charges-in-sexual-assault-retrial\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> on his conviction for aggravated indecent assault, prestigious institutions continue to strip the comedian of the accolades bestowed on him throughout his 50-year career. \u003c/p>\n\u003cp>The latest is the John F. Kennedy Center for the Performing Arts, whose board voted Monday to rescind the Honors award and the Mark Twain Prize for American Humor that Cosby received in 1998 and 2009, respectively. \u003c/p>\n\u003cp>“The Honors and Mark Twain Prize are given to artists who, through their lifetime of work, have left an indelible impact on American culture,” the Kennedy Center said in a statement. “As a result of Mr. Cosby’s recent criminal conviction, the Board concluded that his actions have overshadowed the very career accomplishments these distinctions from the Kennedy Center intend to recognize.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences noted the verdict against Cosby last week, and voted to expel him and Oscar-winning director Roman Polanski. The Academy said both men had violated the organization’s \u003ca href=\"http://www.oscars.org/about/standards-conduct-and-process-submitting-claims-misconduct\">standards of conduct\u003c/a>. They have both been convicted of crimes involving sexual misconduct. \u003c/p>\n\u003cp>On Wednesday, Yale University finally capitulated to a student-led effort to revoke Cosby’s 2003 honorary degree which started as early as 2014. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement, the university said, “The decision is based on a court record providing clear and convincing evidence of conduct that violates fundamental standards of decency shared by all members of the Yale community, conduct that was unknown to the board at the time the degree was awarded. The board took this decision following Mr. Cosby’s criminal conviction after he was afforded due process.”\u003c/p>\n\u003cp>The move was a first in the university’s 300-year history, according to \u003ca href=\"https://www.theatlantic.com/education/archive/2018/05/yale-bill-cosby-honorary-degree/559490/?yptr=yahoo\">The Atlantic\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby, who is 80, was found guilty last month in a retrial on charges stemming from a 2004 sexual assault, in which the actor drugged and assaulted a woman in his Pennsylvania home. He could face up to 30 years in prison. \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=Kennedy+Center+Joins+Institutions+Stripping+Bill+Cosby+Of+Awards+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Bill Cosby \u003ca href=\"https://www.kqed.org/arts/13830564/bill-cosby-found-guilty-of-all-charges-in-sexual-assault-retrial\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> on his conviction for aggravated indecent assault, prestigious institutions continue to strip the comedian of the accolades bestowed on him throughout his 50-year career. \u003c/p>\n\u003cp>The latest is the John F. Kennedy Center for the Performing Arts, whose board voted Monday to rescind the Honors award and the Mark Twain Prize for American Humor that Cosby received in 1998 and 2009, respectively. \u003c/p>\n\u003cp>“The Honors and Mark Twain Prize are given to artists who, through their lifetime of work, have left an indelible impact on American culture,” the Kennedy Center said in a statement. “As a result of Mr. Cosby’s recent criminal conviction, the Board concluded that his actions have overshadowed the very career accomplishments these distinctions from the Kennedy Center intend to recognize.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences noted the verdict against Cosby last week, and voted to expel him and Oscar-winning director Roman Polanski. The Academy said both men had violated the organization’s \u003ca href=\"http://www.oscars.org/about/standards-conduct-and-process-submitting-claims-misconduct\">standards of conduct\u003c/a>. They have both been convicted of crimes involving sexual misconduct. \u003c/p>\n\u003cp>On Wednesday, Yale University finally capitulated to a student-led effort to revoke Cosby’s 2003 honorary degree which started as early as 2014. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement, the university said, “The decision is based on a court record providing clear and convincing evidence of conduct that violates fundamental standards of decency shared by all members of the Yale community, conduct that was unknown to the board at the time the degree was awarded. The board took this decision following Mr. Cosby’s criminal conviction after he was afforded due process.”\u003c/p>\n\u003cp>The move was a first in the university’s 300-year history, according to \u003ca href=\"https://www.theatlantic.com/education/archive/2018/05/yale-bill-cosby-honorary-degree/559490/?yptr=yahoo\">The Atlantic\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby, who is 80, was found guilty last month in a retrial on charges stemming from a 2004 sexual assault, in which the actor drugged and assaulted a woman in his Pennsylvania home. He could face up to 30 years in prison. \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=Kennedy+Center+Joins+Institutions+Stripping+Bill+Cosby+Of+Awards+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Three More Women Come Forward To Accuse R. Kelly Of Abuse",
