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"title": "'Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What's Going On?'",
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"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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"excerpt": "Across several decades (and despite widespread sexism) women workers, supporters and associates shaped the story of America's most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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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"title": "Craig Mack, Hit Rapper with 'Flava In Ya Ear,' Dead at 47",
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"content": "\u003cp>Craig Mack, the rapper best known for the classic ’90s single “Flava In Ya Ear,” has died. Richard Harvey of the Colleton County Coroner’s office confirmed to NPR Music that Mack died in his home near Walterboro, S.C., around 9 p.m. on March 12, of natural causes. He was 47.\u003c/p>\n\u003cp>Mack initially released \u003ca href=\"https://www.youtube.com/watch?v=vCn7nVOV4wM\" target=\"_blank\" rel=\"noopener\">music\u003c/a> under the moniker MC EZ in the late 1980s. But it was Mack’s Grammy-\u003ca href=\"https://www.grammy.com/grammys/artists/craig-mack\" target=\"_blank\" rel=\"noopener\">nominated\u003c/a>, platinum-\u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=craig+mack#search_section\" target=\"_blank\" rel=\"noopener\">selling\u003c/a> 1994 song “\u003ca href=\"https://www.youtube.com/watch?v=PMbELEUfmIA\" target=\"_blank\" rel=\"noopener\">Flava In Ya Ear\u003c/a>” that made his name. The song was the first single released by Sean Combs’ then-fledgling record label Bad Boy Entertainment. Propelled by the hit, Mack released his debut album, \u003cem>Project Funk da World, \u003c/em>in September, 1994 — another track from the record, “Get Down” also received gold certification, along with the album itself. After that success, Mack left Bad Boy to release his sophomore album, \u003cem>Operation: Get Down\u003c/em>, in 1997. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNFqMx0gY7I\u003c/p>\n\u003cp>Mack subsequently retreated from music, maintaining a quiet life in South Carolina. There, Mack joined the Overcomer Ministry, a congregation led by \u003ca href=\"https://news.google.com/newspapers?id=TD8sAAAAIBAJ&sjid=tc4EAAAAIBAJ&pg=5774,4735557&dq=brother+stair&hl=en\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> evangelist \u003ca href=\"http://blackchristiannews.com/2017/12/south-carolina-radio-evangelist-r-g-stair-arrested-following-sex-assault-allegations-amid-ongoing-fbi-probe/\" target=\"_blank\" rel=\"noopener\">Ralph Gordon Stair\u003c/a>, who was \u003ca href=\"https://www.postandcourier.com/news/women-at-south-carolina-religious-compound-say-preacher-sexually-assaulted/article_6aeb443e-da86-11e7-bf7a-2779c1133934.html\" target=\"_blank\" rel=\"noopener\">charged this past December\u003c/a> with a litany of offenses, including three counts of criminal sexual conduct. A \u003ca href=\"https://www.youtube.com/watch?v=dR1IEw-a7Qw&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">video\u003c/a> which surfaced around 2012 shows Stair beginning an introduction by proclaiming: “Crack Mack is dead! We have somebody who \u003cem>used\u003c/em>\u003cstrong> \u003c/strong>to be Craig Mack — and he didn’t join [our church], God joined \u003cem>him.”\u003c/em> Afterwards, Mack addresses the congregation, responding to Stair’s question of what he used to “do” out in the world by answering: “Wickedness.”\u003c/p>\n\u003cp>Easy Mo Bee, the producer behind “Flava In Ya Ear,” shared on social media that he last talked to the rapper on the phone about three months ago. Bee wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Most of the call was me trying to persuade him to start making music again. He felt like after giving his life to God that maybe he shouldn’t rap again,” Easy Mo Bee \u003ca href=\"https://www.instagram.com/p/BgQO4j8HRfI/\">wrote\u003c/a> on Instagram. “I begged him and explained to him that he had every right to still praise God through his music. I told him that as long as it was genuine and not a blasphemous gimmick, he could still reach souls and spread his message. Finally, he gave in and said ‘Ok Mo Bee, i’ll do it.’ I sent him 5 or 6 tracks and then I never heard back from him. I made a follow-up call and still no Craig. Maybe he knew he was about to die but just didn’t want to tell me … I pray that today he has finally made it into the Kingdom Of Heaven because that’s all that mattered to him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Craig+Mack%2C+Hit+Rapper+With+%27Flava+In+Ya+Ear%2C%27+Dead+At+47&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Craig Mack, the rapper best known for the classic ’90s single “Flava In Ya Ear,” has died. Richard Harvey of the Colleton County Coroner’s office confirmed to NPR Music that Mack died in his home near Walterboro, S.C., around 9 p.m. on March 12, of natural causes. He was 47.