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Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A pair of articles published on Friday by \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>include allegations of sexual and physical abuse from three women who were all teenagers when they met the singer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In An Isolated Community, Questions Of Faith And 'Disobedience'",
"headTitle": "In An Isolated Community, Questions Of Faith And ‘Disobedience’ | KQED",
"content": "\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\u003c/p>\n\u003cp>https://youtu.be/HEVonh8bjC0\u003c/p>\n\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HEVonh8bjC0'\n title='//www.youtube.com/embed/HEVonh8bjC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "John 'Jab'o' Starks, Classic James Brown Drummer, Dead at 79",
"headTitle": "John ‘Jab’o’ Starks, Classic James Brown Drummer, Dead at 79 | KQED",
"content": "\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The company behind the iconic Gibson guitars — whose instruments have been played by Les Paul, B.B. King and Jimmy Page, among many others — filed for Chapter 11 bankruptcy protection in Delaware. The Nashville, Tenn.-based corporation’s current properties also include Baldwin Piano, Gibson Pro Audio and Wurlitzer, a company once famous for its organs but whose brand name Gibson now uses only for manufacturing jukeboxes.\u003c/p>\n\u003cp>As NPR has \u003ca href=\"https://www.npr.org/2015/09/10/439085886/the-pains-and-salvation-of-chapter-11-bankruptcy\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> in the past, filing for Chapter 11 protection does not mean that a company is doomed to fail; instead, “it’s a way for companies that can’t pay their bills to not die.”\u003c/p>\n\u003cp>The petition, filed on Tuesday, notes that the company currently has up to $500 million in debt and will focus its operations on its musical instruments business, “unburdened by the challenges experienced by [the company’s] separate, primarily non-U.S., consumer electronics business.” That business includes the brands KRK, Cerwin Vega and Stanton, whose lines include studio monitors, headphones and turntables. Gibson also currently holds a majority equity interest in TEAC, a Japanese home audio electronics company.\u003c/p>\n\u003cp>Gibson’s turnaround plans include giving some of the company’s lenders equity ownership, while its lenders have agreed to an operating loan of up to $135 million to keep the company afloat.\u003c/p>\n\u003cp>The company sells over 170,000 guitars annually in more than 80 countries and says that it sells over 40 percent of all electric guitars costing more than $2,000. It operates guitar-making factories in Nashville and Memphis, Tenn., and Bozeman, Mont. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gibson+Guitars+Files+For+Bankruptcy+Protection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The company behind the iconic Gibson guitars — whose instruments have been played by Les Paul, B.B. King and Jimmy Page, among many others — filed for Chapter 11 bankruptcy protection in Delaware. The Nashville, Tenn.-based corporation’s current properties also include Baldwin Piano, Gibson Pro Audio and Wurlitzer, a company once famous for its organs but whose brand name Gibson now uses only for manufacturing jukeboxes.\u003c/p>\n\u003cp>As NPR has \u003ca href=\"https://www.npr.org/2015/09/10/439085886/the-pains-and-salvation-of-chapter-11-bankruptcy\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> in the past, filing for Chapter 11 protection does not mean that a company is doomed to fail; instead, “it’s a way for companies that can’t pay their bills to not die.”\u003c/p>\n\u003cp>The petition, filed on Tuesday, notes that the company currently has up to $500 million in debt and will focus its operations on its musical instruments business, “unburdened by the challenges experienced by [the company’s] separate, primarily non-U.S., consumer electronics business.” That business includes the brands KRK, Cerwin Vega and Stanton, whose lines include studio monitors, headphones and turntables. Gibson also currently holds a majority equity interest in TEAC, a Japanese home audio electronics company.\u003c/p>\n\u003cp>Gibson’s turnaround plans include giving some of the company’s lenders equity ownership, while its lenders have agreed to an operating loan of up to $135 million to keep the company afloat.\u003c/p>\n\u003cp>The company sells over 170,000 guitars annually in more than 80 countries and says that it sells over 40 percent of all electric guitars costing more than $2,000. It operates guitar-making factories in Nashville and Memphis, Tenn., and Bozeman, Mont. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gibson+Guitars+Files+For+Bankruptcy+Protection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>LANGUAGE ADVISORY: This interview contains language some readers may find offensive.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/607262463/607410231\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few minutes into her \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">performance\u003c/a> at the White House Correspondents’ Dinner Saturday night, comic Michelle Wolf joked that the event organizers should have done more research before booking her. By the end of the set, the organizers may have agreed.\u003c/p>\n\u003cp>Though the dinner is known for its barbed humor, \u003ca href=\"https://www.npr.org/2018/04/29/606834453/comedian-faces-criticism-after-controversial-remarks-at-d-c-gala\">critics complained\u003c/a> that some of Wolf’s jokes were too pointed — particularly those aimed at White House press secretary Sarah Sanders, who was seated on the dais. Wolf, meanwhile, says she made a “conscious effort not to write any jokes about any woman’s looks” into the set.\u003c/p>\n\u003cp>On Sunday, the White House Correspondents’ Association \u003ca href=\"https://twitter.com/whca/status/990773612226412545\">issued a statement\u003c/a> saying:\u003c/p>\n\u003cblockquote>\u003cp>“Last night’s program was meant to offer a unifying message about our common commitment to a vigorous and free press while honoring civility, great reporters and scholarship winners, not to divide people. Unfortunately, the entertainer’s monologue was not in the spirit of that mission.”\u003c/p>\u003c/blockquote>\n\u003cp>But while some journalists have suggested that the dinner should no longer include a guest comic, Wolf insists she wasn’t there to “cater to the room.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A friend of mine who helped me write, he gave me a note before I went on,” she says. The note, she recalls, said: Be true to yourself. Never apologize. Burn it to the ground.\u003c/p>\n\u003cp>Arguably, she did just that: “I wouldn’t change a single word. I’m very happy with what I said, and I’m glad I stuck to my guns.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DDbx1uArVOM\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what makes the White House Correspondents’ Dinner a “bad room” \u003c/strong>\u003cstrong>for comedy\u003c/strong>\u003c/p>\n\u003cp>It’s a large ballroom. The audience isn’t miked so … the laughs aren’t very audible in general. But it’s also … formal [and] people don’t laugh as much when they’re dressed up. There’s round tables and people are eating or drinking, so by the virtue of a round table, people are partially turned away from you.\u003c/p>\n\u003cp>And it’s televised and there are all these people that may or may not be able to show genuine reactions and so [some audience members are] constantly thinking, ‘I need to react in a way that will come off well on TV.’ … [That laughing would] make them look partisan or make them look like they’re laughing at someone they shouldn’t be laughing at.\u003c/p>\n\u003cp>\u003cstrong>On whether the organizers knew her work \u003c/strong>\u003c/p>\n\u003cp>I think sometimes they look at a woman and they think ‘Oh, she’ll be nice,’ and if you’ve seen any of my comedy you know that I don’t — I’m not. I don’t pull punches. I’m not afraid to talk about things. And I don’t think they expected that from me. I think they still have preconceived notions of how women will present themselves and I don’t fit in that box.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>having more liberty to make fun of women because she’s a woman \u003c/strong>\u003c/p>\n\u003cp>As a woman, I have access to hit women in a way that men might not be able to hit them with jokes. I don’t mean physically hit. But you know, because I’m a woman, I can say things about women, because I know what it’s like to be a woman, if that makes any sense. … I think in general when I talk about women, like in my special when I talked about Hillary [Clinton], I called Hillary a b****, which you later find out is a compliment. But no, I don’t think a man could’ve gotten away with saying that. It would’ve sounded misogynistic.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>her joke that White House press secretary Sarah Sanders’s “\u003c/strong>\u003cstrong>smok\u003c/strong>\u003cstrong>y” eye shadow comes from burning “facts” \u003c/strong>\u003c/p>\n\u003cp>I think people have a lot of preconceived notions about Sarah’s looks and I think a lot of what’s happening is they’re projecting onto this joke. … I think it’s clear that the joke wasn’t about Sarah’s looks, but I don’t think — to me it’s so obvious that I don’t even really need to defend it. I think if you listen to the joke you’ll understand that it’s about the fact that she lies and if it’s taken another way I think you should go back and listen to it again. …\u003c/p>\n\u003cp>If there [are] two people that I actually made fun of their looks on Saturday it was Mitch McConnell and Chris Christie and no one is jumping to their defense. I made fun of Mitch McConnell’s neck and I did a small jab at Chris Christie’s weight and no one is jumping to their defense.