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"content": "\u003cp>On Friday, the Boston Symphony Orchestra announced that an independent investigation into a sexual assault claim made against conductor Charles Dutoit by one of its former interns has found the woman’s claim credible.\u003c/p>\n\u003cp>The accusation that triggered the BSO investigation came from a woman named Fiona Allan, who at the time of the alleged assault in 1997 was working as an intern at the orchestra’s summer home at Tanglewood in Lenox, Mass., when Dutoit was appearing with the symphony as a guest conductor.\u003c/p>\n\u003cp>Allan made her allegation public last December in the comments section of writer Norman Lebrecht’s classical music blog, “Slipped Disc.” Allan, who is now artistic director and chief executive of the Birmingham Hippodrome theater in the U.K., made her assertion after Lebrecht \u003ca href=\"http://slippedisc.com/2017/12/breaking-four-women-say-charles-dutoit-sexually-assaulted-them/\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> about an Associated Press \u003ca href=\"https://www.usatoday.com/story/life/people/2017/12/21/famed-conductor-charles-dutoit-accused-sexual-misconduct/972882001/\" target=\"_blank\" rel=\"noopener\">report\u003c/a> about four women who had come forward with accusations against Dutoit.\u003c/p>\n\u003cp>At the time that she wrote on Lebrecht’s blog, Allan claimed that after Dutoit allegedly assaulted her in his Tanglewood dressing room, where she had been sent to drop off papers, she tried to report him to BSO management. She continued, “I alerted the orchestra manager, who told me (too late…) that they usually advised women not to enter his dressing room unaccompanied, as there had been previous complaints. So they knew what was going on… I have never felt angrier or less protected by an organisation. They continued to employ him, whilst knowing he harassed women.”\u003c/p>\n\u003cp>Since the initial AP report chronicling allegations against the conductor, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2018/01/11/577378738/londons-royal-philharmonic-ends-its-relationship-with-conductor-charles-dutoit\" target=\"_blank\" rel=\"noopener\">ten women\u003c/a>, including Allan, have accused Dutoit of sexual misconduct in incidents spanning 1985 to 2010, including one allegation of rape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Allan was a BSO employee at the time she says she was assaulted, the BSO launched an independent investigation into her allegation. In its \u003ca href=\"http://bso.http.internapcdn.net/bso/images/press-releases/bso/17-18/Dutoit_Investigation_Description.pdf\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released today, the orchestra said that the investigator found Allan’s allegations “credible,” and that three other women with whom she spoke also “credibly described incidents in the 1980s and 1990s in which they too were victims of sexual misconduct by Mr. Dutoit.”\u003c/p>\n\u003cp>The orchestra says that it will not reveal information about the incidents involving the three other women, in order to protect their identities.\u003c/p>\n\u003cp>However, the BSO investigator also found that neither Allan nor the three other women made complaints about Dutoit’s behavior to the BSO, and that there were no indications that management was aware of allegations of misconduct involving Dutoit prior to Allan coming forward.\u003c/p>\n\u003cp>Dutoit has denied the allegations. In December, he issued a statement that said in part: “Whilst informal physical contact is commonplace in the arts world as a mutual gesture of friendship, the serious accusations made involving coercion and forced physical contact have absolutely no basis in truth.”\u003c/p>\n\u003cp>The BSO ended its relationship with Dutoit in December, following the AP report. Based on the investigator’s newly released findings, the orchestra says that it has also revoked an honorary title, the Koussevitzky Artist, which the BSO granted to Dutoit in 2016.\u003c/p>\n\u003cp>After the ten women came forward to accuse the Swiss-born Dutoit, other major orchestras around the world shed their affiliations to him, including the symphony orchestras of New York, Philadelphia, Chicago, San Francisco, Cleveland and Sydney, Australia.\u003c/p>\n\u003cp>This is the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/02/590282661/new-details-emerge-in-abuse-allegations-against-conductor-james-levine\" target=\"_blank\" rel=\"noopener\">second statement\u003c/a> regarding sexual misconduct and a conductor which the orchestra has released in a single day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier, the orchestra issued a separate statement to NPR regarding its relationship with conductor and pianist James Levine, who held the title of music director of the BSO from 2004 to 2011. Levine is currently facing multiple allegations of sexual, physical and emotional abuse in a period spanning the 1960s to 1980s. \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=Sexual+Assault+Claim+Against+Conductor+Dutoit+Is+Credible%2C+Boston+Symphony+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, the Boston Symphony Orchestra announced that an independent investigation into a sexual assault claim made against conductor Charles Dutoit by one of its former interns has found the woman’s claim credible.\u003c/p>\n\u003cp>The accusation that triggered the BSO investigation came from a woman named Fiona Allan, who at the time of the alleged assault in 1997 was working as an intern at the orchestra’s summer home at Tanglewood in Lenox, Mass., when Dutoit was appearing with the symphony as a guest conductor.\u003c/p>\n\u003cp>Allan made her allegation public last December in the comments section of writer Norman Lebrecht’s classical music blog, “Slipped Disc.” Allan, who is now artistic director and chief executive of the Birmingham Hippodrome theater in the U.K., made her assertion after Lebrecht \u003ca href=\"http://slippedisc.com/2017/12/breaking-four-women-say-charles-dutoit-sexually-assaulted-them/\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> about an Associated Press \u003ca href=\"https://www.usatoday.com/story/life/people/2017/12/21/famed-conductor-charles-dutoit-accused-sexual-misconduct/972882001/\" target=\"_blank\" rel=\"noopener\">report\u003c/a> about four women who had come forward with accusations against Dutoit.\u003c/p>\n\u003cp>At the time that she wrote on Lebrecht’s blog, Allan claimed that after Dutoit allegedly assaulted her in his Tanglewood dressing room, where she had been sent to drop off papers, she tried to report him to BSO management. She continued, “I alerted the orchestra manager, who told me (too late…) that they usually advised women not to enter his dressing room unaccompanied, as there had been previous complaints. So they knew what was going on… I have never felt angrier or less protected by an organisation. They continued to employ him, whilst knowing he harassed women.”\u003c/p>\n\u003cp>Since the initial AP report chronicling allegations against the conductor, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2018/01/11/577378738/londons-royal-philharmonic-ends-its-relationship-with-conductor-charles-dutoit\" target=\"_blank\" rel=\"noopener\">ten women\u003c/a>, including Allan, have accused Dutoit of sexual misconduct in incidents spanning 1985 to 2010, including one allegation of rape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Allan was a BSO employee at the time she says she was assaulted, the BSO launched an independent investigation into her allegation. In its \u003ca href=\"http://bso.http.internapcdn.net/bso/images/press-releases/bso/17-18/Dutoit_Investigation_Description.pdf\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released today, the orchestra said that the investigator found Allan’s allegations “credible,” and that three other women with whom she spoke also “credibly described incidents in the 1980s and 1990s in which they too were victims of sexual misconduct by Mr. Dutoit.”