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"content": "\u003cp>Michael Mayer’s \u003cem>The Seagull\u003c/em>, a fluid and faithful reading of the endlessly remounted stage play by Anton Chekhov, opens and closes with what looks like the same scene. The curtain has just gone down on a final act, and we hear clapping as the camera moves in to focus on leading lady Irina (Annette Bening, in superb command as always), flushed and beaming under the adulation she plainly can’t get enough of. Until, that is, someone whispers troubling news in Irina’s ear and rushes her away to — where else? — her lush country estate by a lake, where her sick brother Sorin (Brian Dennehy) has taken a turn for the worse.\u003c/p>\n\u003cp>There’s something about art and life here, and by the end, when the scene repeats with implied but crucial differences, the overlap between the two will get a thorough workout. 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She also cruelly undermines Konstantin, her as-yet-unknown playwright son (a goofily hapless Billy Howle), whose youth provides a constantly unwelcome reminder of her own aging. \u003c/p>\n\u003cp>Locked in neurotic symbiosis with his mother, Konstantin also pines after Nina (Saoirse Ronan), a fair but fickle maiden on loan from another estate. Nursing grand ambitions of her own, Nina sets her sights at Trigorin, who is never one to turn down firm young flesh. Rounding out this lovelorn crew is a terrifically funny, achingly sad Elisabeth Moss as Masha, the snuff-snorting, liquor-swilling estate manager. 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Their hurts and sorrows seem common enough — love not returned, the complicated bond of mothers and sons, paths not taken, paths taken and regretted — and Mayer plays them out in a drifting ebb and flow set against a serenely bucolic landscape belied by the turmoil within each savage breast. \u003c/p>\n\u003cp>On its opening night in Russia in 1896, \u003cem>The Seagull\u003c/em> was all but booed off the stage by bewildered theatergoers schooled to expect upper-register melodrama. Devastated, Chekhov failed to show up for a fresh staging two years later, when audiences awakened to his poignant subtext rose in their seats to applaud the art of a writer then better-known for his short stories than his plays. Not for nothing is Konstantin a misunderstood experimenter with form.\u003c/p>\n\u003cp>Naturalism is second nature to us these days, at least in indie chamber pieces like \u003cem>The Seagull\u003c/em>. 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By the time the opening scene repeats, two years have passed, and what began as everyday misery threatens to deepen into tragedy. Far from sorting them out, \u003cem>The Seagull\u003c/em>, true to its author, turns life into art that’s bold enough to ask, “How shall we live?” and brave enough to answer, “With great difficulty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\u003c/p>\n\u003cp>https://youtu.be/VYOjWnS4cMY\u003c/p>\n\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\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=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Donald Glover's latest release as Childish Gambino was a perfect storm, sparking a cultural conversation and expertly wielding his spotlight.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\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/VYOjWnS4cMY'\n title='//www.youtube.com/embed/VYOjWnS4cMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\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=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\n\u003cp>https://twitter.com/NIODamsterdam/status/996406382583742464\u003c/p>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \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=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \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=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \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=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \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=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Criminal Complaints and Industry Investigations Target Tidal",
"headTitle": "Criminal Complaints and Industry Investigations Target Tidal | KQED",
"content": "\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “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.’ 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\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \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=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\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 last week, Tidal attempted to discredit the Norwegian media outlet, saying: “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.’ 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\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \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=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Actress Margot Kidder, Who Played Lois Lane, Dies at 69",
