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"title": "'The Other Side Of Hope': Finding Haven — And Hamachi — in Helsinki",
"headTitle": "‘The Other Side Of Hope’: Finding Haven — And Hamachi — in Helsinki | KQED",
"content": "\u003cp>Arriving in supposedly liberal Europe, a refugee is hounded by the authorities but saved by a handful of scruffy outsiders. If the scenario of Aki Kaurismaki’s \u003cem>The Other Side of Hope\u003c/em> sounds familiar, that might be because it’s essentially the same as the plot of its predecessor, 2011’s \u003cem>Le Havre\u003c/em>. The principal distinction is that the Finnish writer-director’s latest comic melodrama is darker and more directly tied to current events.\u003c/p>\n\u003cp>\u003cem>Le Havre\u003c/em> was set in a country constructed largely from fragments of classic French cinema. \u003cem>The Other Side of Hope\u003c/em> returns to Helsinki and Kaurismaki’s usual retro haunts: the docks, the streets, shabby restaurants, and any place Finnish hipsters perform their takes on American roots music. Both films have a similar tone: simultaneously bemused and outraged, detached and engaged. \u003c/p>\n\u003cp>As always, Kaurismaki draws from mid-20th-century film noir and “women’s pictures,” sublimating their agonies and ecstasies into a sort of deadpan minimalism. Sets and shots are deliberately simple, but heightened by lots of music (sometimes amusingly incongruous) and theatrical lighting. The filmmaker’s universe is both deeply ordinary and just a little uncanny. \u003c/p>\n\u003cp>https://youtu.be/72coY37gcfM\u003c/p>\n\u003cp>In an unusual move for him, Kaurismaki keeps the two principal characters apart for much of the tale. Syrian emigrant Khaled (Sherwan Haji) quickly materializes, digging himself out of the coal bin in which he hid on his ship journey from Poland. Next enters Waldemar (Sakari Kuosmanen), grim and purposeful as he abandons his wife and sets out to switch careers from shirt salesman to restaurateur. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Khaled applies for asylum (in English, one of the movie’s three languages). Waldemar sells his inventory and heads to a high-stakes poker game to win enough Euros to purchase a restaurant called the Golden Pint. After Khaled’s bid is denied, he escapes from the detention center, tangles with three members of the Nazi-like Liberation Army of Finland, and takes refuge behind the trash cans of a nondescript eatery. It’s the Golden Pint. \u003c/p>\n\u003cp>Waldemar gives Khaled a job, in part because he’s a nicer guy than we’ve previously had any occasion to notice. Also, the restaurant owner and his three eccentric employees are just naturally seditious. When a health department team arrives for a surprise inspection, Khaled is not the only thing the crew rushes to conceal. They also hide the restaurant’s dog and its ashtrays. Apparently the smoking that’s routine for the Golden Pint’s regulars is against the rules. \u003c/p>\n\u003cfigure id=\"attachment_13816617\" class=\"wp-caption aligncenter\" style=\"max-width: 2949px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg\" alt=\"L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in 'The Other Side of Hope.'\" width=\"2949\" height=\"1658\" class=\"size-full wp-image-13816617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg 2949w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-520x292.jpg 520w\" sizes=\"(max-width: 2949px) 100vw, 2949px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in ‘The Other Side of Hope.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This development, unmentioned in a single line of dialogue, exemplifies the filmmaker’s brand of rebellion. One unusually direct moment underscores Khaled’s plight with TV-news footage of the carnage in Aleppo, his hometown. But most of the film’s defiance is directed toward change. Cigarettes, rockabilly, and mannered old-Hollywood movies are not simply Kaurismaki’s passions. They’re the planks of his political platform. \u003c/p>\n\u003cp>In addition to Khaled’s search for refuge, the film is driven by his quest to learn the whereabouts of his sister, Miriam (Niroz Haji), who left Syria with him but was separated along the way. Waldemar helps with the search, but Miriam’s story is left partly unresolved. Of course, so is Khaled’s — and the tales of all the other exiles who inspired \u003cem>The Other Side of Hope\u003c/em>. \u003c/p>\n\u003cp>The director lightens the mood with his customary absurdist slapstick, notably a failed attempt to turn the cafe into a sushi restaurant. But the funniest line is characteristically double-edged. While still in custody, Khaled meets an Iraqi asylum-seeker who counsels him to appear upbeat: “All melancholics are sent back.