\u003c/p>\n\u003cp>The orchestra says that it will not reveal information about the incidents involving the three other women, in order to protect their identities.\u003c/p>\n\u003cp>However, the BSO investigator also found that neither Allan nor the three other women made complaints about Dutoit’s behavior to the BSO, and that there were no indications that management was aware of allegations of misconduct involving Dutoit prior to Allan coming forward.\u003c/p>\n\u003cp>Dutoit has denied the allegations. In December, he issued a statement that said in part: “Whilst informal physical contact is commonplace in the arts world as a mutual gesture of friendship, the serious accusations made involving coercion and forced physical contact have absolutely no basis in truth.”\u003c/p>\n\u003cp>The BSO ended its relationship with Dutoit in December, following the AP report. Based on the investigator’s newly released findings, the orchestra says that it has also revoked an honorary title, the Koussevitzky Artist, which the BSO granted to Dutoit in 2016.\u003c/p>\n\u003cp>After the ten women came forward to accuse the Swiss-born Dutoit, other major orchestras around the world shed their affiliations to him, including the symphony orchestras of New York, Philadelphia, Chicago, San Francisco, Cleveland and Sydney, Australia.\u003c/p>\n\u003cp>This is the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/02/590282661/new-details-emerge-in-abuse-allegations-against-conductor-james-levine\" target=\"_blank\" rel=\"noopener\">second statement\u003c/a> regarding sexual misconduct and a conductor which the orchestra has released in a single day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier, the orchestra issued a separate statement to NPR regarding its relationship with conductor and pianist James Levine, who held the title of music director of the BSO from 2004 to 2011. Levine is currently facing multiple allegations of sexual, physical and emotional abuse in a period spanning the 1960s to 1980s. \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=Sexual+Assault+Claim+Against+Conductor+Dutoit+Is+Credible%2C+Boston+Symphony+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Shape Of Water' Creature Actor Understands the Monsters",
"headTitle": "‘Shape Of Water’ Creature Actor Understands the Monsters | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/590062505/590063233\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Actor Doug Jones has had a long and prolific career in Hollywood, though many wouldn’t recognize him on the street. That’s because he’s usually masked by latex, silicone and makeup, playing some of Hollywood’s most recognizable monsters – including the so-called Amphibian Man in Guillermo del Toro’s \u003cem>The Shape of Water\u003c/em>. Underneath it all, Jones infuses his characters with real emotion, communicating not with words but with movement and touch.\u003c/p>\n\u003cp>“We think it’s all about words, but it’s not,” he says. “Words can often pollute and deceive, but a glance of the eyes doesn’t lie. Touch doesn’t lie. It’s a whole other dialogue.”\u003c/p>\n\u003cp>Still, Jones has a lot to say, and he’s comfortable talking about his role in the Oscar-nominated film. But when Guillermo del Toro first sat him down and explained that Jones would be playing a monster who’s also the romantic lead, he says his reaction was “utter terror.”\u003c/p>\n\u003cp> “I have not felt that kind of fear ever when being offered a movie. When I look at myself in the mirror, that doesn’t work and then in a fish suit? Boy, wow, on paper, you think ‘this is ridiculous,’ ” he laughs. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie is about a female janitor in a Cold-War era laboratory who falls in love with a humanoid fish creature, but Jones was intrigued by the offer.\u003c/p>\n\u003cp> “Storytime with Guillermo del Toro is ‘light the campfire, get the marshmallows,’ you’re in for a good ride. I was having that moment, you know, chin in hands, tell me more!” \u003c/p>\n\u003cp>By the time del Toro was finished explaining the story, Jones was won over, but he had one big concern about playing an animalistic love interest, especially in the film’s bathtub scenes.\u003c/p>\n\u003cp> “I was concerned that, you know, in a bathtub, that means she’s going to disrobe and get in there with me! So I was going to be playing a scene with a nude woman — well, I hadn’t done that! That’s the good Catholic boy in me.” \u003c/p>\n\u003cp> For del Toro, however, Jones is always prepared to say yes.\u003c/p>\n\u003cp> “I just trust him that much,” the actor says.\u003c/p>\n\u003cfigure id=\"attachment_13826206\" 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/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg\" alt=\"Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including 'Pan's Labyrinth' and 'The Shape of Water.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including ‘Pan’s Labyrinth’ and ‘The Shape of Water.’ \u003ccite>(Charley Gallay/Getty Images for Vulture Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That trust began on the set of del Toro’s 1997 film \u003cem>Mimic\u003c/em>, in which Jones played a giant, insect-like creature known as Mother Bug. At lunch one day, del Toro sat across the table from Jones.\u003c/p>\n\u003cp>“He says, ‘So tell me everything you’ve been in before,” Jones says. “He wanted to hear about all the monsters I played. He was really, really like a fanboy mixed with a brilliant artist. I’d never met anyone like him, and I loved him immediately.”\u003c/p>\n\u003cp> When the conversation ended, del Toro asked him for a business card. According to the actor, five years later, when it came time to cast Abe Sapien in \u003cem>Hellboy\u003c/em>, the creature artists suggested del Toro call up a guy named Doug Jones. “Doug Jones?” del Toro said, “I know Doug Jones,” and pulled the business card out of his wallet.\u003c/p>\n\u003cp> “\u003cem>Hellboy\u003c/em> was where we connected on a longer, ongoing basis,” Jones says. “That’s where we developed our shorthand as actor-director.” \u003c/p>\n\u003cp>That shorthand is a mixture of a deep knowledge of each other’s style of acting and directing. Jones is a visual, physical learner, so sometimes del Toro will give him a hand gesture and a sound to communicate how to play a character. Sometimes, the director will refer to a monster or film they both know. \u003c/p>\n\u003cp>Their shorthand has helped make Jones one of del Toro’s go-to creature actors. Through the years, Jones has featured in several of the director’s films, including \u003cem>Pan’s Labyrinth\u003c/em>, in which he portrayed both the faun and the Pale Man, a terrifying monster with eyes in its hands. \u003c/p>\n\u003cp>Jones has played almost every monster imaginable in more than 30 years as an actor; the problem, though, is that they can all start to seem the same. \u003c/p>\n\u003cp>He approaches each character with one question: “How do I make this one different from everything else that I’ve played?” \u003c/p>\n\u003cp>To do that, he says he has to find what he calls “the silent voice,” the way each one carries itself. For \u003cem>The Shape of Water\u003c/em>, del Toro wanted him to be animalistic, but royal and regal. \u003c/p>\n\u003cp>To find the body language of each character, Jones goes to a dance studio by himself, the kind with wall-to-wall mirrors.