\u003c/p>\n\u003cp>Mack initially released \u003ca href=\"https://www.youtube.com/watch?v=vCn7nVOV4wM\" target=\"_blank\" rel=\"noopener\">music\u003c/a> under the moniker MC EZ in the late 1980s. But it was Mack’s Grammy-\u003ca href=\"https://www.grammy.com/grammys/artists/craig-mack\" target=\"_blank\" rel=\"noopener\">nominated\u003c/a>, platinum-\u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=craig+mack#search_section\" target=\"_blank\" rel=\"noopener\">selling\u003c/a> 1994 song “\u003ca href=\"https://www.youtube.com/watch?v=PMbELEUfmIA\" target=\"_blank\" rel=\"noopener\">Flava In Ya Ear\u003c/a>” that made his name. The song was the first single released by Sean Combs’ then-fledgling record label Bad Boy Entertainment. Propelled by the hit, Mack released his debut album, \u003cem>Project Funk da World, \u003c/em>in September, 1994 — another track from the record, “Get Down” also received gold certification, along with the album itself. After that success, Mack left Bad Boy to release his sophomore album, \u003cem>Operation: Get Down\u003c/em>, in 1997. \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/GNFqMx0gY7I'\n title='//www.youtube.com/embed/GNFqMx0gY7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mack subsequently retreated from music, maintaining a quiet life in South Carolina. There, Mack joined the Overcomer Ministry, a congregation led by \u003ca href=\"https://news.google.com/newspapers?id=TD8sAAAAIBAJ&sjid=tc4EAAAAIBAJ&pg=5774,4735557&dq=brother+stair&hl=en\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> evangelist \u003ca href=\"http://blackchristiannews.com/2017/12/south-carolina-radio-evangelist-r-g-stair-arrested-following-sex-assault-allegations-amid-ongoing-fbi-probe/\" target=\"_blank\" rel=\"noopener\">Ralph Gordon Stair\u003c/a>, who was \u003ca href=\"https://www.postandcourier.com/news/women-at-south-carolina-religious-compound-say-preacher-sexually-assaulted/article_6aeb443e-da86-11e7-bf7a-2779c1133934.html\" target=\"_blank\" rel=\"noopener\">charged this past December\u003c/a> with a litany of offenses, including three counts of criminal sexual conduct. A \u003ca href=\"https://www.youtube.com/watch?v=dR1IEw-a7Qw&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">video\u003c/a> which surfaced around 2012 shows Stair beginning an introduction by proclaiming: “Crack Mack is dead! We have somebody who \u003cem>used\u003c/em>\u003cstrong> \u003c/strong>to be Craig Mack — and he didn’t join [our church], God joined \u003cem>him.”\u003c/em> Afterwards, Mack addresses the congregation, responding to Stair’s question of what he used to “do” out in the world by answering: “Wickedness.”\u003c/p>\n\u003cp>Easy Mo Bee, the producer behind “Flava In Ya Ear,” shared on social media that he last talked to the rapper on the phone about three months ago. Bee wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Most of the call was me trying to persuade him to start making music again. He felt like after giving his life to God that maybe he shouldn’t rap again,” Easy Mo Bee \u003ca href=\"https://www.instagram.com/p/BgQO4j8HRfI/\">wrote\u003c/a> on Instagram. “I begged him and explained to him that he had every right to still praise God through his music. I told him that as long as it was genuine and not a blasphemous gimmick, he could still reach souls and spread his message. Finally, he gave in and said ‘Ok Mo Bee, i’ll do it.’ I sent him 5 or 6 tracks and then I never heard back from him. I made a follow-up call and still no Craig. Maybe he knew he was about to die but just didn’t want to tell me … I pray that today he has finally made it into the Kingdom Of Heaven because that’s all that mattered to him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Craig+Mack%2C+Hit+Rapper+With+%27Flava+In+Ya+Ear%2C%27+Dead+At+47&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "It's Time to Recognize the Ronettes as Rock and Roll Pioneers",
"headTitle": "It’s Time to Recognize the Ronettes as Rock and Roll Pioneers | KQED",
"content": "\u003cp>On Sept. 28, 1963, \u003ca href=\"https://www.npr.org/artists/15396360/the-ronettes\" target=\"_blank\" rel=\"noopener\">The Ronettes\u003c/a> performed on Dick Clark’s \u003cem>American Bandstand\u003c/em>. In \u003ca href=\"https://www.youtube.com/watch?v=IgWVis3_wPM\">the video\u003c/a>, the curtain parts to reveal the three singers dressed in identical long-sleeved pencil dresses, their hair partially swept up in the same half-bouffant that would become part of their signature style. They sway their hips and arms awkwardly to the opening bars of “Be My Baby,” and then Ronnie Spector, standing on the left, opens her mouth. When the camera zooms in, we see her embellishing the lyrics with gestures as she sings them: She points to an unseen audience member on the line “\u003cem>so\u003c/em> \u003cem>proud\u003c/em> of me” and cocks her head with a quick Monroe-esque pout on “\u003cem>turn\u003c/em> their heads.” \u003c/p>\n\u003cp>The micro-movements in the performance — swaying hips, lightly moving hands — were typical of the kind of directions 1960s girl groups received from their mostly male managers and producers, stemming from the polished synchrony of doo-wop singers. On the surface, The Ronettes