\u003c/p>\n\u003cp>\u003cstrong>On comparing Sanders to Aunt Lydia on \u003cem>The Handmaid’s Tale\u003c/em> TV series because she’s the “mouthpiece” for the administration \u003c/strong>\u003c/p>\n\u003cp>I was talking about her personality and I think it says a lot about our society that you would immediately think I was talking about her looks rather than her personality. Because I think if it was a man you wouldn’t have jumped to those conclusions. If I was talking about a man you would’ve been like, ‘She’s talking about his abilities,’ but because I was talking about a woman you’re like, ‘She’s talking about her looks.’\u003c/p>\n\u003cp>\u003cstrong>What we didn’t see at the White House Correspondents’ Dinner\u003c/strong>\u003c/p>\n\u003cp>Part of the dinner that wasn’t televised is they were giving out awards and everyone was standing to congratulate the people that were getting awards and [White House press secretary] Sarah [Sanders] was sitting. … CNN reporters got awards. … They came up to accept them and [Sanders] sat the whole time, while we all stood and shook their hands. I would say if this is about celebrating the media, she wasn’t there to celebrate the media.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+Michelle+Wolf+Responds+To+Backlash%3A+%27I%27m+Glad+I+Stuck+To+My+Guns%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>LANGUAGE ADVISORY: This interview contains language some readers may find offensive.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/607262463/607410231\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few minutes into her \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">performance\u003c/a> at the White House Correspondents’ Dinner Saturday night, comic Michelle Wolf joked that the event organizers should have done more research before booking her. By the end of the set, the organizers may have agreed.\u003c/p>\n\u003cp>Though the dinner is known for its barbed humor, \u003ca href=\"https://www.npr.org/2018/04/29/606834453/comedian-faces-criticism-after-controversial-remarks-at-d-c-gala\">critics complained\u003c/a> that some of Wolf’s jokes were too pointed — particularly those aimed at White House press secretary Sarah Sanders, who was seated on the dais. Wolf, meanwhile, says she made a “conscious effort not to write any jokes about any woman’s looks” into the set.\u003c/p>\n\u003cp>On Sunday, the White House Correspondents’ Association \u003ca href=\"https://twitter.com/whca/status/990773612226412545\">issued a statement\u003c/a> saying:\u003c/p>\n\u003cblockquote>\u003cp>“Last night’s program was meant to offer a unifying message about our common commitment to a vigorous and free press while honoring civility, great reporters and scholarship winners, not to divide people. Unfortunately, the entertainer’s monologue was not in the spirit of that mission.”\u003c/p>\u003c/blockquote>\n\u003cp>But while some journalists have suggested that the dinner should no longer include a guest comic, Wolf insists she wasn’t there to “cater to the room.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A friend of mine who helped me write, he gave me a note before I went on,” she says. The note, she recalls, said: Be true to yourself. Never apologize. Burn it to the ground.\u003c/p>\n\u003cp>Arguably, she did just that: “I wouldn’t change a single word. I’m very happy with what I said, and I’m glad I stuck to my guns.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DDbx1uArVOM'\n title='//www.youtube.com/embed/DDbx1uArVOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what makes the White House Correspondents’ Dinner a “bad room” \u003c/strong>\u003cstrong>for comedy\u003c/strong>\u003c/p>\n\u003cp>It’s a large ballroom. The audience isn’t miked so … the laughs aren’t very audible in general. But it’s also … formal [and] people don’t laugh as much when they’re dressed up. There’s round tables and people are eating or drinking, so by the virtue of a round table, people are partially turned away from you.\u003c/p>\n\u003cp>And it’s televised and there are all these people that may or may not be able to show genuine reactions and so [some audience members are] constantly thinking, ‘I need to react in a way that will come off well on TV.’ … [That laughing would] make them look partisan or make them look like they’re laughing at someone they shouldn’t be laughing at.\u003c/p>\n\u003cp>\u003cstrong>On whether the organizers knew her work \u003c/strong>\u003c/p>\n\u003cp>I think sometimes they look at a woman and they think ‘Oh, she’ll be nice,’ and if you’ve seen any of my comedy you know that I don’t — I’m not. I don’t pull punches. I’m not afraid to talk about things. And I don’t think they expected that from me. I think they still have preconceived notions of how women will present themselves and I don’t fit in that box.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>having more liberty to make fun of women because she’s a woman \u003c/strong>\u003c/p>\n\u003cp>As a woman, I have access to hit women in a way that men might not be able to hit them with jokes. I don’t mean physically hit. But you know, because I’m a woman, I can say things about women, because I know what it’s like to be a woman, if that makes any sense. … I think in general when I talk about women, like in my special when I talked about Hillary [Clinton], I called Hillary a b****, which you later find out is a compliment. But no, I don’t think a man could’ve gotten away with saying that. It would’ve sounded misogynistic.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>her joke that White House press secretary Sarah Sanders’s “\u003c/strong>\u003cstrong>smok\u003c/strong>\u003cstrong>y” eye shadow comes from burning “facts” \u003c/strong>\u003c/p>\n\u003cp>I think people have a lot of preconceived notions about Sarah’s looks and I think a lot of what’s happening is they’re projecting onto this joke. … I think it’s clear that the joke wasn’t about Sarah’s looks, but I don’t think — to me it’s so obvious that I don’t even really need to defend it. I think if you listen to the joke you’ll understand that it’s about the fact that she lies and if it’s taken another way I think you should go back and listen to it again. …\u003c/p>\n\u003cp>If there [are] two people that I actually made fun of their looks on Saturday it was Mitch McConnell and Chris Christie and no one is jumping to their defense. I made fun of Mitch McConnell’s neck and I did a small jab at Chris Christie’s weight and no one is jumping to their defense.\u003c/p>\n\u003cp>\u003cstrong>On comparing Sanders to Aunt Lydia on \u003cem>The Handmaid’s Tale\u003c/em> TV series because she’s the “mouthpiece” for the administration \u003c/strong>\u003c/p>\n\u003cp>I was talking about her personality and I think it says a lot about our society that you would immediately think I was talking about her looks rather than her personality. Because I think if it was a man you wouldn’t have jumped to those conclusions. If I was talking about a man you would’ve been like, ‘She’s talking about his abilities,’ but because I was talking about a woman you’re like, ‘She’s talking about her looks.’\u003c/p>\n\u003cp>\u003cstrong>What we didn’t see at the White House Correspondents’ Dinner\u003c/strong>\u003c/p>\n\u003cp>Part of the dinner that wasn’t televised is they were giving out awards and everyone was standing to congratulate the people that were getting awards and [White House press secretary] Sarah [Sanders] was sitting. … CNN reporters got awards. … They came up to accept them and [Sanders] sat the whole time, while we all stood and shook their hands. I would say if this is about celebrating the media, she wasn’t there to celebrate the media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bill Cosby Found Guilty of All Charges in Sexual Assault Retrial",
"headTitle": "Bill Cosby Found Guilty of All Charges in Sexual Assault Retrial | KQED",
"content": "\u003cp>\u003cb>Updated at 5:34 p.m. ET\u003c/b>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story contains a graphic description of assault.\u003c/em>\u003c/p>\n\u003cp>A Pennsylvania jury has found Bill Cosby guilty of three counts of aggravated indecent assault, setting up the comic legend for the possibility of years of imprisonment for drugging and sexually violating a woman 14 years ago on a couch in his Cheltenham, Pa., home.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989562003323834369\u003c/p>\n\u003cp>The 80-year-old comedian now faces a statutory maximum of 30 years in prison. One Cosby accuser, Lili Bernard, was so overcome with emotion following the verdict’s announcement, she had to be escorted out of court.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989563850528841728\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989562913227706368\u003c/p>\n\u003cp>Later, Bernard joined lawyer Gloria Allred and other Cosby accusers on the courthouse steps, saying the verdict meant that “women are worthy of being believed.”\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989572570172329985\u003c/p>\n\u003cp>In an interview with NPR’s Ari Shapiro, Cosby accuser Lise-Lotte Lublin said that when her husband called with news of the verdict, her body started to shake when she hung up the phone.\u003c/p>\n\u003cp>“My heart was pounding inside of me and my mind was going wild, because at the same time that I am hearing what he’s saying, it doesn’t feel real, it doesn’t resonate as being … true,” Lublin said.\u003c/p>\n\u003cp>Lublin was 23 when she met Cosby in 1989. He invited her to practice improvisation in a hotel suite and she believes that while there, Cosby drugged and assaulted her. She said the assassinations on her character when she came forward with her allegations underscored why victims don’t report these crimes.