\u003c/p>\n\u003cp> “I will walk back and forth and find its walk, find its home stance. Where does he come back to? What’s his posture? And your posture can be informed by so many things — the shoulders, the neck, the middle of your back, the hips, the knees. Everything plays into that stand.”\u003c/p>\n\u003cp> Jones then builds off that to figure out how the character moves, how it might run, crawl, lunge or anything the script calls for it to do. When he tests with makeup and costume, though, things often change.\u003c/p>\n\u003cp> “Something I worked out in my T-shirt and shorts in the dance studio now has big horns that make my head really wide so a tilt of the head is extremely dramatic and more pronounced.” \u003c/p>\n\u003cp>It all comes together when he’s on set and in front of the camera, surrounded by cast and crew. On those days, he says, he’s fairly helpless because of the makeup or suits he has to wear.\u003c/p>\n\u003cp> “Often, my hands are in webbed fingers or talons so I can’t pull out a phone and look at that. I can’t even get a snack off the craft services table for myself.”\u003c/p>\n\u003cp>Jones says he was the kind of kid who was perfectly happy sitting and staring out the window for hours with his own thoughts. He doesn’t get stir-crazy or claustrophobic, and for him, the physical discomfort is just part of the job.\u003c/p>\n\u003cfigure id=\"attachment_13826210\" 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/Doug-Jones-800x533.jpg\" alt=\"Doug Jones speaks onstage at AARP's 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Jones speaks onstage at AARP’s 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> “The further you get from human, the harder it’s going to be,” he says. “When you’re trying to survive a day, and you hear the word ‘action,’ you have to forget that you’re in pain, forget that you’re sweating into your own eyeballs behind your mask and just click into ‘This is a natural beast that came from whatever fantasy or nature. It’s not a guy in a suit.’ ”\u003c/p>\n\u003cp>And Jones isn’t just a guy in a suit. It seems like he was made to play these creatures. \u003c/p>\n\u003cp>He’s a little more than 6 feet 3 inches tall with long limbs and fingers. Jones started miming while he was in college at Ball State University, and he’s also a contortionist – valuable skills in Hollywood’s creature effects industry. \u003c/p>\n\u003cp>Jones didn’t set out to build a career playing monsters, though. Growing up in Indiana with three older brothers, he says he was a “goofy kid,” the child everyone teased or made fun of. To survive, he developed a sense of humor. He watched a lot of sitcoms, like \u003cem>I Love Lucy\u003c/em>, \u003cem>The Dick Van Dyke Show\u003c/em> and \u003cem>The Andy Griffith Show\u003c/em>. \u003c/p>\n\u003cp>When he arrived in Los Angeles in 1985, he was “seeking fame and fortune as a goofy character actor” on a sitcom, he says. His first agent, however, had other ideas and kept sending him to audition for roles with pratfalls and heavy makeup. Jones’ first paid gig, and the one that made him eligible for membership with the Screen Actors Guild, was as a dancing mummy in an old Southwest Airlines commercial.\u003c/p>\n\u003cp> “I was blindsided by the monster creature side of things. I didn’t really know that that was a career option. I had seen those early movies in my childhood, the ones with monsters in them, but I never put two and two together that there was an actor under there and that it is a career option.”\u003c/p>\n\u003cp> Jones is 57 now, and he says that as he ages, he’s become interested in more human roles that don’t require several hours of makeup and uncomfortable costumes. In recent years, he’s played a middle-aged door-to-door book salesman in the 2009 indie \u003cem>Jerry\u003c/em> and a butler in \u003cem>The Ultimate Legacy\u003c/em>, a Hallmark Channel movie.\u003c/p>\n\u003cp> “I got to wear a three-piece suit, a bow tie and a watch chain. That was it! It was fantastic,” he laughs. “And 10 minutes for some powder and some hair-swishing and you’re done! It was great.”\u003c/p>\n\u003cp> Jones says creature roles now have to sing to him – and Amphibian Man in \u003cem>The Shape of Water\u003c/em> sang to him.\u003c/p>\n\u003cp>“For me, this movie is about love being possible no matter how flawed and ugly we think we are,” he says. And that spoke to the awkward, goofy kid he once was.\u003c/p>\n\u003cp>“When you’re a kid going through those awkward monster years, when you feel like you are the creature in the room that nobody understands and you look different from anyone else and love will not be possible for you, when you feel that way, you also feel like you’re the only one who has ever felt that way,” he says. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But I’m glad. I’m thankful that I had the experience of feeling like a monster because when I play monsters now, I understand them. I can relate to them.” \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=%27Shape+Of+Water%27+Creature+Actor+Doug+Jones+Understands+The+Monsters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/02/20180222_atc_creature_actor_doug_jones_shares_how_he_transforms_into_movie_monsters.mp3?orgId=1&topicId=1137&d=294&story=590062505&ft=nprml&f=590062505",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/590062505/590063233\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Actor Doug Jones has had a long and prolific career in Hollywood, though many wouldn’t recognize him on the street. That’s because he’s usually masked by latex, silicone and makeup, playing some of Hollywood’s most recognizable monsters – including the so-called Amphibian Man in Guillermo del Toro’s \u003cem>The Shape of Water\u003c/em>. Underneath it all, Jones infuses his characters with real emotion, communicating not with words but with movement and touch.\u003c/p>\n\u003cp>“We think it’s all about words, but it’s not,” he says. “Words can often pollute and deceive, but a glance of the eyes doesn’t lie. Touch doesn’t lie. It’s a whole other dialogue.”\u003c/p>\n\u003cp>Still, Jones has a lot to say, and he’s comfortable talking about his role in the Oscar-nominated film. But when Guillermo del Toro first sat him down and explained that Jones would be playing a monster who’s also the romantic lead, he says his reaction was “utter terror.”\u003c/p>\n\u003cp> “I have not felt that kind of fear ever when being offered a movie. When I look at myself in the mirror, that doesn’t work and then in a fish suit? Boy, wow, on paper, you think ‘this is ridiculous,’ ” he laughs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie is about a female janitor in a Cold-War era laboratory who falls in love with a humanoid fish creature, but Jones was intrigued by the offer.\u003c/p>\n\u003cp> “Storytime with Guillermo del Toro is ‘light the campfire, get the marshmallows,’ you’re in for a good ride. I was having that moment, you know, chin in hands, tell me more!” \u003c/p>\n\u003cp>By the time del Toro was finished explaining the story, Jones was won over, but he had one big concern about playing an animalistic love interest, especially in the film’s bathtub scenes.\u003c/p>\n\u003cp> “I was concerned that, you know, in a bathtub, that means she’s going to disrobe and get in there with me! So I was going to be playing a scene with a nude woman — well, I hadn’t done that! That’s the good Catholic boy in me.” \u003c/p>\n\u003cp> For del Toro, however, Jones is always prepared to say yes.\u003c/p>\n\u003cp> “I just trust him that much,” the actor says.\u003c/p>\n\u003cfigure id=\"attachment_13826206\" 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/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg\" alt=\"Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including 'Pan's Labyrinth' and 'The Shape of Water.