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By that logic, no one in Finland more deserves deportation than Aki Kaurismaki. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Other+Side+Of+Hope%27%3A+Finding+Haven+%E2%80%94+And+Hamachi+%E2%80%94+in+Helsinki&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arriving in supposedly liberal Europe, a refugee is hounded by the authorities but saved by a handful of scruffy outsiders. If the scenario of Aki Kaurismaki’s \u003cem>The Other Side of Hope\u003c/em> sounds familiar, that might be because it’s essentially the same as the plot of its predecessor, 2011’s \u003cem>Le Havre\u003c/em>. The principal distinction is that the Finnish writer-director’s latest comic melodrama is darker and more directly tied to current events.\u003c/p>\n\u003cp>\u003cem>Le Havre\u003c/em> was set in a country constructed largely from fragments of classic French cinema. \u003cem>The Other Side of Hope\u003c/em> returns to Helsinki and Kaurismaki’s usual retro haunts: the docks, the streets, shabby restaurants, and any place Finnish hipsters perform their takes on American roots music. Both films have a similar tone: simultaneously bemused and outraged, detached and engaged. \u003c/p>\n\u003cp>As always, Kaurismaki draws from mid-20th-century film noir and “women’s pictures,” sublimating their agonies and ecstasies into a sort of deadpan minimalism. Sets and shots are deliberately simple, but heightened by lots of music (sometimes amusingly incongruous) and theatrical lighting. The filmmaker’s universe is both deeply ordinary and just a little uncanny. \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/72coY37gcfM'\n title='//www.youtube.com/embed/72coY37gcfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an unusual move for him, Kaurismaki keeps the two principal characters apart for much of the tale. Syrian emigrant Khaled (Sherwan Haji) quickly materializes, digging himself out of the coal bin in which he hid on his ship journey from Poland. Next enters Waldemar (Sakari Kuosmanen), grim and purposeful as he abandons his wife and sets out to switch careers from shirt salesman to restaurateur. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Khaled applies for asylum (in English, one of the movie’s three languages). Waldemar sells his inventory and heads to a high-stakes poker game to win enough Euros to purchase a restaurant called the Golden Pint. After Khaled’s bid is denied, he escapes from the detention center, tangles with three members of the Nazi-like Liberation Army of Finland, and takes refuge behind the trash cans of a nondescript eatery. It’s the Golden Pint. \u003c/p>\n\u003cp>Waldemar gives Khaled a job, in part because he’s a nicer guy than we’ve previously had any occasion to notice. Also, the restaurant owner and his three eccentric employees are just naturally seditious. When a health department team arrives for a surprise inspection, Khaled is not the only thing the crew rushes to conceal. They also hide the restaurant’s dog and its ashtrays. Apparently the smoking that’s routine for the Golden Pint’s regulars is against the rules. \u003c/p>\n\u003cfigure id=\"attachment_13816617\" class=\"wp-caption aligncenter\" style=\"max-width: 2949px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg\" alt=\"L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in 'The Other Side of Hope.'\" width=\"2949\" height=\"1658\" class=\"size-full wp-image-13816617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg 2949w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-520x292.jpg 520w\" sizes=\"(max-width: 2949px) 100vw, 2949px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in ‘The Other Side of Hope.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This development, unmentioned in a single line of dialogue, exemplifies the filmmaker’s brand of rebellion. One unusually direct moment underscores Khaled’s plight with TV-news footage of the carnage in Aleppo, his hometown. But most of the film’s defiance is directed toward change. Cigarettes, rockabilly, and mannered old-Hollywood movies are not simply Kaurismaki’s passions. They’re the planks of his political platform. \u003c/p>\n\u003cp>In addition to Khaled’s search for refuge, the film is driven by his quest to learn the whereabouts of his sister, Miriam (Niroz Haji), who left Syria with him but was separated along the way. Waldemar helps with the search, but Miriam’s story is left partly unresolved. Of course, so is Khaled’s — and the tales of all the other exiles who inspired \u003cem>The Other Side of Hope\u003c/em>. \u003c/p>\n\u003cp>The director lightens the mood with his customary absurdist slapstick, notably a failed attempt to turn the cafe into a sushi restaurant. But the funniest line is characteristically double-edged. While still in custody, Khaled meets an Iraqi asylum-seeker who counsels him to appear upbeat: “All melancholics are sent back.