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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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"title": "'Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What's Going On?'",
"headTitle": "‘Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What’s Going On?’ | KQED",
"content": "\u003cp>Growing up in the late 1950s and early ’60s, Betty Cantor developed an early talent for tinkering. “I used to take things like radios, other little electronic devices if they didn’t work, open them up, mess with them, put them back together and they worked,” she remembers during a recent phone call. “I could fix watches that wouldn’t work for anybody else.” Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif. high school to the point that, she said, “they ran out of things for me to do, so they let me go over to the college to play at the lab.”\u003c/p>\n\u003cp>“Math was fun, I enjoyed it, and science was discovery,” she says. “The universe is math, right? Just how it all fits together.” She began traveling regularly, sitting in on seminars about chemistry and metallurgy in Berkeley and San Francisco in the ’60s — a place where lots of other young people were also investigating, in lots of different ways, how the universe fit together. That’s where she met the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>, with whom she’d eventually travel thousands of miles over close to 20 years, recording hundreds of hours of tape and becoming one of the many female workers, supporters and associates who shaped the story of America’s most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.\u003c/p>\n\u003cp>[contextly_sidebar id=”oh1P5RN0B0Ewenz1DrgoySrRlDcLsAM2″]\u003c/p>\n\u003cp>During her junior year, Cantor had written a term paper on the history of psychedelic drugs. LSD, which had first been synthesized about 25 years earlier, had enjoyed a short period of favor in the U.S. as a potentially salubrious psychotherapeutic aid. By the time Cantor was researching it, the pendulum of official opinion was already starting its swing backward; in 1966, California and Nevada became the first states to criminalize possession of the drug, and a federal ban would follow two years later. The budding teen scientist wanted to draw her own conclusions, though, and for reasons that crossed over into the personal.\u003c/p>\n\u003cp>“I read everything back to 1943 on [psychedelics] basically, and decided maybe there was an answer to why I felt like an alien where I lived,” she says. “I decided I was going to see colors and tastes and I wasn’t going to go crazy. I had made that decision.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At some point during her senior year, Cantor went to San Francisco and took her first acid trip. “And I ended up at 710 Ashbury Street,” she says — the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and ’67.\u003c/p>\n\u003cp>“Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in,” she remembers. “He bowed and said ‘Come on in.’ That was that.”\u003c/p>\n\u003cp>Cantor’s inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. She and Cargill became lab assistants for their partner, helping to synthesize a pure and potent LSD that has been lovingly memorialized in media ranging from Jefferson Airplane song lyrics to official biographies. They also became experts in setting up and taking down the huge Wall of Sound PA system Bear — a Renaissance man of the hippie era, who was also an early adopter of the high-protein low-carb diet and believer in global climate change — invented, revolutionizing concert sound.\u003c/p>\n\u003cp>In her 2012 book \u003cem>Owsley and Me: My LSD Family\u003c/em>, Gissen (now known as Rhoney Gissen Stanley after taking on Bear’s last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices — including the choice to leave the group’s immediate orbit in the early 1970s, once she had a young son to care for.\u003c/p>\n\u003cp>“One of the reasons I left was that I wanted to forge my own path,” she says. “Other women felt the same; we didn’t want to raise our kids around a drug-taking, rock and roll environment.”\u003c/p>\n\u003cp>“A lot of women were unable to come into their own until they actually left the scene,” she continues, although many formed what she called “cottage industries” that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters — and many also stayed in touch, even after leaving the active scene.\u003c/p>\n\u003cp>“I still talk to women I met in 1968 [through the Grateful Dead]” she says. “The women formed a community, and that community still exists. Our children had children, and the grandchildren are friendly.”\u003c/p>\n\u003cp>Meanwhile, back in the ’60s, Cantor didn’t run away with the Grateful Dead circus immediately. She had some experience booking bands for events at her high school back across the bay, so here in her new cosmic counterculture world, it made sense to get a job at the Avalon Ballroom, the historic venue on Sutter and Van Ness where promoters like Chet Helms and Bill Graham booked acid-friendly groups like the Dead, the 13th Floor Elevators and \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a>. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms’ Family Dog collective set up an outpost.\u003c/p>\n\u003cp>The Denver project was short-lived, and Cantor was back in San Francisco by 1968, working at the Carousel Ballroom and learning sound engineering at an underground FM station, thinking she might want to be a DJ. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. “Their subsequent romance,” longtime band publicist and historian Dennis McNally writes, “did not obscure the fact that she turned into a good engineer as well as an ace hot-dog salesperson.”\u003c/p>\n\u003cp>In the end, Cantor chose mics and tape over hot dogs, though, working as an engineer and producer on official live and studio albums from 1968’s \u003cem>Anthem of the Sun\u003c/em> through 1981’s \u003cem>Dead Set — \u003c/em>and perhaps more importantly, recording hundreds of reels of soundboard tape. In a community of fans that prizes each live document of the band for its own special \u003cem>terroir\u003c/em>, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University’s Barton Hall.\u003c/p>\n\u003cp>Cantor had been solidly ensconced in the Dead camp — which was expanding as colorfully as the images in a liquid light show at the Avalon — for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Raised in the Chicago suburbs, Brightman had studied set design at St. John’s College in Annapolis, Md. and then made her way to New York City, a childhood dream. When she applied for a cashier’s job at the Anderson Theater on Second Avenue — a forerunner to Bill Graham’s Fillmore East and later, a very brief expansion of CBGB — she was turned down, but sent backstage to see if they had anything for her. They told her to come back on Friday.\u003c/p>\n\u003cp>“So I came back Friday, but there was nobody there to teach me,” she tells me on the phone from her home in Hawaii. “It’s clear they’re about to start the show… The band came onstage, and I hit a circuit breaker. Everybody seemed pleased… I thought, ‘Oh, okay. That’s not too hard.'”\u003c/p>\n\u003cp>“Scrabbling around lower Manhattan with weird jobs was a big adventure,” she says. “I was born in ’44. I was supposed to grow up and marry some rich guy. That whole thing never took with me at all. I was always getting sent to detention study hall in high school, and getting in trouble with the police and everything — I mean, not getting in trouble with them, but I liked to run away from them when they were trying to catch me. I just liked to have a lot of fun, and I didn’t like people who took themselves too seriously… and the Dead were so into absurdity, which is one of my favorite things in the world.”\u003c/p>\n\u003cp>Among the theater people and the hippies and rockers in the East Village, she’d found her tribe. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU’s technical theater department so, serendipitously, Brightman picked up formal skills on the job. She lit the Grateful Dead at the Anderson and the Fillmore East, as well as during their famous 1971 run at the Capitol Theatre in Port Chester, N.Y., a little ways outside the city. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang.\u003c/p>\n\u003cp>[contextly_sidebar id=”8qrA8mtFF4M2EHo4Tjj3w5fUZvjIWfk0″]\u003c/p>\n\u003cp>It felt like the perfect job for a designer who had always felt creatively in tune with light (“I don’t like certain times of day,” she answers when I ask if she feels like a visually-oriented person, “I could never have worked in an office because of fluorescent lighting”) and who gravitated toward the eccentric and the unpredictable. Brightman became the Grateful Dead’s first touring lighting designer, hitting the road with them (and Betty Cantor) for the Europe ’72 tour that would become an iconic live triple album of the same name.\u003c/p>\n\u003cp>A 1973 \u003cem>Rolling Stone\u003c/em> article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. Frankie Weir, Bob’s then-partner, ran a travel agency called Fly By Night that handled tour details for the Dead and other bands. Eileen Law managed the office and the growing fan mailing list (which introduced the phrase \u003cem>Deadheads \u003c/em>into the lexicon) which she continued to do well into the 21st century. Betty Cantor was a cofounder of Alembic, the Dead-associated gear workshop and studio established in 1968; Phil Lesh’s ex Rosie McGee, who had changed her name from Florence Nathan, worked there and at Fly By Night well after the breakup. Drummer Bill Kreutzmann’s wife Susila, who also owned a boutique, made T-shirts — an enterprise that Dennis McNally, author of the epic 2002 band history \u003cem>Long Strange Trip: The Inside History of the Grateful Dead\u003c/em>, theorizes could well have been the dawn of the rock and roll shirts as concert merch.\u003c/p>\n\u003cp>“They basically only trusted women with their office and their money, from 1970 on,” McNally tells me — after the famous financial debacle in which drummer Mickey Hart’s father Lenny managed to embezzle more than $100,000 from band accounts during a stint as manager. That’s corroborated by the detailed 1994 reference text \u003cem>Skeleton Key: A Dictionary for Deadheads\u003c/em>. It sets the scene in its entry for “Office” with the description of a sign there that read: “Do you want to talk to the man-in-charge, or to the woman who knows what’s going on?” The office, the entry goes on to say, was “primarily the domain of strong, unpretentious women,” represented heavily in accounting, fan relations, licensing and publishing and other roles.\u003c/p>\n\u003cp>Cantor was on the board, Brightman directed the lights, Cargill and Gissen had made the dope and set up the revolutionary sound system (under Owsley’s stewardship) and back at the office, several departments boasted reasonable gender parity. So was the Grateful Dead a precociously woke organization, a paragon of women in psychedelic STEM? In \u003cem>Long Strange Trip\u003c/em>, McNally answers bluntly in the negative: “It would be ridiculous to suggest that the Dead is a bastion of feminist liberation.”