\u003c/p>\n\u003cp>“The Cosby women had to suffer through all of the hatred and bigotry and racism that was let out because we came forward,” said Lublin, who is now a sixth-grade teacher in Las Vegas. “They talked about us like we were animals. … There’s so many that are still out there. And the #MeToo movement is getting there. It’s helping. I want to see every single statute of limitations eliminated, abolished, for sexual assault. A person needs that time. We need that time.”\u003c/p>\n\u003cp>Prosecutors asked the judge to take Cosby into custody, saying he had a private plane and could fly anywhere in the world, but the request was denied.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989566984403738625\u003c/p>\n\u003cp>Cosby’s attorneys said they were disappointed by the verdict and planned to appeal.\u003c/p>\n\u003cp>“We don’t think Mr. Cosby’s guilty of anything,” Tom Mesereau said. “And the fight is not over.”\u003c/p>\n\u003cp>Fighting back tears, Montgomery County District Attorney Kevin Steele said during a post-trial press conference, that the case helped showed who “the real Bill Cosby was,” and thanked all the people who helped them get a conviction.\u003c/p>\n\u003cp>“When you look at this and look at what Andrea [Constand] has done to stand up and declare what has happened…her actions to help victims stand up and tell what has happened to them…I hope that our actions have shown that people stand up with those victims and all women who are out there standing up …we support them, encourage them to keep it up,” Steele said.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989583380231663616\u003c/p>\n\u003ch3>“I want to see a serial rapist convicted”\u003c/h3>\n\u003cp>Cosby initially faced sexual assault charges in court last June but jurors could not reach a unanimous decision after 52 hours of deliberation. The judge declared it a mistrial.\u003c/p>\n\u003cp>This time around, the seven men and five women on the panel sat in the jury box of the Montgomery County Courthouse and listened to more than two weeks of testimony from 25 witnesses. Some cried on the stand recounting how Cosby attacked them while they were in drug-induced stupors, and others attempted to discredit main accuser Andrea Constand by detailing instances of supposed deceit and inconsistencies. \u003c/p>\n\u003cp>“This case is about trust,” Montgomery County District Attorney Kevin Steele told jurors in his opening remarks. “This case is about betrayal, and that betrayal leading to the sexual assault of a woman named Andrea Constand.” \u003c/p>\n\u003cp>Constand, the only Cosby accuser whose case has triggered criminal charges, took the stand for the prosecution over two days, as she did during the first trial.\u003c/p>\n\u003cp>In addition to Constand, five women who have never before confronted Cosby in a criminal courtroom took the witness stand. They told the jury that the entertainer drugged and molested them in the 1980s, stories that first came to light after prosecutors reopened Cosby’s criminal case in 2015. That led more than 60 women to lodge sexual misconduct allegations against the television icon once known as “America’s Dad.”\u003c/p>\n\u003cp>“You remember, don’t you, Mr. Cosby?” said accuser Chelan Lasha from the stand, locking eyes with Cosby, who has remained largely impassive throughout the trial.\u003c/p>\n\u003cp>“I want to see a serial rapist convicted,” another accuser, Heidi Thomas, told the court, as spectators gasped at the statement.\u003c/p>\n\u003cp>Through it all, jurors had a front-row seat to the lawyerly slugfest that pitted three prosecutors from suburban Philadelphia against a throng defense attorneys led by Los Angeles-based Tom Mesereau, who aggressively depicted Constand as a “con artist.” \u003c/p>\n\u003cp>“You’re going to be saying to yourself in this trial, ‘What does she want from Bill Cosby,'” Mesereau said to jurors during opening statements. “You already know the answer: money, money and lots more money.”\u003c/p>\n\u003cp>To bolster this argument, the defense called star witness Margo Jackson, who used to work with Constand at Temple University. Jackson was banned from testifying during the first trial, but the judge allowed her in this time. Jackson told jurors that Constand once confided in her that she had a plan to frame a wealthy celebrity with a made-up sexual assault claim “to get that money.”\u003c/p>\n\u003cp>Prosecutor Kristen Feden seized on the characterization of Constand as a scheming con artist during closing arguments, saying it was Cosby who deployed his wholesome TV image to gain the trust of women he planned to incapacitate and assault.\u003c/p>\n\u003cp>She strode across the courtroom pointing inches away from Cosby as he sat wide-eyed at the defense table.\u003c/p>\n\u003cp>“The perpetrator of that con is this man!” she yelled. “Sitting right here. This is the man.” \u003c/p>\n\u003cp>When Constand took the witness stand, she told the jury that, one night in January 2004, Cosby gave her three blue pills he called “friends” to relax her. Instead, they rendered her defenseless, lapsing in and out of consciousness. Constand told jurors she was “jolted awake” by the feeling of his fingers in her vagina as she lay on a couch in Cosby’s home.\u003c/p>\n\u003cp>A couple of months later, she told the court, she attempted to confront Cosby about it.\u003c/p>\n\u003cp>“I wanted to know what pills he gave to me, and why he did that to me,” Constand said. “He stumbled on his words. He said, ‘I don’t know what you’re talking about.’ He said, ‘I thought you had an orgasm,’ and I had not. He would not answer my questions.”\u003c/p>\n\u003cp>Constand told the court that enduring two publicity-heavy criminal trials “tore my family apart,” yet when asked by prosecutor Kristen Feden why she agreed to take the stand again, Constand replied, “for justice.”\u003c/p>\n\u003cp>Constand faced withering questions from Mesereau on cross examination, as a part of a multi-pronged defense focused on shaking her credibility and that of the other witnesses. He probed Constand as to why she stayed in touch with Cosby after the incident, portrayed her as a desperate, cash-strapped pyramid scheme participant. Constand was also pressed about the nearly $3.4 million Cosby paid her in a 2006 civil settlement, which was previously confidential.\u003c/p>\n\u003cp>Cosby’s lawyers also suggested to jurors that the incident could not have happened the way she said it did, even hinting that there is a chance Cosby was not in the Philadelphia area around the time Constand said she was assaulted. The defense did not issue an outright denial of the episode at the heart of the alleged crime. Cosby has admitted that he and Constand had sexual contact in his house around 2004, but which he has long maintained it was consensual.\u003c/p>\n\u003cp>Legal observers have called the Cosby retrial a major test of the effects of the #MeToo movement, the wave of allegations of sexual assault lodged against prominent media figures that erupted between Cosby’s first and second trials.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During jury selection, the judge asked hundreds of potential jurors whether their feelings about #MeToo would get in the way of being a fair fact-finder in the Cosby case. Almost none said they were unaware of the cultural movement. Prosecutors never mentioned #MeToo to jurors during trial. But the defense team made an unsubtle attack on it when lawyer Kathleen Bliss told the panel that “when you join a movement based mostly on emotion and anger, you don’t change a damn thing,” adding that “mob rule is not due process.” She compared the dozens of accusations against Cosby to a “witch hunt,” and a “lynching.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WHYY. To see more, visit \u003ca href=\"https://whyy.org\">WHYY\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Found+Guilty+Of+All+Charges+In+Sexual+Assault+Retrial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Updated at 5:34 p.m. ET\u003c/b>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story contains a graphic description of assault.\u003c/em>\u003c/p>\n\u003cp>A Pennsylvania jury has found Bill Cosby guilty of three counts of aggravated indecent assault, setting up the comic legend for the possibility of years of imprisonment for drugging and sexually violating a woman 14 years ago on a couch in his Cheltenham, Pa., home.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an interview with NPR’s Ari Shapiro, Cosby accuser Lise-Lotte Lublin said that when her husband called with news of the verdict, her body started to shake when she hung up the phone.\u003c/p>\n\u003cp>“My heart was pounding inside of me and my mind was going wild, because at the same time that I am hearing what he’s saying, it doesn’t feel real, it doesn’t resonate as being … true,” Lublin said.\u003c/p>\n\u003cp>Lublin was 23 when she met Cosby in 1989. He invited her to practice improvisation in a hotel suite and she believes that while there, Cosby drugged and assaulted her. She said the assassinations on her character when she came forward with her allegations underscored why victims don’t report these crimes.\u003c/p>\n\u003cp>“The Cosby women had to suffer through all of the hatred and bigotry and racism that was let out because we came forward,” said Lublin, who is now a sixth-grade teacher in Las Vegas. “They talked about us like we were animals. … There’s so many that are still out there. And the #MeToo movement is getting there. It’s helping. I want to see every single statute of limitations eliminated, abolished, for sexual assault. A person needs that time. We need that time.”\u003c/p>\n\u003cp>Prosecutors asked the judge to take Cosby into custody, saying he had a private plane and could fly anywhere in the world, but the request was denied.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Cosby’s attorneys said they were disappointed by the verdict and planned to appeal.\u003c/p>\n\u003cp>“We don’t think Mr. Cosby’s guilty of anything,” Tom Mesereau said. “And the fight is not over.”