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By that logic, no one in Finland more deserves deportation than Aki Kaurismaki. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Other+Side+Of+Hope%27%3A+Finding+Haven+%E2%80%94+And+Hamachi+%E2%80%94+in+Helsinki&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "#MeToo Movement is Person of the Year, 'Time' Says",
"headTitle": "#MeToo Movement is Person of the Year, ‘Time’ Says | KQED",
"content": "\u003cp>It has created a wave of awareness and brave confrontations over sexual harassment and assault, taking down powerful men in the process. And now the #MeToo movement has been named \u003cem>Time\u003c/em> magazine’s Person of the Year for 2017.\u003c/p>\n\u003cp>On its cover, \u003cem>Time\u003c/em> called the people behind the movement “The Silence Breakers.” Its story features women and men who have spoken out — including activist \u003ca href=\"https://twitter.com/TaranaBurke/status/938388492299702277\" target=\"_blank\" rel=\"noopener\">Tarana Burke\u003c/a>, who started the hashtag 10 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13816800\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg\" alt='Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the \"silence breakers\" — are its Person of the Year.' width=\"700\" height=\"933\" class=\"size-full wp-image-13816800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-520x693.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the “silence breakers” — are its Person of the Year. \u003ccite>(Time magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>#MeToo rose to prominence as a social media campaign in the wake of high-profile accusations against Hollywood producer Harvey Weinstein. After actress Alyssa Milano popularized the hashtag, thousands of women began sharing their stories about the pervasive damage wrought by sexual harassment and by “open secrets” about abuse.\u003c/p>\n\u003cp>The movement’s empowering reach could be seen in the platform on which \u003cem>Time\u003c/em> announced its choice: the \u003cem>Today\u003c/em> show. It was just one week ago that NBC fired the morning program’s longtime and powerful co-host, Matt Lauer, over \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\" target=\"_blank\" rel=\"noopener\">a detailed complaint\u003c/a> of “inappropriate sexual behavior in the workplace.”\u003c/p>\n\u003cp>While the most high-profile #MeToo stories have come from women and men who work in the movies and media, \u003ca href=\"http://time.com/time-person-of-the-year-2017-silence-breakers/\">the Time article\u003c/a> also features women who work hourly jobs, some of whom want to remain anonymous. The magazine’s cover portrait includes strawberry picker Isabel Pascual, lobbyist Adama Iwu and former Uber engineer Susan Fowler along with Ashley Judd and Taylor Swift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The reckoning appears to have sprung up overnight. But it has actually been simmering for years, decades, centuries,” \u003cem>Time’s\u003c/em> Stephanie Zacharek, Eliana Dockterman and Haley Sweetland Edwards write. “Women have had it with bosses and coworkers who not only cross boundaries but don’t even seem to know that boundaries exist.”\u003c/p>\n\u003cp>Marking a possible cultural shift \u003ca href=\"https://www.npr.org/2017/10/16/558165331/in-the-wake-of-harvey-weinstein-scandal-women-say-metoo\" target=\"_blank\" rel=\"noopener\">back in October\u003c/a>, NPR’s Sarah McCammon quoted associate professor Lisa Huebner saying of #MeToo, “It helps a lot of people individually, I think, and it also will help us to mark publicly that this is a widespread occurrence, and it’s not OK.”