\u003c/p>\n\u003cp>His observation comes in a mini-chapter titled “Interlude/Intermission: ‘Waits Backstage While I Sing to You,'” a reference to the \u003cem>American Beauty \u003c/em>track “Sugar Magnolia,” that ode to the capable and patient band girlfriend (“takes the wheel when I’m seeing double / pays my ticket when I speed”) usually assumed to have been inspired by Frankie Weir. McNally’s interlude covers much of the same ground as \u003cem>Skeleton Key\u003c/em>‘s peek inside the Dead offices, although perhaps with more emphasis on the relationships between the extended family of employees, colleagues, friends and lovers that turned on the band’s axis, with the lines between identities often blurred. The \u003cem>Rolling Stone \u003c/em>piece describes that community with the term \u003cem>karass\u003c/em>, a Kurt Vonnegut coinage from his 1963 sci-fi novel \u003cem>Cat’s Cradle\u003c/em> — from which the band got the name of its music-publishing company, Ice-Nine — meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. (Considering how connected so many old-school affiliates seem to remain today, the term seems presciently accurate.) Women, the gist of the chapter seems to be, were full-fledged \u003cem>karass \u003c/em>members on their own Grateful Dead path — divorces, breakups and job changes notwithstanding.\u003c/p>\n\u003cp>Still, McNally makes clear, it was no gender-neutral utopia. The same chapter, set in the ’80s, quotes a roadie overheard saying “I love the sight of spandex in the morning.”\u003c/p>\n\u003cp>“The Grateful Dead were, absolutely, sexist,” McNally tells me. “They were the victims of stock mid-century American male privilege and attitude. No question. But at the same time, they had … very strong, interesting and creative women who weren’t shy about their opinions… So they weren’t dumb and they weren’t Neanderthals and they learned things.”\u003c/p>\n\u003cp>Stanley, who is at work on her own history of women in the sprawling Grateful Dead scene, tells me that the de facto sexism of the rock world was actually a bit of a blessing for her and Cargill during their time with Owsley. “When we traveled, like to Monterey Pop, and we were at the airport – to just be a girlfriend sitting on the trunk looking pretty was a way of protecting the fact that we had all these chemicals with us,” she says.\u003c/p>\n\u003cp>Amir Bar-Lev, who directed the 2017 Grateful Dead documentary \u003cem>Long Strange Trip: The Untold Story of the Grateful Dead\u003c/em>, agreed with McNally that the band’s culture included a “misogynistic streak” – he said that to a \u003cem>Billboard\u003c/em> journalist who asked him why the ambitious, four-hour film included so few interviews with women. Spouses and ex-spouses, and children – like Jerry Garcia’s daughter Trixie – make up most of the female representation in the movie. Gissen, Brightman and Cantor don’t appear; neither does Eileen Law or key early associate Carolyn “Mountain Girl” Adams Garcia, both of whom, Bar-Lev told \u003cem>Billboard,\u003c/em> declined to participate.\u003c/p>\n\u003cp>The omissions seem notable, especially considering that for those fans who might be listening for a mention of Law or Brightman or Cantor or accountant Nancy Mallonee or Ice-Nine Publishing administrator Annette Flowers or even the iconic hippie queen Mountain Girl — a member of Ken Kesey’s band of psychedelic cosmonauts, the Merry Pranksters, who turns up in Tom Wolfe’s \u003cem>Electric Kool-Aid Acid Test\u003c/em> – the mentions don’t come. (Annabelle Garcia, Mountain Girl’s daughter with Jerry, joined the director and band members at the Sundance Film Festival.)\u003c/p>\n\u003cp>Donna Jean Godchaux — who was invited to and did agree to be interviewed for \u003cem>A Long Strange Trip — \u003c/em>holds the distinction of being the only female member of the Grateful Dead. She sang in the band for almost all of the 1970s, while her husband Keith was taking his turn in the ever-shifting Dead keyboardist’s chair (the perpetual morbid joke being that to play keys for the Dead is like taking on the drummer’s job in Spinal Tap.) It’s probably also fair to say that Donna wins the prize for most-criticized former band member. A Rolling Stone feature on her from 2014 begins with this apologetic lede: “Donna Jean Godchaux knows what you’re thinking, especially if you’re a Deadhead: That her voice wasn’t always spot-on.”\u003c/p>\n\u003cp>Donna, who grew up near Florence, Ala. (the site of the Alabama Music Hall of Fame, of which she is an inductee) worked as a teen backup vocalist on sessions in Muscle Shoals, recording behind \u003ca href=\"https://www.npr.org/artists/15406033/percy-sledge\">Percy Sledge\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis \u003c/a>and Cher, among others, at the famed studio there before falling in with the Dead — to whose fans she would eventually become a topic of endless argument. McNally offered some perspective in defense of the singer. Her sense of showmanship, for one, he says, offended fans who liked to think of their band as virtuously free from such razzle-dazzle and flash.\u003c/p>\n\u003cp>“She had certain stage tricks, as it were, that violated the aesthetics of the Grateful Dead,” he says, “which was no theatrics, no smoke bombs… There was a very puritanical streak to Deadheads that held great pride in the fact that they didn’t wear costumes; it was all about the music.” As for complaints about the recordings on which Donna appeared in the ’70s: “It had a great deal more to do with the flaws of the albums,” he says. “They did \u003cem>Shakedown Street \u003c/em>coked out. It’s a mediocre album. Plus, they just didn’t like being in the studio. They did not make good studio albums. And ‘Terrapin [Station]'” – the title track from the 1977 album that was the Godchauxs’ second-to-last as band members – “was a masterpiece, as a song.” Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints.\u003c/p>\n\u003cp>The \u003cem>Rolling Stone \u003c/em>report from ’73 — the year after Donna joined up — runs down the many departments buzzing away in the band’s business hive. It refers to the crew’s space in the office as the “boys’ room,” never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew — and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. But rock and roll production was — surprise of surprises — itself a boys’ room, and Brightman and Cantor (who would soon marry road manager Rex Jackson) faced their share of challenges.\u003c/p>\n\u003cp>“Imagine a venue in Texas in 1972,” says Brightman. “‘Who’s this pretty lady?’ And in France! Forget it. They hated having women do anything.” Once, a company in Atlanta refused to rent gear to her. She remembers sometimes pretending not to be in charge, in order to make her job go more smoothly with venue staff – although still, her tools might get stolen or her ladder moved when she was hanging lights, sometimes by her own team. (Which, admittedly, Brightman — who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity — thinks was kind of funny: “Actually, I think that’s hilarious,” she says. “There was one time when I got down off the ladder and went over and tried to beat [stage manager and guitar tech] Steve Parish up. He’s about 6’3″, and I beat him up – I was just so mad I was pounding on him. Then we fell over into Billy Kreutzmann’s drum kit.”)\u003c/p>\n\u003cp>Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: “The only way I could get things done was to ask stupid questions that actually weren’t stupid – they were questions designed to get them to understand what they were working with. I couldn’t \u003cem>tell \u003c/em>him, because that would not go, because I was a girl… [I would] play a dumb blonde and ask stupid questions and get them to understand their own self.” Cantor-Jackson took the extra time to convince venue sound engineers that her ideas were their own, and in that way, she recorded an increasingly celebrated body of work, including tapes from Radio City Music Hall, \u003cem>Saturday Night Live\u003c/em> and the now-enshrined Cornell ’77 show.\u003c/p>\n\u003cp>“I hated it, but there were times I had to do it,” she says. “If I wanted to hear them play loud on TV, then I better make sure it works.”\u003c/p>\n\u003cp>Brightman and Cantor-Jackson traveled together on tour for years and were friends, though the nature of their different jobs meant their work didn’t overlap very much. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. People tended to look for Cantor-Jackson more often, so when they had the T-shirts made with her face on them, she says, “Candace’s said ‘No I’m Not,’ and mine said ‘Yes I Am.'”\u003c/p>\n\u003cp>Brightman left the Dead and returned to the group several times over the years, sometimes quitting over bad behavior in her traveling workplace.\u003c/p>\n\u003cp>“We were all big dogs, kind of daring each other to do things,” she says. She enjoyed a lot of it. The band had the right level of weirdness to keep her entertained — and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. One thing Brightman couldn’t abide, though, was when the big dogs picked on the little dogs — and that was the crew, she says, not the band. She had her own team on the road – which often included other women – but other tech staff were definitely of the “spandex in the morning” variety, and it pissed her off. “That was really hard,” she admits. “I wish to God they didn’t have that crew. We could have had so much fun.”\u003c/p>\n\u003cp>“They talked so badly,” she says. “Like, someone would say [about a female crew member] ‘If she wasn’t so ugly, I’d f*** her brains out.’ I’d get in there and say ‘Don’t you ever talk like that around my crew.’ That’s where I put my foot down, when I see someone else getting abused.”\u003c/p>\n\u003cp>Cantor-Jackson left the band caravan in the ’80s and never really returned. Her husband Rex had been killed in a car wreck in 1976, and at some point after that, she dated Dead keyboardist Brent Mydland. When they split, she felt alienated and frozen out, as an “ex-old lady.” The ties of the \u003cem>karass\u003c/em> weren’t working for her, and financial problems snowballed. In the mid-’80s, she lost her house to foreclosure and put most of her possessions — including more than a thousand reels of tape, from the Dead and other groups — in a storage unit. But when she found herself unable to keep current on the fees, her things were auctioned off, \u003cem>Storage Wars\u003c/em>-style. The lengthy saga — moldy or damaged tapes, buyers who figured out what they were, archivists who restored them and fans who eagerly welcomed them back into circulation — helped create one of the more dramatic narratives within the Grateful Dead storybook. Arguably, when the tale was reported in multiple publications, including \u003cem>Relix \u003c/em>and the \u003cem>New Yorker\u003c/em>, it also (deservedly) helped revive the sparkle on her image in the scene and beyond.\u003c/p>\n\u003cp>In the early 1970s, Stanley took Starfinder, her toddler son with Bear, back to the East Coast where she became (like her father) a dentist.