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"content": "\u003cp>Margot Kidder, who became famous for playing Lois Lane opposite Christopher Reeve in \u003cem>Superman\u003c/em>, has died at her home in Montana. Kidder was 69; her acting career spanned decades, from TV series in the late 1960s to seven films in the past five years.\u003c/p>\n\u003cp>A cause of death has not yet been publicly released for Kidder. Her death was announced by the Franzen-Davis Funeral Home in Livingston, Mont., where she resided. \u003c/p>\n\u003cp>“The actress and activist passed away on Sunday, May 13th, 2018 at her home,” the funeral home said.\u003c/p>\n\u003cp>Margaret Ruth Kidder was born in Canada and honed her acting skills on TV shows such as \u003cem>McQueen\u003c/em>, \u003cem>Nichols\u003c/em>, \u003cem>Banacek \u003c/em>and \u003cem>Mod Squad\u003c/em> before becoming a movie star.\u003c/p>\n\u003cp>After landing a lead role in Brian de Palma’s \u003cem>Sisters \u003c/em>in 1972, Kidder’s film career took off. It hit the stratosphere six years later, when Kidder appeared as Lois Lane in the launching of the \u003cem>Superman \u003c/em>film franchise. She went on to appear in three sequels over the next nine years.\u003c/p>\n\u003cfigure id=\"attachment_13832191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg\" alt=\"Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13832191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016. \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Famous for her smoky voice and for portraying smart, indomitable characters, Kidder also struggled with addiction and bipolar disorder for much of her life. She suffered from a famous breakdown in 1996, when she went missing for several days. When police found her in Glendale, Calif., she was hiding in the bushes behind a house.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Kidder recovered from that incident, she became an advocate for mental health awareness. \u003c/p>\n\u003cp>“I’m not saying it’s all over,” Kidder \u003ca href=\"http://people.com/archive/cover-story-starting-over-vol-46-no-13/\" target=\"_blank\" rel=\"noopener\">told People magazine\u003c/a> after her life derailed in 1996. “I’m saying this is the pattern of my life. In three years I might be having another wig-out. I have no idea. I just have to accept the fact that this is me, or I ain’t gonna make it.”\u003c/p>\n\u003cp>Kidder went to act in dozens of other acting jobs, from recurring roles on TV’s \u003cem>Boston Common \u003c/em>in 1997\u003cem> \u003c/em>to 2009’s \u003cem>Halloween II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For decades, Kidder had lived in a log cabin near Livingston. In addition to promoting mental health issues, she spoke publicly as an anti-war and environmental activist. \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=Actress+Margot+Kidder%2C+Who+Played+Lois+Lane%2C+Dies+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Margot Kidder, who became famous for playing Lois Lane opposite Christopher Reeve in \u003cem>Superman\u003c/em>, has died at her home in Montana. Kidder was 69; her acting career spanned decades, from TV series in the late 1960s to seven films in the past five years.\u003c/p>\n\u003cp>A cause of death has not yet been publicly released for Kidder. Her death was announced by the Franzen-Davis Funeral Home in Livingston, Mont., where she resided. \u003c/p>\n\u003cp>“The actress and activist passed away on Sunday, May 13th, 2018 at her home,” the funeral home said.\u003c/p>\n\u003cp>Margaret Ruth Kidder was born in Canada and honed her acting skills on TV shows such as \u003cem>McQueen\u003c/em>, \u003cem>Nichols\u003c/em>, \u003cem>Banacek \u003c/em>and \u003cem>Mod Squad\u003c/em> before becoming a movie star.\u003c/p>\n\u003cp>After landing a lead role in Brian de Palma’s \u003cem>Sisters \u003c/em>in 1972, Kidder’s film career took off. It hit the stratosphere six years later, when Kidder appeared as Lois Lane in the launching of the \u003cem>Superman \u003c/em>film franchise. She went on to appear in three sequels over the next nine years.\u003c/p>\n\u003cfigure id=\"attachment_13832191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg\" alt=\"Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13832191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016. \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Famous for her smoky voice and for portraying smart, indomitable characters, Kidder also struggled with addiction and bipolar disorder for much of her life. She suffered from a famous breakdown in 1996, when she went missing for several days. When police found her in Glendale, Calif., she was hiding in the bushes behind a house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Kidder recovered from that incident, she became an advocate for mental health awareness. \u003c/p>\n\u003cp>“I’m not saying it’s all over,” Kidder \u003ca href=\"http://people.com/archive/cover-story-starting-over-vol-46-no-13/\" target=\"_blank\" rel=\"noopener\">told People magazine\u003c/a> after her life derailed in 1996. “I’m saying this is the pattern of my life. In three years I might be having another wig-out. I have no idea. I just have to accept the fact that this is me, or I ain’t gonna make it.”\u003c/p>\n\u003cp>Kidder went to act in dozens of other acting jobs, from recurring roles on TV’s \u003cem>Boston Common \u003c/em>in 1997\u003cem> \u003c/em>to 2009’s \u003cem>Halloween II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For decades, Kidder had lived in a log cabin near Livingston. In addition to promoting mental health issues, she spoke publicly as an anti-war and environmental activist. \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=Actress+Margot+Kidder%2C+Who+Played+Lois+Lane%2C+Dies+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Tully,' Charlize Theron And Mackenzie Davis Make A Great (Au) Pair",
"headTitle": "In ‘Tully,’ Charlize Theron And Mackenzie Davis Make A Great (Au) Pair | KQED",
