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"bio": "\u003cp class=\"p1\">Joshua Bote is an intern for KQED Arts. A senior at UC Berkeley, Joshua previously served as the Arts & Entertainment Editor at \u003ci>The Daily Californian\u003c/i>, UC Berkeley’s independently-run student newspaper. His work has been published in the \u003cem>East Bay Express.\u003c/em>\u003c/p>\r\n\u003cp class=\"p1\">He’s deeply enamored with Twitter culture, Carly Rae Jepsen, and love-oriented podcasts. He's also slowly learning to appreciate bad award shows. Follow him on Twitter \u003ca href=\"http://twitter.com/joshuaboat\">@joshuaboat\u003c/a>.\u003c/p>",
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"content": "\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WyiIGEHQP8o\u003c/p>\n\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \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=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\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/WyiIGEHQP8o'\n title='//www.youtube.com/embed/WyiIGEHQP8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \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=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Photographers Who Captured the Undersides of Life",
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"content": "\u003cp>We snap a selfie with the tap of a finger. We’re used to preserving smiling moments.\u003c/p>\n\u003cp>At the Museum of Contemporary Art in Los Angeles, there’s an exhibit right now which goes to darker places with a camera. The images in “Real Worlds” are from three major photographers, taken over half a century.\u003c/p>\n\u003cp>There’s Brassaï, a French-Hungarian who made his reputation revealing secret Paris nights between the World Wars. There’s Diane Arbus, American, who said in the 1960s, “I really believe there are things nobody would see if I didn’t photograph them.” And there’s Nan Goldin, another American, who stunned the 1980s with her series “The Ballad Of Sexual Dependency.”\u003c/p>\n\u003cp>All three picture-takers are revolutionary: They photographed, with profound intimacy, the undersides of life. Their images are stunning, sometimes shocking, often provocative.\u003c/p>\n\u003cp>In nighttime Paris, Brassaï stalked the underworld — brothels, streetwalkers. But at MOCA, there’s a Brassaï shot of a happy night at an Afro-Caribbean club in Montmartre. Black and white people smoke together, sip Perrier or stronger stuff, dance. And there’s an intriguing woman on the left.\u003c/p>\n\u003cfigure id=\"attachment_13828439\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg\" alt='Brassaï, \"At the Cabane Cubaine in Montmartre,\" c. 1932.' width=\"598\" height=\"800\" class=\"size-full wp-image-13828439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-520x696.jpg 520w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Brassaï, “At the Cabane Cubaine in Montmartre,” c. 1932. \u003ccite>(Brassaï/Courtesy of The Museum of Contemporary Art, Los Angeles, The Ralph M. Parsons Foundation Photography Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s wearing this white hat that’s just off to the side, a kind of kerchief hat, and she’s staring directly at the camera,” says curator Lanka Tattersall. “And this is the thing that I find so remarkable in this image. It’s taken in 1932. She’s looking at Brassaï and she’s very aware of her image being taken by this photographer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It didn’t happen that much in 1932 — people roaming around, unannounced, taking your picture. What might she have been thinking?\u003c/p>\n\u003cp>“She’s probably thinking — you know, this scene is being preserved,” Tattersall says. “I think that’s what makes this photograph absolutely contemporary, is an awareness of what it is to be photographed, and to really think about having your image distributed across time and space.”\u003c/p>\n\u003cp>Thirty years later, American photographer Diane Arbus inherited Brassaï’s vision. We were used to having our pictures taken by the 1960s. But Arbus’ focus was new. In black and white, she documented people on the fringes. Giants, bearded ladies, people with mental disabilities or those who may have been institutionalized. In Tattersall’s words: “people whose bodies or sexual identities didn’t conform with kind of mainstream narrative of what it was to be an American.”\u003c/p>\n\u003cp>Arbus was accused of voyeurism, of going after what were then called freak shows. But Tattersall, the MOCA curator, says Arbus forged relationships with her subjects, and that there’s empathy in the pictures.\u003c/p>\n\u003cp>“To me, she’s photographing these remarkable individuals who want to be photographed,” Tattersall says.\u003c/p>\n\u003cfigure id=\"attachment_13828438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg\" alt='Nan Goldin, \"Nan one month after being battered,\" 1984.' width=\"800\" height=\"530\" class=\"size-medium wp-image-13828438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin, “Nan one month after being battered,” 1984. \u003ccite>(Nan Goldin/Courtesy of The Museum of Contemporary Art, Los Angeles, The Nimoy Family Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a remarkable 1969 photo Arbus called \u003ca href=\"https://www.moca.org/collection/work/transvestite-at-her-birthday-party-nyc\">“Transvestite at her birthday party.”\u003c/a>\u003c/p>\n\u003cp>“And it’s just this person lying alone, on a bed,” Tattersall says. “She’s got some balloons taped up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They’re having a fabulous time.”\u003c/p>\n\u003cp>Transgender people also intrigue photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them — as well as gays and lesbians. Hers are the most provocative pictures in the MOCA exhibit.\u003c/p>\n\u003cp>She also shows people having sex — friends, who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?\u003c/p>\n\u003cp>“I think they’re voracious,” Tattersall says.\u003c/p>\n\u003cp>Goldin is exploring relationships — what happens in love, and when love goes wrong. Her 1984 self-portrait, “Nan one month after being battered” (pictured atop this page) shows the damage her lover did to her. Dark bruises under her eyes — the left eye bloody in her swollen face — she looks right at us. The look is uncompromising.\u003c/p>\n\u003cp>“I think there’s a chilling way in which she’s saying, ‘This is what it looks like to be battered,'” Tattersall says. “But this is also what it looks like to take control of your own image.”\u003c/p>\n\u003cp>Nan Goldin was 31 years old in that photo. One battered eye was nearly blind. But she’s painted her lips carefully. A bright, bright red.\u003c/p>\n\u003cp>“Even if that moment of violence and abuse is one of victimization, there’s a way in which she’s saying, “‘I am taking my own agency back in this image,'” Tattersall says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a lot of rough stuff in this exhibition — images and ideas that linger long after you’ve left the building. They trace how great photographers have used their cameras to make us see, understand or recoil, in the course of half a century. \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=3+Photographers+Who+Captured+The+Undersides+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We snap a selfie with the tap of a finger. We’re used to preserving smiling moments.\u003c/p>\n\u003cp>At the Museum of Contemporary Art in Los Angeles, there’s an exhibit right now which goes to darker places with a camera. The images in “Real Worlds” are from three major photographers, taken over half a century.\u003c/p>\n\u003cp>There’s Brassaï, a French-Hungarian who made his reputation revealing secret Paris nights between the World Wars. There’s Diane Arbus, American, who said in the 1960s, “I really believe there are things nobody would see if I didn’t photograph them.” And there’s Nan Goldin, another American, who stunned the 1980s with her series “The Ballad Of Sexual Dependency.”\u003c/p>\n\u003cp>All three picture-takers are revolutionary: They photographed, with profound intimacy, the undersides of life. Their images are stunning, sometimes shocking, often provocative.\u003c/p>\n\u003cp>In nighttime Paris, Brassaï stalked the underworld — brothels, streetwalkers. But at MOCA, there’s a Brassaï shot of a happy night at an Afro-Caribbean club in Montmartre. Black and white people smoke together, sip Perrier or stronger stuff, dance. And there’s an intriguing woman on the left.\u003c/p>\n\u003cfigure id=\"attachment_13828439\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg\" alt='Brassaï, \"At the Cabane Cubaine in Montmartre,\" c. 1932.' width=\"598\" height=\"800\" class=\"size-full wp-image-13828439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-520x696.jpg 520w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Brassaï, “At the Cabane Cubaine in Montmartre,” c. 1932. \u003ccite>(Brassaï/Courtesy of The Museum of Contemporary Art, Los Angeles, The Ralph M. Parsons Foundation Photography Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s wearing this white hat that’s just off to the side, a kind of kerchief hat, and she’s staring directly at the camera,” says curator Lanka Tattersall. “And this is the thing that I find so remarkable in this image. It’s taken in 1932. She’s looking at Brassaï and she’s very aware of her image being taken by this photographer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It didn’t happen that much in 1932 — people roaming around, unannounced, taking your picture. What might she have been thinking?\u003c/p>\n\u003cp>“She’s probably thinking — you know, this scene is being preserved,” Tattersall says. “I think that’s what makes this photograph absolutely contemporary, is an awareness of what it is to be photographed, and to really think about having your image distributed across time and space.”\u003c/p>\n\u003cp>Thirty years later, American photographer Diane Arbus inherited Brassaï’s vision. We were used to having our pictures taken by the 1960s. But Arbus’ focus was new. In black and white, she documented people on the fringes. Giants, bearded ladies, people with mental disabilities or those who may have been institutionalized. In Tattersall’s words: “people whose bodies or sexual identities didn’t conform with kind of mainstream narrative of what it was to be an American.”\u003c/p>\n\u003cp>Arbus was accused of voyeurism, of going after what were then called freak shows. But Tattersall, the MOCA curator, says Arbus forged relationships with her subjects, and that there’s empathy in the pictures.\u003c/p>\n\u003cp>“To me, she’s photographing these remarkable individuals who want to be photographed,” Tattersall says.\u003c/p>\n\u003cfigure id=\"attachment_13828438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg\" alt='Nan Goldin, \"Nan one month after being battered,\" 1984.' width=\"800\" height=\"530\" class=\"size-medium wp-image-13828438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin, “Nan one month after being battered,” 1984. \u003ccite>(Nan Goldin/Courtesy of The Museum of Contemporary Art, Los Angeles, The Nimoy Family Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a remarkable 1969 photo Arbus called \u003ca href=\"https://www.moca.org/collection/work/transvestite-at-her-birthday-party-nyc\">“Transvestite at her birthday party.”\u003c/a>\u003c/p>\n\u003cp>“And it’s just this person lying alone, on a bed,” Tattersall says. “She’s got some balloons taped up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They’re having a fabulous time.”\u003c/p>\n\u003cp>Transgender people also intrigue photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them — as well as gays and lesbians. Hers are the most provocative pictures in the MOCA exhibit.\u003c/p>\n\u003cp>She also shows people having sex — friends, who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?\u003c/p>\n\u003cp>“I think they’re voracious,” Tattersall says.\u003c/p>\n\u003cp>Goldin is exploring relationships — what happens in love, and when love goes wrong. Her 1984 self-portrait, “Nan one month after being battered” (pictured atop this page) shows the damage her lover did to her. Dark bruises under her eyes — the left eye bloody in her swollen face — she looks right at us. The look is uncompromising.\u003c/p>\n\u003cp>“I think there’s a chilling way in which she’s saying, ‘This is what it looks like to be battered,'” Tattersall says. “But this is also what it looks like to take control of your own image.”\u003c/p>\n\u003cp>Nan Goldin was 31 years old in that photo. One battered eye was nearly blind. But she’s painted her lips carefully. A bright, bright red.\u003c/p>\n\u003cp>“Even if that moment of violence and abuse is one of victimization, there’s a way in which she’s saying, “‘I am taking my own agency back in this image,'” Tattersall says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a lot of rough stuff in this exhibition — images and ideas that linger long after you’ve left the building. They trace how great photographers have used their cameras to make us see, understand or recoil, in the course of half a century. \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=3+Photographers+Who+Captured+The+Undersides+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "serial-subject-adnan-syed-deserves-a-new-trial-appeals-court-rules",
"title": "'Serial' Subject Adnan Syed Deserves A New Trial, Appeals Court Rules",