\u003c/p>\n\u003cp>“There was so much voodoo going on with the flower children, ‘What sign are you’ or, ‘Let’s throw the I Ching,'” she tells me. “I decided I needed to balance that by studying science.” Today, she runs a holistic orthodontia practice in Saugerties, NY. The soldering skills she learned on Owsley’s sound crew, she says, come in handy in her practice.\u003c/p>\n\u003cp>Brightman continued to work in lighting design for Dead-related projects and, between 2004-2008, for the jamband Widespread Panic. In 2015, she came out of retirement in Hawaii to direct lighting for the Grateful Dead’s 50th-anniversary Fare Thee Well shows at Chicago’s Soldiers Field and Levis Stadium in Santa Clara, Calif. In a particularly bitter twist of irony, it was announced in early 2018 that Brightman — who had carefully, delightedly crafted the way bands were seen for more than 40 years — is losing her vision to age-related macular degeneration. Fans have set up a crowdfunding account for her treatment.\u003c/p>\n\u003cp>Cantor-Jackson is the production manager, engineer and road manager for Glide Memorial, an inclusive Methodist congregation in San Francisco with an eight-piece band and up to 110 people in its choir. She also has an ongoing gig with the Chris Robinson Brotherhood and its associated projects, whose jam/Americana fandom overlaps heavily with Deadheads, recording their live shows as “Betty’s Blends.” For the 50th anniversary Grateful Dead celebration in 2015, Betty went to the shows in Santa Clara, instead of trekking to Chicago for the more-heralded Fourth of July weekend run.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m sure I could’ve gotten tickets, though,” she says.\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=%27Do+You+Want+To+Talk+To+The+Man-In-Charge%2C+Or+The+Woman+Who+Knows+What%27s+Going+On%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in the late 1950s and early ’60s, Betty Cantor developed an early talent for tinkering. “I used to take things like radios, other little electronic devices if they didn’t work, open them up, mess with them, put them back together and they worked,” she remembers during a recent phone call. “I could fix watches that wouldn’t work for anybody else.” Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif. high school to the point that, she said, “they ran out of things for me to do, so they let me go over to the college to play at the lab.”\u003c/p>\n\u003cp>“Math was fun, I enjoyed it, and science was discovery,” she says. “The universe is math, right? Just how it all fits together.” She began traveling regularly, sitting in on seminars about chemistry and metallurgy in Berkeley and San Francisco in the ’60s — a place where lots of other young people were also investigating, in lots of different ways, how the universe fit together. That’s where she met the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>, with whom she’d eventually travel thousands of miles over close to 20 years, recording hundreds of hours of tape and becoming one of the many female workers, supporters and associates who shaped the story of America’s most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During her junior year, Cantor had written a term paper on the history of psychedelic drugs. LSD, which had first been synthesized about 25 years earlier, had enjoyed a short period of favor in the U.S. as a potentially salubrious psychotherapeutic aid. By the time Cantor was researching it, the pendulum of official opinion was already starting its swing backward; in 1966, California and Nevada became the first states to criminalize possession of the drug, and a federal ban would follow two years later. The budding teen scientist wanted to draw her own conclusions, though, and for reasons that crossed over into the personal.\u003c/p>\n\u003cp>“I read everything back to 1943 on [psychedelics] basically, and decided maybe there was an answer to why I felt like an alien where I lived,” she says. “I decided I was going to see colors and tastes and I wasn’t going to go crazy. I had made that decision.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At some point during her senior year, Cantor went to San Francisco and took her first acid trip. “And I ended up at 710 Ashbury Street,” she says — the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and ’67.\u003c/p>\n\u003cp>“Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in,” she remembers. “He bowed and said ‘Come on in.’ That was that.”\u003c/p>\n\u003cp>Cantor’s inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. She and Cargill became lab assistants for their partner, helping to synthesize a pure and potent LSD that has been lovingly memorialized in media ranging from Jefferson Airplane song lyrics to official biographies. They also became experts in setting up and taking down the huge Wall of Sound PA system Bear — a Renaissance man of the hippie era, who was also an early adopter of the high-protein low-carb diet and believer in global climate change — invented, revolutionizing concert sound.\u003c/p>\n\u003cp>In her 2012 book \u003cem>Owsley and Me: My LSD Family\u003c/em>, Gissen (now known as Rhoney Gissen Stanley after taking on Bear’s last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices — including the choice to leave the group’s immediate orbit in the early 1970s, once she had a young son to care for.\u003c/p>\n\u003cp>“One of the reasons I left was that I wanted to forge my own path,” she says. “Other women felt the same; we didn’t want to raise our kids around a drug-taking, rock and roll environment.”\u003c/p>\n\u003cp>“A lot of women were unable to come into their own until they actually left the scene,” she continues, although many formed what she called “cottage industries” that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters — and many also stayed in touch, even after leaving the active scene.\u003c/p>\n\u003cp>“I still talk to women I met in 1968 [through the Grateful Dead]” she says. “The women formed a community, and that community still exists. Our children had children, and the grandchildren are friendly.”\u003c/p>\n\u003cp>Meanwhile, back in the ’60s, Cantor didn’t run away with the Grateful Dead circus immediately. She had some experience booking bands for events at her high school back across the bay, so here in her new cosmic counterculture world, it made sense to get a job at the Avalon Ballroom, the historic venue on Sutter and Van Ness where promoters like Chet Helms and Bill Graham booked acid-friendly groups like the Dead, the 13th Floor Elevators and \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a>. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms’ Family Dog collective set up an outpost.\u003c/p>\n\u003cp>The Denver project was short-lived, and Cantor was back in San Francisco by 1968, working at the Carousel Ballroom and learning sound engineering at an underground FM station, thinking she might want to be a DJ. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. “Their subsequent romance,” longtime band publicist and historian Dennis McNally writes, “did not obscure the fact that she turned into a good engineer as well as an ace hot-dog salesperson.”\u003c/p>\n\u003cp>In the end, Cantor chose mics and tape over hot dogs, though, working as an engineer and producer on official live and studio albums from 1968’s \u003cem>Anthem of the Sun\u003c/em> through 1981’s \u003cem>Dead Set — \u003c/em>and perhaps more importantly, recording hundreds of reels of soundboard tape. In a community of fans that prizes each live document of the band for its own special \u003cem>terroir\u003c/em>, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University’s Barton Hall.\u003c/p>\n\u003cp>Cantor had been solidly ensconced in the Dead camp — which was expanding as colorfully as the images in a liquid light show at the Avalon — for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Raised in the Chicago suburbs, Brightman had studied set design at St. John’s College in Annapolis, Md. and then made her way to New York City, a childhood dream. When she applied for a cashier’s job at the Anderson Theater on Second Avenue — a forerunner to Bill Graham’s Fillmore East and later, a very brief expansion of CBGB — she was turned down, but sent backstage to see if they had anything for her. They told her to come back on Friday.\u003c/p>\n\u003cp>“So I came back Friday, but there was nobody there to teach me,” she tells me on the phone from her home in Hawaii. “It’s clear they’re about to start the show… The band came onstage, and I hit a circuit breaker. Everybody seemed pleased… I thought, ‘Oh, okay. That’s not too hard.'”\u003c/p>\n\u003cp>“Scrabbling around lower Manhattan with weird jobs was a big adventure,” she says. “I was born in ’44. I was supposed to grow up and marry some rich guy. That whole thing never took with me at all. I was always getting sent to detention study hall in high school, and getting in trouble with the police and everything — I mean, not getting in trouble with them, but I liked to run away from them when they were trying to catch me. I just liked to have a lot of fun, and I didn’t like people who took themselves too seriously… and the Dead were so into absurdity, which is one of my favorite things in the world.”\u003c/p>\n\u003cp>Among the theater people and the hippies and rockers in the East Village, she’d found her tribe. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU’s technical theater department so, serendipitously, Brightman picked up formal skills on the job. She lit the Grateful Dead at the Anderson and the Fillmore East, as well as during their famous 1971 run at the Capitol Theatre in Port Chester, N.Y., a little ways outside the city. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It felt like the perfect job for a designer who had always felt creatively in tune with light (“I don’t like certain times of day,” she answers when I ask if she feels like a visually-oriented person, “I could never have worked in an office because of fluorescent lighting”) and who gravitated toward the eccentric and the unpredictable. Brightman became the Grateful Dead’s first touring lighting designer, hitting the road with them (and Betty Cantor) for the Europe ’72 tour that would become an iconic live triple album of the same name.\u003c/p>\n\u003cp>A 1973 \u003cem>Rolling Stone\u003c/em> article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. Frankie Weir, Bob’s then-partner, ran a travel agency called Fly By Night that handled tour details for the Dead and other bands. Eileen Law managed the office and the growing fan mailing list (which introduced the phrase \u003cem>Deadheads \u003c/em>into the lexicon) which she continued to do well into the 21st century. Betty Cantor was a cofounder of Alembic, the Dead-associated gear workshop and studio established in 1968; Phil Lesh’s ex Rosie McGee, who had changed her name from Florence Nathan, worked there and at Fly By Night well after the breakup. Drummer Bill Kreutzmann’s wife Susila, who also owned a boutique, made T-shirts — an enterprise that Dennis McNally, author of the epic 2002 band history \u003cem>Long Strange Trip: The Inside History of the Grateful Dead\u003c/em>, theorizes could well have been the dawn of the rock and roll shirts as concert merch.