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"content": "\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\u003c/em> \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=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\u003c/em> \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=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\u003c/p>\n\u003cp>https://youtu.be/HEVonh8bjC0\u003c/p>\n\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \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=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\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/HEVonh8bjC0'\n title='//www.youtube.com/embed/HEVonh8bjC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \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=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "John 'Jab'o' Starks, Classic James Brown Drummer, Dead at 79",
"headTitle": "John ‘Jab’o’ Starks, Classic James Brown Drummer, Dead at 79 | KQED",
"content": "\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \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=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \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=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\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=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\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=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The company behind the iconic Gibson guitars — whose instruments have been played by Les Paul, B.B. King and Jimmy Page, among many others — filed for Chapter 11 bankruptcy protection in Delaware. The Nashville, Tenn.-based corporation’s current properties also include Baldwin Piano, Gibson Pro Audio and Wurlitzer, a company once famous for its organs but whose brand name Gibson now uses only for manufacturing jukeboxes.\u003c/p>\n\u003cp>As NPR has \u003ca href=\"https://www.npr.org/2015/09/10/439085886/the-pains-and-salvation-of-chapter-11-bankruptcy\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> in the past, filing for Chapter 11 protection does not mean that a company is doomed to fail; instead, “it’s a way for companies that can’t pay their bills to not die.”\u003c/p>\n\u003cp>The petition, filed on Tuesday, notes that the company currently has up to $500 million in debt and will focus its operations on its musical instruments business, “unburdened by the challenges experienced by [the company’s] separate, primarily non-U.S., consumer electronics business.” That business includes the brands KRK, Cerwin Vega and Stanton, whose lines include studio monitors, headphones and turntables. Gibson also currently holds a majority equity interest in TEAC, a Japanese home audio electronics company.\u003c/p>\n\u003cp>Gibson’s turnaround plans include giving some of the company’s lenders equity ownership, while its lenders have agreed to an operating loan of up to $135 million to keep the company afloat.\u003c/p>\n\u003cp>The company sells over 170,000 guitars annually in more than 80 countries and says that it sells over 40 percent of all electric guitars costing more than $2,000. It operates guitar-making factories in Nashville and Memphis, Tenn., and Bozeman, Mont. \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=Gibson+Guitars+Files+For+Bankruptcy+Protection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The company behind the iconic Gibson guitars — whose instruments have been played by Les Paul, B.B. King and Jimmy Page, among many others — filed for Chapter 11 bankruptcy protection in Delaware. The Nashville, Tenn.-based corporation’s current properties also include Baldwin Piano, Gibson Pro Audio and Wurlitzer, a company once famous for its organs but whose brand name Gibson now uses only for manufacturing jukeboxes.\u003c/p>\n\u003cp>As NPR has \u003ca href=\"https://www.npr.org/2015/09/10/439085886/the-pains-and-salvation-of-chapter-11-bankruptcy\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> in the past, filing for Chapter 11 protection does not mean that a company is doomed to fail; instead, “it’s a way for companies that can’t pay their bills to not die.”\u003c/p>\n\u003cp>The petition, filed on Tuesday, notes that the company currently has up to $500 million in debt and will focus its operations on its musical instruments business, “unburdened by the challenges experienced by [the company’s] separate, primarily non-U.S., consumer electronics business.” That business includes the brands KRK, Cerwin Vega and Stanton, whose lines include studio monitors, headphones and turntables. Gibson also currently holds a majority equity interest in TEAC, a Japanese home audio electronics company.\u003c/p>\n\u003cp>Gibson’s turnaround plans include giving some of the company’s lenders equity ownership, while its lenders have agreed to an operating loan of up to $135 million to keep the company afloat.