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"headTitle": "‘Serial’ Subject Adnan Syed Deserves A New Trial, Appeals Court Rules | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 8:16 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Maryland’s second-highest court has ruled that Adnan Syed, whose murder conviction served as a subject for the hit podcast \u003cem>Serial\u003c/em>, deserves a new trial. The \u003ca href=\"https://www.courts.state.md.us/data/opinions/cosa/2018/2519s13.pdf\" target=\"_blank\" rel=\"noopener\">decision issued Thursday\u003c/a> by the Court of Special Appeals upheld a lower-court ruling that Syed’s counsel in his original murder trial was deficient and ineffective.\u003c/p>\n\u003cp>[contextly_sidebar id=”5Df10Nh7Zg4hzHEyb2y2AYngt4yrDxkW”]\u003c/p>\n\u003cp>In its majority opinion Thursday, the three-judge panel affirmed that the defense team’s “deficient performance prejudiced Syed’s defense,” explaining that his counsel failed to contact a potential witness whose alibi could “have raised a reasonable doubt in the mind of at least one juror.”\u003c/p>\n\u003cp>The ruling upholds a previous decision to vacate Syed’s 2000 conviction for the murder of his former girlfriend Hae Min Lee and remands the case back to Maryland’s circuit court for retrial. But prosecutors still still have 30 days to appeal Thursday’s decision to Maryland’s highest court, the Court of Appeals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CJBrownLaw/status/979402646078545920\u003c/p>\n\u003cp>For readers unfamiliar with \u003cem>Serial\u003c/em>, here is a summary \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/02/03/465406957/adnan-syed-of-serial-fame-appears-in-court-to-seek-new-trial\">we offered in 2016\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Each season of \u003cem>Serial \u003c/em>follows a single true story, told episode by episode.\u003c/p>\n\u003cp>“The first season investigated the case of Adnan Syed, who was convicted of murdering his former girlfriend more than 15 years ago. Host Sarah Koenig and her team uncovered inconsistencies in his case — including the fact that Asia McClain was an alibi witness. She said she’d seen Syed at the time Hae Min Lee’s murder occurred, but that testimony was never brought forth in court.\u003c/p>\n\u003cp>“The podcast became the most-downloaded of all time, fascinating more than a million listeners and inspiring \u003ca href=\"http://www.slate.com/topics/s/serial.html\" target=\"_blank\" rel=\"noopener\">passionate communities\u003c/a> of \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener\">amateur sleuths\u003c/a> and \u003ca href=\"https://itunes.apple.com/us/podcast/serially-obsessed/id942696749?mt=2\" target=\"_blank\" rel=\"noopener\">Adnan obsessives\u003c/a>.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After the ruling was released, Julie Snyder, an executive producer of \u003cem>Serial\u003c/em>, told NPR she felt that the podcast’s season showed that “the story that the state presented at trial could not have happened.”\u003c/p>\n\u003cp>“To me,” she added, “some sort of remedy seems appropriate.”\u003c/p>\n\u003cp>Since the original trial, Syed’s representatives have pointed to that failure to bring forth that alibi witness — as well as a failure to question the reliability of cellphone tower evidence used to place Syed at the scene of the crime — as proof Syed’s original attorney failed him.\u003c/p>\n\u003cp>Judge Martin Welch, who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/06/30/484225226/adnan-syed-subject-of-serial-podcast-will-get-a-new-trial\" target=\"_blank\" rel=\"noopener\">overturned the conviction in 2016\u003c/a> in Baltimore City Court, ultimately found that Syed’s first attorney “fell below the standard of reasonable professional judgment.”\u003c/p>\n\u003cp>Prosecutors appealed that decision, only to lose that appeal Thursday in a 2-1 ruling.\u003c/p>\n\u003cp>Prosecutors did not immediately announce whether they would appeal Thursday’s ruling. Maryland Attorney General Brian Frosh’s office said it is “currently reviewing today’s decision to determine next steps,” \u003ca href=\"http://www.baltimoresun.com/news/maryland/crime/bs-md-ci-adnan-syed-ruling-20171205-story.html\">according to The Baltimore Sun\u003c/a>.\u003c/p>\n\u003cp>In the meantime, Syed’s current attorney, C. Justin Brown, celebrated the decision at a news conference, expressing his eagerness to proceed to a new trial.\u003c/p>\n\u003cp>“Let’s take it to a jury in Baltimore City and let them decide whether or not Adnan Syed is guilty or innocent,” Brown told reporters. “You know, this process has taken so long already. It’s time to make some final resolution of it — and we hope that the state will see it the same way that we do.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.documentcloud.org/documents/4426220-2519s13.html#document/p1\" target=\"_blank\" rel=\"noopener\">Read the Court of Special Appeals ruling here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR intern Adrienne St. Clair contributed to this report.\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=%27Serial%27+Subject+Adnan+Syed+Deserves+A+New+Trial%2C+Appeals+Court+Rules&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Maryland's second-highest court has upheld a ruling vacating Syed's murder conviction, which the hit podcast covered. Syed will be retried in a lower court, provided Thursday's ruling isn't appealed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:16 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Maryland’s second-highest court has ruled that Adnan Syed, whose murder conviction served as a subject for the hit podcast \u003cem>Serial\u003c/em>, deserves a new trial. The \u003ca href=\"https://www.courts.state.md.us/data/opinions/cosa/2018/2519s13.pdf\" target=\"_blank\" rel=\"noopener\">decision issued Thursday\u003c/a> by the Court of Special Appeals upheld a lower-court ruling that Syed’s counsel in his original murder trial was deficient and ineffective.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In its majority opinion Thursday, the three-judge panel affirmed that the defense team’s “deficient performance prejudiced Syed’s defense,” explaining that his counsel failed to contact a potential witness whose alibi could “have raised a reasonable doubt in the mind of at least one juror.”\u003c/p>\n\u003cp>The ruling upholds a previous decision to vacate Syed’s 2000 conviction for the murder of his former girlfriend Hae Min Lee and remands the case back to Maryland’s circuit court for retrial. But prosecutors still still have 30 days to appeal Thursday’s decision to Maryland’s highest court, the Court of Appeals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For readers unfamiliar with \u003cem>Serial\u003c/em>, here is a summary \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/02/03/465406957/adnan-syed-of-serial-fame-appears-in-court-to-seek-new-trial\">we offered in 2016\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Each season of \u003cem>Serial \u003c/em>follows a single true story, told episode by episode.\u003c/p>\n\u003cp>“The first season investigated the case of Adnan Syed, who was convicted of murdering his former girlfriend more than 15 years ago. Host Sarah Koenig and her team uncovered inconsistencies in his case — including the fact that Asia McClain was an alibi witness. She said she’d seen Syed at the time Hae Min Lee’s murder occurred, but that testimony was never brought forth in court.\u003c/p>\n\u003cp>“The podcast became the most-downloaded of all time, fascinating more than a million listeners and inspiring \u003ca href=\"http://www.slate.com/topics/s/serial.html\" target=\"_blank\" rel=\"noopener\">passionate communities\u003c/a> of \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener\">amateur sleuths\u003c/a> and \u003ca href=\"https://itunes.apple.com/us/podcast/serially-obsessed/id942696749?mt=2\" target=\"_blank\" rel=\"noopener\">Adnan obsessives\u003c/a>.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After the ruling was released, Julie Snyder, an executive producer of \u003cem>Serial\u003c/em>, told NPR she felt that the podcast’s season showed that “the story that the state presented at trial could not have happened.”\u003c/p>\n\u003cp>“To me,” she added, “some sort of remedy seems appropriate.”\u003c/p>\n\u003cp>Since the original trial, Syed’s representatives have pointed to that failure to bring forth that alibi witness — as well as a failure to question the reliability of cellphone tower evidence used to place Syed at the scene of the crime — as proof Syed’s original attorney failed him.\u003c/p>\n\u003cp>Judge Martin Welch, who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/06/30/484225226/adnan-syed-subject-of-serial-podcast-will-get-a-new-trial\" target=\"_blank\" rel=\"noopener\">overturned the conviction in 2016\u003c/a> in Baltimore City Court, ultimately found that Syed’s first attorney “fell below the standard of reasonable professional judgment.”\u003c/p>\n\u003cp>Prosecutors appealed that decision, only to lose that appeal Thursday in a 2-1 ruling.\u003c/p>\n\u003cp>Prosecutors did not immediately announce whether they would appeal Thursday’s ruling. Maryland Attorney General Brian Frosh’s office said it is “currently reviewing today’s decision to determine next steps,” \u003ca href=\"http://www.baltimoresun.com/news/maryland/crime/bs-md-ci-adnan-syed-ruling-20171205-story.html\">according to The Baltimore Sun\u003c/a>.\u003c/p>\n\u003cp>In the meantime, Syed’s current attorney, C. Justin Brown, celebrated the decision at a news conference, expressing his eagerness to proceed to a new trial.\u003c/p>\n\u003cp>“Let’s take it to a jury in Baltimore City and let them decide whether or not Adnan Syed is guilty or innocent,” Brown told reporters. “You know, this process has taken so long already. It’s time to make some final resolution of it — and we hope that the state will see it the same way that we do.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.documentcloud.org/documents/4426220-2519s13.html#document/p1\" target=\"_blank\" rel=\"noopener\">Read the Court of Special Appeals ruling here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR intern Adrienne St. Clair contributed to this report.\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=%27Serial%27+Subject+Adnan+Syed+Deserves+A+New+Trial%2C+Appeals+Court+Rules&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Warning\u003c/em>\u003c/strong>\u003cem>: This post contains language that some people may find offensive.\u003c/em>\u003c/p>\n\u003cp>“I think companies are purposely putting out noticably racist ads so they can get more views,” Chance the Rapper posted on \u003ca href=\"https://twitter.com/chancetherapper/status/978078809995046912\">Twitter\u003c/a> after seeing a recent ad for light beer.\u003c/p>\n\u003cp>https://twitter.com/chancetherapper/status/978078809995046912\u003c/p>\n\u003cp>In it, as reggae music plays, a light-skinned bartender slides a bottle across the bar, past three black people (one playing a guitar), to a light-skinned customer.\u003c/p>\n\u003cp>It ends with the tagline, “Sometimes, lighter is better.” The company Chance called out, Heineken, has since pulled the spot, globally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/g_u_-OD1_z0\u003c/p>\n\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/Pn8pwoNWseM\u003c/p>\n\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”JSAzu4oJNTLLeWwE0smS7hyeN4MglWHJ”]\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\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=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&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/g_u_-OD1_z0'\n title='//www.youtube.com/embed/g_u_-OD1_z0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\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/Pn8pwoNWseM'\n title='//www.youtube.com/embed/Pn8pwoNWseM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\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=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Congress Takes a Brush to the Budget, Barring Federal Funds for Portraits",
"headTitle": "Congress Takes a Brush to the Budget, Barring Federal Funds for Portraits | KQED",
"content": "\u003cp>\u003cstrong>Updated at 5:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For many elected officials, it’s something of a rite of passage: After getting to Capitol Hill, bearing their constituents’ hopes and fears on their shoulders, virtually every politician finally decides to take a stand — in front of a painter paid to make their portrait. Some even decide to sit for it.\u003c/p>\n\u003cp>But either way, for a long time many of those official portraits were paid for by the same patrons: U.S. taxpayers.\u003c/p>\n\u003cp>Not anymore.\u003c/p>\n\u003cp>On Tuesday, President Trump signed into law the \u003ca href=\"https://www.congress.gov/bill/115th-congress/senate-bill/188\">Eliminating Government-funded Oil-painting Act\u003c/a>, also known as — wait for it — the EGO Act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under the new law, federal funds can no longer be used toward official painted portraits for federal government officials or employees. (It remains a little unclear if watercolor painters can find themselves a loophole.)\u003c/p>\n\u003cp>The law applies to members of Congress, heads of executive agencies, even the president himself. If one of them wishes to have an official portrait rendered in paint, they will need to retrieve the requisite cash from their own wallets — or canvass (homophone joke, see what we did there?) private donors for the cash. That’s what the Obamas did for their own official portraits \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">unveiled last month\u003c/a>.\u003c/p>\n\u003cp>“I came to Congress to cut wasteful spending,” \u003ca href=\"https://twitter.com/BillCassidy/status/979020737326481408?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Freports%2FtwitterPreview.php%3FtweetId%3D979020737326481408%26hideMedia%3Dtrue\">tweeted \u003c/a>GOP Sen. Bill Cassidy, who has pushed for this measure since he represented Louisiana in the House.\u003c/p>\n\u003cp>He had already succeeded in getting the ban slipped into spending bills in 2014 and 2016, but those riders were only temporary. The standalone bill, which renders the ban permanent, did not enjoy the same kind of success. Cassidy’s campaign had gotten so regular, \u003ca href=\"http://www.nola.com/politics/index.ssf/2017/01/bill_cassidys_pet_peeve_over_p.html\">the New Orleans \u003cem>Times-Picayune \u003c/em>reports\u003c/a>, he even recycled his statement marking the bill’s introduction in each new Congress.\u003c/p>\n\u003cp>But on Wednesday, he enjoyed his long-sought victory lap. “Our debt is over $20 trillion,” his statement said. “There’s no excuse for spending hundreds of thousands of dollars on paintings of government officials.”\u003c/p>\n\u003cp>https://twitter.com/BillCassidy/status/979020737326481408\u003c/p>\n\u003cp>Now, it’s fair to wonder just how much effect this law will have on that towering number. In a 2017 report issued by the Senate Committee on Homeland Security and Governmental Affairs, the authors selected a slew of examples to highlight:\u003c/p>\n\u003cul>\n\u003cli>There was the $22,500 paid by the Department of Commerce for John Bryson’s portrait, despite the fact that he served just eight months as chief of the department.\u003c/li>\n\u003cli>The $19,500 for Steve Preston, who served as secretary of housing and urban development for an even shorter span.\u003c/li>\n\u003cli>And the $46,790 paid by the Department of Defense for former Secretary Donald Rumsfeld’s second official portrait.\u003c/li>\n\u003c/ul>\n\u003cp>And then there’s this one with a poodle, which goes unmentioned in the report but has drawn a \u003ca href=\"https://twitter.com/AdrianChen/status/696016605231374337\">different kind of attention\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/HouseForeign/status/401118976383524864\u003c/p>\n\u003cp>And this one with spaceships.\u003c/p>\n\u003cp>https://twitter.com/USHouseHistory/status/607879770575994882\u003c/p>\n\u003cp>All told, the report stated, from 2010 to 2013 more than $400,000 was spent on portraits displayed in agency buildings, “often in secure locations that are not open to the public.”\u003c/p>\n\u003cp>But the federal government spent \u003ca href=\"https://www.cbo.gov/topics/budget\">an estimated $4 trillion\u003c/a> in fiscal year 2017 alone. The expenditure on portraits represents a fraction of that total so small it would be very difficult to clearly represent here. A single F-35 fighter jet \u003ca href=\"https://www.nytimes.com/2016/12/12/us/politics/trump-f35-fighter-jet-tweet.html\">costs about 250 times\u003c/a> as much as all of the portraits bought during that three-year span, combined.\u003c/p>\n\u003cp>And portraits have not been the only source of concern for onlookers monitoring extravagant spending. Current HUD Secretary Ben Carson was called before a House committee earlier this month \u003ca href=\"https://www.npr.org/2018/03/26/595231728/why-trump-appointees-refer-to-optics-when-discussing-spending-scandals\">to explain the decision\u003c/a> to buy a $31,000 dining room set for his office.\u003c/p>\n\u003cp>Outgoing Veterans Affairs Secretary David Shulkin \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/15/585957402/inspector-serious-derelictions-by-va-secretary-related-to-overseas-travel\">has attracted scrutiny\u003c/a> from his department’s inspector general for an expensive overseas trip with his wife at taxpayer expense.