\u003c/p>\n\u003cp>“They basically only trusted women with their office and their money, from 1970 on,” McNally tells me — after the famous financial debacle in which drummer Mickey Hart’s father Lenny managed to embezzle more than $100,000 from band accounts during a stint as manager. That’s corroborated by the detailed 1994 reference text \u003cem>Skeleton Key: A Dictionary for Deadheads\u003c/em>. It sets the scene in its entry for “Office” with the description of a sign there that read: “Do you want to talk to the man-in-charge, or to the woman who knows what’s going on?” The office, the entry goes on to say, was “primarily the domain of strong, unpretentious women,” represented heavily in accounting, fan relations, licensing and publishing and other roles.\u003c/p>\n\u003cp>Cantor was on the board, Brightman directed the lights, Cargill and Gissen had made the dope and set up the revolutionary sound system (under Owsley’s stewardship) and back at the office, several departments boasted reasonable gender parity. So was the Grateful Dead a precociously woke organization, a paragon of women in psychedelic STEM? In \u003cem>Long Strange Trip\u003c/em>, McNally answers bluntly in the negative: “It would be ridiculous to suggest that the Dead is a bastion of feminist liberation.”\u003c/p>\n\u003cp>His observation comes in a mini-chapter titled “Interlude/Intermission: ‘Waits Backstage While I Sing to You,'” a reference to the \u003cem>American Beauty \u003c/em>track “Sugar Magnolia,” that ode to the capable and patient band girlfriend (“takes the wheel when I’m seeing double / pays my ticket when I speed”) usually assumed to have been inspired by Frankie Weir. McNally’s interlude covers much of the same ground as \u003cem>Skeleton Key\u003c/em>‘s peek inside the Dead offices, although perhaps with more emphasis on the relationships between the extended family of employees, colleagues, friends and lovers that turned on the band’s axis, with the lines between identities often blurred. The \u003cem>Rolling Stone \u003c/em>piece describes that community with the term \u003cem>karass\u003c/em>, a Kurt Vonnegut coinage from his 1963 sci-fi novel \u003cem>Cat’s Cradle\u003c/em> — from which the band got the name of its music-publishing company, Ice-Nine — meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. (Considering how connected so many old-school affiliates seem to remain today, the term seems presciently accurate.) Women, the gist of the chapter seems to be, were full-fledged \u003cem>karass \u003c/em>members on their own Grateful Dead path — divorces, breakups and job changes notwithstanding.\u003c/p>\n\u003cp>Still, McNally makes clear, it was no gender-neutral utopia. The same chapter, set in the ’80s, quotes a roadie overheard saying “I love the sight of spandex in the morning.”\u003c/p>\n\u003cp>“The Grateful Dead were, absolutely, sexist,” McNally tells me. “They were the victims of stock mid-century American male privilege and attitude. No question. But at the same time, they had … very strong, interesting and creative women who weren’t shy about their opinions… So they weren’t dumb and they weren’t Neanderthals and they learned things.”\u003c/p>\n\u003cp>Stanley, who is at work on her own history of women in the sprawling Grateful Dead scene, tells me that the de facto sexism of the rock world was actually a bit of a blessing for her and Cargill during their time with Owsley. “When we traveled, like to Monterey Pop, and we were at the airport – to just be a girlfriend sitting on the trunk looking pretty was a way of protecting the fact that we had all these chemicals with us,” she says.\u003c/p>\n\u003cp>Amir Bar-Lev, who directed the 2017 Grateful Dead documentary \u003cem>Long Strange Trip: The Untold Story of the Grateful Dead\u003c/em>, agreed with McNally that the band’s culture included a “misogynistic streak” – he said that to a \u003cem>Billboard\u003c/em> journalist who asked him why the ambitious, four-hour film included so few interviews with women. Spouses and ex-spouses, and children – like Jerry Garcia’s daughter Trixie – make up most of the female representation in the movie. Gissen, Brightman and Cantor don’t appear; neither does Eileen Law or key early associate Carolyn “Mountain Girl” Adams Garcia, both of whom, Bar-Lev told \u003cem>Billboard,\u003c/em> declined to participate.\u003c/p>\n\u003cp>The omissions seem notable, especially considering that for those fans who might be listening for a mention of Law or Brightman or Cantor or accountant Nancy Mallonee or Ice-Nine Publishing administrator Annette Flowers or even the iconic hippie queen Mountain Girl — a member of Ken Kesey’s band of psychedelic cosmonauts, the Merry Pranksters, who turns up in Tom Wolfe’s \u003cem>Electric Kool-Aid Acid Test\u003c/em> – the mentions don’t come. (Annabelle Garcia, Mountain Girl’s daughter with Jerry, joined the director and band members at the Sundance Film Festival.)\u003c/p>\n\u003cp>Donna Jean Godchaux — who was invited to and did agree to be interviewed for \u003cem>A Long Strange Trip — \u003c/em>holds the distinction of being the only female member of the Grateful Dead. She sang in the band for almost all of the 1970s, while her husband Keith was taking his turn in the ever-shifting Dead keyboardist’s chair (the perpetual morbid joke being that to play keys for the Dead is like taking on the drummer’s job in Spinal Tap.) It’s probably also fair to say that Donna wins the prize for most-criticized former band member. A Rolling Stone feature on her from 2014 begins with this apologetic lede: “Donna Jean Godchaux knows what you’re thinking, especially if you’re a Deadhead: That her voice wasn’t always spot-on.”\u003c/p>\n\u003cp>Donna, who grew up near Florence, Ala. (the site of the Alabama Music Hall of Fame, of which she is an inductee) worked as a teen backup vocalist on sessions in Muscle Shoals, recording behind \u003ca href=\"https://www.npr.org/artists/15406033/percy-sledge\">Percy Sledge\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis \u003c/a>and Cher, among others, at the famed studio there before falling in with the Dead — to whose fans she would eventually become a topic of endless argument. McNally offered some perspective in defense of the singer. Her sense of showmanship, for one, he says, offended fans who liked to think of their band as virtuously free from such razzle-dazzle and flash.\u003c/p>\n\u003cp>“She had certain stage tricks, as it were, that violated the aesthetics of the Grateful Dead,” he says, “which was no theatrics, no smoke bombs… There was a very puritanical streak to Deadheads that held great pride in the fact that they didn’t wear costumes; it was all about the music.” As for complaints about the recordings on which Donna appeared in the ’70s: “It had a great deal more to do with the flaws of the albums,” he says. “They did \u003cem>Shakedown Street \u003c/em>coked out. It’s a mediocre album. Plus, they just didn’t like being in the studio. They did not make good studio albums. And ‘Terrapin [Station]'” – the title track from the 1977 album that was the Godchauxs’ second-to-last as band members – “was a masterpiece, as a song.” Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints.\u003c/p>\n\u003cp>The \u003cem>Rolling Stone \u003c/em>report from ’73 — the year after Donna joined up — runs down the many departments buzzing away in the band’s business hive. It refers to the crew’s space in the office as the “boys’ room,” never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew — and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. But rock and roll production was — surprise of surprises — itself a boys’ room, and Brightman and Cantor (who would soon marry road manager Rex Jackson) faced their share of challenges.\u003c/p>\n\u003cp>“Imagine a venue in Texas in 1972,” says Brightman. “‘Who’s this pretty lady?’ And in France! Forget it. They hated having women do anything.” Once, a company in Atlanta refused to rent gear to her. She remembers sometimes pretending not to be in charge, in order to make her job go more smoothly with venue staff – although still, her tools might get stolen or her ladder moved when she was hanging lights, sometimes by her own team. (Which, admittedly, Brightman — who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity — thinks was kind of funny: “Actually, I think that’s hilarious,” she says. “There was one time when I got down off the ladder and went over and tried to beat [stage manager and guitar tech] Steve Parish up. He’s about 6’3″, and I beat him up – I was just so mad I was pounding on him. Then we fell over into Billy Kreutzmann’s drum kit.”)\u003c/p>\n\u003cp>Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: “The only way I could get things done was to ask stupid questions that actually weren’t stupid – they were questions designed to get them to understand what they were working with. I couldn’t \u003cem>tell \u003c/em>him, because that would not go, because I was a girl… [I would] play a dumb blonde and ask stupid questions and get them to understand their own self.” Cantor-Jackson took the extra time to convince venue sound engineers that her ideas were their own, and in that way, she recorded an increasingly celebrated body of work, including tapes from Radio City Music Hall, \u003cem>Saturday Night Live\u003c/em> and the now-enshrined Cornell ’77 show.\u003c/p>\n\u003cp>“I hated it, but there were times I had to do it,” she says. “If I wanted to hear them play loud on TV, then I better make sure it works.”\u003c/p>\n\u003cp>Brightman and Cantor-Jackson traveled together on tour for years and were friends, though the nature of their different jobs meant their work didn’t overlap very much. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. People tended to look for Cantor-Jackson more often, so when they had the T-shirts made with her face on them, she says, “Candace’s said ‘No I’m Not,’ and mine said ‘Yes I Am.'”\u003c/p>\n\u003cp>Brightman left the Dead and returned to the group several times over the years, sometimes quitting over bad behavior in her traveling workplace.\u003c/p>\n\u003cp>“We were all big dogs, kind of daring each other to do things,” she says. She enjoyed a lot of it. The band had the right level of weirdness to keep her entertained — and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. One thing Brightman couldn’t abide, though, was when the big dogs picked on the little dogs — and that was the crew, she says, not the band. She had her own team on the road – which often included other women – but other tech staff were definitely of the “spandex in the morning” variety, and it pissed her off. “That was really hard,” she admits. “I wish to God they didn’t have that crew. We could have had so much fun.”\u003c/p>\n\u003cp>“They talked so badly,” she says. “Like, someone would say [about a female crew member] ‘If she wasn’t so ugly, I’d f*** her brains out.’ I’d get in there and say ‘Don’t you ever talk like that around my crew.’ That’s where I put my foot down, when I see someone else getting abused.”