\u003c/p>\n\u003cp>The company sells over 170,000 guitars annually in more than 80 countries and says that it sells over 40 percent of all electric guitars costing more than $2,000. It operates guitar-making factories in Nashville and Memphis, Tenn., and Bozeman, Mont. \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=Gibson+Guitars+Files+For+Bankruptcy+Protection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>LANGUAGE ADVISORY: This interview contains language some readers may find offensive.\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/607262463/607410231\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few minutes into her \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">performance\u003c/a> at the White House Correspondents’ Dinner Saturday night, comic Michelle Wolf joked that the event organizers should have done more research before booking her. By the end of the set, the organizers may have agreed.\u003c/p>\n\u003cp>Though the dinner is known for its barbed humor, \u003ca href=\"https://www.npr.org/2018/04/29/606834453/comedian-faces-criticism-after-controversial-remarks-at-d-c-gala\">critics complained\u003c/a> that some of Wolf’s jokes were too pointed — particularly those aimed at White House press secretary Sarah Sanders, who was seated on the dais. Wolf, meanwhile, says she made a “conscious effort not to write any jokes about any woman’s looks” into the set.\u003c/p>\n\u003cp>On Sunday, the White House Correspondents’ Association \u003ca href=\"https://twitter.com/whca/status/990773612226412545\">issued a statement\u003c/a> saying:\u003c/p>\n\u003cblockquote>\u003cp>“Last night’s program was meant to offer a unifying message about our common commitment to a vigorous and free press while honoring civility, great reporters and scholarship winners, not to divide people. Unfortunately, the entertainer’s monologue was not in the spirit of that mission.”\u003c/p>\u003c/blockquote>\n\u003cp>But while some journalists have suggested that the dinner should no longer include a guest comic, Wolf insists she wasn’t there to “cater to the room.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A friend of mine who helped me write, he gave me a note before I went on,” she says. The note, she recalls, said: Be true to yourself. Never apologize. Burn it to the ground.\u003c/p>\n\u003cp>Arguably, she did just that: “I wouldn’t change a single word. I’m very happy with what I said, and I’m glad I stuck to my guns.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DDbx1uArVOM\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what makes the White House Correspondents’ Dinner a “bad room” \u003c/strong>\u003cstrong>for comedy\u003c/strong>\u003c/p>\n\u003cp>It’s a large ballroom. The audience isn’t miked so … the laughs aren’t very audible in general. But it’s also … formal [and] people don’t laugh as much when they’re dressed up. There’s round tables and people are eating or drinking, so by the virtue of a round table, people are partially turned away from you.\u003c/p>\n\u003cp>And it’s televised and there are all these people that may or may not be able to show genuine reactions and so [some audience members are] constantly thinking, ‘I need to react in a way that will come off well on TV.’ … [That laughing would] make them look partisan or make them look like they’re laughing at someone they shouldn’t be laughing at.\u003c/p>\n\u003cp>\u003cstrong>On whether the organizers knew her work \u003c/strong>\u003c/p>\n\u003cp>I think sometimes they look at a woman and they think ‘Oh, she’ll be nice,’ and if you’ve seen any of my comedy you know that I don’t — I’m not. I don’t pull punches. I’m not afraid to talk about things. And I don’t think they expected that from me. I think they still have preconceived notions of how women will present themselves and I don’t fit in that box.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>having more liberty to make fun of women because she’s a woman \u003c/strong>\u003c/p>\n\u003cp>As a woman, I have access to hit women in a way that men might not be able to hit them with jokes. I don’t mean physically hit. But you know, because I’m a woman, I can say things about women, because I know what it’s like to be a woman, if that makes any sense. … I think in general when I talk about women, like in my special when I talked about Hillary [Clinton], I called Hillary a b****, which you later find out is a compliment. But no, I don’t think a man could’ve gotten away with saying that. It would’ve sounded misogynistic.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>her joke that White House press secretary Sarah Sanders’s “\u003c/strong>\u003cstrong>smok\u003c/strong>\u003cstrong>y” eye shadow comes from burning “facts” \u003c/strong>\u003c/p>\n\u003cp>I think people have a lot of preconceived notions about Sarah’s looks and I think a lot of what’s happening is they’re projecting onto this joke. … I think it’s clear that the joke wasn’t about Sarah’s looks, but I don’t think — to me it’s so obvious that I don’t even really need to defend it. I think if you listen to the joke you’ll understand that it’s about the fact that she lies and if it’s taken another way I think you should go back and listen to it again. …\u003c/p>\n\u003cp>If there [are] two people that I actually made fun of their looks on Saturday it was Mitch McConnell and Chris Christie and no one is jumping to their defense. I made fun of Mitch McConnell’s neck and I did a small jab at Chris Christie’s weight and no one is jumping to their defense.