\u003c/p>\n\u003cp>Former Health and Human Services Secretary Tom Price \u003ca href=\"https://www.npr.org/sections/health-shots/2017/09/29/554475788/price-resigns-from-trump-cabinet-amidst-private-jet-investigations\">already resigned\u003c/a> from Trump’s cabinet for reportedly using $400,000 of taxpayer money — or roughly 13 official portraits, according to the average price listed in the report — on private charter planes. He said he would \u003ca href=\"https://www.npr.org/2017/09/28/554328239/price-says-he-will-pay-for-travel-on-private-planes\">pay a portion\u003c/a> of that sum back.\u003c/p>\n\u003cp>But for backers of the EGO Act, ending the long tradition of taxpayer-funded official portraits means more than the numbers: they say it carries symbolic weight, as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The expensive practice has a long history of criticism dating back to at least the Carter Administration,” the 2017 committee report says. “Although portraits are a minor piece of the Federal budget, every dollar the government spends on vanity projects for federal officials is a dollar that is not spent improving the lives of everyday Americans.” \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=Congress+Takes+A+Brush+To+The+Budget%2C+Barring+Federal+Funds+For+Portraits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the new law, federal funds can no longer be used toward official painted portraits for federal government officials or employees. (It remains a little unclear if watercolor painters can find themselves a loophole.)\u003c/p>\n\u003cp>The law applies to members of Congress, heads of executive agencies, even the president himself. If one of them wishes to have an official portrait rendered in paint, they will need to retrieve the requisite cash from their own wallets — or canvass (homophone joke, see what we did there?) private donors for the cash. That’s what the Obamas did for their own official portraits \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">unveiled last month\u003c/a>.\u003c/p>\n\u003cp>“I came to Congress to cut wasteful spending,” \u003ca href=\"https://twitter.com/BillCassidy/status/979020737326481408?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Freports%2FtwitterPreview.php%3FtweetId%3D979020737326481408%26hideMedia%3Dtrue\">tweeted \u003c/a>GOP Sen. Bill Cassidy, who has pushed for this measure since he represented Louisiana in the House.\u003c/p>\n\u003cp>He had already succeeded in getting the ban slipped into spending bills in 2014 and 2016, but those riders were only temporary. The standalone bill, which renders the ban permanent, did not enjoy the same kind of success. Cassidy’s campaign had gotten so regular, \u003ca href=\"http://www.nola.com/politics/index.ssf/2017/01/bill_cassidys_pet_peeve_over_p.html\">the New Orleans \u003cem>Times-Picayune \u003c/em>reports\u003c/a>, he even recycled his statement marking the bill’s introduction in each new Congress.\u003c/p>\n\u003cp>But on Wednesday, he enjoyed his long-sought victory lap. “Our debt is over $20 trillion,” his statement said. “There’s no excuse for spending hundreds of thousands of dollars on paintings of government officials.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Now, it’s fair to wonder just how much effect this law will have on that towering number. In a 2017 report issued by the Senate Committee on Homeland Security and Governmental Affairs, the authors selected a slew of examples to highlight:\u003c/p>\n\u003cul>\n\u003cli>There was the $22,500 paid by the Department of Commerce for John Bryson’s portrait, despite the fact that he served just eight months as chief of the department.\u003c/li>\n\u003cli>The $19,500 for Steve Preston, who served as secretary of housing and urban development for an even shorter span.\u003c/li>\n\u003cli>And the $46,790 paid by the Department of Defense for former Secretary Donald Rumsfeld’s second official portrait.\u003c/li>\n\u003c/ul>\n\u003cp>And then there’s this one with a poodle, which goes unmentioned in the report but has drawn a \u003ca href=\"https://twitter.com/AdrianChen/status/696016605231374337\">different kind of attention\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And this one with spaceships.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>All told, the report stated, from 2010 to 2013 more than $400,000 was spent on portraits displayed in agency buildings, “often in secure locations that are not open to the public.”\u003c/p>\n\u003cp>But the federal government spent \u003ca href=\"https://www.cbo.gov/topics/budget\">an estimated $4 trillion\u003c/a> in fiscal year 2017 alone. The expenditure on portraits represents a fraction of that total so small it would be very difficult to clearly represent here. A single F-35 fighter jet \u003ca href=\"https://www.nytimes.com/2016/12/12/us/politics/trump-f35-fighter-jet-tweet.html\">costs about 250 times\u003c/a> as much as all of the portraits bought during that three-year span, combined.\u003c/p>\n\u003cp>And portraits have not been the only source of concern for onlookers monitoring extravagant spending. Current HUD Secretary Ben Carson was called before a House committee earlier this month \u003ca href=\"https://www.npr.org/2018/03/26/595231728/why-trump-appointees-refer-to-optics-when-discussing-spending-scandals\">to explain the decision\u003c/a> to buy a $31,000 dining room set for his office.\u003c/p>\n\u003cp>Outgoing Veterans Affairs Secretary David Shulkin \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/15/585957402/inspector-serious-derelictions-by-va-secretary-related-to-overseas-travel\">has attracted scrutiny\u003c/a> from his department’s inspector general for an expensive overseas trip with his wife at taxpayer expense.\u003c/p>\n\u003cp>Former Health and Human Services Secretary Tom Price \u003ca href=\"https://www.npr.org/sections/health-shots/2017/09/29/554475788/price-resigns-from-trump-cabinet-amidst-private-jet-investigations\">already resigned\u003c/a> from Trump’s cabinet for reportedly using $400,000 of taxpayer money — or roughly 13 official portraits, according to the average price listed in the report — on private charter planes. He said he would \u003ca href=\"https://www.npr.org/2017/09/28/554328239/price-says-he-will-pay-for-travel-on-private-planes\">pay a portion\u003c/a> of that sum back.\u003c/p>\n\u003cp>But for backers of the EGO Act, ending the long tradition of taxpayer-funded official portraits means more than the numbers: they say it carries symbolic weight, as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The expensive practice has a long history of criticism dating back to at least the Carter Administration,” the 2017 committee report says. “Although portraits are a minor piece of the Federal budget, every dollar the government spends on vanity projects for federal officials is a dollar that is not spent improving the lives of everyday Americans.” \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=Congress+Takes+A+Brush+To+The+Budget%2C+Barring+Federal+Funds+For+Portraits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz's Bleeding Edge? You Can Find It, Briefly, in Eastern Tennessee",
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"content": "\u003cp>Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran’s deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.\u003c/p>\n\u003cp>Musically speaking, this was a first-time encounter for Graves, who at 76 is a sagacious elder in the improvising avant-garde, and Moran, 43, whose career has branched out from a position closer to jazz’s center. Their concert was a gemlike centerpiece of Big Ears 2018; capacity at the Bijou is 700, but even with several competing options on the schedule, a lot of people were turned away.\u003c/p>\n\u003cp>Standing in line, I struck up a conversation with a white-bearded Tennesseean who has never missed an edition of the festival. When I asked whether he’d been looking forward to Graves and Moran, he said he didn’t know a thing about either one. His eyes lit up as he said it, like a kid about to open a birthday present. He wasn’t a rare-sound partisan, or a practicing connoisseur; he had just learned to count on musical discovery at Big Ears. “The more bizarre, the better,” he told me.\u003c/p>\n\u003cp>Big Ears will do that to a person. Contained within a walkable radius of historic downtown Knoxville — in a range of ornate landmark theaters, refurbished industrial spaces, art galleries, churches, and clubs — it creates its own atmospheric climate, along with a center of gravity. From its first iteration in 2009, the festival has been a locus of expedition, defined more by a go-anywhere ethos than by any style or genre allegiance. For a few years, the event honored vanguardist classical composers like Terry Riley and Steve Reich. It has skipped some years over the last decade. This was its seventh edition — and my first, despite the best of intentions and the deepest of affinities.\u003c/p>\n\u003cfigure id=\"attachment_13828182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg\" alt=\"Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What led me to Big Ears this year, in part, was an unusually high quotient of experimental jazz — or one or another form of unnamable music, like Graves and Moran’s spirit trance, that bore a vestigial relationship to jazz. Increasingly, improvising artists across the style spectrum are accessing multiple vocabularies, reconciling divergent strategies, bringing other disciplines into the frame. This coalescence was also a hallmark of\u003ca href=\"https://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\"> last summer’s Ojai Music Festival\u003c/a>, programmed by pianist and composer Vijay Iyer. Like that inspiring event, which featured a few of the same artists, this year’s Big Ears felt right in tune with an emergent, exhilarating frontier. I see this not only as a hopeful turn in the festival’s model of inclusion but also as an indicator of present-day permissions around jazz’s state of the art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moran is an obvious case in point. Along with the Graves duo, he played a show at the Mill & Mine, around midnight, with his Fats Waller Dance Party, creating a hallucinatory funk jam inspired by one of jazz’s foundational heroes. He also performed at the Bijou with BANGS, a trio that released\u003ca href=\"https://www.npr.org/2017/12/14/570561785/nate-chinens-top-10-actually-21-albums-of-2017\"> one of my favorite albums\u003c/a> last year and sounded even better here.\u003c/p>\n\u003cp>BANGS is all about Moran’s sensitive, shifting rapport with guitarist Mary Halvorson and cornetist Ron Miles, who each brought furious concentration to the task. Sometimes it sounded unmistakably like jazz, sometimes not. A seamless progression from the austere beauty of “White Space” (by Halvorson) to the pastoral reassurance of “Cupid” (by Miles) imparted the sensation of pure possibility, an open road under a billowing sky.\u003c/p>\n\u003cp>The festival abounded with other manifestations of this improv-activated, beyond-the-known-horizon sort of music, too many for a laundry list, let alone a concert agenda. But among other things: the formidable British saxophonist Evan Parker playing both a cathedral recital and in a pair of futuristic bands, his Electro-Acoustic Ensemble and the collective Rocket Science; a solitary explosion of sonic dimensions by trumpeter Peter Evans; two views on the violinist Jenny Scheinman, who first led Mischief & Mayhem, a raucous jazz-rock unit with Nels Cline on guitar and later presented ‘Kannopolis: A Moving Portrait,’ a found-footage-and-string-band experience steeped in Carolina twang; and the Tyshawn Sorey Trio, which developed like a high-pressure front, in an inexorable gyre. \u003c/p>\n\u003cfigure id=\"attachment_13828184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg\" alt=\"Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pianist and reliable sound sorcerer Craig Taborn, whom I heard in four distinct contexts over the weekend, played the festival’s final slot with his superdynamic quartet. Introducing the band, which appears on his 2017 album \u003cem>Daylight Ghosts\u003c/em>, he gave a shout out to the Big Ears brain trust, “because it’s a festival that kind of represents how I listen to music.”\u003c/p>\n\u003cp>Ashley Capps, the founder and artistic director of Big Ears, would say much the same. He did, in fact, over breakfast on Friday morning. “It kind of unfolds with a logic of its own,” he said of the festival’s programming calculus. “But sometimes there’s something in the air. A clear association with the cultural moment.”\u003c/p>\n\u003cp>In the music industry, Capps is probably best known as a cofounder of the Bonnaroo Music and Arts Festival, which has sprawled out from a baseline of jam-band exuberance — this year’s headliners include Future, Paramore and Eminem. But Capps started out promoting shows in Knoxville during the late ’70s, and ran an eclectic club called Ella Guru’s in the ’80s. “For people who’ve grown up with me and know my taste,” he said, “they’re surprised it took so long for jazz to have such a prominent place at the festival.”\u003c/p>\n\u003cp>The tipping point, he said, was a 2016 Big Ears appearance by the brilliant, sometimes inscrutable composer and multireedist Anthony Braxton. “He played in the Bijou, and that was the first time we had done shows on a Friday afternoon,” Capps recalled, painting a picture just like the one I saw with Graves and Moran: full house, little to no turnover, 200 people shut out in line. “It was so encouraging to me as a programmer or a curator, to realize that we had managed to attract an audience with that level of interest and curiosity.”\u003c/p>\n\u003cp>Since then, Big Ears has featured saxophonist and flutist Henry Threadgill and trumpeter Wadada Leo Smith, who like Braxton are longtime members of the Association for the Advancement of Creative Musicians (AACM). Two of the most galvanic performances I saw were by a guiding elder of that organization, the multi-reedist and composer Roscoe Mitchell.\u003c/p>\n\u003cp>The first was a tumultuous show at The Standard, a converted warehouse where I also saw portions of sets by Rostam and Algiers. Mitchell was leading Trio Five, featuring the younger rhythm team of bassist Junius Paul and drummer Vincent Davis, who met his volcanic outpourings with power and poise. After a long stretch of circular breathing on soprano saxophone, expressive and atonal, Mitchell cued up “Odwalla,” a swinging theme he composed for the Art Ensemble of Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13828188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg\" alt=\"Roscoe Mitchell.\" width=\"400\" height=\"601\" class=\"size-full wp-image-13828188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell. \u003ccite>(Giles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same anthem closed Mitchell’s concert at the Bijou on Saturday night, with a nine-piece confab similar to the one on his double album \u003cem>Bells For the South Side\u003c/em>, released last year. Sorey and Taborn were there alongside Mitchell associates like Hugh Ragin (trumpet), Tani Tabbal (drums) and James Fei (electronics and saxophones). As on the album — which was recorded in 2015, as part of a 50th anniversary celebration for the AACM — this performance began in a stark, accretive mode and gradually led to an incredible, wildly cacophonous squall.