look like teen girls who have been coached to move in unison and smile for the cameras — part of the reason The Ronettes are often classified as a quintessential pop group. \u003c/p>\n\u003cp>But classifying The Ronettes’ sound as pop leans too heavily on the contents of the lyrics they sang (which they didn’t write) and the instrumental layer behind their voices (which they didn’t produce). If we focused instead on the way The Ronettes’ vocal and visual choices moved the band away from the pristine expectations of tone and clarity (to say nothing of obedience) that characterize ’60s pop girl groups, we could see them laying out a sneaky version of rock and roll disguised as pop. Through the way the group constructed its sound and look, The Ronettes embodied proto-rock transgressions, as their heavy eyeliner, poufed hair and natural New York accents all hint at. The lines between sonic genres are often more permeable than listeners allow, especially as rock was forming, and The Ronettes exposed and maneuvered those malleable boundaries.\u003c/p>\n\u003cp>The group’s debut album, \u003cem>Presenting the Fabulous Ronettes Featuring Veronica\u003c/em>, was released in 1964, when Veronica “Ronnie” Bennett, her sister Estelle Bennett and their cousin Nedra Talley were all in their teens. Their only studio album, \u003cem>Presenting\u003c/em>… collected singles from the previous year, including “Be My Baby.” Five of its twelve tracks had made it to the U.S. \u003cem>Billboard \u003c/em>charts: “Be My Baby” (#2), “Walking in the Rain” (#23), “Baby I Love You” (#24), “Do I Love You?” (#34) and “(The Best Part Of) Breakin’ Up” (#39). In addition to producing the album, Phil Spector wrote or co-wrote all but two of the songs.\u003c/p>\n\u003cp>Their musical transgression centers on Ronnie Spector’s voice, which prefigures the more free, less restrained style that (male) rock vocals would take up in the next couple of years — gravel rather than velvet, and untrained rather than classically molded. Her bombastic ways of singing — from rehearsing in the bathroom to making the sound booth a feminine-only space, to allowing her natural accent to ring true — pushed back against producer Phil Spector’s Svengali-like control.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of Ronnie Spector’s most rock and roll vocal choices was all about taking up space. She spent three days recording her vocals for “Be My Baby,” and her shyness as well as her sense of sound quality influenced her preparation: “I’d do all my vocal rehearsals in the studio’s ladies room,” she says in her memoir, \u003cem>Be My Baby: How I Survived Mascara, Miniskirts, and Madness or My Life as a Fabulous Ronette \u003c/em>(1990), “because I loved the sound I got in there. People talk about how great the echo chamber was in Gold Star, but they never heard the sound in the ladies room.”\u003c/p>\n\u003cp>By finding refuge in the bathroom, she managed to carve out her own space and her own creative process in one of the most famous and demanding recording studios in the world at the time. Men (including Phil Spector and sound engineer Larry Levine) told Ronnie when to stop and start, and controlled the way the music, the beats and the depth of the sound interacted with her voice. But the architecture and quality of \u003cem>her\u003c/em> sound, and the way her body and breath worked to produce it, were hers alone. This space, as Spector describes it, contained only her; men, the supposed arbiters of the developing rock and roll sound, explicitly weren’t allowed in. The rootedness of rock in phallic guitars and loud, bulky drums ignores the way in which feminism itself — asserting a right to one’s own body and voice despite the impositions of powerful men — is in line with rock’s ethos of autonomy.\u003c/p>\n\u003cp>The way The Ronettes constructed their image against the grain of demureness expected of women is part of this rock rebellion, too. Teenage girls in the early 1960s, and especially Black teenage girls, were often expected to be demure and docile. Pop music was meant to signify good behavior, acceptable for family listening around the living room record player. Rock, however — even in its early stages — was sinuous and loud and full of entendre and hidden or suppressed stories. Black artists pioneered the sound and the freedom of rock and roll at the height of American segregation. Despite the rockist focus given to white male artists like \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a>, Buddy Holly and \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>, none of them would have existed without \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a> or Little Richard. The Ronettes’ bad girl look, with piled hair and heavy eyeliner, pushed aside the demureness of their uniform outfits and synchronized movements and pushed back against these gendered expectations, blurring genre lines and signaling a certain kind of refusal to submit.