\u003c/p>\n\u003cp>\u003cstrong>On comparing Sanders to Aunt Lydia on \u003cem>The Handmaid’s Tale\u003c/em> TV series because she’s the “mouthpiece” for the administration \u003c/strong>\u003c/p>\n\u003cp>I was talking about her personality and I think it says a lot about our society that you would immediately think I was talking about her looks rather than her personality. Because I think if it was a man you wouldn’t have jumped to those conclusions. If I was talking about a man you would’ve been like, ‘She’s talking about his abilities,’ but because I was talking about a woman you’re like, ‘She’s talking about her looks.’\u003c/p>\n\u003cp>\u003cstrong>What we didn’t see at the White House Correspondents’ Dinner\u003c/strong>\u003c/p>\n\u003cp>Part of the dinner that wasn’t televised is they were giving out awards and everyone was standing to congratulate the people that were getting awards and [White House press secretary] Sarah [Sanders] was sitting. … CNN reporters got awards. … They came up to accept them and [Sanders] sat the whole time, while we all stood and shook their hands. I would say if this is about celebrating the media, she wasn’t there to celebrate the media.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+Michelle+Wolf+Responds+To+Backlash%3A+%27I%27m+Glad+I+Stuck+To+My+Guns%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>LANGUAGE ADVISORY: This interview contains language some readers may find offensive.\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/607262463/607410231\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few minutes into her \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">performance\u003c/a> at the White House Correspondents’ Dinner Saturday night, comic Michelle Wolf joked that the event organizers should have done more research before booking her. By the end of the set, the organizers may have agreed.\u003c/p>\n\u003cp>Though the dinner is known for its barbed humor, \u003ca href=\"https://www.npr.org/2018/04/29/606834453/comedian-faces-criticism-after-controversial-remarks-at-d-c-gala\">critics complained\u003c/a> that some of Wolf’s jokes were too pointed — particularly those aimed at White House press secretary Sarah Sanders, who was seated on the dais. Wolf, meanwhile, says she made a “conscious effort not to write any jokes about any woman’s looks” into the set.\u003c/p>\n\u003cp>On Sunday, the White House Correspondents’ Association \u003ca href=\"https://twitter.com/whca/status/990773612226412545\">issued a statement\u003c/a> saying:\u003c/p>\n\u003cblockquote>\u003cp>“Last night’s program was meant to offer a unifying message about our common commitment to a vigorous and free press while honoring civility, great reporters and scholarship winners, not to divide people. Unfortunately, the entertainer’s monologue was not in the spirit of that mission.”\u003c/p>\u003c/blockquote>\n\u003cp>But while some journalists have suggested that the dinner should no longer include a guest comic, Wolf insists she wasn’t there to “cater to the room.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A friend of mine who helped me write, he gave me a note before I went on,” she says. The note, she recalls, said: Be true to yourself. Never apologize. Burn it to the ground.\u003c/p>\n\u003cp>Arguably, she did just that: “I wouldn’t change a single word. I’m very happy with what I said, and I’m glad I stuck to my guns.”\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/DDbx1uArVOM'\n title='//www.youtube.com/embed/DDbx1uArVOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what makes the White House Correspondents’ Dinner a “bad room” \u003c/strong>\u003cstrong>for comedy\u003c/strong>\u003c/p>\n\u003cp>It’s a large ballroom. The audience isn’t miked so … the laughs aren’t very audible in general. But it’s also … formal [and] people don’t laugh as much when they’re dressed up. There’s round tables and people are eating or drinking, so by the virtue of a round table, people are partially turned away from you.\u003c/p>\n\u003cp>And it’s televised and there are all these people that may or may not be able to show genuine reactions and so [some audience members are] constantly thinking, ‘I need to react in a way that will come off well on TV.’ … [That laughing would] make them look partisan or make them look like they’re laughing at someone they shouldn’t be laughing at.\u003c/p>\n\u003cp>\u003cstrong>On whether the organizers knew her work \u003c/strong>\u003c/p>\n\u003cp>I think sometimes they look at a woman and they think ‘Oh, she’ll be nice,’ and if you’ve seen any of my comedy you know that I don’t — I’m not. I don’t pull punches. I’m not afraid to talk about things. And I don’t think they expected that from me. I think they still have preconceived notions of how women will present themselves and I don’t fit in that box.