\u003c/p>\n\u003cp>Capps, who first presented the Art Ensemble of Chicago at the Bijou in 1980, told me that this performance felt a bit like coming full circle. And he agreed with my suggestion that after decades of marginalization, the AACM had finally begun to see its restless, collectivist methodologies metabolized into the improvised-music mainstream, at least up to a point.\u003c/p>\n\u003cp>“There’s a certain parallel with, say, minimalism — Steve Reich and Philip Glass, the stuff in the ’70s,” he said. “It was totally fringe; they had to form their own bands because nobody else could play it. I think the AACM is part of that tradition. It’s been 50 years of not only putting these ideas out there, but also building a community around the ideas.”\u003c/p>\n\u003cp>Big Ears represents another expression of that community, even if its convergent superabundance is as fleeting as a dream. For all the enlightened sprawl of its programming, which also included a heavy infusion of traditional Appalachian music this year, Capps said his curation was driven first and foremost by a sense of urgency. “Many of these musicians are now in their 70s and 80s,” he said. “Their contribution to art and culture has been profound, for me and for so many others. And I want to acknowledge them and honor that.”\u003c/p>\n\u003cp>Mitchell and Parker were two shining embodiments of this, avatars of uncompromising vision and intergenerational exchange. So too was Milford Graves, who performed a separate solo-percussion-and-vocal concert at the Bijou, to a rapt full house. At one point, after a casual demonstration of mystical Cuban rumba, he stopped to catch his breath. “It’s all in there,” he said of his flowing access to the music. “There’s no free jazz, no avant-garde, no bebop.”\u003c/p>\n\u003cp>He paused, magisterially, and then perked up. “Hey, check this out,” he said, suddenly sounding like a guy handing out flyers outside a hardcore show. “Tomorrow night, Jason Moran and myself. It should be interesting.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Beyond Jazz\u003c/strong>\u003c/h3>\n\u003cp>In the Big Ears spirit of roving interests and genre defiance, here are five great performances with little, or no, connection to jazz.\u003c/p>\n\u003cp>\u003cstrong>Arto Lindsay\u003c/strong>, The Mill & Mine\u003c/p>\n\u003cp>The always unclassifiable guitarist, composer and singer Arto Lindsay made this show a fever dream of growling funk, leading a band with Melvin Gibbs on bass, flanked by two excellent drummers. It was political, too — and not only when Lindsay dedicated a song to a black feminist activist who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/15/594005158/brazilians-protest-after-black-human-rights-activist-is-murdered\">killed earlier this month \u003c/a>in Rio de Janeiro, Brazil.\u003c/p>\n\u003cp>\u003cstrong>Bang On A Can All-Stars: Julia Wolfe’s \u003c/strong>\u003cem>\u003cstrong>Anthracite Fields\u003c/strong>\u003c/em>, The Mill & Mine\u003c/p>\n\u003cp>Julia Wolfe’s new-music oratorio for choir and chamber sextet, which \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2015/09/26/442917172/a-dark-but-redeeming-tour-of-coal-country-with-composer-julia-wolfe\">won the 2015 Pulitzer Prize\u003c/a> for Music, is a haunting elegy inspired by the plight of Pennsylvania coal country near the turn of the century, and \u003cem>Anthracite Fields \u003c/em>was all the more haunting in the cavernous dark of The Mill & Mine, where much of the audience sat cross-legged on the floor.\u003c/p>\n\u003cp>\u003cstrong>Béla Fleck & Abigail Washburn\u003c/strong>, The Jig & Reel\u003c/p>\n\u003cp>Hours earlier, they were onstage at the Tennessee Theatre, an exquisite hall whose décor has often been likened to the inside of a Fabergé egg. This pop-up show was a lot smaller and scruffier. But where better to hear Washburn’s clarion voice and clawhammer banjo — deftly backed by Fleck, her husband — than in an old Scottish pub in Eastern Tennessee?\u003c/p>\n\u003cp>\u003cstrong>Laurel Halo with Eli Keszler\u003c/strong>, The Standard\u003c/p>\n\u003cp>During an afternoon interview with music critic Ben Ratliff, the experimental electronic artist Laurel Halo and the drummer Eli Keszler talked about their formative influences, free jazz among them. That evening they made an ambient music of shifting layers, hallucinatory at times but rooted in body movement. \u003c/p>\n\u003cp>\u003cstrong>Julie Byrne\u003c/strong>, The Standard\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Interiority is a generous condition in the music of Julie Byrne, who worked here with an understated command, singing in a warm, floaty hush and lightly fingerpicking her acoustic guitar. She had two supportive band members, on synthesizer and violin, but what mattered most were her songs, which could feel like spaces to crawl into and disappear. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz%27s+Bleeding+Edge%3F+You+Can+Find+It%2C+Briefly%2C+In+Eastern+Tennesse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran’s deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.\u003c/p>\n\u003cp>Musically speaking, this was a first-time encounter for Graves, who at 76 is a sagacious elder in the improvising avant-garde, and Moran, 43, whose career has branched out from a position closer to jazz’s center. Their concert was a gemlike centerpiece of Big Ears 2018; capacity at the Bijou is 700, but even with several competing options on the schedule, a lot of people were turned away.\u003c/p>\n\u003cp>Standing in line, I struck up a conversation with a white-bearded Tennesseean who has never missed an edition of the festival. When I asked whether he’d been looking forward to Graves and Moran, he said he didn’t know a thing about either one. His eyes lit up as he said it, like a kid about to open a birthday present. He wasn’t a rare-sound partisan, or a practicing connoisseur; he had just learned to count on musical discovery at Big Ears. “The more bizarre, the better,” he told me.\u003c/p>\n\u003cp>Big Ears will do that to a person. Contained within a walkable radius of historic downtown Knoxville — in a range of ornate landmark theaters, refurbished industrial spaces, art galleries, churches, and clubs — it creates its own atmospheric climate, along with a center of gravity. From its first iteration in 2009, the festival has been a locus of expedition, defined more by a go-anywhere ethos than by any style or genre allegiance. For a few years, the event honored vanguardist classical composers like Terry Riley and Steve Reich. It has skipped some years over the last decade. This was its seventh edition — and my first, despite the best of intentions and the deepest of affinities.\u003c/p>\n\u003cfigure id=\"attachment_13828182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg\" alt=\"Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What led me to Big Ears this year, in part, was an unusually high quotient of experimental jazz — or one or another form of unnamable music, like Graves and Moran’s spirit trance, that bore a vestigial relationship to jazz. Increasingly, improvising artists across the style spectrum are accessing multiple vocabularies, reconciling divergent strategies, bringing other disciplines into the frame. This coalescence was also a hallmark of\u003ca href=\"https://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\"> last summer’s Ojai Music Festival\u003c/a>, programmed by pianist and composer Vijay Iyer. Like that inspiring event, which featured a few of the same artists, this year’s Big Ears felt right in tune with an emergent, exhilarating frontier. I see this not only as a hopeful turn in the festival’s model of inclusion but also as an indicator of present-day permissions around jazz’s state of the art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moran is an obvious case in point. Along with the Graves duo, he played a show at the Mill & Mine, around midnight, with his Fats Waller Dance Party, creating a hallucinatory funk jam inspired by one of jazz’s foundational heroes. He also performed at the Bijou with BANGS, a trio that released\u003ca href=\"https://www.npr.org/2017/12/14/570561785/nate-chinens-top-10-actually-21-albums-of-2017\"> one of my favorite albums\u003c/a> last year and sounded even better here.\u003c/p>\n\u003cp>BANGS is all about Moran’s sensitive, shifting rapport with guitarist Mary Halvorson and cornetist Ron Miles, who each brought furious concentration to the task. Sometimes it sounded unmistakably like jazz, sometimes not. A seamless progression from the austere beauty of “White Space” (by Halvorson) to the pastoral reassurance of “Cupid” (by Miles) imparted the sensation of pure possibility, an open road under a billowing sky.\u003c/p>\n\u003cp>The festival abounded with other manifestations of this improv-activated, beyond-the-known-horizon sort of music, too many for a laundry list, let alone a concert agenda. But among other things: the formidable British saxophonist Evan Parker playing both a cathedral recital and in a pair of futuristic bands, his Electro-Acoustic Ensemble and the collective Rocket Science; a solitary explosion of sonic dimensions by trumpeter Peter Evans; two views on the violinist Jenny Scheinman, who first led Mischief & Mayhem, a raucous jazz-rock unit with Nels Cline on guitar and later presented ‘Kannopolis: A Moving Portrait,’ a found-footage-and-string-band experience steeped in Carolina twang; and the Tyshawn Sorey Trio, which developed like a high-pressure front, in an inexorable gyre. \u003c/p>\n\u003cfigure id=\"attachment_13828184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg\" alt=\"Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pianist and reliable sound sorcerer Craig Taborn, whom I heard in four distinct contexts over the weekend, played the festival’s final slot with his superdynamic quartet. Introducing the band, which appears on his 2017 album \u003cem>Daylight Ghosts\u003c/em>, he gave a shout out to the Big Ears brain trust, “because it’s a festival that kind of represents how I listen to music.”\u003c/p>\n\u003cp>Ashley Capps, the founder and artistic director of Big Ears, would say much the same. He did, in fact, over breakfast on Friday morning. “It kind of unfolds with a logic of its own,” he said of the festival’s programming calculus. “But sometimes there’s something in the air. A clear association with the cultural moment.”\u003c/p>\n\u003cp>In the music industry, Capps is probably best known as a cofounder of the Bonnaroo Music and Arts Festival, which has sprawled out from a baseline of jam-band exuberance — this year’s headliners include Future, Paramore and Eminem. But Capps started out promoting shows in Knoxville during the late ’70s, and ran an eclectic club called Ella Guru’s in the ’80s. “For people who’ve grown up with me and know my taste,” he said, “they’re surprised it took so long for jazz to have such a prominent place at the festival.”\u003c/p>\n\u003cp>The tipping point, he said, was a 2016 Big Ears appearance by the brilliant, sometimes inscrutable composer and multireedist Anthony Braxton. “He played in the Bijou, and that was the first time we had done shows on a Friday afternoon,” Capps recalled, painting a picture just like the one I saw with Graves and Moran: full house, little to no turnover, 200 people shut out in line. “It was so encouraging to me as a programmer or a curator, to realize that we had managed to attract an audience with that level of interest and curiosity.”\u003c/p>\n\u003cp>Since then, Big Ears has featured saxophonist and flutist Henry Threadgill and trumpeter Wadada Leo Smith, who like Braxton are longtime members of the Association for the Advancement of Creative Musicians (AACM). Two of the most galvanic performances I saw were by a guiding elder of that organization, the multi-reedist and composer Roscoe Mitchell.\u003c/p>\n\u003cp>The first was a tumultuous show at The Standard, a converted warehouse where I also saw portions of sets by Rostam and Algiers. Mitchell was leading Trio Five, featuring the younger rhythm team of bassist Junius Paul and drummer Vincent Davis, who met his volcanic outpourings with power and poise. After a long stretch of circular breathing on soprano saxophone, expressive and atonal, Mitchell cued up “Odwalla,” a swinging theme he composed for the Art Ensemble of Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13828188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg\" alt=\"Roscoe Mitchell.\" width=\"400\" height=\"601\" class=\"size-full wp-image-13828188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell. \u003ccite>(Giles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same anthem closed Mitchell’s concert at the Bijou on Saturday night, with a nine-piece confab similar to the one on his double album \u003cem>Bells For the South Side\u003c/em>, released last year. Sorey and Taborn were there alongside Mitchell associates like Hugh Ragin (trumpet), Tani Tabbal (drums) and James Fei (electronics and saxophones). As on the album — which was recorded in 2015, as part of a 50th anniversary celebration for the AACM — this performance began in a stark, accretive mode and gradually led to an incredible, wildly cacophonous squall.\u003c/p>\n\u003cp>Capps, who first presented the Art Ensemble of Chicago at the Bijou in 1980, told me that this performance felt a bit like coming full circle. And he agreed with my suggestion that after decades of marginalization, the AACM had finally begun to see its restless, collectivist methodologies metabolized into the improvised-music mainstream, at least up to a point.\u003c/p>\n\u003cp>“There’s a certain parallel with, say, minimalism — Steve Reich and Philip Glass, the stuff in the ’70s,” he said. “It was totally fringe; they had to form their own bands because nobody else could play it. I think the AACM is part of that tradition. It’s been 50 years of not only putting these ideas out there, but also building a community around the ideas.”\u003c/p>\n\u003cp>Big Ears represents another expression of that community, even if its convergent superabundance is as fleeting as a dream. For all the enlightened sprawl of its programming, which also included a heavy infusion of traditional Appalachian music this year, Capps said his curation was driven first and foremost by a sense of urgency. “Many of these musicians are now in their 70s and 80s,” he said. “Their contribution to art and culture has been profound, for me and for so many others. And I want to acknowledge them and honor that.”\u003c/p>\n\u003cp>Mitchell and Parker were two shining embodiments of this, avatars of uncompromising vision and intergenerational exchange. So too was Milford Graves, who performed a separate solo-percussion-and-vocal concert at the Bijou, to a rapt full house. At one point, after a casual demonstration of mystical Cuban rumba, he stopped to catch his breath. “It’s all in there,” he said of his flowing access to the music. “There’s no free jazz, no avant-garde, no bebop.”\u003c/p>\n\u003cp>He paused, magisterially, and then perked up. “Hey, check this out,” he said, suddenly sounding like a guy handing out flyers outside a hardcore show. “Tomorrow night, Jason Moran and myself. It should be interesting.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Beyond Jazz\u003c/strong>\u003c/h3>\n\u003cp>In the Big Ears spirit of roving interests and genre defiance, here are five great performances with little, or no, connection to jazz.