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including ‘Pan’s Labyrinth’ and ‘The Shape of Water.’ \u003ccite>(Charley Gallay/Getty Images for Vulture Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That trust began on the set of del Toro’s 1997 film \u003cem>Mimic\u003c/em>, in which Jones played a giant, insect-like creature known as Mother Bug. At lunch one day, del Toro sat across the table from Jones.\u003c/p>\n\u003cp>“He says, ‘So tell me everything you’ve been in before,” Jones says. “He wanted to hear about all the monsters I played. He was really, really like a fanboy mixed with a brilliant artist. I’d never met anyone like him, and I loved him immediately.”\u003c/p>\n\u003cp> When the conversation ended, del Toro asked him for a business card. According to the actor, five years later, when it came time to cast Abe Sapien in \u003cem>Hellboy\u003c/em>, the creature artists suggested del Toro call up a guy named Doug Jones. “Doug Jones?” del Toro said, “I know Doug Jones,” and pulled the business card out of his wallet.\u003c/p>\n\u003cp> “\u003cem>Hellboy\u003c/em> was where we connected on a longer, ongoing basis,” Jones says. “That’s where we developed our shorthand as actor-director.” \u003c/p>\n\u003cp>That shorthand is a mixture of a deep knowledge of each other’s style of acting and directing. Jones is a visual, physical learner, so sometimes del Toro will give him a hand gesture and a sound to communicate how to play a character. Sometimes, the director will refer to a monster or film they both know. \u003c/p>\n\u003cp>Their shorthand has helped make Jones one of del Toro’s go-to creature actors. Through the years, Jones has featured in several of the director’s films, including \u003cem>Pan’s Labyrinth\u003c/em>, in which he portrayed both the faun and the Pale Man, a terrifying monster with eyes in its hands. \u003c/p>\n\u003cp>Jones has played almost every monster imaginable in more than 30 years as an actor; the problem, though, is that they can all start to seem the same. \u003c/p>\n\u003cp>He approaches each character with one question: “How do I make this one different from everything else that I’ve played?” \u003c/p>\n\u003cp>To do that, he says he has to find what he calls “the silent voice,” the way each one carries itself. For \u003cem>The Shape of Water\u003c/em>, del Toro wanted him to be animalistic, but royal and regal. \u003c/p>\n\u003cp>To find the body language of each character, Jones goes to a dance studio by himself, the kind with wall-to-wall mirrors.\u003c/p>\n\u003cp> “I will walk back and forth and find its walk, find its home stance. Where does he come back to? What’s his posture? And your posture can be informed by so many things — the shoulders, the neck, the middle of your back, the hips, the knees. Everything plays into that stand.”\u003c/p>\n\u003cp> Jones then builds off that to figure out how the character moves, how it might run, crawl, lunge or anything the script calls for it to do. When he tests with makeup and costume, though, things often change.\u003c/p>\n\u003cp> “Something I worked out in my T-shirt and shorts in the dance studio now has big horns that make my head really wide so a tilt of the head is extremely dramatic and more pronounced.” \u003c/p>\n\u003cp>It all comes together when he’s on set and in front of the camera, surrounded by cast and crew. On those days, he says, he’s fairly helpless because of the makeup or suits he has to wear.\u003c/p>\n\u003cp> “Often, my hands are in webbed fingers or talons so I can’t pull out a phone and look at that. I can’t even get a snack off the craft services table for myself.”\u003c/p>\n\u003cp>Jones says he was the kind of kid who was perfectly happy sitting and staring out the window for hours with his own thoughts. He doesn’t get stir-crazy or claustrophobic, and for him, the physical discomfort is just part of the job.\u003c/p>\n\u003cfigure id=\"attachment_13826210\" 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/Doug-Jones-800x533.jpg\" alt=\"Doug Jones speaks onstage at AARP's 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Jones speaks onstage at AARP’s 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> “The further you get from human, the harder it’s going to be,” he says. “When you’re trying to survive a day, and you hear the word ‘action,’ you have to forget that you’re in pain, forget that you’re sweating into your own eyeballs behind your mask and just click into ‘This is a natural beast that came from whatever fantasy or nature. It’s not a guy in a suit.’ ”\u003c/p>\n\u003cp>And Jones isn’t just a guy in a suit. It seems like he was made to play these creatures. \u003c/p>\n\u003cp>He’s a little more than 6 feet 3 inches tall with long limbs and fingers. Jones started miming while he was in college at Ball State University, and he’s also a contortionist – valuable skills in Hollywood’s creature effects industry. \u003c/p>\n\u003cp>Jones didn’t set out to build a career playing monsters, though. Growing up in Indiana with three older brothers, he says he was a “goofy kid,” the child everyone teased or made fun of. To survive, he developed a sense of humor. He watched a lot of sitcoms, like \u003cem>I Love Lucy\u003c/em>, \u003cem>The Dick Van Dyke Show\u003c/em> and \u003cem>The Andy Griffith Show\u003c/em>. \u003c/p>\n\u003cp>When he arrived in Los Angeles in 1985, he was “seeking fame and fortune as a goofy character actor” on a sitcom, he says. His first agent, however, had other ideas and kept sending him to audition for roles with pratfalls and heavy makeup. Jones’ first paid gig, and the one that made him eligible for membership with the Screen Actors Guild, was as a dancing mummy in an old Southwest Airlines commercial.\u003c/p>\n\u003cp> “I was blindsided by the monster creature side of things. I didn’t really know that that was a career option. I had seen those early movies in my childhood, the ones with monsters in them, but I never put two and two together that there was an actor under there and that it is a career option.”\u003c/p>\n\u003cp> Jones is 57 now, and he says that as he ages, he’s become interested in more human roles that don’t require several hours of makeup and uncomfortable costumes. In recent years, he’s played a middle-aged door-to-door book salesman in the 2009 indie \u003cem>Jerry\u003c/em> and a butler in \u003cem>The Ultimate Legacy\u003c/em>, a Hallmark Channel movie.\u003c/p>\n\u003cp> “I got to wear a three-piece suit, a bow tie and a watch chain. That was it! It was fantastic,” he laughs. “And 10 minutes for some powder and some hair-swishing and you’re done! It was great.”\u003c/p>\n\u003cp> Jones says creature roles now have to sing to him – and Amphibian Man in \u003cem>The Shape of Water\u003c/em> sang to him.\u003c/p>\n\u003cp>“For me, this movie is about love being possible no matter how flawed and ugly we think we are,” he says. And that spoke to the awkward, goofy kid he once was.\u003c/p>\n\u003cp>“When you’re a kid going through those awkward monster years, when you feel like you are the creature in the room that nobody understands and you look different from anyone else and love will not be possible for you, when you feel that way, you also feel like you’re the only one who has ever felt that way,” he says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But I’m glad. I’m thankful that I had the experience of feeling like a monster because when I play monsters now, I understand them. I can relate to them.” \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=%27Shape+Of+Water%27+Creature+Actor+Doug+Jones+Understands+The+Monsters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \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=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \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=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Library of Congress hosted a very special guest at story time this week:\u003c/p>\n\u003cp>Dolly Parton.