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>having more liberty to make fun of women because she’s a woman \u003c/strong>\u003c/p>\n\u003cp>As a woman, I have access to hit women in a way that men might not be able to hit them with jokes. I don’t mean physically hit. But you know, because I’m a woman, I can say things about women, because I know what it’s like to be a woman, if that makes any sense. … I think in general when I talk about women, like in my special when I talked about Hillary [Clinton], I called Hillary a b****, which you later find out is a compliment. But no, I don’t think a man could’ve gotten away with saying that. It would’ve sounded misogynistic.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>her joke that White House press secretary Sarah Sanders’s “\u003c/strong>\u003cstrong>smok\u003c/strong>\u003cstrong>y” eye shadow comes from burning “facts” \u003c/strong>\u003c/p>\n\u003cp>I think people have a lot of preconceived notions about Sarah’s looks and I think a lot of what’s happening is they’re projecting onto this joke. … I think it’s clear that the joke wasn’t about Sarah’s looks, but I don’t think — to me it’s so obvious that I don’t even really need to defend it. I think if you listen to the joke you’ll understand that it’s about the fact that she lies and if it’s taken another way I think you should go back and listen to it again. …\u003c/p>\n\u003cp>If there [are] two people that I actually made fun of their looks on Saturday it was Mitch McConnell and Chris Christie and no one is jumping to their defense. I made fun of Mitch McConnell’s neck and I did a small jab at Chris Christie’s weight and no one is jumping to their defense.\u003c/p>\n\u003cp>\u003cstrong>On comparing Sanders to Aunt Lydia on \u003cem>The Handmaid’s Tale\u003c/em> TV series because she’s the “mouthpiece” for the administration \u003c/strong>\u003c/p>\n\u003cp>I was talking about her personality and I think it says a lot about our society that you would immediately think I was talking about her looks rather than her personality. Because I think if it was a man you wouldn’t have jumped to those conclusions. If I was talking about a man you would’ve been like, ‘She’s talking about his abilities,’ but because I was talking about a woman you’re like, ‘She’s talking about her looks.’\u003c/p>\n\u003cp>\u003cstrong>What we didn’t see at the White House Correspondents’ Dinner\u003c/strong>\u003c/p>\n\u003cp>Part of the dinner that wasn’t televised is they were giving out awards and everyone was standing to congratulate the people that were getting awards and [White House press secretary] Sarah [Sanders] was sitting. … CNN reporters got awards. … They came up to accept them and [Sanders] sat the whole time, while we all stood and shook their hands. I would say if this is about celebrating the media, she wasn’t there to celebrate the media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bill Cosby Found Guilty of All Charges in Sexual Assault Retrial",
"headTitle": "Bill Cosby Found Guilty of All Charges in Sexual Assault Retrial | KQED",
"content": "\u003cp>\u003cb>Updated at 5:34 p.m. ET\u003c/b>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story contains a graphic description of assault.\u003c/em>\u003c/p>\n\u003cp>A Pennsylvania jury has found Bill Cosby guilty of three counts of aggravated indecent assault, setting up the comic legend for the possibility of years of imprisonment for drugging and sexually violating a woman 14 years ago on a couch in his Cheltenham, Pa., home.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989562003323834369\u003c/p>\n\u003cp>The 80-year-old comedian now faces a statutory maximum of 30 years in prison. One Cosby accuser, Lili Bernard, was so overcome with emotion following the verdict’s announcement, she had to be escorted out of court.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989563850528841728\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989562913227706368\u003c/p>\n\u003cp>Later, Bernard joined lawyer Gloria Allred and other Cosby accusers on the courthouse steps, saying the verdict meant that “women are worthy of being believed.”\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989572570172329985\u003c/p>\n\u003cp>In an interview with NPR’s Ari Shapiro, Cosby accuser Lise-Lotte Lublin said that when her husband called with news of the verdict, her body started to shake when she hung up the phone.\u003c/p>\n\u003cp>“My heart was pounding inside of me and my mind was going wild, because at the same time that I am hearing what he’s saying, it doesn’t feel real, it doesn’t resonate as being … true,” Lublin said.\u003c/p>\n\u003cp>Lublin was 23 when she met Cosby in 1989. He invited her to practice improvisation in a hotel suite and she believes that while there, Cosby drugged and assaulted her. She said the assassinations on her character when she came forward with her allegations underscored why victims don’t report these crimes.