\u003c/p>\n\u003cp>In her memoir, Spector recounts how The Ronettes tweaked their appearance almost in real time backstage at Brooklyn’s Fox Theater, starting in 1962. “Sitting around for hours on end in our dressing room at the Brooklyn Fox, we had plenty of time to work on our look:” darkening eyeliner, ratting hair, and layering mascara, she explains. The Ronettes also had help from their fans, who signaled buy-in for their visual rebellion; the audience loved it, Spector remembers, and their adoration impacted the look. “The louder they applauded, the more mascara we put on the next time,” she writes. “We didn’t have a hit record to grab their attention, so we had to make an impression with our style. None of it was planned out; we just took the look we were born with and extended it… Of course, we exaggerated [the look] on stage, because everything on stage has to be bigger than life.”\u003c/p>\n\u003cp> These rock innovations formed the core of why The Ronettes were considered to be one of the “bad girl” girl groups, in stark contrast to groups like The Chiffons and The Shirelles. In Spector’s memoir, she admits she didn’t shy away from open sex appeal — as opposed to Doris Day’s or Judy Garland’s demureness. “We weren’t afraid to be hot. That was our gimmick,” she says. “When we saw The Shirelles walk on stage with their wide party dresses, we went in the opposite direction and squeezed our bodies into the tightest skirts we could find. Then we’d get out on stage and hike them up to show our legs even more.” Even as The Ronettes were considered pop, the “bad girl” perception shows how rock elements were being allowed into pop in subtle ways. The “bad girl” image Spector and her bandmates crafted pushed the image of what a teenage girl should look like into powerful, quasi-drag territory.\u003c/p>\n\u003cp>Much of the critical discourse about the album, and about The Ronettes in general, misses a crucial fact: Spector herself repeatedly refers to the music she made as rock, not as pop or, really, as anything else stereotypically “girly.” In her memoir, she marked out the interplay of softness and grit that the Ronettes exemplified:\u003c/p>\n\u003cblockquote>\n\u003cp>“[“Be My Baby”] is a rock and roll classic…[It] was a tough record, but it had a sweet side to it, just like the Ronettes. It was the kind of song a street kid would like. And a lot of them did. After that record, the Ronettes were bigger than ever with the kids on the street.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Interestingly, her explanation of the transgressive side of The Ronettes’ look has an undercurrent of “good girl” values as well: “We may have looked like street girls, but I think the audience could tell that under all that makeup, we were really just three innocent teenagers,” she writes. “And I think they liked that combination. The girls loved us because we were different — we followed our own style and didn’t care what anybody thought. And the boys liked us for obvious reasons. The Ronettes were what the girls wanted to be, and what the guys dreamed about.” They offered a rock sensibility to teens that didn’t tread too far past what society expected, marking out a quiet rebellion in a restrictive context, not unlike the one their teenage girl fans navigated.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The masculinized story of control and credit that characterizes the Wall of Sound, and Phil Spector’s over-emphasized role in crafting it, has resolutely left out the voices of the women \u003cem>making\u003c/em> the most interesting part of the sound. The innovation history tends to remember is on Spector’s part, rather than on the part of the singers he worked with; The Ronettes, in particular, had their rock and roll sensibilities railroaded out of their image by the importance placed on Spector’s production. Listening to The Ronettes as rock allows us to hear their rebellion and their humanity much more sharply than we hear Phil Spector’s influence. (It’s still there, of course, but it takes a step back.) In the \u003cem>Bandstand \u003c/em>video, Ronnie Spector’s voice, with her Spanish Harlem accent, cuts through the layers of drums and jangles of the Wall of Sound arrangement. Her facial expressions add an extra layer of sass. Rather than doing exactly what’s expected of her, she’s subtly shifting the terms of acceptable, modest femininity, rebelling just like a rock star. \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=It%27s+Time+To+Recognize+The+Ronettes+As+Rock+And+Roll+Pioneers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 28, 1963, \u003ca href=\"https://www.npr.org/artists/15396360/the-ronettes\" target=\"_blank\" rel=\"noopener\">The Ronettes\u003c/a> performed on Dick Clark’s \u003cem>American Bandstand\u003c/em>. In \u003ca href=\"https://www.youtube.com/watch?v=IgWVis3_wPM\">the video\u003c/a>, the curtain parts to reveal the three singers dressed in identical long-sleeved pencil dresses, their hair partially swept up in the same half-bouffant that would become part of their signature style. They sway their hips and arms awkwardly to the opening bars of “Be My Baby,” and then Ronnie Spector, standing on the left, opens her mouth. When the camera zooms in, we see her embellishing the lyrics with gestures as she sings them: She points to an unseen audience