"content": "\u003cp>When it comes to undercutting her glam loveliness for the sake of a meaty role, Charlize Theron is the champ of champs. \u003cem>Meaty\u003c/em>‘s the word: Having packed on the pounds and several tons of vicious attitude to play serial killer Aileen Wuornos in 2003’s \u003cem>Monster\u003c/em> and shed a (virtual) limb or two for 2015’s \u003cem>Mad Max: Fury Road\u003c/em>, Theron comes to us in Jason Reitman’s \u003cem>Tully\u003c/em> lugging a baby bump so massive, you can barely see her bringing up the fleshy rear.\u003c/p>\n\u003cp>Lest we doubt her commitment to looking like most women do shortly after giving birth, there’s a candid tracking shot from behind of her character — third-time mom Marlo — trying to outrun a lissome young athlete in the park. Like the rest of this maddeningly uneven movie, the scene is a little bit funny, a bigger bit cruel, and with it all, oddly moving.\u003c/p>\n\u003cp>https://youtu.be/e5D3O4yCmCg\u003c/p>\n\u003cp>Luckily, with Theron it’s never just about the prosthetics or the visual gags. For her Marlo, it’s all in the eyes, bleary with fatigue and the stress that comes with being the mother of two small children (one of them with special needs, though Marlo’s too exhausted to see anything but the special) and trying to cope with the third, who seems never to stop crying.\u003c/p>\n\u003cp>On schedule, up pops the obligatory set piece where Marlo throws a fit in a school principal’s office. Yet Theron plays even this scenario with the slow deliberation of a woman quietly nearing the end of her rope. Marlo’s steady but preoccupied husband (Ron Livingston) isn’t much help, and though at first she resists when her smug, well-heeled brother (Mark Duplass) presents her with a night nanny, she succumbs when the baby’s arrival finally grinds her to a spaced-out standstill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter Tully (a very good Mackenzie Davis), a slightly manic yet unflappable pixie girl who also happens to be the fulfillment of every overwhelmed parent’s compensatory dreams. Without turning a hair Tully cooks, cleans, gets baby to breastfeed, bakes fluorescent cupcakes for the kids’ entire class. Over time she also becomes Marlo’s confidante; the two become besties; the new mother blooms; the household grows a sly touch of eros. Until, suddenly, there comes a mischievous twist that steers this most realist of dramedies clear into fresh genre waters. And if, like me, you didn’t see the denouement coming, you may say to yourself why, \u003cem>of course\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Tully\u003c/em> is written by Diablo Cody, who also wrote the screenplays for Reitman’s smash hit \u003cem>Juno\u003c/em> and for his bracing \u003cem>Young Adult\u003c/em>, in which Theron starred as a pushing-forty narcissist belatedly trying to get her love-life on track. Cody and Reitman make a marketable team, smoothly packaging topicality in a skin of buoyant mischief that manages to straddle the glib and the true. At her most complacent, Cody can be a master of the breezy put-down, and here she gets off a few volleys of cheap shots at the expense of bougie-hipster parents — not like \u003cem>us\u003c/em>, no, never — who worry about trace elements of caffeine in their decaf, and whose nannies have graduate degrees in early childhood development.\u003c/p>\n\u003cp>Does it matter that Cody, who wrote \u003cem>Tully\u003c/em> after hiring a night nanny to look after her third baby, and Theron, who has two adopted children of her own, can both afford all the help they need? In the sense that Marlo, who both wants and needs to get back to her job in human resources, is portrayed as a 99-percenter with 1-percenter problems, it’s likely that for most moviegoers, \u003cem>Tully\u003c/em> will end up as a wishful fantasy on more levels than one.\u003c/p>\n\u003cp>What saves the movie from unbearable smugness is the lovely duet of Theron and Davis playing their deepening partnership without either posturing or a disclaiming wink at the audience. So much so that we can believe in Tully, a mere stripling with troubles of her own, serenely guiding a woman many years her senior through the black comedy and the sludge of early motherhood, through her dreams of regressive escape, and on into the grownup zone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>Juno\u003c/em> was about the ramifications of getting pregnant way too young, \u003cem>Tully\u003c/em> worries that middle age isn’t much of a help when you’re trying to juggle multiple tasks and roles within a raging-hormonal body you barely recognize. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to undercutting her glam loveliness for the sake of a meaty role, Charlize Theron is the champ of champs. \u003cem>Meaty\u003c/em>‘s the word: Having packed on the pounds and several tons of vicious attitude to play serial killer Aileen Wuornos in 2003’s \u003cem>Monster\u003c/em> and shed a (virtual) limb or two for 2015’s \u003cem>Mad Max: Fury Road\u003c/em>, Theron comes to us in Jason Reitman’s \u003cem>Tully\u003c/em> lugging a baby bump so massive, you can barely see her bringing up the fleshy rear.\u003c/p>\n\u003cp>Lest we doubt her commitment to looking like most women do shortly after giving birth, there’s a candid tracking shot from behind of her character — third-time mom Marlo — trying to outrun a lissome young athlete in the park. Like the rest of this maddeningly uneven movie, the scene is a little bit funny, a bigger bit cruel, and with it all, oddly moving.\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/e5D3O4yCmCg'\n title='//www.youtube.com/embed/e5D3O4yCmCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Luckily, with Theron it’s never just about the prosthetics or the visual gags. For her Marlo, it’s all in the eyes, bleary with fatigue and the stress that comes with being the mother of two small children (one of them with special needs, though Marlo’s too exhausted to see anything but the special) and trying to cope with the third, who seems never to stop crying.