\u003c/p>\n\u003cp>The \u003ca href=\"http://time.com/5045719/time-person-of-the-year-2017-shortlist/\" target=\"_blank\" rel=\"noopener\">shortlist of candidates\u003c/a> for the distinction included:\u003c/p>\n\u003cul>\n\u003cli>The Dreamers\u003c/li>\n\u003cli>Amazon founder Jeff Bezos\u003c/li>\n\u003cli>\u003cem>Wonder Woman\u003c/em> director Patty Jenkins\u003c/li>\n\u003cli>North Korean leader Kim Jong Un\u003c/li>\n\u003cli>Protest leader Colin Kaepernick\u003c/li>\n\u003cli>Special counsel Robert Mueller\u003c/li>\n\u003cli>Chinese President Xi Jinping\u003c/li>\n\u003cli>Crown Prince Mohammed bin Salman of Saudi Arabia\u003c/li>\n\u003cli>President Trump\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Time\u003c/em> also conducted a reader poll, which the magazine says was won by Mohammed bin Salman, with 24 percent of the votes. Second place went to the #MeToo movement, followed by a three-way tie among Kaepernick, Mueller and the Dreamers.\u003c/p>\n\u003cp>In the magazine’s tally, Trump was the runner-up.\u003c/p>\n\u003cp>The final decision comes weeks after Trump — who was named Person of the Year in 2016 — said he \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/25/566433478/trump-says-he-passed-on-being-person-of-the-year-time-says-he-s-incorrect\" target=\"_blank\" rel=\"noopener\">“took a pass” on being named again\u003c/a> in 2017. Trump, who had called it “a tremendous honor” to win last year, said the magazine had been in touch to say he would “probably” win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The president’s comment prompted \u003cem>Time\u003c/em> to clarify, “The President is incorrect about how we choose Person of the Year. TIME does not comment on our choice until publication, which is December 6.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%23MeToo+Movement+Is+Person+Of+The+Year%2C+%27Time%27+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has created a wave of awareness and brave confrontations over sexual harassment and assault, taking down powerful men in the process. And now the #MeToo movement has been named \u003cem>Time\u003c/em> magazine’s Person of the Year for 2017.\u003c/p>\n\u003cp>On its cover, \u003cem>Time\u003c/em> called the people behind the movement “The Silence Breakers.” Its story features women and men who have spoken out — including activist \u003ca href=\"https://twitter.com/TaranaBurke/status/938388492299702277\" target=\"_blank\" rel=\"noopener\">Tarana Burke\u003c/a>, who started the hashtag 10 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13816800\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg\" alt='Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the \"silence breakers\" — are its Person of the Year.' width=\"700\" height=\"933\" class=\"size-full wp-image-13816800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-520x693.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the “silence breakers” — are its Person of the Year. \u003ccite>(Time magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>#MeToo rose to prominence as a social media campaign in the wake of high-profile accusations against Hollywood producer Harvey Weinstein. After actress Alyssa Milano popularized the hashtag, thousands of women began sharing their stories about the pervasive damage wrought by sexual harassment and by “open secrets” about abuse.\u003c/p>\n\u003cp>The movement’s empowering reach could be seen in the platform on which \u003cem>Time\u003c/em> announced its choice: the \u003cem>Today\u003c/em> show. It was just one week ago that NBC fired the morning program’s longtime and powerful co-host, Matt Lauer, over \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\" target=\"_blank\" rel=\"noopener\">a detailed complaint\u003c/a> of “inappropriate sexual behavior in the workplace.”\u003c/p>\n\u003cp>While the most high-profile #MeToo stories have come from women and men who work in the movies and media, \u003ca href=\"http://time.com/time-person-of-the-year-2017-silence-breakers/\">the Time article\u003c/a> also features women who work hourly jobs, some of whom want to remain anonymous. The magazine’s cover portrait includes strawberry picker Isabel Pascual, lobbyist Adama Iwu and former Uber engineer Susan Fowler along with Ashley Judd and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The reckoning appears to have sprung up overnight. But it has actually been simmering for years, decades, centuries,” \u003cem>Time’s\u003c/em> Stephanie Zacharek, Eliana Dockterman and Haley Sweetland Edwards write. “Women have had it with bosses and coworkers who not only cross boundaries but don’t even seem to know that boundaries exist.”\u003c/p>\n\u003cp>Marking a possible cultural shift \u003ca href=\"https://www.npr.org/2017/10/16/558165331/in-the-wake-of-harvey-weinstein-scandal-women-say-metoo\" target=\"_blank\" rel=\"noopener\">back in October\u003c/a>, NPR’s Sarah McCammon quoted associate professor Lisa Huebner saying of #MeToo, “It helps a lot of people individually, I think, and it also will help us to mark publicly that this is a widespread occurrence, and it’s not OK.”