member on the line “\u003cem>so\u003c/em> \u003cem>proud\u003c/em> of me” and cocks her head with a quick Monroe-esque pout on “\u003cem>turn\u003c/em> their heads.” \u003c/p>\n\u003cp>The micro-movements in the performance — swaying hips, lightly moving hands — were typical of the kind of directions 1960s girl groups received from their mostly male managers and producers, stemming from the polished synchrony of doo-wop singers. On the surface, The Ronettes look like teen girls who have been coached to move in unison and smile for the cameras — part of the reason The Ronettes are often classified as a quintessential pop group. \u003c/p>\n\u003cp>But classifying The Ronettes’ sound as pop leans too heavily on the contents of the lyrics they sang (which they didn’t write) and the instrumental layer behind their voices (which they didn’t produce). If we focused instead on the way The Ronettes’ vocal and visual choices moved the band away from the pristine expectations of tone and clarity (to say nothing of obedience) that characterize ’60s pop girl groups, we could see them laying out a sneaky version of rock and roll disguised as pop. Through the way the group constructed its sound and look, The Ronettes embodied proto-rock transgressions, as their heavy eyeliner, poufed hair and natural New York accents all hint at. The lines between sonic genres are often more permeable than listeners allow, especially as rock was forming, and The Ronettes exposed and maneuvered those malleable boundaries.\u003c/p>\n\u003cp>The group’s debut album, \u003cem>Presenting the Fabulous Ronettes Featuring Veronica\u003c/em>, was released in 1964, when Veronica “Ronnie” Bennett, her sister Estelle Bennett and their cousin Nedra Talley were all in their teens. Their only studio album, \u003cem>Presenting\u003c/em>… collected singles from the previous year, including “Be My Baby.” Five of its twelve tracks had made it to the U.S. \u003cem>Billboard \u003c/em>charts: “Be My Baby” (#2), “Walking in the Rain” (#23), “Baby I Love You” (#24), “Do I Love You?” (#34) and “(The Best Part Of) Breakin’ Up” (#39). In addition to producing the album, Phil Spector wrote or co-wrote all but two of the songs.\u003c/p>\n\u003cp>Their musical transgression centers on Ronnie Spector’s voice, which prefigures the more free, less restrained style that (male) rock vocals would take up in the next couple of years — gravel rather than velvet, and untrained rather than classically molded. Her bombastic ways of singing — from rehearsing in the bathroom to making the sound booth a feminine-only space, to allowing her natural accent to ring true — pushed back against producer Phil Spector’s Svengali-like control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of Ronnie Spector’s most rock and roll vocal choices was all about taking up space. She spent three days recording her vocals for “Be My Baby,” and her shyness as well as her sense of sound quality influenced her preparation: “I’d do all my vocal rehearsals in the studio’s ladies room,” she says in her memoir, \u003cem>Be My Baby: How I Survived Mascara, Miniskirts, and Madness or My Life as a Fabulous Ronette \u003c/em>(1990), “because I loved the sound I got in there. People talk about how great the echo chamber was in Gold Star, but they never heard the sound in the ladies room.”\u003c/p>\n\u003cp>By finding refuge in the bathroom, she managed to carve out her own space and her own creative process in one of the most famous and demanding recording studios in the world at the time. Men (including Phil Spector and sound engineer Larry Levine) told Ronnie when to stop and start, and controlled the way the music, the beats and the depth of the sound interacted with her voice. But the architecture and quality of \u003cem>her\u003c/em> sound, and the way her body and breath worked to produce it, were hers alone. This space, as Spector describes it, contained only her; men, the supposed arbiters of the developing rock and roll sound, explicitly weren’t allowed in. The rootedness of rock in phallic guitars and loud, bulky drums ignores the way in which feminism itself — asserting a right to one’s own body and voice despite the impositions of powerful men — is in line with rock’s ethos of autonomy.\u003c/p>\n\u003cp>The way The Ronettes constructed their image against the grain of demureness expected of women is part of this rock rebellion, too. Teenage girls in the early 1960s, and especially Black teenage girls, were often expected to be demure and docile. Pop music was meant to signify good behavior, acceptable for family listening around the living room record player. Rock, however — even in its early stages — was sinuous and loud and full of entendre and hidden or suppressed stories. Black artists pioneered the sound and the freedom of rock and roll at the height of American segregation. Despite the rockist focus given to white male artists like \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a>, Buddy Holly and \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>, none of them would have existed without \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a> or Little Richard. The Ronettes’ bad girl look, with piled hair and heavy eyeliner, pushed aside the demureness of their uniform outfits and synchronized movements and pushed back against these gendered expectations, blurring genre lines and signaling a certain kind of refusal to submit.