\u003c/p>\n\u003cp>Fighting back tears, Montgomery County District Attorney Kevin Steele said during a post-trial press conference, that the case helped showed who “the real Bill Cosby was,” and thanked all the people who helped them get a conviction.\u003c/p>\n\u003cp>“When you look at this and look at what Andrea [Constand] has done to stand up and declare what has happened…her actions to help victims stand up and tell what has happened to them…I hope that our actions have shown that people stand up with those victims and all women who are out there standing up …we support them, encourage them to keep it up,” Steele said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>“I want to see a serial rapist convicted”\u003c/h3>\n\u003cp>Cosby initially faced sexual assault charges in court last June but jurors could not reach a unanimous decision after 52 hours of deliberation. The judge declared it a mistrial.\u003c/p>\n\u003cp>This time around, the seven men and five women on the panel sat in the jury box of the Montgomery County Courthouse and listened to more than two weeks of testimony from 25 witnesses. Some cried on the stand recounting how Cosby attacked them while they were in drug-induced stupors, and others attempted to discredit main accuser Andrea Constand by detailing instances of supposed deceit and inconsistencies. \u003c/p>\n\u003cp>“This case is about trust,” Montgomery County District Attorney Kevin Steele told jurors in his opening remarks. “This case is about betrayal, and that betrayal leading to the sexual assault of a woman named Andrea Constand.” \u003c/p>\n\u003cp>Constand, the only Cosby accuser whose case has triggered criminal charges, took the stand for the prosecution over two days, as she did during the first trial.\u003c/p>\n\u003cp>In addition to Constand, five women who have never before confronted Cosby in a criminal courtroom took the witness stand. They told the jury that the entertainer drugged and molested them in the 1980s, stories that first came to light after prosecutors reopened Cosby’s criminal case in 2015. That led more than 60 women to lodge sexual misconduct allegations against the television icon once known as “America’s Dad.”\u003c/p>\n\u003cp>“You remember, don’t you, Mr. Cosby?” said accuser Chelan Lasha from the stand, locking eyes with Cosby, who has remained largely impassive throughout the trial.\u003c/p>\n\u003cp>“I want to see a serial rapist convicted,” another accuser, Heidi Thomas, told the court, as spectators gasped at the statement.\u003c/p>\n\u003cp>Through it all, jurors had a front-row seat to the lawyerly slugfest that pitted three prosecutors from suburban Philadelphia against a throng defense attorneys led by Los Angeles-based Tom Mesereau, who aggressively depicted Constand as a “con artist.” \u003c/p>\n\u003cp>“You’re going to be saying to yourself in this trial, ‘What does she want from Bill Cosby,'” Mesereau said to jurors during opening statements. “You already know the answer: money, money and lots more money.”\u003c/p>\n\u003cp>To bolster this argument, the defense called star witness Margo Jackson, who used to work with Constand at Temple University. Jackson was banned from testifying during the first trial, but the judge allowed her in this time. Jackson told jurors that Constand once confided in her that she had a plan to frame a wealthy celebrity with a made-up sexual assault claim “to get that money.”\u003c/p>\n\u003cp>Prosecutor Kristen Feden seized on the characterization of Constand as a scheming con artist during closing arguments, saying it was Cosby who deployed his wholesome TV image to gain the trust of women he planned to incapacitate and assault.\u003c/p>\n\u003cp>She strode across the courtroom pointing inches away from Cosby as he sat wide-eyed at the defense table.\u003c/p>\n\u003cp>“The perpetrator of that con is this man!” she yelled. “Sitting right here. This is the man.” \u003c/p>\n\u003cp>When Constand took the witness stand, she told the jury that, one night in January 2004, Cosby gave her three blue pills he called “friends” to relax her. Instead, they rendered her defenseless, lapsing in and out of consciousness. Constand told jurors she was “jolted awake” by the feeling of his fingers in her vagina as she lay on a couch in Cosby’s home.\u003c/p>\n\u003cp>A couple of months later, she told the court, she attempted to confront Cosby about it.\u003c/p>\n\u003cp>“I wanted to know what pills he gave to me, and why he did that to me,” Constand said. “He stumbled on his words. He said, ‘I don’t know what you’re talking about.’ He said, ‘I thought you had an orgasm,’ and I had not. He would not answer my questions.”\u003c/p>\n\u003cp>Constand told the court that enduring two publicity-heavy criminal trials “tore my family apart,” yet when asked by prosecutor Kristen Feden why she agreed to take the stand again, Constand replied, “for justice.”\u003c/p>\n\u003cp>Constand faced withering questions from Mesereau on cross examination, as a part of a multi-pronged defense focused on shaking her credibility and that of the other witnesses. He probed Constand as to why she stayed in touch with Cosby after the incident, portrayed her as a desperate, cash-strapped pyramid scheme participant. Constand was also pressed about the nearly $3.4 million Cosby paid her in a 2006 civil settlement, which was previously confidential.\u003c/p>\n\u003cp>Cosby’s lawyers also suggested to jurors that the incident could not have happened the way she said it did, even hinting that there is a chance Cosby was not in the Philadelphia area around the time Constand said she was assaulted. The defense did not issue an outright denial of the episode at the heart of the alleged crime. Cosby has admitted that he and Constand had sexual contact in his house around 2004, but which he has long maintained it was consensual.\u003c/p>\n\u003cp>Legal observers have called the Cosby retrial a major test of the effects of the #MeToo movement, the wave of allegations of sexual assault lodged against prominent media figures that erupted between Cosby’s first and second trials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During jury selection, the judge asked hundreds of potential jurors whether their feelings about #MeToo would get in the way of being a fair fact-finder in the Cosby case. Almost none said they were unaware of the cultural movement. Prosecutors never mentioned #MeToo to jurors during trial. But the defense team made an unsubtle attack on it when lawyer Kathleen Bliss told the panel that “when you join a movement based mostly on emotion and anger, you don’t change a damn thing,” adding that “mob rule is not due process.” She compared the dozens of accusations against Cosby to a “witch hunt,” and a “lynching.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WHYY. To see more, visit \u003ca href=\"https://whyy.org\">WHYY\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Found+Guilty+Of+All+Charges+In+Sexual+Assault+Retrial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bob Dorough, Jazz Musician Best Known for 'Schoolhouse Rock!,' Dead at 94",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated at 12:33 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Bob Dorough, whose career began as a composer, arranger and singer in the booming New York jazz scene of the ’50s and ’60s before he became the musical keystone of \u003cem>Schoolhouse Rock!\u003c/em>, died Monday afternoon in Mt. Bethel, Penn., his wife, Sally Shanley Dorough, confirmed to NPR. He was 94.\u003c/p>\n\u003cp>The Arkansas-born, Texas-raised Dorough began working in music in the army, serving as a composer, arranger and player in the Special Services Army Band between 1943 and ’45, before getting a Bachelor of Music degree from the University of North Texas. In the late ’40s, Dorough made his way to New York, working there as a pianist and singer.\u003c/p>\n\u003cp>He released his debut album, \u003cem>Devil May Care\u003c/em>, in 1956 on Gus Wildi’s Bethlehem label, also home to Nina Simone’s first album. \u003cem>Devil May Care\u003c/em> was a document of loungey bebop, with Dorough’s windy, charming and idiosyncratically accented singing of buoyant lyrics that hinted at his success to come. “In a dream / the strangest and oddest things / appear / and what insane insane and silly things / we do,” he sang on “I Had the Craziest Dream.”\u003c/p>\n\u003cp>Not long after the release of \u003cem>Devil May Care\u003c/em>, the legendary Miles Davis recorded \u003ca href=\"https://open.spotify.com/track/31YlcTTs1XGGz2VCjD4JQ6?si=tvSQgQwpTvaOGPM5HkbOyw\" target=\"_blank\" rel=\"noopener\">his own interpretation\u003c/a> of its title track, which would go on to become a jazz standard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LdZTKvNXxPA\u003c/p>\n\u003cp>Dorough collaborated with Davis on the serrated holiday song “Blue Xmas (To Whom It May Concern)” and later sang on “Nothing Like You,” the closing track of Davis’ 1967 album \u003cem>Sorcerer. \u003c/em>As critic Ben Ratliff \u003ca href=\"http://www.vinylmeplease.com/magazine/sorcerer-liner-notes/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> in notes accompanying a vinyl reissue of \u003cem>Sorcerer\u003c/em> last fall: “The trumpeter Leron Thomas recently told me that he thinks of it as Miles’s version of a Looney Tunes move: ‘That’s All, Folks.’ ”\u003c/p>\n\u003cp>Then, in 1971, with the jazz money running thin, Dorough was asked by his boss at the advertising company where he had a day job to set the multiplication tables to music; his boss cited his children’s ability to remember Hendrix and Rolling Stones lyrics, but not their school lessons.