\u003c/p>\n\u003cp>Cantor-Jackson left the band caravan in the ’80s and never really returned. Her husband Rex had been killed in a car wreck in 1976, and at some point after that, she dated Dead keyboardist Brent Mydland. When they split, she felt alienated and frozen out, as an “ex-old lady.” The ties of the \u003cem>karass\u003c/em> weren’t working for her, and financial problems snowballed. In the mid-’80s, she lost her house to foreclosure and put most of her possessions — including more than a thousand reels of tape, from the Dead and other groups — in a storage unit. But when she found herself unable to keep current on the fees, her things were auctioned off, \u003cem>Storage Wars\u003c/em>-style. The lengthy saga — moldy or damaged tapes, buyers who figured out what they were, archivists who restored them and fans who eagerly welcomed them back into circulation — helped create one of the more dramatic narratives within the Grateful Dead storybook. Arguably, when the tale was reported in multiple publications, including \u003cem>Relix \u003c/em>and the \u003cem>New Yorker\u003c/em>, it also (deservedly) helped revive the sparkle on her image in the scene and beyond.\u003c/p>\n\u003cp>In the early 1970s, Stanley took Starfinder, her toddler son with Bear, back to the East Coast where she became (like her father) a dentist.\u003c/p>\n\u003cp>“There was so much voodoo going on with the flower children, ‘What sign are you’ or, ‘Let’s throw the I Ching,'” she tells me. “I decided I needed to balance that by studying science.” Today, she runs a holistic orthodontia practice in Saugerties, NY. The soldering skills she learned on Owsley’s sound crew, she says, come in handy in her practice.\u003c/p>\n\u003cp>Brightman continued to work in lighting design for Dead-related projects and, between 2004-2008, for the jamband Widespread Panic. In 2015, she came out of retirement in Hawaii to direct lighting for the Grateful Dead’s 50th-anniversary Fare Thee Well shows at Chicago’s Soldiers Field and Levis Stadium in Santa Clara, Calif. In a particularly bitter twist of irony, it was announced in early 2018 that Brightman — who had carefully, delightedly crafted the way bands were seen for more than 40 years — is losing her vision to age-related macular degeneration. Fans have set up a crowdfunding account for her treatment.\u003c/p>\n\u003cp>Cantor-Jackson is the production manager, engineer and road manager for Glide Memorial, an inclusive Methodist congregation in San Francisco with an eight-piece band and up to 110 people in its choir. She also has an ongoing gig with the Chris Robinson Brotherhood and its associated projects, whose jam/Americana fandom overlaps heavily with Deadheads, recording their live shows as “Betty’s Blends.” For the 50th anniversary Grateful Dead celebration in 2015, Betty went to the shows in Santa Clara, instead of trekking to Chicago for the more-heralded Fourth of July weekend run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nicollettemw/status/974298645666451456\u003c/p>\n\u003cp>https://twitter.com/mswawasi/status/974909891520458752\u003c/p>\n\u003cp>https://twitter.com/ChelseaClinton/status/973215666244325376\u003c/p>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\n\u003cp>https://twitter.com/KylieJenner/status/966429897118728192\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company’s stock quickly fell 6 percent, erasing more than a billion dollars from its market value, \u003ca href=\"http://money.cnn.com/2018/02/22/technology/snapchat-update-kylie-jenner/index.html\">said CNN\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Snapchat%27s+Stock+Sinks+After+Rihanna+Denounces+Domestic+Violence+Ad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The ad asked would you rather \"slap Rihanna\" or \"punch Chris Brown.\" Snapchat pulled the ad, but its stock prices were still down by week's end.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The company’s stock quickly fell 6 percent, erasing more than a billion dollars from its market value, \u003ca href=\"http://money.cnn.com/2018/02/22/technology/snapchat-update-kylie-jenner/index.html\">said CNN\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Snapchat%27s+Stock+Sinks+After+Rihanna+Denounces+Domestic+Violence+Ad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What You Could Take Away From 'David Bowie Is'",
"headTitle": "What You Could Take Away From ‘David Bowie Is’ | KQED",
"content": "\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" 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/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" 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/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" 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/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \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=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "When the exhibit was first conceived, in tandem with Bowie's own collection, its success was far from guaranteed. In the five years since, its outlived its subject and changed as much as he once did.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" 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/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" 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/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" 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/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \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=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "James Levine Sues Met Opera, Accuses it of 'Cynically Hijacking' #MeToo",
"headTitle": "James Levine Sues Met Opera, Accuses it of ‘Cynically Hijacking’ #MeToo | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16053303/james-levine\" target=\"_blank\" rel=\"noopener\">James Levine\u003c/a>, the famed conductor who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592983504/metropolitan-opera-fires-james-levine-for-sexual-misconduct\">fired earlier this week\u003c/a> by New York’s Metropolitan Opera following its internal investigation into allegations of sexually abusive conduct towards young artists, has responded by suing the Met and its General Manager Peter Gelb.\u003c/p>\n\u003cp>“The Met, lacking contractual authority, suspended Maestro Levine without even the courtesy of a conversation regarding the substance of the allegations or the basis of his suspension,” the lawsuit begins. It goes on to accuse the Met of “McCarthyite tactics” due to the organization’s protection of the privacy of Levine’s accusers, a common practice for employers when presented with accusations of this type.\u003c/p>\n\u003cp>Levine’s complaint points out that the Met was aware of the 2016 police report filed against him, but “took no disciplinary action.” It also accuses the company of “cynically hijacking the good will of the #MeToo movement,” and says that Gelb and the Met “brazenly seized on these allegations as a pretext to end a long-standing personal campaign to force Levine out of the Met and cease fulfilling its legally enforceable financial commitments to him.”\u003c/p>\n\u003cp>Levine is seeking at least $5.85 million in damages, in part over breach of his employment contract as music director emeritus, a position the Met created specifically for him and in which he was meant to serve until 2026.\u003c/p>\n\u003cp>The Met Opera \u003ca href=\"https://www.metopera.org/About/Press-Releases/Statement/\" target=\"_blank\" rel=\"noopener\">rebutted\u003c/a> Levine’s suit publicly yesterday, writing: “There is no basis for Mr. Levine’s assertion that the Met was on a vendetta against him, when in fact the Met supported him through prolonged and repeated periods of illness that kept him from the podium, at one point spanning two entire seasons.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It continues: “During the course of the investigation, Mr. Levine was offered numerous opportunities to be interviewed, beginning in December. It was only when the investigation was wrapping up, upon realization that termination was imminent, that he agreed to be interviewed, but on impossible terms, asking that the identity of his accusers, who had been promised anonymity, be disclosed.”\u003c/p>\n\u003cp>In its statement on firing Levine as the Met Opera’s music director emeritus and artistic director of its young artist program issued earlier this week, the organization wrote that its investigation had “uncovered credible evidence that Mr. Levine had engaged in sexually abusive and harassing conduct both before and during the period when he worked at the Met.” Levine first conducted at the institution in the early 1970s, and was only removed as an employee earlier this week — a period of nearly half a century.\u003c/p>\n\u003cp>The controversy around Levine, while said to have been rumored for some time, became public after a police report was furnished to the press in early December 2017. The report, filed two years ago in Illinois, alleged Levine had assaulted the pianist and violinist Ashok Pai while the artist was a teenager in the late 1980s. Pai was attending the Ravinia Music Festival in Illinois at the time, which features a program for young musicians with professional career aspirations. Levine was the festival’s music director for over 20 years.\u003c/p>\n\u003cp>In the wake of the accusations, Ravinia and several other organizations quickly \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/05/568619074/after-assault-allegations-classical-institutions-rush-to-distance-from-james-lev\" target=\"_blank\" rel=\"noopener\">severed ties with the conductor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As his lawsuit makes plain, Levine “strenuously denies” the allegations against him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=James+Levine+Sues+Met+Opera%2C+Accuses+It+Of+%27Cynically+Hijacking%27+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16053303/james-levine\" target=\"_blank\" rel=\"noopener\">James Levine\u003c/a>, the famed conductor who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592983504/metropolitan-opera-fires-james-levine-for-sexual-misconduct\">fired earlier this week\u003c/a> by New York’s Metropolitan Opera following its internal investigation into allegations of sexually abusive conduct towards young artists, has responded by suing the Met and its General Manager Peter Gelb.\u003c/p>\n\u003cp>“The Met, lacking contractual authority, suspended Maestro Levine without even the courtesy of a conversation regarding the substance of the allegations or the basis of his suspension,” the lawsuit begins. It goes on to accuse the Met of “McCarthyite tactics” due to the organization’s protection of the privacy of Levine’s accusers, a common practice for employers when presented with accusations of this type.\u003c/p>\n\u003cp>Levine’s complaint points out that the Met was aware of the 2016 police report filed against him, but “took no disciplinary action.” It also accuses the company of “cynically hijacking the good will of the #MeToo movement,” and says that Gelb and the Met “brazenly seized on these allegations as a pretext to end a long-standing personal campaign to force Levine out of the Met and cease fulfilling its legally enforceable financial commitments to him.”