\u003c/p>\n\u003cp>The country music legend is also a champion of early childhood literacy, through her Imagination Library. Every month, the nonprofit program mails a free book to more than a million children — from infants to preschoolers.\u003c/p>\n\u003cp>Parton visited the Library of Congress on Tuesday to celebrate a major milestone in the Imagination Library’s history: delivery of its 100 millionth book. Not bad for a program Parton founded more than two decades ago as a small, local effort to help kids in her native Sevier County, Tennessee.\u003c/p>\n\u003cp>“We never thought it would be this big,” she told NPR in a quiet, wood-paneled room off the library’s Great Hall. “I just wanted to do something great for my dad and for my home county and, at the most, maybe a couple of counties over. But then it just took wings of its own, and I guess it was meant to be.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parton’s inspiration for the Imagination Library was deeply personal: her father, Robert Lee Parton. Like many people of his generation, he began working at a young age to help support his family.\u003c/p>\n\u003cp>“My dad didn’t get the chance to go to school. And Daddy couldn’t read and write, and that was kind of crippling to him,” Parton said. “He was such a smart man, though. He just had such good common sense. They call it horse sense in the country.”\u003c/p>\n\u003cp>“But Daddy thought it was just something he couldn’t learn after he was grown, so he never tried to learn to read and write. And that was just kind of embarrassing to him,” she continued. “But I didn’t want Daddy to feel embarrassed.”\u003c/p>\n\u003cp>Parton was determined to give the children of Sevier County something her father never had: early access to books. She started the Imagination Library in 1995, and involved her father, too. He was able to see the program take off before he died in 2000.\u003c/p>\n\u003cp>“He got to hear the kids call me ‘The Book Lady.’ He got a big kick out of that,” she said. “But he took great pride and felt like he’d helped do something special.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZHNCLyvqoQw\u003c/p>\n\u003cp>From its modest roots in eastern Tennessee, the Imagination Library has grown to reach children in all 50 states and the District of Columbia, as well as Canada, Australia and the United Kingdom.\u003c/p>\n\u003cp>The program is \u003ca href=\"https://www.npr.org/sections/ed/2017/11/06/552885008/baby-you-ve-got-mail-free-books-boost-early-literacy\">available in communities where a local partner has teamed up with the Imagination Library\u003c/a>. Those partners could be nonprofits, state agencies or a public library system, for instance. Any child from birth to 5 — before they head off to kindergarten — is eligible. Local partners pay about $25 per child per year, an amount that covers the cost of the book and shipping.\u003c/p>\n\u003cp>A panel of educators and reading specialists picks books that are developmentally appropriate for each year of a child’s life.\u003c/p>\n\u003cp>In Washington, D.C., on a recent evening, Uretta Todd and her 4-year-old son, August, read \u003cem>Old Bear and His Cub\u003c/em>, one of the books they’ve received from the D.C. Public Library’s partnership with the Imagination Library, Books from Birth.\u003c/p>\n\u003cp>Todd says her son loves getting his book in the mail every month: It’s personal, it has his name on it, and it comes straight to their home.\u003c/p>\n\u003cp>She also loves the range of books.\u003c/p>\n\u003cp>“It exposes us to books we wouldn’t have necessarily picked out,” she says. Some examples include a bilingual English-Spanish version of \u003cem>Just One More\u003c/em> or Dolly Parton’s children’s book, \u003cem>I Am A Rainbow\u003c/em>, which uses colors to help kids talk about their feelings.\u003c/p>\n\u003cp>Across the country, in Anchorage, Alaska, 5-year-old Jack Price just graduated from the Imagination Library program.\u003c/p>\n\u003cp>“I have read to my son almost every day of his life,” says his mother, Natasha Price, who signed up for the Imagination Library in the hospital when her son was born.\u003c/p>\n\u003cp>Price says she appreciates how the books come with suggestions for parents on how to engage with the words beyond the page, with questions and activities.\u003c/p>\n\u003cp>“Maybe it’s been a long day and I can’t really think of the right questions to ask, and they have these really great prompts at the back of every book,” she says.\u003c/p>\n\u003cp>Getting the books each month became “a really wonderful custom in our family,” she says. “It was sad when we got our last book, which was about being ready for kindergarten, because we wouldn’t get any more books in the mail.”\u003c/p>\n\u003cp>Now that Jack has started kindergarten, Price says she sees “a direct correlation between reading to him every day and his reading comprehension skills.”\u003c/p>\n\u003cp>And the science backs her up. The human brain develops rapidly during the first few years of life. And studies have found that reading out loud to a child not only promotes literacy and a love of reading, but also has \u003ca href=\"http://pediatrics.aappublications.org/content/136/3/466\">lasting cognitive and educational benefits\u003c/a>.\u003c/p>\n\u003cp>It also helps children build knowledge and expand their horizons, Dolly Parton said.\u003c/p>\n\u003cp>“If you can read, even if you can’t afford education, you can go on and learn about anything you want to know. There’s a book on everything,” she said. “So I just think that it’s important for kids to be encouraged to read, to dream and to plan for a better life and better future.”\u003c/p>\n\u003cp>And Parton’s ambitions for the Imagination Library don’t stop with 100 million books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re going for a billion, maybe, in my lifetime,” she said, with a delightful Dolly laugh. “I’m a big dreamer, you know.” \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=Dolly+Parton+Gives+The+Gift+Of+Literacy%3A+A+Library+Of+100+Million+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parton’s inspiration for the Imagination Library was deeply personal: her father, Robert Lee Parton. Like many people of his generation, he began working at a young age to help support his family.\u003c/p>\n\u003cp>“My dad didn’t get the chance to go to school. And Daddy couldn’t read and write, and that was kind of crippling to him,” Parton said. “He was such a smart man, though. He just had such good common sense. They call it horse sense in the country.”\u003c/p>\n\u003cp>“But Daddy thought it was just something he couldn’t learn after he was grown, so he never tried to learn to read and write. And that was just kind of embarrassing to him,” she continued. “But I didn’t want Daddy to feel embarrassed.”\u003c/p>\n\u003cp>Parton was determined to give the children of Sevier County something her father never had: early access to books. She started the Imagination Library in 1995, and involved her father, too. He was able to see the program take off before he died in 2000.\u003c/p>\n\u003cp>“He got to hear the kids call me ‘The Book Lady.’ He got a big kick out of that,” she said. “But he took great pride and felt like he’d helped do something special.”