\u003c/p>\n\u003cp>“I got the idea that three is a magic number,” Dorough told NPR’s Rachel Martin \u003ca href=\"https://www.npr.org/2013/01/06/168699556/the-voice-of-schoolhouse-rock-on-the-series-at-40\" target=\"_blank\" rel=\"noopener\">in 2013\u003c/a>. “Then I looked in the magic book and sure enough, three \u003cem>is\u003c/em> one of the magic numbers.” That concept became the song “Three Is a Magic Number” and the project would become the Grammy-nominated \u003cem>Multiplication Rock\u003c/em>. Originally intended as a school workbook, the concept was pitched and sold to ABC executive Michael Eisner, becoming the first of the long-running \u003cem>Schoolhouse Rock! \u003c/em>series of educational cartoons that became an all-but inseparable part of of ’70s and ’80s childhood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2cjiP1mh48\u003c/p>\n\u003cp>After the fully Dorough-penned \u003cem>Multiplication Rock\u003c/em>, the series’ contributors expanded to include Lynn Ahrens, Dave Frishberg (writer of “I’m Just a Bill”) and George Newall, with Dorough staying on as musical director. Expanding to cover grammar — Dorough’s least-favorite subject to pen music on — American politics and history and science, the initial series ran for 12 years and was revived in the ’90s.\u003c/p>\n\u003cp>The tribute album \u003cem>Schoolhouse Rock! Rocks\u003c/em>, recorded by indie artists that had no doubt grown up watching the series, was released in 1996. It featured reinterpretations of the now-famous tunes, including Dorough compositions “Conjunction Junction” (Better Than Ezra), “Three Is a Magic Number” (Blind Melon), “Electricity, Electricity” (Goodness) and “Lolly, Lolly, Lolly, Get Your Adverbs Here” (Buffalo Tom).\u003c/p>\n\u003cp>Later in life, Dorough became a mentor to the British-American singer, actress and comedian Nellie McKay, whom he first met in 1997, McKay tells NPR. “He was leaving Professor Pat Dorian’s office at East Stroudsburg University — even in an academic setting, he glowed with health and good cheer, spreading sunshine wherever he went,” McKay says. “Lou Reed’s idea of hell would be to sit in heaven with Bob Dorough,” McKay says, referencing the famously cantankerous New York rocker.\u003c/p>\n\u003cp>Dorough himself continued to play live for the rest of his life — at 92, Dorough performed “Devil May Care” for member station WBGO — and as recently as three weeks ago in upstate New York. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n7kKSSjGJZ8\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=Bob+Dorough%2C+Jazz+Musician+Best+Known+For+%27Schoolhouse+Rock%21%2C%27+Dead+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/LdZTKvNXxPA'\n title='//www.youtube.com/embed/LdZTKvNXxPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dorough collaborated with Davis on the serrated holiday song “Blue Xmas (To Whom It May Concern)” and later sang on “Nothing Like You,” the closing track of Davis’ 1967 album \u003cem>Sorcerer. \u003c/em>As critic Ben Ratliff \u003ca href=\"http://www.vinylmeplease.com/magazine/sorcerer-liner-notes/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> in notes accompanying a vinyl reissue of \u003cem>Sorcerer\u003c/em> last fall: “The trumpeter Leron Thomas recently told me that he thinks of it as Miles’s version of a Looney Tunes move: ‘That’s All, Folks.’ ”\u003c/p>\n\u003cp>Then, in 1971, with the jazz money running thin, Dorough was asked by his boss at the advertising company where he had a day job to set the multiplication tables to music; his boss cited his children’s ability to remember Hendrix and Rolling Stones lyrics, but not their school lessons.\u003c/p>\n\u003cp>“I got the idea that three is a magic number,” Dorough told NPR’s Rachel Martin \u003ca href=\"https://www.npr.org/2013/01/06/168699556/the-voice-of-schoolhouse-rock-on-the-series-at-40\" target=\"_blank\" rel=\"noopener\">in 2013\u003c/a>. “Then I looked in the magic book and sure enough, three \u003cem>is\u003c/em> one of the magic numbers.” That concept became the song “Three Is a Magic Number” and the project would become the Grammy-nominated \u003cem>Multiplication Rock\u003c/em>. Originally intended as a school workbook, the concept was pitched and sold to ABC executive Michael Eisner, becoming the first of the long-running \u003cem>Schoolhouse Rock! \u003c/em>series of educational cartoons that became an all-but inseparable part of of ’70s and ’80s childhood.\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/n2cjiP1mh48'\n title='//www.youtube.com/embed/n2cjiP1mh48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the fully Dorough-penned \u003cem>Multiplication Rock\u003c/em>, the series’ contributors expanded to include Lynn Ahrens, Dave Frishberg (writer of “I’m Just a Bill”) and George Newall, with Dorough staying on as musical director. Expanding to cover grammar — Dorough’s least-favorite subject to pen music on — American politics and history and science, the initial series ran for 12 years and was revived in the ’90s.\u003c/p>\n\u003cp>The tribute album \u003cem>Schoolhouse Rock! Rocks\u003c/em>, recorded by indie artists that had no doubt grown up watching the series, was released in 1996. It featured reinterpretations of the now-famous tunes, including Dorough compositions “Conjunction Junction” (Better Than Ezra), “Three Is a Magic Number” (Blind Melon), “Electricity, Electricity” (Goodness) and “Lolly, Lolly, Lolly, Get Your Adverbs Here” (Buffalo Tom).\u003c/p>\n\u003cp>Later in life, Dorough became a mentor to the British-American singer, actress and comedian Nellie McKay, whom he first met in 1997, McKay tells NPR. “He was leaving Professor Pat Dorian’s office at East Stroudsburg University — even in an academic setting, he glowed with health and good cheer, spreading sunshine wherever he went,” McKay says. “Lou Reed’s idea of hell would be to sit in heaven with Bob Dorough,” McKay says, referencing the famously cantankerous New York rocker.\u003c/p>\n\u003cp>Dorough himself continued to play live for the rest of his life — at 92, Dorough performed “Devil May Care” for member station WBGO — and as recently as three weeks ago in upstate New York. \u003c/p>\n\u003cp>\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/n7kKSSjGJZ8'\n title='//www.youtube.com/embed/n7kKSSjGJZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Bob+Dorough%2C+Jazz+Musician+Best+Known+For+%27Schoolhouse+Rock%21%2C%27+Dead+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003cem>Fearless Girl\u003c/em> statue, which has stared down the Manhattan financial district’s famous \u003cem>Charging Bull \u003c/em>for more than a year, will be relocating to a spot in front of the New York Stock Exchange.\u003c/p>\n\u003cp>The statue was installed near Wall Street in 2017 in honor of International Women’s Day, and only had a temporary permit. But now it will remain in New York City permanently, at the new location just around the corner.\u003c/p>\n\u003cp>The move is expected to be completed by the end of 2018, according to a \u003ca href=\"https://www.businesswire.com/news/home/20180419005784/en/New-York-City-Mayor-State-Street-Global\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from New York Mayor Bill de Blasio and State Street Global Advisors, the financial services company that commissioned the statue.\u003c/p>\n\u003cp>“We are proud to be home to the Fearless Girl. She is a potent symbol of the need for change at the highest levels of corporate America—and she will become a durable part of our city’s civic life,” de Blasio said in the statement.\u003c/p>\n\u003cp>The statue by Kristen Visbal was originally installed to draw attention to the need for more female representation on the boards of publicly traded companies. But State Street, the firm that installed the statue, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\" target=\"_blank\" rel=\"noopener\">made headlines\u003c/a> later in 2017 after an investigation found that the firm had underpaid women and black executives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>State Street paid $5 million in a settlement with the Department of Labor, while saying it “disagreed with” the investigation’s findings.\u003c/p>\n\u003cp>That’s not the only controversy \u003cem>Fearless Girl \u003c/em>has weathered. (And we’re not just talking about the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\" target=\"_blank\" rel=\"noopener\">cheeky dog statue\u003c/a> that was briefly placed as though it were urinating on the girl.)\u003c/p>\n\u003cp>Some critics, \u003ca href=\"https://www.npr.org/2017/03/31/522232646/fearless-girl-will-keep-facing-down-wall-streets-bull\" target=\"_blank\" rel=\"noopener\">as NPR’s Rose Friedman has reported\u003c/a>, objected to the idea of depicting American womanhood in the form of a young girl — seeing it as patronizing, rather than progressive.\u003c/p>\n\u003cp>And the sculptor of \u003cem>Charging Bull \u003c/em>was affronted by the addition of the new statue, saying it changed the meaning of his original — making the bull not a symbol of strength, but an ominous villain. He also called the statue an “advertising trick.”\u003c/p>\n\u003cp>Arturo Di Modica installed his \u003cem>Charging Bull \u003c/em>sculpture in the financial district in the late 1980s, putting the large statue in place overnight, without a permit.\u003c/p>\n\u003cp>The bull is now located in Bowling Green Park on Broadway, where the \u003cem>Fearless Girl \u003c/em>is currently facing him down.\u003c/p>\n\u003cp>But that wasn’t the bull’s first stomping ground. It was first placed on Broad Street, in front of the New York Stock Exchange, which promptly had the statue removed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As it happens, that’s the spot where the \u003cem>Fearless Girl \u003c/em>is headed next. \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=%27Fearless+Girl%27+Statue+Will+Face+Down+Stock+Exchange%2C+Not+%27Charging+Bull%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Fearless Girl\u003c/em> statue, which has stared down the Manhattan financial district’s famous \u003cem>Charging Bull \u003c/em>for more than a year, will be relocating to a spot in front of the New York Stock Exchange.\u003c/p>\n\u003cp>The statue was installed near Wall Street in 2017 in honor of International Women’s Day, and only had a temporary permit. But now it will remain in New York City permanently, at the new location just around the corner.