\u003c/p>\n\u003cp>Levine is seeking at least $5.85 million in damages, in part over breach of his employment contract as music director emeritus, a position the Met created specifically for him and in which he was meant to serve until 2026.\u003c/p>\n\u003cp>The Met Opera \u003ca href=\"https://www.metopera.org/About/Press-Releases/Statement/\" target=\"_blank\" rel=\"noopener\">rebutted\u003c/a> Levine’s suit publicly yesterday, writing: “There is no basis for Mr. Levine’s assertion that the Met was on a vendetta against him, when in fact the Met supported him through prolonged and repeated periods of illness that kept him from the podium, at one point spanning two entire seasons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It continues: “During the course of the investigation, Mr. Levine was offered numerous opportunities to be interviewed, beginning in December. It was only when the investigation was wrapping up, upon realization that termination was imminent, that he agreed to be interviewed, but on impossible terms, asking that the identity of his accusers, who had been promised anonymity, be disclosed.”\u003c/p>\n\u003cp>In its statement on firing Levine as the Met Opera’s music director emeritus and artistic director of its young artist program issued earlier this week, the organization wrote that its investigation had “uncovered credible evidence that Mr. Levine had engaged in sexually abusive and harassing conduct both before and during the period when he worked at the Met.” Levine first conducted at the institution in the early 1970s, and was only removed as an employee earlier this week — a period of nearly half a century.\u003c/p>\n\u003cp>The controversy around Levine, while said to have been rumored for some time, became public after a police report was furnished to the press in early December 2017. The report, filed two years ago in Illinois, alleged Levine had assaulted the pianist and violinist Ashok Pai while the artist was a teenager in the late 1980s. Pai was attending the Ravinia Music Festival in Illinois at the time, which features a program for young musicians with professional career aspirations. Levine was the festival’s music director for over 20 years.\u003c/p>\n\u003cp>In the wake of the accusations, Ravinia and several other organizations quickly \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/05/568619074/after-assault-allegations-classical-institutions-rush-to-distance-from-james-lev\" target=\"_blank\" rel=\"noopener\">severed ties with the conductor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As his lawsuit makes plain, Levine “strenuously denies” the allegations against him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=James+Levine+Sues+Met+Opera%2C+Accuses+It+Of+%27Cynically+Hijacking%27+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Israeli Film 'Foxtrot' Is A Bruisingly Powerful Look At A War Without End",
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"content": "\u003cp>The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, \u003cem>Lebanon,\u003c/em> was a blistering critique of Israel’s 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.\u003c/p>\n\u003cp>Maoz’s remarkable new movie, \u003cem>Foxtrot,\u003c/em> tells a different kind of soldier’s story, set in the present day and divided into three distinct chapters. It’s nowhere near as physically claustrophobic as \u003cem>Lebanon,\u003c/em> but its characters seem just as immobilized. The title, a reference to the three-step dance move that brings you back to your starting position, becomes a clever if heavy-handed metaphor for a nation mired in its own stasis.\u003c/p>\n\u003cp>https://youtu.be/wrBEDEmUceM\u003c/p>\n\u003cp>The first chapter begins with a couple being informed that their son, Jonathan Feldman, has been killed in the line of duty while stationed at a far-flung military outpost. The boy’s mother, Dafna (played by Sarah Adler), passes out and is immediately given tranquilizers by the attending soldiers.\u003c/p>\n\u003cp>For the next half-hour or so, the camera follows her husband, Michael (played by Lior Ashkenazi), as he moves through a kind of trance. He looks on in blank incomprehension as family members offer supportive hugs and a soldier coldly dictates funeral protocol.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maoz evokes Michael’s shellshocked fury by keeping us visually off-balance, sometimes through brazenly theatrical formal conceits. The atmosphere feels airless but charged with suspense. The camera tracks up and down the corridors of the Feldmans’ apartment, whose oppressively stylish monochrome decor adds to the vague air of unreality.\u003c/p>\n\u003cp>Ashkenazi, perhaps the best-known Israeli actor working today, gives a tremendous performance as Michael, barely sublimating and finally unleashing his rage against the government and the military. It isn’t just the tragic news they’ve brought to his door, but the chilly, bureaucratic efficiency with which they treat the newly bereaved.\u003c/p>\n\u003cp>The second chapter brings us to a security checkpoint in the middle of the desert where, at this point in the story, Jonathan (played by Yonatan Shiray) is alive and well. He and his three soldier buddies spend most of their days goofing off in a squalid shipping container that is slowly sinking into the dirt. On those rare occasions when cars approach their checkpoint, however, the young men spring into action.\u003c/p>\n\u003cp>Maoz courts our sympathies for the quiet, nameless Arab civilians trying to pass through the checkpoint, who are forced to sit and wait for long periods of time, or even to stand outside in the pouring rain. The tension cultivated in the first act boils over in the second, ultimately erupting in tragedy.\u003c/p>\n\u003cp>The third chapter returns us to the Feldmans’ apartment sometime later to find the family utterly ravaged by grief. Michael is no longer living with Dafna, but he has dropped in on the occasion of what would have been Jonathan’s 20th birthday.\u003c/p>\n\u003cp>Adler, her character no longer sedated but fully alert and angry, matches Ashkenazi’s performance moment for furious moment. Dafna blames Michael for Jonathan’s death, railing against him for his selfishness and weakness, while giving full voice to the unceasing agony of any parent who has ever lost a child.\u003c/p>\n\u003cp>As demonstrated by past movies like \u003cem>Waltz With Bashir \u003c/em>and \u003cem>Beaufort,\u003c/em> any film that touches on the efforts of the Israel Defense Forces can expect to become a lightning rod for controversy. The nation’s minister of culture and sport, Miri Regev, has already \u003ca href=\"http://www.jpost.com/Opinion/Uncultured-minister-505041\">attacked\u003c/a> \u003cem>Foxtrot\u003c/em> for its “self-flagellation and cooperation with the anti-Israel narrative.”\u003c/p>\n\u003cp>Maoz, for his part, has said in interviews that his critique comes from a place of love. “If I criticize the place I live, I do it because I worry,” he told \u003ca href=\"https://www.timesofisrael.com/foxtrots-samuel-maoz-talks-fate-potted-meat-ministerial-controversy/\">The Times of Israel.\u003c/a>\u003c/p>\n\u003cp>The specificity of the film’s argument is unmistakable. The Feldmans, we learn, lost relatives in Auschwitz, and Maoz suggests that the horrific legacy of the Holocaust is merely the gravest of the many scars that have led his characters to their anguished present mindset. The harsh everyday reality of the occupation has played its part as well.\u003c/p>\n\u003cp>But on a deeper level, \u003cem>Foxtrot\u003c/em> resonates because the attributes we see in these characters — their bitterness, their pride, their instinctive distrust of the other — are hardly the domain of one family or one country alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In its wrenching final moments, this bruisingly powerful movie could be taking place in any state where men and women rage against each other, where historical trauma looms large in the collective memory and where young people are sent off to a war without end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, \u003cem>Lebanon,\u003c/em> was a blistering critique of Israel’s 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.\u003c/p>\n\u003cp>Maoz’s remarkable new movie, \u003cem>Foxtrot,\u003c/em> tells a different kind of soldier’s story, set in the present day and divided into three distinct chapters. It’s nowhere near as physically claustrophobic as \u003cem>Lebanon,\u003c/em> but its characters seem just as immobilized. The title, a reference to the three-step dance move that brings you back to your starting position, becomes a clever if heavy-handed metaphor for a nation mired in its own stasis.\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/wrBEDEmUceM'\n title='//www.youtube.com/embed/wrBEDEmUceM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first chapter begins with a couple being informed that their son, Jonathan Feldman, has been killed in the line of duty while stationed at a far-flung military outpost. The boy’s mother, Dafna (played by Sarah Adler), passes out and is immediately given tranquilizers by the attending soldiers.\u003c/p>\n\u003cp>For the next half-hour or so, the camera follows her husband, Michael (played by Lior Ashkenazi), as he moves through a kind of trance. He looks on in blank incomprehension as family members offer supportive hugs and a soldier coldly dictates funeral protocol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maoz evokes Michael’s shellshocked fury by keeping us visually off-balance, sometimes through brazenly theatrical formal conceits. The atmosphere feels airless but charged with suspense. The camera tracks up and down the corridors of the Feldmans’ apartment, whose oppressively stylish monochrome decor adds to the vague air of unreality.\u003c/p>\n\u003cp>Ashkenazi, perhaps the best-known Israeli actor working today, gives a tremendous performance as Michael, barely sublimating and finally unleashing his rage against the government and the military. It isn’t just the tragic news they’ve brought to his door, but the chilly, bureaucratic efficiency with which they treat the newly bereaved.\u003c/p>\n\u003cp>The second chapter brings us to a security checkpoint in the middle of the desert where, at this point in the story, Jonathan (played by Yonatan Shiray) is alive and well. He and his three soldier buddies spend most of their days goofing off in a squalid shipping container that is slowly sinking into the dirt. On those rare occasions when cars approach their checkpoint, however, the young men spring into action.\u003c/p>\n\u003cp>Maoz courts our sympathies for the quiet, nameless Arab civilians trying to pass through the checkpoint, who are forced to sit and wait for long periods of time, or even to stand outside in the pouring rain. The tension cultivated in the first act boils over in the second, ultimately erupting in tragedy.\u003c/p>\n\u003cp>The third chapter returns us to the Feldmans’ apartment sometime later to find the family utterly ravaged by grief. Michael is no longer living with Dafna, but he has dropped in on the occasion of what would have been Jonathan’s 20th birthday.