\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/ZHNCLyvqoQw'\n title='//www.youtube.com/embed/ZHNCLyvqoQw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From its modest roots in eastern Tennessee, the Imagination Library has grown to reach children in all 50 states and the District of Columbia, as well as Canada, Australia and the United Kingdom.\u003c/p>\n\u003cp>The program is \u003ca href=\"https://www.npr.org/sections/ed/2017/11/06/552885008/baby-you-ve-got-mail-free-books-boost-early-literacy\">available in communities where a local partner has teamed up with the Imagination Library\u003c/a>. Those partners could be nonprofits, state agencies or a public library system, for instance. Any child from birth to 5 — before they head off to kindergarten — is eligible. Local partners pay about $25 per child per year, an amount that covers the cost of the book and shipping.\u003c/p>\n\u003cp>A panel of educators and reading specialists picks books that are developmentally appropriate for each year of a child’s life.\u003c/p>\n\u003cp>In Washington, D.C., on a recent evening, Uretta Todd and her 4-year-old son, August, read \u003cem>Old Bear and His Cub\u003c/em>, one of the books they’ve received from the D.C. Public Library’s partnership with the Imagination Library, Books from Birth.\u003c/p>\n\u003cp>Todd says her son loves getting his book in the mail every month: It’s personal, it has his name on it, and it comes straight to their home.\u003c/p>\n\u003cp>She also loves the range of books.\u003c/p>\n\u003cp>“It exposes us to books we wouldn’t have necessarily picked out,” she says. Some examples include a bilingual English-Spanish version of \u003cem>Just One More\u003c/em> or Dolly Parton’s children’s book, \u003cem>I Am A Rainbow\u003c/em>, which uses colors to help kids talk about their feelings.\u003c/p>\n\u003cp>Across the country, in Anchorage, Alaska, 5-year-old Jack Price just graduated from the Imagination Library program.\u003c/p>\n\u003cp>“I have read to my son almost every day of his life,” says his mother, Natasha Price, who signed up for the Imagination Library in the hospital when her son was born.\u003c/p>\n\u003cp>Price says she appreciates how the books come with suggestions for parents on how to engage with the words beyond the page, with questions and activities.\u003c/p>\n\u003cp>“Maybe it’s been a long day and I can’t really think of the right questions to ask, and they have these really great prompts at the back of every book,” she says.\u003c/p>\n\u003cp>Getting the books each month became “a really wonderful custom in our family,” she says. “It was sad when we got our last book, which was about being ready for kindergarten, because we wouldn’t get any more books in the mail.”\u003c/p>\n\u003cp>Now that Jack has started kindergarten, Price says she sees “a direct correlation between reading to him every day and his reading comprehension skills.”\u003c/p>\n\u003cp>And the science backs her up. The human brain develops rapidly during the first few years of life. And studies have found that reading out loud to a child not only promotes literacy and a love of reading, but also has \u003ca href=\"http://pediatrics.aappublications.org/content/136/3/466\">lasting cognitive and educational benefits\u003c/a>.\u003c/p>\n\u003cp>It also helps children build knowledge and expand their horizons, Dolly Parton said.\u003c/p>\n\u003cp>“If you can read, even if you can’t afford education, you can go on and learn about anything you want to know. There’s a book on everything,” she said. “So I just think that it’s important for kids to be encouraged to read, to dream and to plan for a better life and better future.”\u003c/p>\n\u003cp>And Parton’s ambitions for the Imagination Library don’t stop with 100 million books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re going for a billion, maybe, in my lifetime,” she said, with a delightful Dolly laugh. “I’m a big dreamer, you know.” \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=Dolly+Parton+Gives+The+Gift+Of+Literacy%3A+A+Library+Of+100+Million+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Director Andrey Zvyagintsev’s \u003cem>Loveless \u003c/em>— Russia’s submission to this year’s Academy Awards, and one of the five movies up for best foreign language film come Oscar night — begins with two parents screaming at each other about their upcoming divorce.\u003c/p>\n\u003cp>They’re trying to sell their apartment, and it quickly becomes clear that their relationship is so toxic they’d probably sell their kid, too, if they could get away with it. Neither of them wants to take care of 12-year-old Aloysha (Matvey Novikov), who’s sobbing quietly in the shower as they argue.\u003c/p>\n\u003cp>They don’t see that. We do.\u003c/p>\n\u003cp>https://youtu.be/6h5GuecUU-Q\u003c/p>\n\u003cp>Once the shouting’s over, the parents go on with their now-separate lives: Each has a new partner, and their divergent choices suggest just how doomed their marriage was. Dad (Aleksey Rozin) has already shacked up with his pregnant, very traditional Russian girlfriend. Mom (Maryana Spivak) is living what you might call a capitalism-on-steroids life with a rich, older businessman — dining in expensive restaurants, frolicking in his sleek penthouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Andrey Zvyagintsev’s \u003cem>Loveless \u003c/em>— Russia’s submission to this year’s Academy Awards, and one of the five movies up for best foreign language film come Oscar night — begins with two parents screaming at each other about their upcoming divorce.\u003c/p>\n\u003cp>They’re trying to sell their apartment, and it quickly becomes clear that their relationship is so toxic they’d probably sell their kid, too, if they could get away with it. Neither of them wants to take care of 12-year-old Aloysha (Matvey Novikov), who’s sobbing quietly in the shower as they argue.\u003c/p>\n\u003cp>They don’t see that. We do.\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/6h5GuecUU-Q'\n title='//www.youtube.com/embed/6h5GuecUU-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once the shouting’s over, the parents go on with their now-separate lives: Each has a new partner, and their divergent choices suggest just how doomed their marriage was. Dad (Aleksey Rozin) has already shacked up with his pregnant, very traditional Russian girlfriend. Mom (Maryana Spivak) is living what you might call a capitalism-on-steroids life with a rich, older businessman — dining in expensive restaurants, frolicking in his sleek penthouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Spotify Files Papers for Its Entry to the Stock Market",
"headTitle": "Spotify Files Papers for Its Entry to the Stock Market | KQED",
"content": "\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \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=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \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=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Oscar Elders: 3 Octogenarians Make Academy Award History",
"headTitle": "The Oscar Elders: 3 Octogenarians Make Academy Award History | KQED",
"content": "\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \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=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \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=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I Can't Believe I Am the First,' Says Oscar-Nominated Female Cinematographer",
"headTitle": "‘I Can’t Believe I Am the First,’ Says Oscar-Nominated Female Cinematographer | KQED",
"content": "\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "You may know her from such films as 'Black Panther', where she was director of photography. Now, Rachel Morrison is the first woman ever nominated for an Academy Award in cinematography, for her work on 'Mudbound', ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies",