\u003c/p>\n\u003cp>The move is expected to be completed by the end of 2018, according to a \u003ca href=\"https://www.businesswire.com/news/home/20180419005784/en/New-York-City-Mayor-State-Street-Global\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from New York Mayor Bill de Blasio and State Street Global Advisors, the financial services company that commissioned the statue.\u003c/p>\n\u003cp>“We are proud to be home to the Fearless Girl. She is a potent symbol of the need for change at the highest levels of corporate America—and she will become a durable part of our city’s civic life,” de Blasio said in the statement.\u003c/p>\n\u003cp>The statue by Kristen Visbal was originally installed to draw attention to the need for more female representation on the boards of publicly traded companies. But State Street, the firm that installed the statue, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\" target=\"_blank\" rel=\"noopener\">made headlines\u003c/a> later in 2017 after an investigation found that the firm had underpaid women and black executives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>State Street paid $5 million in a settlement with the Department of Labor, while saying it “disagreed with” the investigation’s findings.\u003c/p>\n\u003cp>That’s not the only controversy \u003cem>Fearless Girl \u003c/em>has weathered. (And we’re not just talking about the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\" target=\"_blank\" rel=\"noopener\">cheeky dog statue\u003c/a> that was briefly placed as though it were urinating on the girl.)\u003c/p>\n\u003cp>Some critics, \u003ca href=\"https://www.npr.org/2017/03/31/522232646/fearless-girl-will-keep-facing-down-wall-streets-bull\" target=\"_blank\" rel=\"noopener\">as NPR’s Rose Friedman has reported\u003c/a>, objected to the idea of depicting American womanhood in the form of a young girl — seeing it as patronizing, rather than progressive.\u003c/p>\n\u003cp>And the sculptor of \u003cem>Charging Bull \u003c/em>was affronted by the addition of the new statue, saying it changed the meaning of his original — making the bull not a symbol of strength, but an ominous villain. He also called the statue an “advertising trick.”\u003c/p>\n\u003cp>Arturo Di Modica installed his \u003cem>Charging Bull \u003c/em>sculpture in the financial district in the late 1980s, putting the large statue in place overnight, without a permit.\u003c/p>\n\u003cp>The bull is now located in Bowling Green Park on Broadway, where the \u003cem>Fearless Girl \u003c/em>is currently facing him down.\u003c/p>\n\u003cp>But that wasn’t the bull’s first stomping ground. It was first placed on Broad Street, in front of the New York Stock Exchange, which promptly had the statue removed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As it happens, that’s the spot where the \u003cem>Fearless Girl \u003c/em>is headed next. \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=%27Fearless+Girl%27+Statue+Will+Face+Down+Stock+Exchange%2C+Not+%27Charging+Bull%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>https://youtu.be/nk8HEO_60ms\u003c/p>\n\u003cp>Nearly 5,000 entries from all 50 states and we had to pick just one! The competition rose to a new level this year and the decision was harder than ever. Our judges looked at a vast array of music from every genre — and lots of music that couldn’t be categorized. The creative community these days is bursting, and the diversity of sounds and people who sent us entries made for many magical “wow” moments.\u003c/p>\n\u003cp>So, when it came time to pick a winner, we have to admit: It was tough. We debated, deliberated, championed and celebrated the entries that impressed us. In the end, it was a soft-spoken, soulful guitarist who captured our hearts. We’re proud to announce this year’s Tiny Desk Contest winner is Naia Izumi!\u003c/p>\n\u003cp>Naia is a 34-year-old musician from Georgia who regularly busks on the streets of Los Angeles, where he now lives. He impressed the judges with his intricate, complex guitar playing and his sweet, emotive voice. The video he submitted for “Soft Spoken,” recorded in the home studio he has built in his garage, showcases the incredible skillfulness and gentle spirit he brings to his music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/497701550/talia-schlanger\">Talia Schlanger\u003c/a>, host of WXPN’s \u003cem>World Cafe\u003c/em>, said it this way: “The fact that Naia Izumi’s solo performance captivated the judging panel, out of a sea of big bands and flashy videos, says something powerful about what a singular talent we have on our hands. Naia’s remarkable creativity on the guitar, solid songwriting and gentle yet powerful charisma make me proud to root for him as our winner!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/97823646/gaby-moreno\">Gaby Moreno\u003c/a>, another of our Tiny Desk Contest judges, agrees, calling Naia an “undeniable talent.”\u003c/p>\n\u003cp>“I was captivated by Naia’s soulful voice, and the way he takes the unique approach to his virtuosic level of talent on guitar,” she says.\u003c/p>\n\u003cp>In the fourth year of the Contest, we were simply overwhelmed by the energy, spirit and enthusiasm artists brought to their entry videos. And though there’s only one winner, what makes this Contest special is the way it gathers a community of artists, fans and friends together around a shared love of music. We’re so grateful to everyone who shared a song, a story or a moment with us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of this year’s Tiny Desk Contest doesn’t end now that we’ve picked a winner, of course. Next, Naia will come to Washington, D.C. to play his very own Tiny Desk concert. Then, we’ll head out on the road with Lagunitas Brewing Company for a national tour featuring Naia and local Contest entrants we loved. Stay tuned for dates and more information. We’re looking forward to seeing you in person. I’ll be spending some time celebrating the newest member of the Tiny Desk Contest family, and getting lost down the rabbit hole of all sorts of \u003ca href=\"http://tinydeskcontest.npr.org/browse-2018\">amazing entries\u003c/a> to this year’s Contest. I hope this Contest has brought you the joy of discovery like it has done for me.\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=Announcing+The+2018+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/nk8HEO_60ms'\n title='//www.youtube.com/embed/nk8HEO_60ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 5,000 entries from all 50 states and we had to pick just one! The competition rose to a new level this year and the decision was harder than ever. Our judges looked at a vast array of music from every genre — and lots of music that couldn’t be categorized. The creative community these days is bursting, and the diversity of sounds and people who sent us entries made for many magical “wow” moments.\u003c/p>\n\u003cp>So, when it came time to pick a winner, we have to admit: It was tough. We debated, deliberated, championed and celebrated the entries that impressed us. In the end, it was a soft-spoken, soulful guitarist who captured our hearts. We’re proud to announce this year’s Tiny Desk Contest winner is Naia Izumi!\u003c/p>\n\u003cp>Naia is a 34-year-old musician from Georgia who regularly busks on the streets of Los Angeles, where he now lives. He impressed the judges with his intricate, complex guitar playing and his sweet, emotive voice. The video he submitted for “Soft Spoken,” recorded in the home studio he has built in his garage, showcases the incredible skillfulness and gentle spirit he brings to his music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/497701550/talia-schlanger\">Talia Schlanger\u003c/a>, host of WXPN’s \u003cem>World Cafe\u003c/em>, said it this way: “The fact that Naia Izumi’s solo performance captivated the judging panel, out of a sea of big bands and flashy videos, says something powerful about what a singular talent we have on our hands. Naia’s remarkable creativity on the guitar, solid songwriting and gentle yet powerful charisma make me proud to root for him as our winner!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/97823646/gaby-moreno\">Gaby Moreno\u003c/a>, another of our Tiny Desk Contest judges, agrees, calling Naia an “undeniable talent.”\u003c/p>\n\u003cp>“I was captivated by Naia’s soulful voice, and the way he takes the unique approach to his virtuosic level of talent on guitar,” she says.\u003c/p>\n\u003cp>In the fourth year of the Contest, we were simply overwhelmed by the energy, spirit and enthusiasm artists brought to their entry videos. And though there’s only one winner, what makes this Contest special is the way it gathers a community of artists, fans and friends together around a shared love of music. We’re so grateful to everyone who shared a song, a story or a moment with us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of this year’s Tiny Desk Contest doesn’t end now that we’ve picked a winner, of course. Next, Naia will come to Washington, D.C. to play his very own Tiny Desk concert. Then, we’ll head out on the road with Lagunitas Brewing Company for a national tour featuring Naia and local Contest entrants we loved. Stay tuned for dates and more information. We’re looking forward to seeing you in person. I’ll be spending some time celebrating the newest member of the Tiny Desk Contest family, and getting lost down the rabbit hole of all sorts of \u003ca href=\"http://tinydeskcontest.npr.org/browse-2018\">amazing entries\u003c/a> to this year’s Contest. I hope this Contest has brought you the joy of discovery like it has done for me.\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=Announcing+The+2018+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With Paint and a Camera, She's Forging a New Artistic Vision of Africa",
"headTitle": "With Paint and a Camera, She’s Forging a New Artistic Vision of Africa | KQED",