\u003c/p>\n\u003cp>In her memoir, Spector recounts how The Ronettes tweaked their appearance almost in real time backstage at Brooklyn’s Fox Theater, starting in 1962. “Sitting around for hours on end in our dressing room at the Brooklyn Fox, we had plenty of time to work on our look:” darkening eyeliner, ratting hair, and layering mascara, she explains. The Ronettes also had help from their fans, who signaled buy-in for their visual rebellion; the audience loved it, Spector remembers, and their adoration impacted the look. “The louder they applauded, the more mascara we put on the next time,” she writes. “We didn’t have a hit record to grab their attention, so we had to make an impression with our style. None of it was planned out; we just took the look we were born with and extended it… Of course, we exaggerated [the look] on stage, because everything on stage has to be bigger than life.”\u003c/p>\n\u003cp> These rock innovations formed the core of why The Ronettes were considered to be one of the “bad girl” girl groups, in stark contrast to groups like The Chiffons and The Shirelles. In Spector’s memoir, she admits she didn’t shy away from open sex appeal — as opposed to Doris Day’s or Judy Garland’s demureness. “We weren’t afraid to be hot. That was our gimmick,” she says. “When we saw The Shirelles walk on stage with their wide party dresses, we went in the opposite direction and squeezed our bodies into the tightest skirts we could find. Then we’d get out on stage and hike them up to show our legs even more.” Even as The Ronettes were considered pop, the “bad girl” perception shows how rock elements were being allowed into pop in subtle ways. The “bad girl” image Spector and her bandmates crafted pushed the image of what a teenage girl should look like into powerful, quasi-drag territory.\u003c/p>\n\u003cp>Much of the critical discourse about the album, and about The Ronettes in general, misses a crucial fact: Spector herself repeatedly refers to the music she made as rock, not as pop or, really, as anything else stereotypically “girly.” In her memoir, she marked out the interplay of softness and grit that the Ronettes exemplified:\u003c/p>\n\u003cblockquote>\n\u003cp>“[“Be My Baby”] is a rock and roll classic…[It] was a tough record, but it had a sweet side to it, just like the Ronettes. It was the kind of song a street kid would like. And a lot of them did. After that record, the Ronettes were bigger than ever with the kids on the street.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Interestingly, her explanation of the transgressive side of The Ronettes’ look has an undercurrent of “good girl” values as well: “We may have looked like street girls, but I think the audience could tell that under all that makeup, we were really just three innocent teenagers,” she writes. “And I think they liked that combination. The girls loved us because we were different — we followed our own style and didn’t care what anybody thought. And the boys liked us for obvious reasons. The Ronettes were what the girls wanted to be, and what the guys dreamed about.” They offered a rock sensibility to teens that didn’t tread too far past what society expected, marking out a quiet rebellion in a restrictive context, not unlike the one their teenage girl fans navigated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The masculinized story of control and credit that characterizes the Wall of Sound, and Phil Spector’s over-emphasized role in crafting it, has resolutely left out the voices of the women \u003cem>making\u003c/em> the most interesting part of the sound. The innovation history tends to remember is on Spector’s part, rather than on the part of the singers he worked with; The Ronettes, in particular, had their rock and roll sensibilities railroaded out of their image by the importance placed on Spector’s production. Listening to The Ronettes as rock allows us to hear their rebellion and their humanity much more sharply than we hear Phil Spector’s influence. (It’s still there, of course, but it takes a step back.) In the \u003cem>Bandstand \u003c/em>video, Ronnie Spector’s voice, with her Spanish Harlem accent, cuts through the layers of drums and jangles of the Wall of Sound arrangement. Her facial expressions add an extra layer of sass. Rather than doing exactly what’s expected of her, she’s subtly shifting the terms of acceptable, modest femininity, rebelling just like a rock star. \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=It%27s+Time+To+Recognize+The+Ronettes+As+Rock+And+Roll+Pioneers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were a teenage girl in 1997 you’d probably recognize the song “Everybody” by the Backstreet Boys. But if you heard it in the Salish language, would you still be able to sing along?