\u003c/p>\n\u003cp>\u003cstrong>Arto Lindsay\u003c/strong>, The Mill & Mine\u003c/p>\n\u003cp>The always unclassifiable guitarist, composer and singer Arto Lindsay made this show a fever dream of growling funk, leading a band with Melvin Gibbs on bass, flanked by two excellent drummers. It was political, too — and not only when Lindsay dedicated a song to a black feminist activist who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/15/594005158/brazilians-protest-after-black-human-rights-activist-is-murdered\">killed earlier this month \u003c/a>in Rio de Janeiro, Brazil.\u003c/p>\n\u003cp>\u003cstrong>Bang On A Can All-Stars: Julia Wolfe’s \u003c/strong>\u003cem>\u003cstrong>Anthracite Fields\u003c/strong>\u003c/em>, The Mill & Mine\u003c/p>\n\u003cp>Julia Wolfe’s new-music oratorio for choir and chamber sextet, which \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2015/09/26/442917172/a-dark-but-redeeming-tour-of-coal-country-with-composer-julia-wolfe\">won the 2015 Pulitzer Prize\u003c/a> for Music, is a haunting elegy inspired by the plight of Pennsylvania coal country near the turn of the century, and \u003cem>Anthracite Fields \u003c/em>was all the more haunting in the cavernous dark of The Mill & Mine, where much of the audience sat cross-legged on the floor.\u003c/p>\n\u003cp>\u003cstrong>Béla Fleck & Abigail Washburn\u003c/strong>, The Jig & Reel\u003c/p>\n\u003cp>Hours earlier, they were onstage at the Tennessee Theatre, an exquisite hall whose décor has often been likened to the inside of a Fabergé egg. This pop-up show was a lot smaller and scruffier. But where better to hear Washburn’s clarion voice and clawhammer banjo — deftly backed by Fleck, her husband — than in an old Scottish pub in Eastern Tennessee?\u003c/p>\n\u003cp>\u003cstrong>Laurel Halo with Eli Keszler\u003c/strong>, The Standard\u003c/p>\n\u003cp>During an afternoon interview with music critic Ben Ratliff, the experimental electronic artist Laurel Halo and the drummer Eli Keszler talked about their formative influences, free jazz among them. That evening they made an ambient music of shifting layers, hallucinatory at times but rooted in body movement. \u003c/p>\n\u003cp>\u003cstrong>Julie Byrne\u003c/strong>, The Standard\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interiority is a generous condition in the music of Julie Byrne, who worked here with an understated command, singing in a warm, floaty hush and lightly fingerpicking her acoustic guitar. She had two supportive band members, on synthesizer and violin, but what mattered most were her songs, which could feel like spaces to crawl into and disappear. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz%27s+Bleeding+Edge%3F+You+Can+Find+It%2C+Briefly%2C+In+Eastern+Tennesse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
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"content": "\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\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=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\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=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Killer Mike Apologizes for Interview with NRA, Claims It was Misused",
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"content": "\u003cp>As artists like Paul McCartney, Lin-Manuel Miranda, Demi Lovato and Andra Day made appearances during March for Our Lives demonstrations for gun control this past Saturday, the rapper Killer Mike was on the Internet, explaining his support of gun ownership in an interview with NRATV, the broadcasting arm of the pro-gun lobbying and advocacy organization.\u003c/p>\n\u003cp>NRA host Colion Noir opens the video by addressing the protesters directly. “What are you really marching for? Because from where I’m standing, it looks like a march to burn the Constitution and rewrite the parts you don’t like in crayon,” he says. Noir goes on to add that “no one can point this out better than Killer Mike.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZXtpUE1b2NY\u003c/p>\n\u003cp>“My daughter goes to Savannah State University,” Mike later tells Noir, referencing the fatal shooting last summer of Christopher Starks, a junior at the school. “There was also a shooting on that campus. Talked to my wife and daughter after that, the decision was we’re gonna go to Savannah, she’s gonna get a gun and train more.” (In its \u003ca href=\"https://www.savannahstate.edu/news/article.shtml?id=547&type=news\">statement\u003c/a> on Starks’ shooting, Savannah State requested students with knowledge of anyone possessing a firearm to alert school authorities.)\u003c/p>\n\u003cp>But by Sunday evening, following an online outcry from fans and gun control advocates, Killer Mike issued \u003ca href=\"https://twitter.com/KillerMike/status/978053530689847296\">an apology\u003c/a> for his appearance on the show and said the NRA misused it “as a weapon” against Saturday’s marches. Mike added that his appearance was intended to focus on gun ownership by black Americans. “I did an interview about black gun ownership in this era,” Mike said in his statement. “That interview was used a week later to disparage a very noble campaign that I actually support … I want to say first I’m sorry guys. I do support the March — \u003cem>and \u003c/em>I support black people owning guns. It’s possible to do both.” The position isn’t new for the rapper — a year ago, he \u003ca href=\"https://www.youtube.com/watch?v=HaxQINDun_Q\">appeared\u003c/a> on the Tavis Smiley show to say the NRA has “had a value to me my entire life,” and that he is a member of the organization. “I think that one million black men should go online and just get a year’s membership, and see how you like it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killer Mike’s partner in the duo Run The Jewels, El-P (otherwise known as Jaime Meline), initially commented on the NRA’s stance against the marches, tweeting “they didn’t want to be known, they wanted to be kids. And they’ve earned being heard in one of the hardest ways possible. No matter what you believe we all have to listen in a real way.”\u003c/p>\n\u003cp>Meline didn’t \u003ca href=\"https://twitter.com/therealelp/status/978120723548995584\">respond\u003c/a> to the controversy engulfing his artistic partner until last night, when he wrote that he wouldn’t cut ties with Mike over the dustup. However, “I wanna f****** strangle him ’cause it’s so stressful to watch when it could have been avoided.” He added that “while I’m bummed at the way this unfolded, I will always f*** with him.”\u003c/p>\n\u003cp>Since the release of his 2012 breakout solo album \u003cem>R.A.P. Music\u003c/em> — for which Meline produced the majority of beats, the beginning of their successful collaboration — Killer Mike has become known for his political engagement, including vociferous support of Bernie Sanders in the last presidential election and fairly nuanced dissections of institutionalized racism in his work. But the rapper, born Michael Render, has never been one to turn his cheek away from an unpopular opinion, equating Presidents Bush and Obama to talking heads “telling lies on teleprompters” in his song “\u003ca href=\"https://genius.com/Killer-mike-reagan-lyrics\">Reagan\u003c/a>.”\u003c/p>\n\u003cp>John Oliver recently dedicated a \u003ca href=\"https://www.youtube.com/watch?v=LEcbagW4O-s\">lengthy segment\u003c/a> to NRATV, framing the network as being primarily for the advertising of guns and, obviously, the support of viewpoints that encourage gun ownership.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s interview with Noir was sponsored by gun manufacturer Mossberg. \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=Killer+Mike+Apologizes+For+Interview+With+NRA%2C+Claims+It+Was+Misused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As artists like Paul McCartney, Lin-Manuel Miranda, Demi Lovato and Andra Day made appearances during March for Our Lives demonstrations for gun control this past Saturday, the rapper Killer Mike was on the Internet, explaining his support of gun ownership in an interview with NRATV, the broadcasting arm of the pro-gun lobbying and advocacy organization.\u003c/p>\n\u003cp>NRA host Colion Noir opens the video by addressing the protesters directly. “What are you really marching for? Because from where I’m standing, it looks like a march to burn the Constitution and rewrite the parts you don’t like in crayon,” he says. Noir goes on to add that “no one can point this out better than Killer Mike.”\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/ZXtpUE1b2NY'\n title='//www.youtube.com/embed/ZXtpUE1b2NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My daughter goes to Savannah State University,” Mike later tells Noir, referencing the fatal shooting last summer of Christopher Starks, a junior at the school. “There was also a shooting on that campus. Talked to my wife and daughter after that, the decision was we’re gonna go to Savannah, she’s gonna get a gun and train more.” (In its \u003ca href=\"https://www.savannahstate.edu/news/article.shtml?id=547&type=news\">statement\u003c/a> on Starks’ shooting, Savannah State requested students with knowledge of anyone possessing a firearm to alert school authorities.)\u003c/p>\n\u003cp>But by Sunday evening, following an online outcry from fans and gun control advocates, Killer Mike issued \u003ca href=\"https://twitter.com/KillerMike/status/978053530689847296\">an apology\u003c/a> for his appearance on the show and said the NRA misused it “as a weapon” against Saturday’s marches. Mike added that his appearance was intended to focus on gun ownership by black Americans. “I did an interview about black gun ownership in this era,” Mike said in his statement. “That interview was used a week later to disparage a very noble campaign that I actually support … I want to say first I’m sorry guys. I do support the March — \u003cem>and \u003c/em>I support black people owning guns. It’s possible to do both.” The position isn’t new for the rapper — a year ago, he \u003ca href=\"https://www.youtube.com/watch?v=HaxQINDun_Q\">appeared\u003c/a> on the Tavis Smiley show to say the NRA has “had a value to me my entire life,” and that he is a member of the organization. “I think that one million black men should go online and just get a year’s membership, and see how you like it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killer Mike’s partner in the duo Run The Jewels, El-P (otherwise known as Jaime Meline), initially commented on the NRA’s stance against the marches, tweeting “they didn’t want to be known, they wanted to be kids. And they’ve earned being heard in one of the hardest ways possible. No matter what you believe we all have to listen in a real way.”\u003c/p>\n\u003cp>Meline didn’t \u003ca href=\"https://twitter.com/therealelp/status/978120723548995584\">respond\u003c/a> to the controversy engulfing his artistic partner until last night, when he wrote that he wouldn’t cut ties with Mike over the dustup. However, “I wanna f****** strangle him ’cause it’s so stressful to watch when it could have been avoided.” He added that “while I’m bummed at the way this unfolded, I will always f*** with him.”\u003c/p>\n\u003cp>Since the release of his 2012 breakout solo album \u003cem>R.A.P. Music\u003c/em> — for which Meline produced the majority of beats, the beginning of their successful collaboration — Killer Mike has become known for his political engagement, including vociferous support of Bernie Sanders in the last presidential election and fairly nuanced dissections of institutionalized racism in his work. But the rapper, born Michael Render, has never been one to turn his cheek away from an unpopular opinion, equating Presidents Bush and Obama to talking heads “telling lies on teleprompters” in his song “\u003ca href=\"https://genius.com/Killer-mike-reagan-lyrics\">Reagan\u003c/a>.”\u003c/p>\n\u003cp>John Oliver recently dedicated a \u003ca href=\"https://www.youtube.com/watch?v=LEcbagW4O-s\">lengthy segment\u003c/a> to NRATV, framing the network as being primarily for the advertising of guns and, obviously, the support of viewpoints that encourage gun ownership.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s interview with Noir was sponsored by gun manufacturer Mossberg. \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=Killer+Mike+Apologizes+For+Interview+With+NRA%2C+Claims+It+Was+Misused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Are Kanye West and Michael Scott from 'The Office' The Same Person? Yes.",
"headTitle": "Are Kanye West and Michael Scott from ‘The Office’ The Same Person? Yes. | KQED",
"content": "\u003cp>An enterprising YouTube user, MrBroks00, took the time to make a primer on Kanye West’s sonically disparate discography by using a selection of timeless scenes from \u003cem>The Office \u003c/em>as conceptual analogues.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZBWI5vz2Hg\u003c/p>\n\u003cp>There’s a profound discovery to be made when these strange bedfellows link up — Michael Scott and Kanye West, it turns out, are two peas in an idiosyncratic pod. Michael’s need to be respected turns out to be an fitting descriptor of \u003cem>My Beautiful Dark Twisted Fantasy \u003c/em>and Kanye West’s overall public persona. \u003c/p>\n\u003cp>Still lost? If you need a quick brushing up on your \u003cem>Office \u003c/em>and/or Yeezy knowledge\u003cem>,\u003c/em> here’s here’s how to decipher the meaning between the corresponding scenes and albums. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>The College Dropout, \u003c/strong>\u003c/em> \u003cstrong>Season 4, Episode 7 and 8: “Money”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kanye West’s Grammy-winning debut album, \u003cem>The College Dropout\u003c/em>, chronicles a young black man skipping Chi-town to make beats and abandoning the hopes of his mother in the process. In “Money,” Michael Scott hops a train because the dude can’t budget responsibly. Ergo, “blow and dodge.” \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Late Registration\u003c/strong>\u003c/em>, \u003cstrong>Season 1, Episode 5: “Basketball”\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Late Registration\u003c/em>, West broadens his sonic palette beyond nostalgia-heavy sampling to incorporate jazz lines, funk staples and a wealth of stunning classical flourishes in his productions with the help of legendary producer and composer Jon Brion. It’s not quite like jazz, but then again, neither is basketball. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graduation, \u003c/strong>\u003c/em>\u003cstrong>Season 9, Episode 8: “The Target”\u003c/strong>\u003c/p>\n\u003cp>Kanye scraps the lush, jazzy soundscapes in \u003cem>Late Registration\u003c/em> for \u003cem>Graduation’s \u003c/em>extravagant, stadium-trotting pop-rap, \u003ca href=\"https://www.rollingstone.com/music/news/kanye-vs-50-cent-20070906\">squashing beefs\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=YQYslaA1Lus\">setting trends\u003c/a> once it dropped. It was a hit, selling 957,000 copies in its first week alone. But West’s abandonment of the warmth and introspection that came to define his early sound alienated \u003ca href=\"http://www.nytimes.com/2007/09/05/arts/music/05west.html\">a select faction of fans and critics alike\u003c/a>. (Besides, Angela likely enjoys Kanye West about as much as she does jazz musicianship, which is to say not very.) \u003c/p>\n\u003cfigure id=\"attachment_13827928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg\" alt=\"Steve Carrell as Michael Scott on the set of 'The Office' in 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Carrell as Michael Scott on the set of ‘The Office’ in 2008. \u003ccite>(NBC/NBC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>808s & Heartbreak, \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episode 4: “Local Ad”\u003c/strong>\u003c/p>\n\u003cp>Dropping the subdued, ballad-heavy \u003cem>808s & Heartbreak\u003c/em> only a year after the celebratory, party-rap fest Graduation ended in whiplash for plenty of Yeezy’s devotees. It made sense for Kanye: \u003cem>808s\u003c/em> was an emotional bloodletting after a much-publicized split with his fianceé, designer Alexis Phifer and the death of his mother, Donda West. But, Michael’s protestation wasn’t wrong: “I was under the impression that this was gonna be a rap.