"content": "\u003cp>Many images of Africa in Western media focus on war, famine or other crises that trouble the continent.\u003c/p>\n\u003cp>But Ethiopian artist \u003ca href=\"https://www.aidamuluneh.com/bio/\">Aïda Muluneh\u003c/a> wants to help people understand that there’s more to her country than what they typically see in the news.\u003c/p>\n\u003cp>Born in Ethiopia in 1974, Muluneh spent much of her childhood living in different countries — Yemen, England, Cyprus and Canada — before studying film at Howard University in Washington, D.C. She graduated in 2000 and then worked as a photojournalist for The\u003cem> Washington Post\u003c/em>.\u003c/p>\n\u003cp>But Muluneh became increasingly interested in creating photography as art separate from her journalistic work — and in reconnecting with her Ethiopian heritage. So she moved back to Ethiopia 11 years ago.\u003c/p>\n\u003cp>Since then, she’s been creating bright, primary-colored portraits that both celebrate and transcend Ethiopian culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now her work is on display at the Museum of Modern Art in New York City (MoMA) as part of \u003ca href=\"https://www.moma.org/calendar/exhibitions/3886?locale=en\" target=\"_blank\" rel=\"noopener\">Being: New Photography 2018\u003c/a>, an exhibition lasting through August 19. After her move back to Ethiopia, Muluneh also created the \u003ca href=\"http://www.addisfotofest.com/\" target=\"_blank\" rel=\"noopener\">Addis Foto Fest\u003c/a>, the first and only international photography festival in East Africa. The fifth edition will be held in Addis Ababa, Ethiopia, in December 2018.\u003c/p>\n\u003cp>NPR spoke with Muluneh to learn about the creative process behind her art — and what she hopes viewers take away. This interview is edited for length and clarity.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>How would you say your approach to photography as art differs from your approach to photography as journalism? \u003c/strong>\u003c/p>\n\u003cp>There are certain things I can’t express in my journalistic work that I can express in my studio work. My studio work is an exploration of color first and foremost. I approach it almost like a painter, focusing on the basics — which are the primary colors.\u003c/p>\n\u003cfigure id=\"attachment_13830194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-800x800.jpg\" alt='\"Strength in honor\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Strength in honor” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Meanwhile, your journalistic photography is black and white.\u003c/strong>\u003c/p>\n\u003cp>I have a running joke that in photojournalism, I can’t see color. But for some reason, when I’m in the studio, it’s these primary colors I feel strongest about. Eventually, I know I’ll start mixing colors and I’ll start finding other colors. But for now, I want to learn as much as possible from the primary colors.\u003c/p>\n\u003cp>It’s also about pulling in elements from Ethiopia. Church wall paintings here use primary color. I want to show a different way of looking at my country.\u003c/p>\n\u003cp>\u003cstrong>What’s the stereotypical image of Ethiopia that you think gets overdone in the media and art?\u003c/strong>\u003c/p>\n\u003cp>The cliché of Ethiopia is the starving child or the priest with the cross. Or war or famine. The international media are always consuming images not only about Ethiopia but across all of Africa related to those stereotypes. But this place has so much complexity, and I’m witness to that complexity. There are so many subcultures, there are so many contemporary things happening here, there are so many cities with interesting people who are trying to change the continent.\u003c/p>\n\u003cp>The thing I find unfortunate about international media is that it’s not focused on that, and it’s never about perspective. I’m not trying to tell people everything is hunky-dory and perfect in Ethiopia, but everything isn’t dark and dreary either. I can come to New York and photograph a lot of homeless people\u003cstrong> \u003c/strong>on the street and say, “These are the alleys of New York,” but that’s not the full perspective.\u003c/p>\n\u003cfigure id=\"attachment_13830196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_fragments-800x800.jpg\" alt='\"Fragment\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fragment” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how did you come up with your own perspective?\u003c/strong>\u003c/p>\n\u003cp>My works are very intimate portraits. Everything is very flat. I remove a lot of shadows from the image and take a very graphical approach to photography. When I started looking at traditional elements of my culture — body ornamentation and tattoos — it’s highly sophisticated. Unfortunately, Eurocentric history has dismissed this art as primitive. But, in fact, specific colors, lines and designs have different meanings. Even when you look at the movie \u003cem>Black Panther\u003c/em>, a lot of [the movie’s aesthetic] was inspired by Ethiopia. I find traditional culture to be far more contemporary than the contemporary itself.\u003c/p>\n\u003cp>\u003cstrong>Even though your images have these qualities rooted in Ethiopian culture, they’re also almost otherworldly.\u003c/strong>\u003c/p>\n\u003cp>I’m trying to share my heritage but also to show the universality of people around the world. I’ve gone from looking at body painting around Ethiopia to looking across the continent to looking around the world. The Kayapo indigenous people of Brazil, Wodaabe people of West Africa, Maori people of New Zealand, for example, all used body painting. I realized from looking at all these different kinds of body painting that there are all of these lines of connection between different societies. Whatever our struggle, there’s something that we share. The whole collection isn’t a matter of looking at our differences. It’s a matter of looking at the similarities that we share.\u003c/p>\n\u003cp>\u003cstrong>Your work also primarily features women. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I’m a woman, and I’m sharing my experience with the world. I can’t see myself doing that through a man’s body. I feel as though there’s a power in the gaze of the woman. Especially in Africa, women are our biggest assets. There’s an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you’re teaching the whole society.\u003c/p>\n\u003cp>The models I use are very specific. One that appears frequently is a makeup artist I came across randomly. I just loved her features — her gaze and long neck. Because I’m trying to share my experiences, these women have become my portal for that.\u003c/p>\n\u003cfigure id=\"attachment_13830197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-800x800.jpg\" alt='\"All in One\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“All in One” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about how you create your images. Where do you even start?\u003c/strong>\u003c/p>\n\u003cp>My work starts out with a sketch — more like chicken scratches. But I start on paper with the idea. Then I figure out what I need for that set. I look at a lot of archived images from Ethiopia in the 1930s and 1940s. People then looked so regal, and their Afros were so perfect. I don’t know how they got it that perfect. I can’t get anybody’s Afros perfect today. You’ll notice a lot of my clothing is long, and you don’t see a lot of leg. That comes from these archived images because I don’t want people to focus on the exotic or erotic features of the female body. It’s more about her gaze.\u003c/p>\n\u003cp>For a piece like \u003cem>Fragments\u003c/em>, I work with local fashion designers. I had a sketch of what I wanted and they pieced it together for me.\u003c/p>\n\u003cp>\u003cstrong>How long does it take to apply the body paint on the models?\u003c/strong>\u003c/p>\n\u003cp>One-and-a-half hours.\u003c/p>\n\u003cp>\u003cstrong>That’s not as bad as I thought it might be.\u003c/strong>\u003c/p>\n\u003cp>It would actually be quicker to spray the paint on, but I like the texture the brush makes on the face.\u003c/p>\n\u003cp>\u003cstrong>How do you get the right shot?\u003c/strong>\u003c/p>\n\u003cp>On location, often I’ll have everything sketched. This comes from my film background. But what happens when we get on set is that I have everything planned out, and then I realize “I have to change this,” and it’s that magical moment I look for when I get that image that I seek.\u003c/p>\n\u003cp>\u003cstrong>How do you hope people react to your art in a gallery?\u003c/strong>\u003c/p>\n\u003cp>When you see my images in any show, you can see my work from a mile away. The colors are so striking; you can’t miss it. I hope people Google my name and Google Ethiopia and see something completely different that they haven’t seen in international media.\u003c/p>\n\u003cp>\u003cstrong>The topic of the MoMA exhibit you’re part of is capturing what it means to be human. What do you think your photos communicate about what it means to be human?\u003c/strong>\u003c/p>\n\u003cp>The exhibit features images from a collection of mine called “The World Is 9,” which is an expression my grandmother would say. It means the world is never a perfect 10. A lot of the challenges that we face come from within us. It’s not based on our geographical location, it’s not based on our culture; it’s not based on our education. Someone in New York — whatever they’re going through — and someone in Ethiopia are not completely different. We share commonalities. We have to question our own humanity and understand the universality of our existence.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Natalie Jacewicz is a freelance writer and law school student. Follow her @NatalieJacewicz.\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=With+Paint+And+A+Camera%2C+She%27s+Forging+A+New+Artistic+Vision+Of+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many images of Africa in Western media focus on war, famine or other crises that trouble the continent.