\u003c/p>\n\u003cp>Keegan Heron can. He translated the song into Salish and performed it this week for the annual Salish Karaoke contest in Spokane, Wash. He’s only been studying the indigenous language for about nine months.\u003c/p>\n\u003cp>“There’s a lot of words that I didn’t know two weeks ago,” he says. \u003c/p>\n\u003cp>Heron teaches preschool on the Flathead Indian Reservation in Montana. \u003c/p>\n\u003cp>“I work with 4 and 5-year-olds,” he says. “I’m trying to teach them Salish, and so I need to learn first before I can teach them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the end of his karaoke routine Heron was confidently dancing his way across the front of the stage, waving his arms and shouting, “everybody dance!” in Salish to an audience of at least 500 people. (He won second place.)\u003c/p>\n\u003cp>Salish is considered “critically endangered” by the United Nations Educational, Scientific and Cultural Organization.\u003c/p>\n\u003cp>Two-hundred and fifty years ago, thousands of indigenous people spoke a dialect of Salish. Today, in the part of the Northwest from about Spokane to Missoula, around 300 to 400 people speak it fluently.\u003c/p>\n\u003cp>Natalia Garza wants to become one of them. She took third place for her Salish performance of “Dreams,” by Fleetwood Mac. Garza moved to Washington state from Mexico and decided to learn Salish three years ago. \u003c/p>\n\u003cp>“It’s not something that you learn in books,” Garza says. “It does not stay in a classroom.”\u003c/p>\n\u003cp>In the 1870s, Native American children were forced into boarding schools, where they could only speak English. Elders fluent in Salish passed away and there were fewer and fewer people speaking it.\u003c/p>\n\u003cp>To a newbie, Salish seems complicated. It has many new letters; one looks like an upside down “w,” and there are lots of apostrophes. Speakers have to close parts of their throats and move their mouth and lips to make certain sounds. To win the karaoke contest — like the ensemble who performed “My Girl” — you have to show off those skills.\u003c/p>\n\u003cp>Grahm Wiley-Camacho has been speaking a dialect of Salish since childhood — he learned at home from his mother — and now he teaches Salish full time in Spokane. He’s judged the karaoke contest in the past and says it has a specific scoring rubric.\u003c/p>\n\u003cp>“There’s audience response and the showmanship piece of it, and then there’s your singing ability,” he says. “Then the fourth category is how much language did you use; how complex was your language?”\u003c/p>\n\u003cp>As a full-time teacher, Wiley-Camacho uses singing in his classroom to give students more confidence and a wider vocabulary. Eventually some of those students might find their way to the stage on karaoke night. \u003c/p>\n\u003cp>For almost a decade, contest organizer JR Bluff has been up there. This year he dressed as Elvis, and he swung his hips just like the music legend, to the sound of “Hound Dog.”\u003c/p>\n\u003cp>Bluff is a member of the Kalispel tribe and runs its language program. For him, celebrating good times — and the Salish language — are at the heart of the karaoke contest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s fun to be crazy, but to me it’s celebrating,” he smiled. “We’re celebrating, we’re speaking it. It’s fun.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Northwest News Network. To see more, visit \u003ca href=\"http://www.nwnewsnetwork.org/\">Northwest News Network\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Indigenous+Language+Is+Stayin%27+Alive+In+A+Karaoke+Contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of his karaoke routine Heron was confidently dancing his way across the front of the stage, waving his arms and shouting, “everybody dance!” in Salish to an audience of at least 500 people. (He won second place.)\u003c/p>\n\u003cp>Salish is considered “critically endangered” by the United Nations Educational, Scientific and Cultural Organization.\u003c/p>\n\u003cp>Two-hundred and fifty years ago, thousands of indigenous people spoke a dialect of Salish. Today, in the part of the Northwest from about Spokane to Missoula, around 300 to 400 people speak it fluently.\u003c/p>\n\u003cp>Natalia Garza wants to become one of them. She took third place for her Salish performance of “Dreams,” by Fleetwood Mac. Garza moved to Washington state from Mexico and decided to learn Salish three years ago. \u003c/p>\n\u003cp>“It’s not something that you learn in books,” Garza says. “It does not stay in a classroom.”\u003c/p>\n\u003cp>In the 1870s, Native American children were forced into boarding schools, where they could only speak English. Elders fluent in Salish passed away and there were fewer and fewer people speaking it.\u003c/p>\n\u003cp>To a newbie, Salish seems complicated. It has many new letters; one looks like an upside down “w,” and there are lots of apostrophes. Speakers have to close parts of their throats and move their mouth and lips to make certain sounds. To win the karaoke contest — like the ensemble who performed “My Girl” — you have to show off those skills.\u003c/p>\n\u003cp>Grahm Wiley-Camacho has been speaking a dialect of Salish since childhood — he learned at home from his mother — and now he teaches Salish full time in Spokane. He’s judged the karaoke contest in the past and says it has a specific scoring rubric.