\u003c/p>\n\u003cp>Adler, her character no longer sedated but fully alert and angry, matches Ashkenazi’s performance moment for furious moment. Dafna blames Michael for Jonathan’s death, railing against him for his selfishness and weakness, while giving full voice to the unceasing agony of any parent who has ever lost a child.\u003c/p>\n\u003cp>As demonstrated by past movies like \u003cem>Waltz With Bashir \u003c/em>and \u003cem>Beaufort,\u003c/em> any film that touches on the efforts of the Israel Defense Forces can expect to become a lightning rod for controversy. The nation’s minister of culture and sport, Miri Regev, has already \u003ca href=\"http://www.jpost.com/Opinion/Uncultured-minister-505041\">attacked\u003c/a> \u003cem>Foxtrot\u003c/em> for its “self-flagellation and cooperation with the anti-Israel narrative.”\u003c/p>\n\u003cp>Maoz, for his part, has said in interviews that his critique comes from a place of love. “If I criticize the place I live, I do it because I worry,” he told \u003ca href=\"https://www.timesofisrael.com/foxtrots-samuel-maoz-talks-fate-potted-meat-ministerial-controversy/\">The Times of Israel.\u003c/a>\u003c/p>\n\u003cp>The specificity of the film’s argument is unmistakable. The Feldmans, we learn, lost relatives in Auschwitz, and Maoz suggests that the horrific legacy of the Holocaust is merely the gravest of the many scars that have led his characters to their anguished present mindset. The harsh everyday reality of the occupation has played its part as well.\u003c/p>\n\u003cp>But on a deeper level, \u003cem>Foxtrot\u003c/em> resonates because the attributes we see in these characters — their bitterness, their pride, their instinctive distrust of the other — are hardly the domain of one family or one country alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In its wrenching final moments, this bruisingly powerful movie could be taking place in any state where men and women rage against each other, where historical trauma looms large in the collective memory and where young people are sent off to a war without end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "iHeartMedia Turns the Dial to Bankruptcy",
"headTitle": "iHeartMedia Turns the Dial to Bankruptcy | KQED",
"content": "\u003cp>The “substantial doubt” that iHeartMedia’s corporate leaders expressed around the company’s likelihood of surviving another year, mentioned in its \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/11/ihmedia-form-10-q-11-8-2017-11878765.pdf\" target=\"_blank\" rel=\"noopener\">quarterly financial report\u003c/a> last November, has been put to rest.\u003c/p>\n\u003cp>iHeartMedia, the country’s largest radio broadcaster with around 850 stations and a leading outdoor advertising company, is filing for bankruptcy after spending years trying to manage its $20 billion in outstanding indebtedness. (For some context, per that November statement, iHeartMedia was obligated to pay $1.8 billion in interest over that coming year.)\u003c/p>\n\u003cp>iHeartMedia radio stations in the \u003ca href=\"https://www.iheartmedia.com/iheartmedia/stations?city=San+Francisco\" rel=\"noopener\" target=\"_blank\">San Francisco Bay Area\u003c/a>, such as Wild 94.9 and 106 KMEL, did not publicly respond to the news Thursday. \u003c/p>\n\u003cp>The company writes in a press release that it has reached “an agreement in principle with holders of more than $10 billion of its outstanding debt and its financial sponsors” that will essentially cut its debt in half, and that it has filed motions with the court to be allowed to operate normally through the restructuring. The bankruptcy follows, by two months, \u003ca href=\"https://www.wsj.com/articles/cumulus-media-files-for-bankruptcy-1512044443\" target=\"_blank\" rel=\"noopener\">the bankruptcy of the country’s \u003cem>second\u003c/em>-largest radio company\u003c/a>, Cumulus, which offloaded $1 billion in debt.\u003c/p>\n\u003cp>Per the terms of \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1457737/000119312518083160/d494465d8k.htm\" target=\"_blank\" rel=\"noopener\">its filing\u003c/a>, the company will distribute 91.79 percent of its “reorganized common stock” after the upcoming restructuring, and establish $5.41 billion in new secured debt to its debtees. As well, those debt holders will receive all of the equity it holds in its dominant outdoor advertising company, Clear Channel Outdoor Holdings (CCOH), which will be distributed in the same way. Asked to clarify who would be receiving these equities, iHeartMedia declined to comment and referred NPR to the language of the filing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iHeartMedia has spent the past several years attempting to deal with its financial burden, which weighed down what would otherwise seem to be, according to its revenues and operating incomes, a healthy company.\u003c/p>\n\u003cp>In 2017, for example, in order to put off having to pay some $476.4 million in debt securities it would have owed in 2018, the company exchanged that debt for the same amount, at a higher interest rate, due in 2021. It also did the opposite, exchanging debt securities due in 2021 for that year in exchange for a lower interest rate — however, many of the debts it exchanged this way last year were significantly lower than the debts it chose to delay; $15.6 million and $45 million in two transactions, for example. In 2016, \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/03/ihcomm-form-10-q-11-9-2016-11220738.pdf\" target=\"_blank\" rel=\"noopener\">the company sold\u003c/a> a subsidiary, Broader Media, $383 million of iHeartMedia’s debt at a price of $222.2 million, relieving itself of $156.7 million and saving it $38.3 million in interest.\u003c/p>\n\u003cp>About 10 years ago, the amount paid for iHeartMedia, Inc. — $26.7 billion — was a particularly lofty example of a “leveraged buyout”; broadly, the term for purchasing a company by borrowing the money from banks, which issue those loans against the company’s cash and assets. The buyout was led by Bain Capital, the private equity firm founded by Mitt Romney in 1984, and Thomas H. Lee Partners. It was funded by a consortium of banks — Citigroup, Deutsche Bank, Morgan Stanley, Credit Suisse, Royal Bank of Scotland and Wachovia.\u003c/p>\n\u003cp>In a strange twist, THL and Bain ended up suing those six banks in March 2008 after they supposedly planned to \u003ca href=\"http://www.nytimes.com/2008/03/27/business/media/27radio-web.html\" target=\"_blank\" rel=\"noopener\">back out of the agreement\u003c/a>. When it seemed those court cases weren’t going to be ruled in their favor, they all \u003ca href=\"https://www.sec.gov/Archives/edgar/data/739708/000095013408009540/d56929exv99w1.htm\" target=\"_blank\" rel=\"noopener\">reached a settlement in May 2008\u003c/a>. These bank loans take the form of long-term debt that can leave companies with little breathing room as the interest payments, and larger debt obligations, begin rolling in.\u003c/p>\n\u003cp>The timing of iHeartMedia’s buyout, which took place as the financial crisis was truly beginning, was poor. “So-called legacy media industries have faced fierce competition for advertising dollars from digital formats,” writes Matthew Crain, an assistant professor of media studies at CUNY who \u003ca href=\"https://academicworks.cuny.edu/qc_pubs/171/\">examined private equity and media ownership\u003c/a> shortly after the iHeartMedia buyout, in an email to NPR. “The great recession also hit advertising quite hard across the board.”\u003c/p>\n\u003cp>“Before the buyout, Clear Channel held a good amount of debt from its 1990s merger spree and had already been hollowing out its stations’ local identities by imposing efficiencies, like moving to popular cookie cutter formats and reducing live programming. Private equity accelerated these trends and added a mountain of new debt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bob Pittman, chairman and CEO of iHeart, writes: “We have transformed a traditional broadcast radio company into a true 21st century multi-platform, data-driven, digitally-focused media and entertainment powerhouse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR Music. To see more, visit \u003ca href=\"\">NPR Music\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=iHeartMedia+Turns+The+Dial+To+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The “substantial doubt” that iHeartMedia’s corporate leaders expressed around the company’s likelihood of surviving another year, mentioned in its \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/11/ihmedia-form-10-q-11-8-2017-11878765.pdf\" target=\"_blank\" rel=\"noopener\">quarterly financial report\u003c/a> last November, has been put to rest.\u003c/p>\n\u003cp>iHeartMedia, the country’s largest radio broadcaster with around 850 stations and a leading outdoor advertising company, is filing for bankruptcy after spending years trying to manage its $20 billion in outstanding indebtedness. (For some context, per that November statement, iHeartMedia was obligated to pay $1.8 billion in interest over that coming year.)\u003c/p>\n\u003cp>iHeartMedia radio stations in the \u003ca href=\"https://www.iheartmedia.com/iheartmedia/stations?city=San+Francisco\" rel=\"noopener\" target=\"_blank\">San Francisco Bay Area\u003c/a>, such as Wild 94.9 and 106 KMEL, did not publicly respond to the news Thursday. \u003c/p>\n\u003cp>The company writes in a press release that it has reached “an agreement in principle with holders of more than $10 billion of its outstanding debt and its financial sponsors” that will essentially cut its debt in half, and that it has filed motions with the court to be allowed to operate normally through the restructuring. The bankruptcy follows, by two months, \u003ca href=\"https://www.wsj.com/articles/cumulus-media-files-for-bankruptcy-1512044443\" target=\"_blank\" rel=\"noopener\">the bankruptcy of the country’s \u003cem>second\u003c/em>-largest radio company\u003c/a>, Cumulus, which offloaded $1 billion in debt.\u003c/p>\n\u003cp>Per the terms of \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1457737/000119312518083160/d494465d8k.htm\" target=\"_blank\" rel=\"noopener\">its filing\u003c/a>, the company will distribute 91.79 percent of its “reorganized common stock” after the upcoming restructuring, and establish $5.41 billion in new secured debt to its debtees. As well, those debt holders will receive all of the equity it holds in its dominant outdoor advertising company, Clear Channel Outdoor Holdings (CCOH), which will be distributed in the same way. Asked to clarify who would be receiving these equities, iHeartMedia declined to comment and referred NPR to the language of the filing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>iHeartMedia has spent the past several years attempting to deal with its financial burden, which weighed down what would otherwise seem to be, according to its revenues and operating incomes, a healthy company.