\u003c/p>\n\u003cp>But Ethiopian artist \u003ca href=\"https://www.aidamuluneh.com/bio/\">Aïda Muluneh\u003c/a> wants to help people understand that there’s more to her country than what they typically see in the news.\u003c/p>\n\u003cp>Born in Ethiopia in 1974, Muluneh spent much of her childhood living in different countries — Yemen, England, Cyprus and Canada — before studying film at Howard University in Washington, D.C. She graduated in 2000 and then worked as a photojournalist for The\u003cem> Washington Post\u003c/em>.\u003c/p>\n\u003cp>But Muluneh became increasingly interested in creating photography as art separate from her journalistic work — and in reconnecting with her Ethiopian heritage. So she moved back to Ethiopia 11 years ago.\u003c/p>\n\u003cp>Since then, she’s been creating bright, primary-colored portraits that both celebrate and transcend Ethiopian culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now her work is on display at the Museum of Modern Art in New York City (MoMA) as part of \u003ca href=\"https://www.moma.org/calendar/exhibitions/3886?locale=en\" target=\"_blank\" rel=\"noopener\">Being: New Photography 2018\u003c/a>, an exhibition lasting through August 19. After her move back to Ethiopia, Muluneh also created the \u003ca href=\"http://www.addisfotofest.com/\" target=\"_blank\" rel=\"noopener\">Addis Foto Fest\u003c/a>, the first and only international photography festival in East Africa. The fifth edition will be held in Addis Ababa, Ethiopia, in December 2018.\u003c/p>\n\u003cp>NPR spoke with Muluneh to learn about the creative process behind her art — and what she hopes viewers take away. This interview is edited for length and clarity.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>How would you say your approach to photography as art differs from your approach to photography as journalism? \u003c/strong>\u003c/p>\n\u003cp>There are certain things I can’t express in my journalistic work that I can express in my studio work. My studio work is an exploration of color first and foremost. I approach it almost like a painter, focusing on the basics — which are the primary colors.\u003c/p>\n\u003cfigure id=\"attachment_13830194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-800x800.jpg\" alt='\"Strength in honor\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Strength in honor” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Meanwhile, your journalistic photography is black and white.\u003c/strong>\u003c/p>\n\u003cp>I have a running joke that in photojournalism, I can’t see color. But for some reason, when I’m in the studio, it’s these primary colors I feel strongest about. Eventually, I know I’ll start mixing colors and I’ll start finding other colors. But for now, I want to learn as much as possible from the primary colors.\u003c/p>\n\u003cp>It’s also about pulling in elements from Ethiopia. Church wall paintings here use primary color. I want to show a different way of looking at my country.\u003c/p>\n\u003cp>\u003cstrong>What’s the stereotypical image of Ethiopia that you think gets overdone in the media and art?\u003c/strong>\u003c/p>\n\u003cp>The cliché of Ethiopia is the starving child or the priest with the cross. Or war or famine. The international media are always consuming images not only about Ethiopia but across all of Africa related to those stereotypes. But this place has so much complexity, and I’m witness to that complexity. There are so many subcultures, there are so many contemporary things happening here, there are so many cities with interesting people who are trying to change the continent.\u003c/p>\n\u003cp>The thing I find unfortunate about international media is that it’s not focused on that, and it’s never about perspective. I’m not trying to tell people everything is hunky-dory and perfect in Ethiopia, but everything isn’t dark and dreary either. I can come to New York and photograph a lot of homeless people\u003cstrong> \u003c/strong>on the street and say, “These are the alleys of New York,” but that’s not the full perspective.\u003c/p>\n\u003cfigure id=\"attachment_13830196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_fragments-800x800.jpg\" alt='\"Fragment\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fragment” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how did you come up with your own perspective?\u003c/strong>\u003c/p>\n\u003cp>My works are very intimate portraits. Everything is very flat. I remove a lot of shadows from the image and take a very graphical approach to photography. When I started looking at traditional elements of my culture — body ornamentation and tattoos — it’s highly sophisticated. Unfortunately, Eurocentric history has dismissed this art as primitive. But, in fact, specific colors, lines and designs have different meanings. Even when you look at the movie \u003cem>Black Panther\u003c/em>, a lot of [the movie’s aesthetic] was inspired by Ethiopia. I find traditional culture to be far more contemporary than the contemporary itself.\u003c/p>\n\u003cp>\u003cstrong>Even though your images have these qualities rooted in Ethiopian culture, they’re also almost otherworldly.\u003c/strong>\u003c/p>\n\u003cp>I’m trying to share my heritage but also to show the universality of people around the world. I’ve gone from looking at body painting around Ethiopia to looking across the continent to looking around the world. The Kayapo indigenous people of Brazil, Wodaabe people of West Africa, Maori people of New Zealand, for example, all used body painting. I realized from looking at all these different kinds of body painting that there are all of these lines of connection between different societies. Whatever our struggle, there’s something that we share. The whole collection isn’t a matter of looking at our differences. It’s a matter of looking at the similarities that we share.\u003c/p>\n\u003cp>\u003cstrong>Your work also primarily features women. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I’m a woman, and I’m sharing my experience with the world. I can’t see myself doing that through a man’s body. I feel as though there’s a power in the gaze of the woman. Especially in Africa, women are our biggest assets. There’s an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you’re teaching the whole society.\u003c/p>\n\u003cp>The models I use are very specific. One that appears frequently is a makeup artist I came across randomly. I just loved her features — her gaze and long neck. Because I’m trying to share my experiences, these women have become my portal for that.\u003c/p>\n\u003cfigure id=\"attachment_13830197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-800x800.jpg\" alt='\"All in One\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“All in One” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about how you create your images. Where do you even start?\u003c/strong>\u003c/p>\n\u003cp>My work starts out with a sketch — more like chicken scratches. But I start on paper with the idea. Then I figure out what I need for that set. I look at a lot of archived images from Ethiopia in the 1930s and 1940s. People then looked so regal, and their Afros were so perfect. I don’t know how they got it that perfect. I can’t get anybody’s Afros perfect today. You’ll notice a lot of my clothing is long, and you don’t see a lot of leg. That comes from these archived images because I don’t want people to focus on the exotic or erotic features of the female body. It’s more about her gaze.\u003c/p>\n\u003cp>For a piece like \u003cem>Fragments\u003c/em>, I work with local fashion designers. I had a sketch of what I wanted and they pieced it together for me.\u003c/p>\n\u003cp>\u003cstrong>How long does it take to apply the body paint on the models?\u003c/strong>\u003c/p>\n\u003cp>One-and-a-half hours.\u003c/p>\n\u003cp>\u003cstrong>That’s not as bad as I thought it might be.\u003c/strong>\u003c/p>\n\u003cp>It would actually be quicker to spray the paint on, but I like the texture the brush makes on the face.\u003c/p>\n\u003cp>\u003cstrong>How do you get the right shot?\u003c/strong>\u003c/p>\n\u003cp>On location, often I’ll have everything sketched. This comes from my film background. But what happens when we get on set is that I have everything planned out, and then I realize “I have to change this,” and it’s that magical moment I look for when I get that image that I seek.\u003c/p>\n\u003cp>\u003cstrong>How do you hope people react to your art in a gallery?\u003c/strong>\u003c/p>\n\u003cp>When you see my images in any show, you can see my work from a mile away. The colors are so striking; you can’t miss it. I hope people Google my name and Google Ethiopia and see something completely different that they haven’t seen in international media.\u003c/p>\n\u003cp>\u003cstrong>The topic of the MoMA exhibit you’re part of is capturing what it means to be human. What do you think your photos communicate about what it means to be human?\u003c/strong>\u003c/p>\n\u003cp>The exhibit features images from a collection of mine called “The World Is 9,” which is an expression my grandmother would say. It means the world is never a perfect 10. A lot of the challenges that we face come from within us. It’s not based on our geographical location, it’s not based on our culture; it’s not based on our education. Someone in New York — whatever they’re going through — and someone in Ethiopia are not completely different. We share commonalities. We have to question our own humanity and understand the universality of our existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Natalie Jacewicz is a freelance writer and law school student. Follow her @NatalieJacewicz.\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=With+Paint+And+A+Camera%2C+She%27s+Forging+A+New+Artistic+Vision+Of+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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