\u003c/p>\n\u003cp>“There’s audience response and the showmanship piece of it, and then there’s your singing ability,” he says. “Then the fourth category is how much language did you use; how complex was your language?”\u003c/p>\n\u003cp>As a full-time teacher, Wiley-Camacho uses singing in his classroom to give students more confidence and a wider vocabulary. Eventually some of those students might find their way to the stage on karaoke night. \u003c/p>\n\u003cp>For almost a decade, contest organizer JR Bluff has been up there. This year he dressed as Elvis, and he swung his hips just like the music legend, to the sound of “Hound Dog.”\u003c/p>\n\u003cp>Bluff is a member of the Kalispel tribe and runs its language program. For him, celebrating good times — and the Salish language — are at the heart of the karaoke contest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s fun to be crazy, but to me it’s celebrating,” he smiled. “We’re celebrating, we’re speaking it. It’s fun.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Northwest News Network. To see more, visit \u003ca href=\"http://www.nwnewsnetwork.org/\">Northwest News Network\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Indigenous+Language+Is+Stayin%27+Alive+In+A+Karaoke+Contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bands \u003ca href=\"https://www.google.com/url?q=http://www.nme.com/photos/50-stories-behind-band-names-you-probably-don-t-know-1406319&sa=D&ust=1520536788401000&usg=AFQjCNEWjsvjJgPxN57qXdctP04PRaving\" target=\"_blank\" rel=\"noopener\">lift\u003c/a> their names from all sorts of bizarre places — \u003ca href=\"https://www.npr.org/artists/16002572/vampire-weekend\" target=\"_blank\" rel=\"noopener\">abandoned vampire movie scripts\u003c/a>, \u003ca href=\"https://www.npr.org/artists/16699158/fall-out-boy\" target=\"_blank\" rel=\"noopener\">extremely obscure characters from \u003cem>The Simpsons\u003c/em>\u003c/a>. For its part, the Kyoto-based duo of \u003ca href=\"http://www.wearenicelegs.com/\" target=\"_blank\" rel=\"noopener\">Nice Legs\u003c/a> is an homage to a throwaway line from “the worst movie ever made,” \u003cem>The Room\u003c/em>, and a typically stilted little romantic \u003ca href=\"https://theroomscriptblog.files.wordpress.com/2016/04/the-room-original-script-by-tommy-wiseau.pdf\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> between leading man Johnny (Tommy Wiseau) and his girlfriend, Lisa (Juliette Danielle):\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>JOHNNY\u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice legs. \u003c/em>\u003c/p>\n\u003cp>\u003cem>(HE’S MUMBLING.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>LISA\u003c/em>\u003c/p>\n\u003cp>\u003cem>(LISA IS TAPPING HIS SHOULDER.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice pecs. \u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>“I always thought it was really funny because it was very awkward just watching him talk to his girlfriend saying, ‘You have nice legs,'” Greg Sestero, who played Wiseau’s friend Mark in the film, tells NPR Music. “To me, his gesture of his hands to his hair is pretty funny. [The line] stood out to me, as well.”\u003c/p>\n\u003cp>Nice Legs’ band name is a particularly dedicated reflection of \u003cem>The Room\u003c/em>‘s status as a newly minted cult classic, fueled by the film’s mesmerizingly deficient directing, acting and plotting. But aside from its odd tone, at its heart lies the strangely heartwarming/disturbing friendship between Johnny and Mark, which worked, in part, because of the Wiseau and Sistero’s real-life friendship. Their on-screen chemistry — if you care to call it that — is now being revisited in a new two-volume film, \u003cem>Best F(r)iends, \u003c/em>directed by Justin MacGregor.\u003c/p>\n\u003cp>When Nice Legs heard about the onscreen reunion, they sensed an opportunity.\u003c/p>\n\u003cp>“Basically, we saw that a new Tommy and Greg film was in production,” band member Mark Lentz tells NPR Music. “Then we dug around until we found the email of the production company.” From there, he lobbed an email into the abyss. For six months, nothing but radio silence. Then: “They responded out of the blue asking to work with us,” he says. “We took it as a good sign they opened the email with, ‘Oh hai, Mark!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTu9N40E_MI\u003c/p>\n\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \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=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\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/OTu9N40E_MI'\n title='//www.youtube.com/embed/OTu9N40E_MI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \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=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&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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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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