\u003c/p>\n\u003cp>The \u003ca href=\"http://time.com/5045719/time-person-of-the-year-2017-shortlist/\" target=\"_blank\" rel=\"noopener\">shortlist of candidates\u003c/a> for the distinction included:\u003c/p>\n\u003cul>\n\u003cli>The Dreamers\u003c/li>\n\u003cli>Amazon founder Jeff Bezos\u003c/li>\n\u003cli>\u003cem>Wonder Woman\u003c/em> director Patty Jenkins\u003c/li>\n\u003cli>North Korean leader Kim Jong Un\u003c/li>\n\u003cli>Protest leader Colin Kaepernick\u003c/li>\n\u003cli>Special counsel Robert Mueller\u003c/li>\n\u003cli>Chinese President Xi Jinping\u003c/li>\n\u003cli>Crown Prince Mohammed bin Salman of Saudi Arabia\u003c/li>\n\u003cli>President Trump\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Time\u003c/em> also conducted a reader poll, which the magazine says was won by Mohammed bin Salman, with 24 percent of the votes. Second place went to the #MeToo movement, followed by a three-way tie among Kaepernick, Mueller and the Dreamers.\u003c/p>\n\u003cp>In the magazine’s tally, Trump was the runner-up.\u003c/p>\n\u003cp>The final decision comes weeks after Trump — who was named Person of the Year in 2016 — said he \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/25/566433478/trump-says-he-passed-on-being-person-of-the-year-time-says-he-s-incorrect\" target=\"_blank\" rel=\"noopener\">“took a pass” on being named again\u003c/a> in 2017. Trump, who had called it “a tremendous honor” to win last year, said the magazine had been in touch to say he would “probably” win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The president’s comment prompted \u003cem>Time\u003c/em> to clarify, “The President is incorrect about how we choose Person of the Year. TIME does not comment on our choice until publication, which is December 6.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%23MeToo+Movement+Is+Person+Of+The+Year%2C+%27Time%27+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s an unforgettable scene in the Netflix documentary \u003cem>Joan Didion: The Center Will Not Hold\u003c/em>. Filmmaker Griffin Dunne asks Didion about the legendary moment when, while reporting a piece on the counter-culture in San Francisco’s Haight-Ashbury neighborhood, she came across a 5-year-old girl tripping on LSD.\u003c/p>\n\u003cp>“What was that like?” Dunne wonders. Didion pauses, and replies, “It was gold.” Which is to say that the little girl was great material.\u003c/p>\n\u003cp>What counts as material, and how you use it, lies at the heart of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, the delightfully zippy new Amazon series created by Amy Sherman-Palladino and her husband, Daniel Palladino — a team best known for \u003cem>Gilmore Girls\u003c/em> and \u003cem>Bunheads\u003c/em>. Set in a brightly colored version of late 1950s New York — the soundtrack is bursting with show tunes and Sinatra — it’s a backhanded riposte to the old canard that women can’t be funny.\u003c/p>\n\u003cp>When we first meet Miriam Maisel (Rachel Brosnahan) she’s in her bridal gown and addressing her wedding banquet. She turns her speech into a piece of impromptu stand-up, complete with jokes about the food not being kosher.\u003c/p>\n\u003cp>But while Miriam clearly has a mouth on her, she’s content to be the comfortably Upper West Side wife of Joel Maisel (Michael Zegen) who works in an office by day but, by night, goes down to the Village to try to make it as a comedian.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 26-year-old Miriam, known as “Midge,” is just what her parents, her husband and \u003cem>his\u003c/em> parents want: a chic, Bryn Mawr-educated, alpha Jewish \u003cem>hausfrau\u003c/em> who bribes club owners with brisket to get her husband better performing slots at the Gaslight Café, and who tells total strangers the best way to remove blood stains from a blouse. There’s just one problem: Joel proves to be less than she hoped for, as both a husband \u003cem>and\u003c/em> a comedian.\u003c/p>\n\u003cp>Midge soon finds herself in that most classic of Sherman-Palladino situations: She’s a single woman making it on her own. But how? She uses her clever tongue to become a comedian herself.\u003c/p>\n\u003cp>Before she quite knows what’s happened, Midge has crashed the Gaslight Café stage, been discovered by a butch manager named Susie (played by Alex Borstein), been tossed in jail for obscenity and begun an unlikely relationship with, of all people, comedian Lenny Bruce.