"headTitle": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies | KQED",
"content": "\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \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=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \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=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/18/586935542/black-panther-breaks-records-and-barriers-in-debut-weekend\" target=\"_blank\" rel=\"noopener\">box office success\u003c/a> of \u003cem>Black Panther\u003c/em> is no surprise to UCLA sociologist Darnell Hunt. His \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2018/\">annual report on Hollywood diversity\u003c/a> argues that movies and TV shows with diverse casts and creators pay off for the industry’s bottom line.\u003c/p>\n\u003cp>Hunt says \u003cem>Black Panther\u003c/em>, for example, “smashed all of the Hollywood myths that you can’t have a black lead, that you can’t have a predominantly black cast and [have] the film do well. It’s an example of what can be done if the industry is true to the nature of the market. But it’s too early to tell if \u003cem>Black Panther\u003c/em> will change business practices or it’s an outlier. We argue it demonstrates what’s possible beyond standard Hollywood practices.”\u003c/p>\n\u003cp>The fifth annual diversity report is subtitled, “Five Years of Progress and Missed Opportunities,” suggesting that America’s increasingly diverse audience prefers diverse film and television content. The study reports that people of color bought the majority of movie tickets for the five of the top 10 films in 2016, and television shows with diverse casts did well in both ratings and social media.\u003c/p>\n\u003cp>Hunt’s team crunched the numbers for Hollywood’s top 200 films and 100 TV shows from 2015 to 2016. What they found, according to Hunt, was a “mixed bag” that over time shows a pattern: “Two steps ahead, one step back. But at the end of five years, we see there’s not much progress.”\u003c/p>\n\u003cp>The report states that people of color make up nearly 40 percent of the U.S. population, yet they remain underrepresented on every front on all platforms, including lead roles, writers, directors and showrunners. It finds the same for the talent agents who serve as important industry gatekeepers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report also shows that despite making up more than half the population, women remain underrepresented. They gained some jobs in film and TV, but as film directors, they were outnumbered seven to one. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hunt says there are a few bright spots in television: Broadcast TV and children’s series are increasingly diverse and do well in the ratings. “Most babies born in America today are not white,” Hunt notes, “so if you look at children’s programming, it’s unmistakable that you \u003cem>must\u003c/em> have diversity, otherwise the show fails.” \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=Hollywood+Diversity+Study+Finds+%27Mixed+Bag%27+When+It+Comes+To+Representation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/18/586935542/black-panther-breaks-records-and-barriers-in-debut-weekend\" target=\"_blank\" rel=\"noopener\">box office success\u003c/a> of \u003cem>Black Panther\u003c/em> is no surprise to UCLA sociologist Darnell Hunt. His \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2018/\">annual report on Hollywood diversity\u003c/a> argues that movies and TV shows with diverse casts and creators pay off for the industry’s bottom line.\u003c/p>\n\u003cp>Hunt says \u003cem>Black Panther\u003c/em>, for example, “smashed all of the Hollywood myths that you can’t have a black lead, that you can’t have a predominantly black cast and [have] the film do well. It’s an example of what can be done if the industry is true to the nature of the market. But it’s too early to tell if \u003cem>Black Panther\u003c/em> will change business practices or it’s an outlier. We argue it demonstrates what’s possible beyond standard Hollywood practices.”\u003c/p>\n\u003cp>The fifth annual diversity report is subtitled, “Five Years of Progress and Missed Opportunities,” suggesting that America’s increasingly diverse audience prefers diverse film and television content. The study reports that people of color bought the majority of movie tickets for the five of the top 10 films in 2016, and television shows with diverse casts did well in both ratings and social media.\u003c/p>\n\u003cp>Hunt’s team crunched the numbers for Hollywood’s top 200 films and 100 TV shows from 2015 to 2016. What they found, according to Hunt, was a “mixed bag” that over time shows a pattern: “Two steps ahead, one step back. But at the end of five years, we see there’s not much progress.”\u003c/p>\n\u003cp>The report states that people of color make up nearly 40 percent of the U.S. population, yet they remain underrepresented on every front on all platforms, including lead roles, writers, directors and showrunners. It finds the same for the talent agents who serve as important industry gatekeepers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Several dozen music festivals and conferences held around the world have pledged to bring gender parity to their stages and panel discussions, the U.K.-based PRS Foundation \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">announced yesterday\u003c/a> as part of an ongoing project called Keychange. These events join eight other festivals who promised their participation when the project, described by PRS as “a pioneering European initiative which is empowering women to transform the future of the music industry,” first launched.\u003c/p>\n\u003cp>“Half our audience is female, so it makes sense that that should be reflected on stage too,” says Angela Dorgan, organizer of the Dublin emerging music festival Hard Working Class Heroes, in a statement accompanying the announcement.\u003c/p>\n\u003cp>The Proms, an annual classical music festival in the U.K., also put its name to the pledge. The move is particularly noteworthy given the festival’s scale — daily performances over the course of eight weeks — and classical music’s especially poor reputation for equal gender representation, both in \u003ca href=\"http://www.bsomusic.org/stories/the-data-behind-the-2016-2017-orchestra-season/\" target=\"_blank\" rel=\"noopener\">the compositions chosen\u003c/a> for performance and \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2013/10/09/230751348/what-is-classical-musics-women-problem\" target=\"_blank\" rel=\"noopener\">the conductors leading them\u003c/a>. Marin Alsop, who in 2013 became the first woman to conduct The Proms’ prestigious Last Night concert, \u003ca href=\"https://www.youtube.com/watch?v=o9Lxk7LRiBI\" target=\"_blank\" rel=\"noopener\">said in a speech \u003c/a>at the performance’s close: “I have to say, I’m still quite shocked that it can be 2013 and there can still be firsts for women.”\u003c/p>\n\u003cp>At Coachella, one of the world’s best-known and most successful music festivals, 55 of 163 acts booked for this year include women in their lineup; of those, 35 are solo artists. Goldenvoice, the festival’s parent company (itself owned by AEG), did not immediately respond to a request for comment on gender parity initiatives or whether it planned to institute its own.