\u003c/p>\n\u003cp>“The Cosby women had to suffer through all of the hatred and bigotry and racism that was let out because we came forward,” said Lublin, who is now a sixth-grade teacher in Las Vegas. “They talked about us like we were animals. … There’s so many that are still out there. And the #MeToo movement is getting there. It’s helping. I want to see every single statute of limitations eliminated, abolished, for sexual assault. A person needs that time. We need that time.”\u003c/p>\n\u003cp>Prosecutors asked the judge to take Cosby into custody, saying he had a private plane and could fly anywhere in the world, but the request was denied.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989566984403738625\u003c/p>\n\u003cp>Cosby’s attorneys said they were disappointed by the verdict and planned to appeal.\u003c/p>\n\u003cp>“We don’t think Mr. Cosby’s guilty of anything,” Tom Mesereau said. “And the fight is not over.”\u003c/p>\n\u003cp>Fighting back tears, Montgomery County District Attorney Kevin Steele said during a post-trial press conference, that the case helped showed who “the real Bill Cosby was,” and thanked all the people who helped them get a conviction.\u003c/p>\n\u003cp>“When you look at this and look at what Andrea [Constand] has done to stand up and declare what has happened…her actions to help victims stand up and tell what has happened to them…I hope that our actions have shown that people stand up with those victims and all women who are out there standing up …we support them, encourage them to keep it up,” Steele said.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989583380231663616\u003c/p>\n\u003ch3>“I want to see a serial rapist convicted”\u003c/h3>\n\u003cp>Cosby initially faced sexual assault charges in court last June but jurors could not reach a unanimous decision after 52 hours of deliberation. The judge declared it a mistrial.\u003c/p>\n\u003cp>This time around, the seven men and five women on the panel sat in the jury box of the Montgomery County Courthouse and listened to more than two weeks of testimony from 25 witnesses. Some cried on the stand recounting how Cosby attacked them while they were in drug-induced stupors, and others attempted to discredit main accuser Andrea Constand by detailing instances of supposed deceit and inconsistencies. \u003c/p>\n\u003cp>“This case is about trust,” Montgomery County District Attorney Kevin Steele told jurors in his opening remarks. “This case is about betrayal, and that betrayal leading to the sexual assault of a woman named Andrea Constand.” \u003c/p>\n\u003cp>Constand, the only Cosby accuser whose case has triggered criminal charges, took the stand for the prosecution over two days, as she did during the first trial.\u003c/p>\n\u003cp>In addition to Constand, five women who have never before confronted Cosby in a criminal courtroom took the witness stand. They told the jury that the entertainer drugged and molested them in the 1980s, stories that first came to light after prosecutors reopened Cosby’s criminal case in 2015. That led more than 60 women to lodge sexual misconduct allegations against the television icon once known as “America’s Dad.”\u003c/p>\n\u003cp>“You remember, don’t you, Mr. Cosby?” said accuser Chelan Lasha from the stand, locking eyes with Cosby, who has remained largely impassive throughout the trial.\u003c/p>\n\u003cp>“I want to see a serial rapist convicted,” another accuser, Heidi Thomas, told the court, as spectators gasped at the statement.\u003c/p>\n\u003cp>Through it all, jurors had a front-row seat to the lawyerly slugfest that pitted three prosecutors from suburban Philadelphia against a throng defense attorneys led by Los Angeles-based Tom Mesereau, who aggressively depicted Constand as a “con artist.” \u003c/p>\n\u003cp>“You’re going to be saying to yourself in this trial, ‘What does she want from Bill Cosby,'” Mesereau said to jurors during opening statements. “You already know the answer: money, money and lots more money.”\u003c/p>\n\u003cp>To bolster this argument, the defense called star witness Margo Jackson, who used to work with Constand at Temple University. Jackson was banned from testifying during the first trial, but the judge allowed her in this time. Jackson told jurors that Constand once confided in her that she had a plan to frame a wealthy celebrity with a made-up sexual assault claim “to get that money.”\u003c/p>\n\u003cp>Prosecutor Kristen Feden seized on the characterization of Constand as a scheming con artist during closing arguments, saying it was Cosby who deployed his wholesome TV image to gain the trust of women he planned to incapacitate and assault.\u003c/p>\n\u003cp>She strode across the courtroom pointing inches away from Cosby as he sat wide-eyed at the defense table.\u003c/p>\n\u003cp>“The perpetrator of that con is this man!” she yelled. “Sitting right here. This is the man.” \u003c/p>\n\u003cp>When Constand took the witness stand, she told the jury that, one night in January 2004, Cosby gave her three blue pills he called “friends” to relax her. Instead, they rendered her defenseless, lapsing in and out of consciousness. Constand told jurors she was “jolted awake” by the feeling of his fingers in her vagina as she lay on a couch in Cosby’s home.