\u003c/p>\n\u003cp>Although \u003cem>The Marvelous Mrs. Maisel\u003c/em> is set in the \u003cem>Mad Men\u003c/em> era, it’s sunnier and far more yakkety. In fact, there’s an aspect of the old Hollywood musical in the dreamy production design and the portraits of Midge and Joel’s parents (who are too broadly conceived, yet played by real pros — Marin Hinkle, Tony Shalhoub, Kevin Pollak and Caroline Aaron). They provide the setting for Brosnahan, whose fast-talking brilliance as Midge is a real knockout. Whether Midge is making reflexively neurotic jokes, being devastated by betrayal or slaying people at the club, Brosnahan makes us believe that here is a woman able to shed her conventional life and discover her truest self being funny behind a microphone.\u003c/p>\n\u003cp>This is a not an easy thing to pull off. The trouble with nearly all stories about comedians — from the ’80s Tom Hanks-Sally Field film \u003cem>Punchline\u003c/em> to the recent show \u003cem>I’m Dying Up Here\u003c/em> — is that when they get on stage, they aren’t funny enough and their humor isn’t as daring as everyone pretends it is.\u003c/p>\n\u003cp>In the monologues written by Sherman-Palladino, Midge does what great comedians are able to do: She transforms personal pain and confusion into a genuinely funny performance. And the series triumph lies in showing us how she turns her life into great and original material.\u003c/p>\n\u003cp>Of course, back then there were no real-life women doing the equivalent of Midge’s stand-up act, which pushes far beyond the self-mockery of Phyllis Diller or the wisecracks of the young Joan Rivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this isn’t a complaint. \u003cem>The Marvelous Mrs. Maisel\u003c/em> isn’t aiming for realism. It’s a heroic fantasy. And Midge’s humor, one might say, is the ultimate version of staircase wit. Recklessly honest, she says what female comedians \u003cem>would’ve\u003c/em> said half a century ago — if they had only been free to say it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Zippy+And+Delightful%2C+%27The+Marvelous+Mrs.+Maisel%27+Spotlights+An+Unlikely+Comic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an unforgettable scene in the Netflix documentary \u003cem>Joan Didion: The Center Will Not Hold\u003c/em>. Filmmaker Griffin Dunne asks Didion about the legendary moment when, while reporting a piece on the counter-culture in San Francisco’s Haight-Ashbury neighborhood, she came across a 5-year-old girl tripping on LSD.\u003c/p>\n\u003cp>“What was that like?” Dunne wonders. Didion pauses, and replies, “It was gold.” Which is to say that the little girl was great material.\u003c/p>\n\u003cp>What counts as material, and how you use it, lies at the heart of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, the delightfully zippy new Amazon series created by Amy Sherman-Palladino and her husband, Daniel Palladino — a team best known for \u003cem>Gilmore Girls\u003c/em> and \u003cem>Bunheads\u003c/em>. Set in a brightly colored version of late 1950s New York — the soundtrack is bursting with show tunes and Sinatra — it’s a backhanded riposte to the old canard that women can’t be funny.\u003c/p>\n\u003cp>When we first meet Miriam Maisel (Rachel Brosnahan) she’s in her bridal gown and addressing her wedding banquet. She turns her speech into a piece of impromptu stand-up, complete with jokes about the food not being kosher.\u003c/p>\n\u003cp>But while Miriam clearly has a mouth on her, she’s content to be the comfortably Upper West Side wife of Joel Maisel (Michael Zegen) who works in an office by day but, by night, goes down to the Village to try to make it as a comedian.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 26-year-old Miriam, known as “Midge,” is just what her parents, her husband and \u003cem>his\u003c/em> parents want: a chic, Bryn Mawr-educated, alpha Jewish \u003cem>hausfrau\u003c/em> who bribes club owners with brisket to get her husband better performing slots at the Gaslight Café, and who tells total strangers the best way to remove blood stains from a blouse. There’s just one problem: Joel proves to be less than she hoped for, as both a husband \u003cem>and\u003c/em> a comedian.\u003c/p>\n\u003cp>Midge soon finds herself in that most classic of Sherman-Palladino situations: She’s a single woman making it on her own. But how? She uses her clever tongue to become a comedian herself.\u003c/p>\n\u003cp>Before she quite knows what’s happened, Midge has crashed the Gaslight Café stage, been discovered by a butch manager named Susie (played by Alex Borstein), been tossed in jail for obscenity and begun an unlikely relationship with, of all people, comedian Lenny Bruce.