\u003c/p>\n\u003cp>In 2017, for example, in order to put off having to pay some $476.4 million in debt securities it would have owed in 2018, the company exchanged that debt for the same amount, at a higher interest rate, due in 2021. It also did the opposite, exchanging debt securities due in 2021 for that year in exchange for a lower interest rate — however, many of the debts it exchanged this way last year were significantly lower than the debts it chose to delay; $15.6 million and $45 million in two transactions, for example. In 2016, \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/03/ihcomm-form-10-q-11-9-2016-11220738.pdf\" target=\"_blank\" rel=\"noopener\">the company sold\u003c/a> a subsidiary, Broader Media, $383 million of iHeartMedia’s debt at a price of $222.2 million, relieving itself of $156.7 million and saving it $38.3 million in interest.\u003c/p>\n\u003cp>About 10 years ago, the amount paid for iHeartMedia, Inc. — $26.7 billion — was a particularly lofty example of a “leveraged buyout”; broadly, the term for purchasing a company by borrowing the money from banks, which issue those loans against the company’s cash and assets. The buyout was led by Bain Capital, the private equity firm founded by Mitt Romney in 1984, and Thomas H. Lee Partners. It was funded by a consortium of banks — Citigroup, Deutsche Bank, Morgan Stanley, Credit Suisse, Royal Bank of Scotland and Wachovia.\u003c/p>\n\u003cp>In a strange twist, THL and Bain ended up suing those six banks in March 2008 after they supposedly planned to \u003ca href=\"http://www.nytimes.com/2008/03/27/business/media/27radio-web.html\" target=\"_blank\" rel=\"noopener\">back out of the agreement\u003c/a>. When it seemed those court cases weren’t going to be ruled in their favor, they all \u003ca href=\"https://www.sec.gov/Archives/edgar/data/739708/000095013408009540/d56929exv99w1.htm\" target=\"_blank\" rel=\"noopener\">reached a settlement in May 2008\u003c/a>. These bank loans take the form of long-term debt that can leave companies with little breathing room as the interest payments, and larger debt obligations, begin rolling in.\u003c/p>\n\u003cp>The timing of iHeartMedia’s buyout, which took place as the financial crisis was truly beginning, was poor. “So-called legacy media industries have faced fierce competition for advertising dollars from digital formats,” writes Matthew Crain, an assistant professor of media studies at CUNY who \u003ca href=\"https://academicworks.cuny.edu/qc_pubs/171/\">examined private equity and media ownership\u003c/a> shortly after the iHeartMedia buyout, in an email to NPR. “The great recession also hit advertising quite hard across the board.”\u003c/p>\n\u003cp>“Before the buyout, Clear Channel held a good amount of debt from its 1990s merger spree and had already been hollowing out its stations’ local identities by imposing efficiencies, like moving to popular cookie cutter formats and reducing live programming. Private equity accelerated these trends and added a mountain of new debt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bob Pittman, chairman and CEO of iHeart, writes: “We have transformed a traditional broadcast radio company into a true 21st century multi-platform, data-driven, digitally-focused media and entertainment powerhouse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR Music. To see more, visit \u003ca href=\"\">NPR Music\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=iHeartMedia+Turns+The+Dial+To+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Danny Trejo came of age in the California prison system, doing time in a juvenile detention center as well as in San Quentin, Folsom and Soledad, on charges relating to drugs. He says that background prepared him well for acting.\u003c/p>\n\u003cp>“Standing on the yard in San Quentin, knowing that there’s a riot coming, you’re absolutely scared to death with every fiber of your body,” Trejo says. “[But] you have to pretend you’re not. You have to stand there and make everybody think you like it.”\u003c/p>\n\u003cp>As an actor, he’s made a name for himself by playing menacing characters on TV shows like \u003cem>Breaking Bad\u003c/em> and in movies like \u003cem>Machete. \u003c/em>He jokes that he’s perfectly suited for the roles he’s landed: “Somebody finally got it right! They’re not using Marky Wahlberg to play the mean Chicano dude.”\u003c/p>\n\u003cp>Trejo still returns to prisons to talk with inmates. His latest project is the documentary \u003cem>Survivors Guide To Prison,\u003c/em> which focuses on injustices within the criminal justice system and highlights the cases of two men who spent decades behind bars for murders they didn’t commit. The film is available for streaming on Amazon and iTunes.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting addicted to heroin at age 12 \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My uncle gave me a fix when I was about 12. … In his defense, I got to say that I threatened to snitch on him if he didn’t give me some. I caught him fixing and I said, “Give me some,” and he said, “No.” And I said, “Give me some or I’ll tell.” So basically he gave me some, and from there on I found, again, a euphoric area that I liked, that my brain liked, and I was off and running.\u003c/p>\n\u003cp>\u003cstrong>On experiencing violence and rage in prison \u003c/strong>\u003c/p>\n\u003cp>There’s two types of people in prison: There’s predator and prey. You have to decide every day which you’re going to be, and it’s that simple. The more intimidating [you are], the more people you have behind you. Because I never seen a fist fight in prison, you understand? It’s so much easier to stab somebody and walk away — because if you get in a fight, if I sock you, you’re going to sock me back, and then we’re going to tussle and then [the guards are] going to shoot us. If I walk up behind you, stab you three times and walk away, I’m not going to get caught, and that is the idea: not to get caught.\u003c/p>\n\u003cp>Anger is probably something you don’t have in prison. You don’t have anger. You can’t afford to get mad. If it is worth your time, then you go directly to rage. … I can remember it’s like, I’ve watched attorneys argue and I’m waiting for somebody to get socked. Wait a minute? You’re not going to sock him? Because in prison, you don’t get angry, you go directly to rage, because that’s your defense. …\u003c/p>\n\u003cp>The bottom line to an argument is a murder, so if you say something to me that I think is an attack or belittling, I have to think, is this worth killing him over? … It only takes a split second.\u003c/p>\n\u003cp>\u003cstrong>On how he broke into acting \u003c/strong>\u003c/p>\n\u003cp>I was running around, trying to be an extra, getting some extra money … they used to give you $50 bucks for being an extra. I ran into a good friend of mine, a guy named Eddie Bunker, who was a great writer and people don’t know it. Eddie actually got famous because he could write writs [of habeas corpus] in prison. …\u003c/p>\n\u003cp>I knew him for years, and when I ran into him on a movie called \u003cem>Runaway Train\u003c/em> with Jon Voight and Eric Roberts, he asked me if I was still boxing, because he saw me win the lightweight and welterweight title up in San Quentin. … And I said, “Eddie, I’m 40 years old. I don’t want to get hit in the face anymore. I train. I’m in shape.” And he said, “We need somebody to train one of the actors how to box.” And I said, “What’s it pay?” And he said, “$320 a day,” and I said, “How bad you want this guy beat up?”\u003c/p>\n\u003cp>$320 a day! That was more money than I was making in a week and I was a drug counselor, right? So he was like, “No, you gotta be real careful because the actor’s real high-strung. He might sock you.” I said, “Eddie, for $320 a day give him a stick. Are you crazy? I been beat up for free, homes.” [So] I started training Eric Roberts how to box for the movie \u003cem>Runaway Train\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Danny+Trejo+On+Acting%2C+Addiction+And+Playing+%27The+Mean+Chicano+Dude%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My uncle gave me a fix when I was about 12. … In his defense, I got to say that I threatened to snitch on him if he didn’t give me some. I caught him fixing and I said, “Give me some,” and he said, “No.” And I said, “Give me some or I’ll tell.” So basically he gave me some, and from there on I found, again, a euphoric area that I liked, that my brain liked, and I was off and running.\u003c/p>\n\u003cp>\u003cstrong>On experiencing violence and rage in prison \u003c/strong>\u003c/p>\n\u003cp>There’s two types of people in prison: There’s predator and prey. You have to decide every day which you’re going to be, and it’s that simple. The more intimidating [you are], the more people you have behind you. Because I never seen a fist fight in prison, you understand? It’s so much easier to stab somebody and walk away — because if you get in a fight, if I sock you, you’re going to sock me back, and then we’re going to tussle and then [the guards are] going to shoot us. If I walk up behind you, stab you three times and walk away, I’m not going to get caught, and that is the idea: not to get caught.\u003c/p>\n\u003cp>Anger is probably something you don’t have in prison. You don’t have anger. You can’t afford to get mad. If it is worth your time, then you go directly to rage. … I can remember it’s like, I’ve watched attorneys argue and I’m waiting for somebody to get socked. Wait a minute? You’re not going to sock him? Because in prison, you don’t get angry, you go directly to rage, because that’s your defense. …\u003c/p>\n\u003cp>The bottom line to an argument is a murder, so if you say something to me that I think is an attack or belittling, I have to think, is this worth killing him over? … It only takes a split second.\u003c/p>\n\u003cp>\u003cstrong>On how he broke into acting \u003c/strong>\u003c/p>\n\u003cp>I was running around, trying to be an extra, getting some extra money … they used to give you $50 bucks for being an extra. I ran into a good friend of mine, a guy named Eddie Bunker, who was a great writer and people don’t know it. Eddie actually got famous because he could write writs [of habeas corpus] in prison. …\u003c/p>\n\u003cp>I knew him for years, and when I ran into him on a movie called \u003cem>Runaway Train\u003c/em> with Jon Voight and Eric Roberts, he asked me if I was still boxing, because he saw me win the lightweight and welterweight title up in San Quentin. … And I said, “Eddie, I’m 40 years old. I don’t want to get hit in the face anymore. I train. I’m in shape.” And he said, “We need somebody to train one of the actors how to box.” And I said, “What’s it pay?” And he said, “$320 a day,” and I said, “How bad you want this guy beat up?”\u003c/p>\n\u003cp>$320 a day! That was more money than I was making in a week and I was a drug counselor, right? So he was like, “No, you gotta be real careful because the actor’s real high-strung. He might sock you.” I said, “Eddie, for $320 a day give him a stick. Are you crazy? I been beat up for free, homes.” [So] I started training Eric Roberts how to box for the movie \u003cem>Runaway Train\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Danny+Trejo+On+Acting%2C+Addiction+And+Playing+%27The+Mean+Chicano+Dude%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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