\u003c/p>\n\u003cp>A couple of months later, she told the court, she attempted to confront Cosby about it.\u003c/p>\n\u003cp>“I wanted to know what pills he gave to me, and why he did that to me,” Constand said. “He stumbled on his words. He said, ‘I don’t know what you’re talking about.’ He said, ‘I thought you had an orgasm,’ and I had not. He would not answer my questions.”\u003c/p>\n\u003cp>Constand told the court that enduring two publicity-heavy criminal trials “tore my family apart,” yet when asked by prosecutor Kristen Feden why she agreed to take the stand again, Constand replied, “for justice.”\u003c/p>\n\u003cp>Constand faced withering questions from Mesereau on cross examination, as a part of a multi-pronged defense focused on shaking her credibility and that of the other witnesses. He probed Constand as to why she stayed in touch with Cosby after the incident, portrayed her as a desperate, cash-strapped pyramid scheme participant. Constand was also pressed about the nearly $3.4 million Cosby paid her in a 2006 civil settlement, which was previously confidential.\u003c/p>\n\u003cp>Cosby’s lawyers also suggested to jurors that the incident could not have happened the way she said it did, even hinting that there is a chance Cosby was not in the Philadelphia area around the time Constand said she was assaulted. The defense did not issue an outright denial of the episode at the heart of the alleged crime. Cosby has admitted that he and Constand had sexual contact in his house around 2004, but which he has long maintained it was consensual.\u003c/p>\n\u003cp>Legal observers have called the Cosby retrial a major test of the effects of the #MeToo movement, the wave of allegations of sexual assault lodged against prominent media figures that erupted between Cosby’s first and second trials.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During jury selection, the judge asked hundreds of potential jurors whether their feelings about #MeToo would get in the way of being a fair fact-finder in the Cosby case. Almost none said they were unaware of the cultural movement. Prosecutors never mentioned #MeToo to jurors during trial. But the defense team made an unsubtle attack on it when lawyer Kathleen Bliss told the panel that “when you join a movement based mostly on emotion and anger, you don’t change a damn thing,” adding that “mob rule is not due process.” She compared the dozens of accusations against Cosby to a “witch hunt,” and a “lynching.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WHYY. To see more, visit \u003ca href=\"https://whyy.org\">WHYY\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Found+Guilty+Of+All+Charges+In+Sexual+Assault+Retrial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Updated at 5:34 p.m. ET\u003c/b>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story contains a graphic description of assault.\u003c/em>\u003c/p>\n\u003cp>A Pennsylvania jury has found Bill Cosby guilty of three counts of aggravated indecent assault, setting up the comic legend for the possibility of years of imprisonment for drugging and sexually violating a woman 14 years ago on a couch in his Cheltenham, Pa., home.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an interview with NPR’s Ari Shapiro, Cosby accuser Lise-Lotte Lublin said that when her husband called with news of the verdict, her body started to shake when she hung up the phone.\u003c/p>\n\u003cp>“My heart was pounding inside of me and my mind was going wild, because at the same time that I am hearing what he’s saying, it doesn’t feel real, it doesn’t resonate as being … true,” Lublin said.\u003c/p>\n\u003cp>Lublin was 23 when she met Cosby in 1989. He invited her to practice improvisation in a hotel suite and she believes that while there, Cosby drugged and assaulted her. She said the assassinations on her character when she came forward with her allegations underscored why victims don’t report these crimes.\u003c/p>\n\u003cp>“The Cosby women had to suffer through all of the hatred and bigotry and racism that was let out because we came forward,” said Lublin, who is now a sixth-grade teacher in Las Vegas. “They talked about us like we were animals. … There’s so many that are still out there. And the #MeToo movement is getting there. It’s helping. I want to see every single statute of limitations eliminated, abolished, for sexual assault. A person needs that time. We need that time.”\u003c/p>\n\u003cp>Prosecutors asked the judge to take Cosby into custody, saying he had a private plane and could fly anywhere in the world, but the request was denied.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Cosby’s attorneys said they were disappointed by the verdict and planned to appeal.\u003c/p>\n\u003cp>“We don’t think Mr. Cosby’s guilty of anything,” Tom Mesereau said. “And the fight is not over.”\u003c/p>\n\u003cp>Fighting back tears, Montgomery County District Attorney Kevin Steele said during a post-trial press conference, that the case helped showed who “the real Bill Cosby was,” and thanked all the people who helped them get a conviction.