\u003c/p>\n\u003cp>On schedule, up pops the obligatory set piece where Marlo throws a fit in a school principal’s office. Yet Theron plays even this scenario with the slow deliberation of a woman quietly nearing the end of her rope. Marlo’s steady but preoccupied husband (Ron Livingston) isn’t much help, and though at first she resists when her smug, well-heeled brother (Mark Duplass) presents her with a night nanny, she succumbs when the baby’s arrival finally grinds her to a spaced-out standstill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Tully (a very good Mackenzie Davis), a slightly manic yet unflappable pixie girl who also happens to be the fulfillment of every overwhelmed parent’s compensatory dreams. Without turning a hair Tully cooks, cleans, gets baby to breastfeed, bakes fluorescent cupcakes for the kids’ entire class. Over time she also becomes Marlo’s confidante; the two become besties; the new mother blooms; the household grows a sly touch of eros. Until, suddenly, there comes a mischievous twist that steers this most realist of dramedies clear into fresh genre waters. And if, like me, you didn’t see the denouement coming, you may say to yourself why, \u003cem>of course\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Tully\u003c/em> is written by Diablo Cody, who also wrote the screenplays for Reitman’s smash hit \u003cem>Juno\u003c/em> and for his bracing \u003cem>Young Adult\u003c/em>, in which Theron starred as a pushing-forty narcissist belatedly trying to get her love-life on track. Cody and Reitman make a marketable team, smoothly packaging topicality in a skin of buoyant mischief that manages to straddle the glib and the true. At her most complacent, Cody can be a master of the breezy put-down, and here she gets off a few volleys of cheap shots at the expense of bougie-hipster parents — not like \u003cem>us\u003c/em>, no, never — who worry about trace elements of caffeine in their decaf, and whose nannies have graduate degrees in early childhood development.\u003c/p>\n\u003cp>Does it matter that Cody, who wrote \u003cem>Tully\u003c/em> after hiring a night nanny to look after her third baby, and Theron, who has two adopted children of her own, can both afford all the help they need? In the sense that Marlo, who both wants and needs to get back to her job in human resources, is portrayed as a 99-percenter with 1-percenter problems, it’s likely that for most moviegoers, \u003cem>Tully\u003c/em> will end up as a wishful fantasy on more levels than one.\u003c/p>\n\u003cp>What saves the movie from unbearable smugness is the lovely duet of Theron and Davis playing their deepening partnership without either posturing or a disclaiming wink at the audience. So much so that we can believe in Tully, a mere stripling with troubles of her own, serenely guiding a woman many years her senior through the black comedy and the sludge of early motherhood, through her dreams of regressive escape, and on into the grownup zone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>Juno\u003c/em> was about the ramifications of getting pregnant way too young, \u003cem>Tully\u003c/em> worries that middle age isn’t much of a help when you’re trying to juggle multiple tasks and roles within a raging-hormonal body you barely recognize. If \u003cem>Young Adult\u003c/em> insisted that an overgrown child stuck in eternal arrested development doesn’t deserve an upbeat ending, \u003cem>Tully\u003c/em> serenely suggests that fulfillment is about the repetition of dreary routine made bearable by the love of others, and the love you bear for them. \u003cem>Tully\u003c/em> may be rounding out a trilogy, but I suspect that Reitman and Cody are re-upping as we speak for \u003cem>What to Expect When You’re Re-Feathering the Empty Nest\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=In+%27Tully%2C%27+Charlize+Theron+And+Mackenzie+Davis+Make+A+Great+%28Au%29+Pair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé",
"headTitle": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé | KQED",
"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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"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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"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>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "Hungarian Metal, Israeli Pop, Dancing Robots: It Must Be Time for Eurovision | KQED",
"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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"excerpt": "As the comedian awaits sentencing for a conviction for aggravated indecent assault, the prestigious arts institution rescinded its Honors award and Mark Twain humor prize.",
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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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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "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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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"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",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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",
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"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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},
"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",
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