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Beautiful Dark Twisted Fantasy, \u003c/strong>\u003c/em>\u003cstrong>Season 4, Episode 1: “Fun Run” \u003c/strong>\u003c/p>\n\u003cp>Michael’s indelible monologue is the perfect thesis for \u003cem>My Beautiful Dark Twisted Fantasy\u003c/em>, West’s critically revered opus. They both cast themselves as the villain in their own stories, West after a public excommunication from the general public’s good graces after the 2009 MTV Video Music Awards, Scott after running Meredith over in the Dunder Mifflin parking lot. Indeed, no one man should have all that power. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch The Throne\u003c/em>\u003c/strong>\u003cstrong>, Season 3, Episode 8: “The Merger”\u003c/strong>\u003c/p>\n\u003cp>In the canon of seminal rap duos, there’s Eric B. and Rakim, Mos Def and Talib Kweli, Bun B and Pimp C, Prodigy and Havoc, Big Boi and 3000, Pusha and Malice, Jay and Ye and…Dwight and Michael. (“Lazy Scranton” is low-key a banger.) \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Yeezus\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Shoej-GlMbw\">Listen to the first thirty seconds of “On Sight,” the opening number to \u003cem>Yeezus\u003c/em>\u003c/a>\u003cem>. \u003c/em>Now, watch Dwight’s impromptu fire drill.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Life of Pablo\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life of Pablo \u003c/em>was a living, breathing work broadcast in real time, \u003ca href=\"http://www.xxlmag.com/news/2016/06/kanye-west-the-life-of-pablo-changes/\">as West released version after version of the album as he saw necessary.\u003c/a> Did he know what to do? Probably. Did Michael know what to do after Stanley suffered a heart attack after the nightmarish fire drill? (See above.) Definitely not. \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=Are+Kanye+West+And+Michael+Scott+From+%27The+Office%27+The+Same+Person%3F+Yes.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Internet has a great way of merging pieces of pop culture that may seem disparate — to wit, one Kanye West fan is using scenes from the hit NBC comedy to review the Chicago rapper's discography. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enterprising YouTube user, MrBroks00, took the time to make a primer on Kanye West’s sonically disparate discography by using a selection of timeless scenes from \u003cem>The Office \u003c/em>as conceptual analogues.\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/PZBWI5vz2Hg'\n title='//www.youtube.com/embed/PZBWI5vz2Hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a profound discovery to be made when these strange bedfellows link up — Michael Scott and Kanye West, it turns out, are two peas in an idiosyncratic pod. Michael’s need to be respected turns out to be an fitting descriptor of \u003cem>My Beautiful Dark Twisted Fantasy \u003c/em>and Kanye West’s overall public persona. \u003c/p>\n\u003cp>Still lost? If you need a quick brushing up on your \u003cem>Office \u003c/em>and/or Yeezy knowledge\u003cem>,\u003c/em> here’s here’s how to decipher the meaning between the corresponding scenes and albums. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>The College Dropout, \u003c/strong>\u003c/em> \u003cstrong>Season 4, Episode 7 and 8: “Money”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kanye West’s Grammy-winning debut album, \u003cem>The College Dropout\u003c/em>, chronicles a young black man skipping Chi-town to make beats and abandoning the hopes of his mother in the process. In “Money,” Michael Scott hops a train because the dude can’t budget responsibly. Ergo, “blow and dodge.” \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Late Registration\u003c/strong>\u003c/em>, \u003cstrong>Season 1, Episode 5: “Basketball”\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Late Registration\u003c/em>, West broadens his sonic palette beyond nostalgia-heavy sampling to incorporate jazz lines, funk staples and a wealth of stunning classical flourishes in his productions with the help of legendary producer and composer Jon Brion. It’s not quite like jazz, but then again, neither is basketball. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graduation, \u003c/strong>\u003c/em>\u003cstrong>Season 9, Episode 8: “The Target”\u003c/strong>\u003c/p>\n\u003cp>Kanye scraps the lush, jazzy soundscapes in \u003cem>Late Registration\u003c/em> for \u003cem>Graduation’s \u003c/em>extravagant, stadium-trotting pop-rap, \u003ca href=\"https://www.rollingstone.com/music/news/kanye-vs-50-cent-20070906\">squashing beefs\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=YQYslaA1Lus\">setting trends\u003c/a> once it dropped. It was a hit, selling 957,000 copies in its first week alone. But West’s abandonment of the warmth and introspection that came to define his early sound alienated \u003ca href=\"http://www.nytimes.com/2007/09/05/arts/music/05west.html\">a select faction of fans and critics alike\u003c/a>. (Besides, Angela likely enjoys Kanye West about as much as she does jazz musicianship, which is to say not very.) \u003c/p>\n\u003cfigure id=\"attachment_13827928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg\" alt=\"Steve Carrell as Michael Scott on the set of 'The Office' in 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Carrell as Michael Scott on the set of ‘The Office’ in 2008. \u003ccite>(NBC/NBC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>808s & Heartbreak, \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episode 4: “Local Ad”\u003c/strong>\u003c/p>\n\u003cp>Dropping the subdued, ballad-heavy \u003cem>808s & Heartbreak\u003c/em> only a year after the celebratory, party-rap fest Graduation ended in whiplash for plenty of Yeezy’s devotees. It made sense for Kanye: \u003cem>808s\u003c/em> was an emotional bloodletting after a much-publicized split with his fianceé, designer Alexis Phifer and the death of his mother, Donda West. But, Michael’s protestation wasn’t wrong: “I was under the impression that this was gonna be a rap.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Beautiful Dark Twisted Fantasy, \u003c/strong>\u003c/em>\u003cstrong>Season 4, Episode 1: “Fun Run” \u003c/strong>\u003c/p>\n\u003cp>Michael’s indelible monologue is the perfect thesis for \u003cem>My Beautiful Dark Twisted Fantasy\u003c/em>, West’s critically revered opus. They both cast themselves as the villain in their own stories, West after a public excommunication from the general public’s good graces after the 2009 MTV Video Music Awards, Scott after running Meredith over in the Dunder Mifflin parking lot. Indeed, no one man should have all that power. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch The Throne\u003c/em>\u003c/strong>\u003cstrong>, Season 3, Episode 8: “The Merger”\u003c/strong>\u003c/p>\n\u003cp>In the canon of seminal rap duos, there’s Eric B. and Rakim, Mos Def and Talib Kweli, Bun B and Pimp C, Prodigy and Havoc, Big Boi and 3000, Pusha and Malice, Jay and Ye and…Dwight and Michael. (“Lazy Scranton” is low-key a banger.) \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Yeezus\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Shoej-GlMbw\">Listen to the first thirty seconds of “On Sight,” the opening number to \u003cem>Yeezus\u003c/em>\u003c/a>\u003cem>. \u003c/em>Now, watch Dwight’s impromptu fire drill.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Life of Pablo\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life of Pablo \u003c/em>was a living, breathing work broadcast in real time, \u003ca href=\"http://www.xxlmag.com/news/2016/06/kanye-west-the-life-of-pablo-changes/\">as West released version after version of the album as he saw necessary.\u003c/a> Did he know what to do? Probably. Did Michael know what to do after Stanley suffered a heart attack after the nightmarish fire drill? (See above.) Definitely not. \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=Are+Kanye+West+And+Michael+Scott+From+%27The+Office%27+The+Same+Person%3F+Yes.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "womans-instagram-post-about-kenyan-child-ignites-fury",
"title": "Woman's Instagram Post About Kenyan Child Ignites Fury",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s Note:\u003c/em>\u003c/strong>\u003cem> This story was originally published on November 26, 2017 and has been updated.\u003c/em>\u003c/p>\n\u003cp>This week, an Instagram user who goes by the name of Jossa Johansson has come under fire for the caption of a post with a photo of herself embracing a little girl from Kibera, Kenya.\u003c/p>\n\u003cp>“One of the happiest moment in your life was probably when you met me and my friends,” wrote Johansson. “I am sorry to tell you that there is a very slim chance we will ever meet again.”\u003c/p>\n\u003cp>Johansson went on to write, “In two years you are going to meet a grown man that you have never met before and you two are going to have a child … if you are lucky … he will probably leave you alone … in your small home made of mud and tree’s. You will probably sell your body to someone else to earn money for your child.”\u003c/p>\n\u003cp>She concluded: “I just want you to know there is hope, there is. Dreaming could be your saviour, dreaming could keep you alive. Dear child, keep safe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kenyans and other Africans and members of the African diaspora have called the post “\u003ca href=\"https://twitter.com/kuifm/status/976143776694579200\" target=\"_blank\" rel=\"noopener\">pathetic\u003c/a>” and “\u003ca href=\"https://twitter.com/xtiandela/status/975988593587113985?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.tuko.co.ke%2F269162-mzungu-aid-worker-roasted-7-year-kibra-girl-a-prostitute.html\" target=\"_blank\" rel=\"noopener\">disgusting\u003c/a>.”\u003c/p>\n\u003cp>https://twitter.com/xtiandela/status/975988593587113985\u003c/p>\n\u003cp>A tweet with screen grabs of the post has gone viral, with more than 37,500 retweets and 82,100 likes in just four days. “People in Kenya are not all desperate,” wrote one Twitter user.\u003c/p>\n\u003cp>Johansson has since deleted the post and \u003ca href=\"https://www.instagram.com/jossajohansson/\" target=\"_blank\" rel=\"noopener\">made her account private\u003c/a>.\u003c/p>\n\u003cp>The uproar reinforces the message of a joint campaign aimed at volunteers in developing countries: Think before you snap that photo (and write that caption).\u003c/p>\n\u003cp>The \u003ca href=\"http://www.rustyradiator.com/social-media-guide/\" target=\"_blank\" rel=\"noopener\">campaign\u003c/a>, launched just last fall, offers guidelines and a cheeky video to first-time travelers or young volunteers eager to capture every moment of their vacation or mission on Facebook or Instagram. It was created by \u003ca href=\"http://www.rustyradiator.com/\" target=\"_blank\" rel=\"noopener\">Radi-Aid\u003c/a>, a project of the \u003ca href=\"http://saih.no/english/\" target=\"_blank\" rel=\"noopener\">Norwegian Students’ and Academics’ International Assistance Fund\u003c/a> (SAIH) that fights stereotypes in aid and development, and by \u003ca href=\"https://www.instagram.com/barbiesavior/?hl=en\" target=\"_blank\" rel=\"noopener\">Barbie Savior\u003c/a>, an Instagram parody account.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7c9mwY31iMI\u003c/p>\n\u003cp>According to the campaigners, the selfie takers may not realize that their posts, from the photo to the caption to the hashtags, can perpetuate stereotypes and rob the subject of dignity or privacy.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>A seemingly innocent selfie with African kids, for example, can perpetuate the idea that only Western aid, charity and intervention can “save the world,” says Beathe Ogard, president of SAIH in Norway. These children are portrayed as helpless and pitiful, Ogard says, while the volunteer is made out to be the superhero who will rescue them from their misery.\u003c/p>\n\u003cp>Both Radi-Aid and Barbie Savior have gained a cult following for using satire and humor to tackle \u003ca href=\"https://www.theguardian.com/global-development-professionals-network/2016/dec/08/radiator-award-poverty-porn-vs-empowerment-the-best-and-worst-aid-videos-of-2016\" target=\"_blank\" rel=\"noopener\">poverty porn\u003c/a>,\u003ca href=\"http://www.dictionary.com/browse/voluntourism\" target=\"_blank\" rel=\"noopener\"> voluntourism\u003c/a> and the\u003ca href=\"https://www.theatlantic.com/international/archive/2012/03/the-white-savior-industrial-complex/254843/\" target=\"_blank\" rel=\"noopener\"> white-savior complex\u003c/a>. Radi-Aid, for example, made a viral video in 2016 titled “\u003ca href=\"https://www.youtube.com/watch?v=ymcflrj_rRc\">Who Wants To Be A Volunteer?\u003c/a>” about a reality show whose grand prize is the chance to “Save Africa!” It has more than a million views.\u003c/p>\n\u003cp>Barbie Savior spoofs volunteer photography by recreating popular images using Barbie dolls and Photoshop. A recent entry portrayed \u003ca href=\"https://www.instagram.com/p/BPnihQtliDG/?hl=en&taken-by=barbiesavior\" target=\"_blank\" rel=\"noopener\">Barbie sitting on a pit toilet\u003c/a>. The caption: “Did you know that 112 percent of the people living in the country of Africa don’t have access to toilets? #squatitlikeitshot.” The account has more than 120,000 followers.\u003c/p>\n\u003cp>https://www.instagram.com/p/BPnihQtliDG/\u003c/p>\n\u003cp>Despite their efforts, Barbie Savior and Radi-Aid have continued to observe “simplified and unnuanced photos playing on the white-savior complex, portraying Africa as a country, the faces of white Westerners among a myriad of poor African children, without giving any context at all,” Ogard says. The proliferation of these posts, she suspects, is the result of social media becoming a big part of how we communicate.\u003c/p>\n\u003cp>That’s what makes the guidelines so crucial, says Adeela Warley, CEO of \u003ca href=\"https://www.charitycomms.org.uk/about\" target=\"_blank\" rel=\"noopener\">CharityComms\u003c/a>, a network of communications professionals working in U.K.-based nonprofits. “In the age of instant communications, it’s too easy to press ‘go,’ ” she says. “You still see so many images that make [impoverished people] look passive and helpless as opposed to empowered. People need to take the time to think about the stories their [social media posts] are telling.”\u003c/p>\n\u003cp>Ogard and the co-founder of Barbie Savior, Emily Worrall, hope that the guide will make young volunteers and travelers more aware of what they’re posting. Advice in the ten-point checklist includes: Be respectful of different cultures and traditions, avoid sweeping generalizations, challenge perceptions.