\u003c/p>\n\u003cp>“When you look at this and look at what Andrea [Constand] has done to stand up and declare what has happened…her actions to help victims stand up and tell what has happened to them…I hope that our actions have shown that people stand up with those victims and all women who are out there standing up …we support them, encourage them to keep it up,” Steele said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>“I want to see a serial rapist convicted”\u003c/h3>\n\u003cp>Cosby initially faced sexual assault charges in court last June but jurors could not reach a unanimous decision after 52 hours of deliberation. The judge declared it a mistrial.\u003c/p>\n\u003cp>This time around, the seven men and five women on the panel sat in the jury box of the Montgomery County Courthouse and listened to more than two weeks of testimony from 25 witnesses. Some cried on the stand recounting how Cosby attacked them while they were in drug-induced stupors, and others attempted to discredit main accuser Andrea Constand by detailing instances of supposed deceit and inconsistencies. \u003c/p>\n\u003cp>“This case is about trust,” Montgomery County District Attorney Kevin Steele told jurors in his opening remarks. “This case is about betrayal, and that betrayal leading to the sexual assault of a woman named Andrea Constand.” \u003c/p>\n\u003cp>Constand, the only Cosby accuser whose case has triggered criminal charges, took the stand for the prosecution over two days, as she did during the first trial.\u003c/p>\n\u003cp>In addition to Constand, five women who have never before confronted Cosby in a criminal courtroom took the witness stand. They told the jury that the entertainer drugged and molested them in the 1980s, stories that first came to light after prosecutors reopened Cosby’s criminal case in 2015. That led more than 60 women to lodge sexual misconduct allegations against the television icon once known as “America’s Dad.”\u003c/p>\n\u003cp>“You remember, don’t you, Mr. Cosby?” said accuser Chelan Lasha from the stand, locking eyes with Cosby, who has remained largely impassive throughout the trial.\u003c/p>\n\u003cp>“I want to see a serial rapist convicted,” another accuser, Heidi Thomas, told the court, as spectators gasped at the statement.\u003c/p>\n\u003cp>Through it all, jurors had a front-row seat to the lawyerly slugfest that pitted three prosecutors from suburban Philadelphia against a throng defense attorneys led by Los Angeles-based Tom Mesereau, who aggressively depicted Constand as a “con artist.” \u003c/p>\n\u003cp>“You’re going to be saying to yourself in this trial, ‘What does she want from Bill Cosby,'” Mesereau said to jurors during opening statements. “You already know the answer: money, money and lots more money.”\u003c/p>\n\u003cp>To bolster this argument, the defense called star witness Margo Jackson, who used to work with Constand at Temple University. Jackson was banned from testifying during the first trial, but the judge allowed her in this time. Jackson told jurors that Constand once confided in her that she had a plan to frame a wealthy celebrity with a made-up sexual assault claim “to get that money.”\u003c/p>\n\u003cp>Prosecutor Kristen Feden seized on the characterization of Constand as a scheming con artist during closing arguments, saying it was Cosby who deployed his wholesome TV image to gain the trust of women he planned to incapacitate and assault.\u003c/p>\n\u003cp>She strode across the courtroom pointing inches away from Cosby as he sat wide-eyed at the defense table.\u003c/p>\n\u003cp>“The perpetrator of that con is this man!” she yelled. “Sitting right here. This is the man.” \u003c/p>\n\u003cp>When Constand took the witness stand, she told the jury that, one night in January 2004, Cosby gave her three blue pills he called “friends” to relax her. 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He would not answer my questions.”\u003c/p>\n\u003cp>Constand told the court that enduring two publicity-heavy criminal trials “tore my family apart,” yet when asked by prosecutor Kristen Feden why she agreed to take the stand again, Constand replied, “for justice.”\u003c/p>\n\u003cp>Constand faced withering questions from Mesereau on cross examination, as a part of a multi-pronged defense focused on shaking her credibility and that of the other witnesses. He probed Constand as to why she stayed in touch with Cosby after the incident, portrayed her as a desperate, cash-strapped pyramid scheme participant. Constand was also pressed about the nearly $3.4 million Cosby paid her in a 2006 civil settlement, which was previously confidential.\u003c/p>\n\u003cp>Cosby’s lawyers also suggested to jurors that the incident could not have happened the way she said it did, even hinting that there is a chance Cosby was not in the Philadelphia area around the time Constand said she was assaulted. 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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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