\u003c/p>\n\u003cp>Although \u003cem>The Marvelous Mrs. Maisel\u003c/em> is set in the \u003cem>Mad Men\u003c/em> era, it’s sunnier and far more yakkety. In fact, there’s an aspect of the old Hollywood musical in the dreamy production design and the portraits of Midge and Joel’s parents (who are too broadly conceived, yet played by real pros — Marin Hinkle, Tony Shalhoub, Kevin Pollak and Caroline Aaron). They provide the setting for Brosnahan, whose fast-talking brilliance as Midge is a real knockout. Whether Midge is making reflexively neurotic jokes, being devastated by betrayal or slaying people at the club, Brosnahan makes us believe that here is a woman able to shed her conventional life and discover her truest self being funny behind a microphone.\u003c/p>\n\u003cp>This is a not an easy thing to pull off. The trouble with nearly all stories about comedians — from the ’80s Tom Hanks-Sally Field film \u003cem>Punchline\u003c/em> to the recent show \u003cem>I’m Dying Up Here\u003c/em> — is that when they get on stage, they aren’t funny enough and their humor isn’t as daring as everyone pretends it is.\u003c/p>\n\u003cp>In the monologues written by Sherman-Palladino, Midge does what great comedians are able to do: She transforms personal pain and confusion into a genuinely funny performance. And the series triumph lies in showing us how she turns her life into great and original material.\u003c/p>\n\u003cp>Of course, back then there were no real-life women doing the equivalent of Midge’s stand-up act, which pushes far beyond the self-mockery of Phyllis Diller or the wisecracks of the young Joan Rivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this isn’t a complaint. \u003cem>The Marvelous Mrs. Maisel\u003c/em> isn’t aiming for realism. It’s a heroic fantasy. And Midge’s humor, one might say, is the ultimate version of staircase wit. Recklessly honest, she says what female comedians \u003cem>would’ve\u003c/em> said half a century ago — if they had only been free to say it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Zippy+And+Delightful%2C+%27The+Marvelous+Mrs.+Maisel%27+Spotlights+An+Unlikely+Comic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "40th Annual Kennedy Center Honors Recognize Hip-Hop for the First Time",
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"content": "\u003cp>The 40th annual Kennedy Center Honors last night (Dec. 3) recognized those in the arts who’ve made lifetime achievements in American pop culture and ushered in some new traditions in the process. This year’s honorees were dancer/choreographer \u003ca href=\"https://www.npr.org/2014/10/28/359326972/at-83-dancer-carmen-de-lavallade-looks-back-at-a-life-spent-onstage\" target=\"_blank\" rel=\"noopener\">Carmen de Lavallade\u003c/a>, singer \u003ca href=\"https://www.npr.org/2017/10/02/554730777/shocking-omissions-gloria-estefan-and-miami-sound-machine-s-let-it-loose\" target=\"_blank\" rel=\"noopener\">Gloria Estefan\u003c/a>, rapper \u003ca href=\"https://www.npr.org/artists/15770396/ll-cool-j\" target=\"_blank\" rel=\"noopener\">LL Cool J\u003c/a>, TV writer\u003ca href=\"https://www.npr.org/2014/11/18/364985147/norman-lear-looks-back-on-his-long-life-in-even-this-i-get-to-experience\" target=\"_blank\" rel=\"noopener\"> Norman Lear\u003c/a> and singer \u003ca href=\"https://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Richie\u003c/a>.\u003c/p>\n\u003cp>LL Cool J becomes the first hip-hop artist to be recognized at the Kennedy Center Honors. In a career spanning more than three decades, the Queens-born MC helped pioneer the burgeoning rap genre, while often being cited as hip-hop’s first heartthrob. As Def Jam Recordings’ first signee, LL is best known for hits like “Mama Said Knock You Out” and “Doin’ It.”\u003c/p>\n\u003cp>Fellow golden-era rapper Queen Latifah immortalized LL on stage before he received the award. Q-Tip and The Roots members Questlove and Black Thought were in attendance for support while Busta Rhymes, DMC and DJ Z-Trip paid tribute to LL in a performance. A true chameleon in the industry, LL has earned many awards for rapping and acting, including two Grammys, but the legendary MC told NPR’s \u003ca href=\"https://www.npr.org/2017/12/04/568255235/kennedy-center-celebrates-latest-honorees-but-without-the-first-family\" target=\"_blank\" rel=\"noopener\">\u003cem>Morning Edition\u003c/em>\u003c/a>, the Kennedy Center Honors is different “because now you’re being recognized by your country.”\u003c/p>\n\u003cp>Another ‘first’ for the evening was Gloria Estefan’s induction as the first Cuban-American to receive a Kennedy Center Honor. Estefan, who’s served as front woman for the Miami Sound Machine for nearly two decades, is best known for crossover hits like “Conga” and “Get On Your Feet.” The latter song has later become the title of a Broadway production based on the singer’s life.