\u003c/p>\n\u003cp>The campaigners also want photo-takers to question their own intentions. Are they just posting the photos for “likes”?\u003c/p>\n\u003cp>Worrall recalls her own experience a decade ago. When she was 17, she went on a volunteer trip to Uganda. She shared photos of herself and the orphans she was helping with her family and friends. They showered her with praise. “They told me, ‘Wow, you’re doing such amazing work.’ They put me on a pedestal,” she says. At the time, she didn’t consider the children’s privacy or vulnerability. Years later, it became inspiration for this Barbie Savior post:\u003c/p>\n\u003cp>https://www.instagram.com/p/BOu_B7NlvZo/\u003c/p>\n\u003cp>That image is one of many cliched visual tropes that Ogard and Worrall have observed. They shared examples of the kinds of photos volunteers should avoid when traveling to the developing world:\u003c/p>\n\u003ch3>\u003cstrong>Photos of volunteers giving candy or high fives to children. \u003c/strong>\u003c/h3>\n\u003cp>These can give the viewer the impression that such small gestures can change a child’s life when “in reality it has no impact. A lot of these people make empty promises and never come back to the community,” says Worrall, who has worked in Uganda as a development consultant for seven years. She \u003ca href=\"https://www.instagram.com/p/BJWgg1PD_Xy/?hl=en&taken-by=barbiesavior\" target=\"_blank\" rel=\"noopener\">recreated the image\u003c/a> for Barbie Savior in August 2016.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJWgg1PD_Xy/\u003c/p>\n\u003ch3>\u003cstrong>Photos of children on playgrounds. \u003c/strong>\u003c/h3>\n\u003cp>“We’re constantly reproducing these images that have no respect for informed consent,” Ogard says. “In Norway, I would never show up at a school and take a selfie with kids playing.”\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003ch3>\u003cstrong>Photos of sick children in hospital beds. \u003c/strong>\u003c/h3>\n\u003cp>The campaigners illustrate this point in their animated video. The young volunteer takes a selfie with a sick child in a hospital bed while bored hospital staffers look on. “It completely disregards the child’s needs,” Worrall says.\u003c/p>\n\u003cp>For years, communicators in the field of global development have been working to fight stereotype-reinforcing images in charity ads through awareness campaigns and codes of ethics. But few specifically address social media or are geared toward young people.\u003c/p>\n\u003cp>Susan Krenn is the executive director of \u003ca href=\"https://ccp.jhu.edu/\" target=\"_blank\" rel=\"noopener\">Johns Hopkins University’s Center for Communication Programs\u003c/a>, and her work centers on global development and public health programs overseas. While the university has a cultural orientation program for students traveling abroad, there are no hard and fast rules for how to portray their experience on social media. “I have not seen a resource like this,” she says of the guidelines. “We’d use it. It’s quite helpful, clear and easy.”\u003c/p>\n\u003cp>Ogard and Worrall don’t want the guidelines to discourage volunteers from posting photos on social media. They just want photo-takers to reflect on what they’re sharing. Ask for a subject’s consent, they say. Show your social followers something different.\u003c/p>\n\u003cp>If you need inspiration, Worrall says, check out \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2016/11/21/502864058/video-vote-for-the-best-and-worst-charity-ads-of-2016\" target=\"_blank\" rel=\"noopener\">some of the positive imagery\u003c/a> from charities that received a Golden Radiator award in Radi-Aid’s annual contest for the best and worst charity ads. These ads, like those from an NGO called \u003ca href=\"https://www.instagram.com/mama_hope/\" target=\"_blank\" rel=\"noopener\">Mama Hope\u003c/a>, show local people actively engaged in helping others in their community.\u003c/p>\n\u003cp>If you’re staying with a family in a low-income environment and they allow you to take a photo with their children, use it as a “great opportunity to challenge stereotypes,” Worrall says. That might mean providing details and context — names, locations, personal stories — in an extended caption on social media.\u003c/p>\n\u003cp>And if a child gets excited when they see you pull out your tablet or smartphone and ask to take a photo with you, that doesn’t mean it’s OK to do so. “It’s a cop out to say, well,\u003cem> they\u003c/em> want it,” Worrall says. “A child can’t make that kind of decision.”\u003c/p>\n\u003cp>“Think of how they would view the photo if they found it at 25 years old,” she adds. “How would it make them feel?”\u003c/p>\n\u003ch3>Your Turn\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Have you ever felt conflicted about taking a selfie with children in low-income countries? Share your experience with \u003c/em>\u003c/strong>\u003ca href=\"https://twitter.com/NPRGoatsandSoda\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>@NPRGoatsandSoda\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> on Twitter. \u003c/em>\u003c/strong> \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=Woman%27s+Instagram+Post+About+Kenyan+Child+Ignites+Fury&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s Note:\u003c/em>\u003c/strong>\u003cem> This story was originally published on November 26, 2017 and has been updated.\u003c/em>\u003c/p>\n\u003cp>This week, an Instagram user who goes by the name of Jossa Johansson has come under fire for the caption of a post with a photo of herself embracing a little girl from Kibera, Kenya.\u003c/p>\n\u003cp>“One of the happiest moment in your life was probably when you met me and my friends,” wrote Johansson. “I am sorry to tell you that there is a very slim chance we will ever meet again.”\u003c/p>\n\u003cp>Johansson went on to write, “In two years you are going to meet a grown man that you have never met before and you two are going to have a child … if you are lucky … he will probably leave you alone … in your small home made of mud and tree’s. You will probably sell your body to someone else to earn money for your child.”\u003c/p>\n\u003cp>She concluded: “I just want you to know there is hope, there is. Dreaming could be your saviour, dreaming could keep you alive. Dear child, keep safe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kenyans and other Africans and members of the African diaspora have called the post “\u003ca href=\"https://twitter.com/kuifm/status/976143776694579200\" target=\"_blank\" rel=\"noopener\">pathetic\u003c/a>” and “\u003ca href=\"https://twitter.com/xtiandela/status/975988593587113985?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.tuko.co.ke%2F269162-mzungu-aid-worker-roasted-7-year-kibra-girl-a-prostitute.html\" target=\"_blank\" rel=\"noopener\">disgusting\u003c/a>.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A tweet with screen grabs of the post has gone viral, with more than 37,500 retweets and 82,100 likes in just four days. “People in Kenya are not all desperate,” wrote one Twitter user.\u003c/p>\n\u003cp>Johansson has since deleted the post and \u003ca href=\"https://www.instagram.com/jossajohansson/\" target=\"_blank\" rel=\"noopener\">made her account private\u003c/a>.\u003c/p>\n\u003cp>The uproar reinforces the message of a joint campaign aimed at volunteers in developing countries: Think before you snap that photo (and write that caption).\u003c/p>\n\u003cp>The \u003ca href=\"http://www.rustyradiator.com/social-media-guide/\" target=\"_blank\" rel=\"noopener\">campaign\u003c/a>, launched just last fall, offers guidelines and a cheeky video to first-time travelers or young volunteers eager to capture every moment of their vacation or mission on Facebook or Instagram. It was created by \u003ca href=\"http://www.rustyradiator.com/\" target=\"_blank\" rel=\"noopener\">Radi-Aid\u003c/a>, a project of the \u003ca href=\"http://saih.no/english/\" target=\"_blank\" rel=\"noopener\">Norwegian Students’ and Academics’ International Assistance Fund\u003c/a> (SAIH) that fights stereotypes in aid and development, and by \u003ca href=\"https://www.instagram.com/barbiesavior/?hl=en\" target=\"_blank\" rel=\"noopener\">Barbie Savior\u003c/a>, an Instagram parody account.\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/7c9mwY31iMI'\n title='//www.youtube.com/embed/7c9mwY31iMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to the campaigners, the selfie takers may not realize that their posts, from the photo to the caption to the hashtags, can perpetuate stereotypes and rob the subject of dignity or privacy.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>A seemingly innocent selfie with African kids, for example, can perpetuate the idea that only Western aid, charity and intervention can “save the world,” says Beathe Ogard, president of SAIH in Norway. These children are portrayed as helpless and pitiful, Ogard says, while the volunteer is made out to be the superhero who will rescue them from their misery.\u003c/p>\n\u003cp>Both Radi-Aid and Barbie Savior have gained a cult following for using satire and humor to tackle \u003ca href=\"https://www.theguardian.com/global-development-professionals-network/2016/dec/08/radiator-award-poverty-porn-vs-empowerment-the-best-and-worst-aid-videos-of-2016\" target=\"_blank\" rel=\"noopener\">poverty porn\u003c/a>,\u003ca href=\"http://www.dictionary.com/browse/voluntourism\" target=\"_blank\" rel=\"noopener\"> voluntourism\u003c/a> and the\u003ca href=\"https://www.theatlantic.com/international/archive/2012/03/the-white-savior-industrial-complex/254843/\" target=\"_blank\" rel=\"noopener\"> white-savior complex\u003c/a>. Radi-Aid, for example, made a viral video in 2016 titled “\u003ca href=\"https://www.youtube.com/watch?v=ymcflrj_rRc\">Who Wants To Be A Volunteer?\u003c/a>” about a reality show whose grand prize is the chance to “Save Africa!” It has more than a million views.\u003c/p>\n\u003cp>Barbie Savior spoofs volunteer photography by recreating popular images using Barbie dolls and Photoshop. A recent entry portrayed \u003ca href=\"https://www.instagram.com/p/BPnihQtliDG/?hl=en&taken-by=barbiesavior\" target=\"_blank\" rel=\"noopener\">Barbie sitting on a pit toilet\u003c/a>. The caption: “Did you know that 112 percent of the people living in the country of Africa don’t have access to toilets? #squatitlikeitshot.” The account has more than 120,000 followers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite their efforts, Barbie Savior and Radi-Aid have continued to observe “simplified and unnuanced photos playing on the white-savior complex, portraying Africa as a country, the faces of white Westerners among a myriad of poor African children, without giving any context at all,” Ogard says. The proliferation of these posts, she suspects, is the result of social media becoming a big part of how we communicate.\u003c/p>\n\u003cp>That’s what makes the guidelines so crucial, says Adeela Warley, CEO of \u003ca href=\"https://www.charitycomms.org.uk/about\" target=\"_blank\" rel=\"noopener\">CharityComms\u003c/a>, a network of communications professionals working in U.K.-based nonprofits. “In the age of instant communications, it’s too easy to press ‘go,’ ” she says. “You still see so many images that make [impoverished people] look passive and helpless as opposed to empowered. People need to take the time to think about the stories their [social media posts] are telling.”\u003c/p>\n\u003cp>Ogard and the co-founder of Barbie Savior, Emily Worrall, hope that the guide will make young volunteers and travelers more aware of what they’re posting. Advice in the ten-point checklist includes: Be respectful of different cultures and traditions, avoid sweeping generalizations, challenge perceptions.\u003c/p>\n\u003cp>The campaigners also want photo-takers to question their own intentions. Are they just posting the photos for “likes”?\u003c/p>\n\u003cp>Worrall recalls her own experience a decade ago. When she was 17, she went on a volunteer trip to Uganda. She shared photos of herself and the orphans she was helping with her family and friends. They showered her with praise. “They told me, ‘Wow, you’re doing such amazing work.’ They put me on a pedestal,” she says. At the time, she didn’t consider the children’s privacy or vulnerability. Years later, it became inspiration for this Barbie Savior post:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That image is one of many cliched visual tropes that Ogard and Worrall have observed. They shared examples of the kinds of photos volunteers should avoid when traveling to the developing world:\u003c/p>\n\u003ch3>\u003cstrong>Photos of volunteers giving candy or high fives to children. \u003c/strong>\u003c/h3>\n\u003cp>These can give the viewer the impression that such small gestures can change a child’s life when “in reality it has no impact. A lot of these people make empty promises and never come back to the community,” says Worrall, who has worked in Uganda as a development consultant for seven years. She \u003ca href=\"https://www.instagram.com/p/BJWgg1PD_Xy/?hl=en&taken-by=barbiesavior\" target=\"_blank\" rel=\"noopener\">recreated the image\u003c/a> for Barbie Savior in August 2016.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>\u003cstrong>Photos of children on playgrounds. \u003c/strong>\u003c/h3>\n\u003cp>“We’re constantly reproducing these images that have no respect for informed consent,” Ogard says. “In Norway, I would never show up at a school and take a selfie with kids playing.”\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003ch3>\u003cstrong>Photos of sick children in hospital beds. \u003c/strong>\u003c/h3>\n\u003cp>The campaigners illustrate this point in their animated video. The young volunteer takes a selfie with a sick child in a hospital bed while bored hospital staffers look on. “It completely disregards the child’s needs,” Worrall says.\u003c/p>\n\u003cp>For years, communicators in the field of global development have been working to fight stereotype-reinforcing images in charity ads through awareness campaigns and codes of ethics. But few specifically address social media or are geared toward young people.\u003c/p>\n\u003cp>Susan Krenn is the executive director of \u003ca href=\"https://ccp.jhu.edu/\" target=\"_blank\" rel=\"noopener\">Johns Hopkins University’s Center for Communication Programs\u003c/a>, and her work centers on global development and public health programs overseas. While the university has a cultural orientation program for students traveling abroad, there are no hard and fast rules for how to portray their experience on social media. “I have not seen a resource like this,” she says of the guidelines. “We’d use it. It’s quite helpful, clear and easy.”\u003c/p>\n\u003cp>Ogard and Worrall don’t want the guidelines to discourage volunteers from posting photos on social media. They just want photo-takers to reflect on what they’re sharing. Ask for a subject’s consent, they say. Show your social followers something different.\u003c/p>\n\u003cp>If you need inspiration, Worrall says, check out \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2016/11/21/502864058/video-vote-for-the-best-and-worst-charity-ads-of-2016\" target=\"_blank\" rel=\"noopener\">some of the positive imagery\u003c/a> from charities that received a Golden Radiator award in Radi-Aid’s annual contest for the best and worst charity ads. These ads, like those from an NGO called \u003ca href=\"https://www.instagram.com/mama_hope/\" target=\"_blank\" rel=\"noopener\">Mama Hope\u003c/a>, show local people actively engaged in helping others in their community.