\u003c/p>\n\u003cp>The lack of equal representation extends across the whole of the music world. \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-recording-studio.pdf\">A recent study\u003c/a> from the Annenberg Inclusion Initiative, published in January, analyzed the 600 songs included in the end-of-year Hot 100 singles chart between 2012 and 2017. It found 22.4 percent of those songs were performed by female artists, while only 12.3 percent of them were written by female songwriters and 2 percent were produced by women.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pattern repeats within the industry’s executive class, according to one of its few major metrics. Within the \u003ca href=\"https://www.billboard.com/articles/business/8096144/billboard-2018-power-100-list\" target=\"_blank\" rel=\"noopener\">Power 100\u003c/a>, \u003cem>Billboard\u003c/em>‘s annual ranking of the music industry’s most powerful executives, 17 percent are women. Live Nation — the world’s largest concert promoter, which owns dozens of festivals, and whose CEO topped this year’s Power 100 — declined to comment on equal representation initiatives, and referred NPR Music to its subsidiary companies for comment on gender parity at the festivals in which it owns controlling stakes.\u003c/p>\n\u003cp>Percentages don’t tell the whole story. Composer Du Yun, winner of the 2017 Pulitzer Prize for music for her opera \u003cem>Angel’s Bone\u003c/em>, advised caution on that front \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/05/526968527/looking-for-womens-music-at-the-symphony-good-luck\" target=\"_blank\" rel=\"noopener\">in a conversation\u003c/a> with NPR Music’s Tom Huizenga last year. “I think the debate of equality and diversity should happen within ourselves,” she said. “We need to understand what diversity means to us, so that we don’t just stop at an Excel sheet.”\u003c/p>\n\u003cp>Even so, the difference revealed by the numbers alone is steep. As the creators of Keychange explain on its website, “Across the participating countries’ collecting societies, women represent 20 percent or less of registered composers and songwriters. Earnings for women are even lower.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cyrena Touros contributed additional reporting to this story.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dozens+Of+Music+Festivals+Announce+Gender+Balance+Initiative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several dozen music festivals and conferences held around the world have pledged to bring gender parity to their stages and panel discussions, the U.K.-based PRS Foundation \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">announced yesterday\u003c/a> as part of an ongoing project called Keychange. These events join eight other festivals who promised their participation when the project, described by PRS as “a pioneering European initiative which is empowering women to transform the future of the music industry,” first launched.\u003c/p>\n\u003cp>“Half our audience is female, so it makes sense that that should be reflected on stage too,” says Angela Dorgan, organizer of the Dublin emerging music festival Hard Working Class Heroes, in a statement accompanying the announcement.\u003c/p>\n\u003cp>The Proms, an annual classical music festival in the U.K., also put its name to the pledge. The move is particularly noteworthy given the festival’s scale — daily performances over the course of eight weeks — and classical music’s especially poor reputation for equal gender representation, both in \u003ca href=\"http://www.bsomusic.org/stories/the-data-behind-the-2016-2017-orchestra-season/\" target=\"_blank\" rel=\"noopener\">the compositions chosen\u003c/a> for performance and \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2013/10/09/230751348/what-is-classical-musics-women-problem\" target=\"_blank\" rel=\"noopener\">the conductors leading them\u003c/a>. Marin Alsop, who in 2013 became the first woman to conduct The Proms’ prestigious Last Night concert, \u003ca href=\"https://www.youtube.com/watch?v=o9Lxk7LRiBI\" target=\"_blank\" rel=\"noopener\">said in a speech \u003c/a>at the performance’s close: “I have to say, I’m still quite shocked that it can be 2013 and there can still be firsts for women.”\u003c/p>\n\u003cp>At Coachella, one of the world’s best-known and most successful music festivals, 55 of 163 acts booked for this year include women in their lineup; of those, 35 are solo artists. Goldenvoice, the festival’s parent company (itself owned by AEG), did not immediately respond to a request for comment on gender parity initiatives or whether it planned to institute its own.\u003c/p>\n\u003cp>The lack of equal representation extends across the whole of the music world. \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-recording-studio.pdf\">A recent study\u003c/a> from the Annenberg Inclusion Initiative, published in January, analyzed the 600 songs included in the end-of-year Hot 100 singles chart between 2012 and 2017. It found 22.4 percent of those songs were performed by female artists, while only 12.3 percent of them were written by female songwriters and 2 percent were produced by women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pattern repeats within the industry’s executive class, according to one of its few major metrics. Within the \u003ca href=\"https://www.billboard.com/articles/business/8096144/billboard-2018-power-100-list\" target=\"_blank\" rel=\"noopener\">Power 100\u003c/a>, \u003cem>Billboard\u003c/em>‘s annual ranking of the music industry’s most powerful executives, 17 percent are women. Live Nation — the world’s largest concert promoter, which owns dozens of festivals, and whose CEO topped this year’s Power 100 — declined to comment on equal representation initiatives, and referred NPR Music to its subsidiary companies for comment on gender parity at the festivals in which it owns controlling stakes.\u003c/p>\n\u003cp>Percentages don’t tell the whole story. Composer Du Yun, winner of the 2017 Pulitzer Prize for music for her opera \u003cem>Angel’s Bone\u003c/em>, advised caution on that front \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/05/526968527/looking-for-womens-music-at-the-symphony-good-luck\" target=\"_blank\" rel=\"noopener\">in a conversation\u003c/a> with NPR Music’s Tom Huizenga last year. “I think the debate of equality and diversity should happen within ourselves,” she said. “We need to understand what diversity means to us, so that we don’t just stop at an Excel sheet.”\u003c/p>\n\u003cp>Even so, the difference revealed by the numbers alone is steep. As the creators of Keychange explain on its website, “Across the participating countries’ collecting societies, women represent 20 percent or less of registered composers and songwriters. Earnings for women are even lower.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cyrena Touros contributed additional reporting to this story.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dozens+Of+Music+Festivals+Announce+Gender+Balance+Initiative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alice Bag and Riot Grrrl Royals Pay Punk Homage to '9 to 5'",
"headTitle": "Alice Bag and Riot Grrrl Royals Pay Punk Homage to ‘9 to 5’ | KQED",
"content": "\u003cp>https://www.youtube.com/watch?v=ZmnTGTyRjEM\u003c/p>\n\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WPQRMeU4Co0\u003c/p>\n\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZmnTGTyRjEM'\n title='//www.youtube.com/embed/ZmnTGTyRjEM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\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/WPQRMeU4Co0'\n title='//www.youtube.com/embed/WPQRMeU4Co0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"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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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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