\u003c/p>\n\u003cp>If you’re staying with a family in a low-income environment and they allow you to take a photo with their children, use it as a “great opportunity to challenge stereotypes,” Worrall says. That might mean providing details and context — names, locations, personal stories — in an extended caption on social media.\u003c/p>\n\u003cp>And if a child gets excited when they see you pull out your tablet or smartphone and ask to take a photo with you, that doesn’t mean it’s OK to do so. “It’s a cop out to say, well,\u003cem> they\u003c/em> want it,” Worrall says. “A child can’t make that kind of decision.”\u003c/p>\n\u003cp>“Think of how they would view the photo if they found it at 25 years old,” she adds. “How would it make them feel?”\u003c/p>\n\u003ch3>Your Turn\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Have you ever felt conflicted about taking a selfie with children in low-income countries? Share your experience with \u003c/em>\u003c/strong>\u003ca href=\"https://twitter.com/NPRGoatsandSoda\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>@NPRGoatsandSoda\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> on Twitter. \u003c/em>\u003c/strong> \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=Woman%27s+Instagram+Post+About+Kenyan+Child+Ignites+Fury&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In \u003cem>National Geographic\u003c/em>‘s forthcoming \u003ca href=\"http://NatGeo.com/TheRaceIssue\" target=\"_blank\" rel=\"noopener\">race issue\u003c/a>, the 130-year-old scientific and cultural institution now \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592982327/national-geographic-reckons-with-its-past-for-decades-our-coverage-was-racist\" target=\"_blank\" rel=\"noopener\">admits it often showed foreign cultures through a racist lens\u003c/a>.\u003c/p>\n\u003cp>For generations of Americans — especially white Americans — \u003cem>National Geographic\u003c/em> was the primary source of information about those cultures. This was pre-Internet and cable TV; most readers probably didn’t know they were getting a narrow vision of the world. \u003cem>National Geographic\u003c/em> showed images of people and places that most Americans never even knew existed.\u003c/p>\n\u003cp>In the 1950s and ’60s, in white, suburban New Jersey, Catherine Lutz says she “devoured every issue. It was this beautiful and exciting set of pictures and stories.” She even credits \u003cem>National Geographic\u003c/em> with inspiring her to pursue a career in anthropology.\u003c/p>\n\u003cp>“It stood for science,” Lutz says. “It stood for education. It was used prolifically in schools. It also stood, though, for a kind of white view of the world.”\u003c/p>\n\u003cfigure id=\"attachment_13827674\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/NG-cover.jpg\" alt=\"The April issue of 'National Geographic' is dedicated to an examination of race.\" width=\"400\" height=\"581\" class=\"size-full wp-image-13827674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-375x545.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The April issue of ‘National Geographic’ is dedicated to an examination of race. \u003ccite>(National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Call it adventurous, American colonialism. The mandate from Gilbert H. Grosvenor, one of the magazine’s earliest editors: Print nothing “controversial” or “unpleasant.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lutz, who now teaches at Brown University, co-wrote the critique \u003cem>Reading National Geographic \u003c/em>in 1993.\u003c/p>\n\u003cp>“It’s an ideal world,” she says of the magazine’s coverage. “It’s safe, and it’s basically free of problems. Just lots and lots of smiles.”\u003c/p>\n\u003cp>\u003cem>National Geographic\u003c/em> wasn’t like \u003cem>Life\u003c/em> or \u003cem>Time\u003c/em> magazine. You didn’t see the ugliness of war or poverty. You also didn’t see progress being made in developing countries.\u003c/p>\n\u003cp>For Jim Stanfield, that was kind of the point. He was a staff photographer for almost 30 years, beginning in the late 1960s.\u003c/p>\n\u003cp>“I was trying to find tribal areas where these people were 1,000 or 2,000 years old,” he says. “And I was trying to hunt up people that traveled by the same mode of transportation, dressed the same way, had the same kind of jewelry.”\u003c/p>\n\u003cp>Stanfield — who is white — says that showing, for example, half-naked women from those tribes wasn’t racist: “They were just trying to pass on different cultures and the way other people lived. And you couldn’t go to Africa without seeing topless natives,” he says.\u003c/p>\n\u003cp>Lutz looks at it differently.\u003c/p>\n\u003cp>“There’s also a lot of places where you could see men with their penises out, men and women with genitals out,” she says. “Those pictures never appear in the magazine, so they made choices all the time.”\u003c/p>\n\u003cp>In 1962, for example, an article about South Africa barely mentioned the brutal Sharpeville massacre from two years earlier, in which white police killed and wounded some 250 black protesters, including women and children.\u003c/p>\n\u003cp>“That article was a disgrace,” says photographer Jim Blair, who’s also white. “It was written by someone who was old, was very rigid, was pro-segregationist.”\u003c/p>\n\u003cfigure id=\"attachment_13827664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg\" alt=\"In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of National Geographic magazine, a single-topic issue on the subject of race\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13827664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of \u003cem>National Geographic\u003c/em> magazine, a single-topic issue on the subject of race \u003ccite>(Robin Hammond/National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blair was just starting out at \u003cem>National Geographic\u003c/em> in the early 1960s. And here’s where small changes begin at the magazine. He says he was part of a generation of photographers who fought the status quo.\u003c/p>\n\u003cp>“We were in our 30s,” he says. “The people who were running the [magazine] were in their 60s, so there was a 30-year gap. And of course we wanted change. We wanted it to reflect what was going in the 1960s, not what was going on in the 1940s — the kind of country-club attitude that white people had towards blacks.”\u003c/p>\n\u003cp>In the 1970s, Blair took a now-famous \u003ca href=\"https://www.nationalgeographic.com/magazine/2018/04/from-the-editor-race-racism-history/#/editors-page-winnie-mandela.jpg\">photo of Winnie Mandela\u003c/a> on a trip to South Africa to cover apartheid and oppression. John Edwin Mason, an African-American historian recently hired by \u003cem>National Geographic\u003c/em> to look through the archives for the new race issue, says it took individual dissenters like Blair to force change.\u003c/p>\n\u003cp>“Until the 1970s, I don’t think that those dissenters got very much traction,” he says. “But I think it’s important to recognize that they were there, and internal change doesn’t just happen automatically.”\u003c/p>\n\u003cp>Four years ago, Susan Goldberg became \u003cem>National Geographic\u003c/em>‘s first female and first Jewish editor. She recently hired Debra Adams Simmons, an African-American woman, as the magazine’s culture editor. Simmons says one of their goals is to feature diverse stories and story-tellers.\u003c/p>\n\u003cp>“That’s not to say that as professionals we can’t tell other people’s stories, but I also think that we’re living in a time where people should be able to tell their own stories,” Simmons says. “And that’s what we’re trying to achieve.”\u003c/p>\n\u003cp>Still, the cover of \u003cem>National Geographic\u003c/em>‘s new race issue is an image taken by a white male, and the photography staff is still majority white.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times change. Values change. Institutions can be slow to catch up. \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=%27National+Geographic%27+Turns+The+Lens+On+Its+Own+Racist+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>National Geographic\u003c/em>‘s forthcoming \u003ca href=\"http://NatGeo.com/TheRaceIssue\" target=\"_blank\" rel=\"noopener\">race issue\u003c/a>, the 130-year-old scientific and cultural institution now \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592982327/national-geographic-reckons-with-its-past-for-decades-our-coverage-was-racist\" target=\"_blank\" rel=\"noopener\">admits it often showed foreign cultures through a racist lens\u003c/a>.\u003c/p>\n\u003cp>For generations of Americans — especially white Americans — \u003cem>National Geographic\u003c/em> was the primary source of information about those cultures. This was pre-Internet and cable TV; most readers probably didn’t know they were getting a narrow vision of the world. \u003cem>National Geographic\u003c/em> showed images of people and places that most Americans never even knew existed.\u003c/p>\n\u003cp>In the 1950s and ’60s, in white, suburban New Jersey, Catherine Lutz says she “devoured every issue. It was this beautiful and exciting set of pictures and stories.” She even credits \u003cem>National Geographic\u003c/em> with inspiring her to pursue a career in anthropology.\u003c/p>\n\u003cp>“It stood for science,” Lutz says. “It stood for education. It was used prolifically in schools. It also stood, though, for a kind of white view of the world.”\u003c/p>\n\u003cfigure id=\"attachment_13827674\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/NG-cover.jpg\" alt=\"The April issue of 'National Geographic' is dedicated to an examination of race.\" width=\"400\" height=\"581\" class=\"size-full wp-image-13827674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-375x545.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The April issue of ‘National Geographic’ is dedicated to an examination of race. \u003ccite>(National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Call it adventurous, American colonialism. The mandate from Gilbert H. Grosvenor, one of the magazine’s earliest editors: Print nothing “controversial” or “unpleasant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lutz, who now teaches at Brown University, co-wrote the critique \u003cem>Reading National Geographic \u003c/em>in 1993.\u003c/p>\n\u003cp>“It’s an ideal world,” she says of the magazine’s coverage. “It’s safe, and it’s basically free of problems. Just lots and lots of smiles.”\u003c/p>\n\u003cp>\u003cem>National Geographic\u003c/em> wasn’t like \u003cem>Life\u003c/em> or \u003cem>Time\u003c/em> magazine. You didn’t see the ugliness of war or poverty. You also didn’t see progress being made in developing countries.\u003c/p>\n\u003cp>For Jim Stanfield, that was kind of the point. He was a staff photographer for almost 30 years, beginning in the late 1960s.\u003c/p>\n\u003cp>“I was trying to find tribal areas where these people were 1,000 or 2,000 years old,” he says. “And I was trying to hunt up people that traveled by the same mode of transportation, dressed the same way, had the same kind of jewelry.”\u003c/p>\n\u003cp>Stanfield — who is white — says that showing, for example, half-naked women from those tribes wasn’t racist: “They were just trying to pass on different cultures and the way other people lived. And you couldn’t go to Africa without seeing topless natives,” he says.\u003c/p>\n\u003cp>Lutz looks at it differently.\u003c/p>\n\u003cp>“There’s also a lot of places where you could see men with their penises out, men and women with genitals out,” she says. “Those pictures never appear in the magazine, so they made choices all the time.”\u003c/p>\n\u003cp>In 1962, for example, an article about South Africa barely mentioned the brutal Sharpeville massacre from two years earlier, in which white police killed and wounded some 250 black protesters, including women and children.\u003c/p>\n\u003cp>“That article was a disgrace,” says photographer Jim Blair, who’s also white. “It was written by someone who was old, was very rigid, was pro-segregationist.”\u003c/p>\n\u003cfigure id=\"attachment_13827664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg\" alt=\"In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of National Geographic magazine, a single-topic issue on the subject of race\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13827664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of \u003cem>National Geographic\u003c/em> magazine, a single-topic issue on the subject of race \u003ccite>(Robin Hammond/National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blair was just starting out at \u003cem>National Geographic\u003c/em> in the early 1960s. And here’s where small changes begin at the magazine. He says he was part of a generation of photographers who fought the status quo.\u003c/p>\n\u003cp>“We were in our 30s,” he says. “The people who were running the [magazine] were in their 60s, so there was a 30-year gap. And of course we wanted change. We wanted it to reflect what was going in the 1960s, not what was going on in the 1940s — the kind of country-club attitude that white people had towards blacks.”\u003c/p>\n\u003cp>In the 1970s, Blair took a now-famous \u003ca href=\"https://www.nationalgeographic.com/magazine/2018/04/from-the-editor-race-racism-history/#/editors-page-winnie-mandela.jpg\">photo of Winnie Mandela\u003c/a> on a trip to South Africa to cover apartheid and oppression. John Edwin Mason, an African-American historian recently hired by \u003cem>National Geographic\u003c/em> to look through the archives for the new race issue, says it took individual dissenters like Blair to force change.\u003c/p>\n\u003cp>“Until the 1970s, I don’t think that those dissenters got very much traction,” he says. “But I think it’s important to recognize that they were there, and internal change doesn’t just happen automatically.”\u003c/p>\n\u003cp>Four years ago, Susan Goldberg became \u003cem>National Geographic\u003c/em>‘s first female and first Jewish editor. She recently hired Debra Adams Simmons, an African-American woman, as the magazine’s culture editor. Simmons says one of their goals is to feature diverse stories and story-tellers.\u003c/p>\n\u003cp>“That’s not to say that as professionals we can’t tell other people’s stories, but I also think that we’re living in a time where people should be able to tell their own stories,” Simmons says. “And that’s what we’re trying to achieve.”\u003c/p>\n\u003cp>Still, the cover of \u003cem>National Geographic\u003c/em>‘s new race issue is an image taken by a white male, and the photography staff is still majority white.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times change. Values change. Institutions can be slow to catch up. \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=%27National+Geographic%27+Turns+The+Lens+On+Its+Own+Racist+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Run-DMC, Pauline Oliveros, and Chic Added to Library of Congress",
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"content": "\u003cp>The National Library of Congress has shared its latest batch of musical inductees to the \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Recording Registry\u003c/a>. The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \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=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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