\u003c/p>\n\u003cp>2001 honoree Quincy Jones, 1999 honoree Stevie Wonder, Kenny Rogers and Leona Lewis and paid tribute to R&B titan Lionel Richie in song, belting a rendition of his song “All Night Long.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the 2017 honorees graciously shared the spotlight, some of the night’s conversation pivoted to a famous face that was noticeably missing from the ceremony. \u003ca href=\"https://www.npr.org/tags/511343536/president-trump\" target=\"_blank\" rel=\"noopener\">President Trump\u003c/a> notably did not go this year’s honors, breaking a presidential tradition of the first family attending the ceremony. President Trump announced he would be missing the ceremony back in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\" target=\"_blank\" rel=\"noopener\">August\u003c/a> after Lear and de Lavallade said they would boycott the awards if he was there. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=40th+Annual+Kennedy+Center+Honors+Recognize+Hip-Hop+For+The+First+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 40th annual Kennedy Center Honors last night (Dec. 3) recognized those in the arts who’ve made lifetime achievements in American pop culture and ushered in some new traditions in the process. This year’s honorees were dancer/choreographer \u003ca href=\"https://www.npr.org/2014/10/28/359326972/at-83-dancer-carmen-de-lavallade-looks-back-at-a-life-spent-onstage\" target=\"_blank\" rel=\"noopener\">Carmen de Lavallade\u003c/a>, singer \u003ca href=\"https://www.npr.org/2017/10/02/554730777/shocking-omissions-gloria-estefan-and-miami-sound-machine-s-let-it-loose\" target=\"_blank\" rel=\"noopener\">Gloria Estefan\u003c/a>, rapper \u003ca href=\"https://www.npr.org/artists/15770396/ll-cool-j\" target=\"_blank\" rel=\"noopener\">LL Cool J\u003c/a>, TV writer\u003ca href=\"https://www.npr.org/2014/11/18/364985147/norman-lear-looks-back-on-his-long-life-in-even-this-i-get-to-experience\" target=\"_blank\" rel=\"noopener\"> Norman Lear\u003c/a> and singer \u003ca href=\"https://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Richie\u003c/a>.\u003c/p>\n\u003cp>LL Cool J becomes the first hip-hop artist to be recognized at the Kennedy Center Honors. In a career spanning more than three decades, the Queens-born MC helped pioneer the burgeoning rap genre, while often being cited as hip-hop’s first heartthrob. As Def Jam Recordings’ first signee, LL is best known for hits like “Mama Said Knock You Out” and “Doin’ It.”\u003c/p>\n\u003cp>Fellow golden-era rapper Queen Latifah immortalized LL on stage before he received the award. Q-Tip and The Roots members Questlove and Black Thought were in attendance for support while Busta Rhymes, DMC and DJ Z-Trip paid tribute to LL in a performance. A true chameleon in the industry, LL has earned many awards for rapping and acting, including two Grammys, but the legendary MC told NPR’s \u003ca href=\"https://www.npr.org/2017/12/04/568255235/kennedy-center-celebrates-latest-honorees-but-without-the-first-family\" target=\"_blank\" rel=\"noopener\">\u003cem>Morning Edition\u003c/em>\u003c/a>, the Kennedy Center Honors is different “because now you’re being recognized by your country.”\u003c/p>\n\u003cp>Another ‘first’ for the evening was Gloria Estefan’s induction as the first Cuban-American to receive a Kennedy Center Honor. Estefan, who’s served as front woman for the Miami Sound Machine for nearly two decades, is best known for crossover hits like “Conga” and “Get On Your Feet.” The latter song has later become the title of a Broadway production based on the singer’s life.\u003c/p>\n\u003cp>2001 honoree Quincy Jones, 1999 honoree Stevie Wonder, Kenny Rogers and Leona Lewis and paid tribute to R&B titan Lionel Richie in song, belting a rendition of his song “All Night Long.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Met Suspends Famed Conductor Accused of Molesting Teen For Years",
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"content": "\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\n\u003cp>https://twitter.com/MetOpera/status/937139056991002624\u003c/p>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Disaster Artist' Is 'The Room' Where It Happened",
"headTitle": "‘The Disaster Artist’ Is ‘The Room’ Where It Happened | KQED",
"content": "\u003cp>Though Ed Wood’s \u003cem>Plan 9 From Outer Space\u003c/em> is commonly cited as the worst film ever made, he released a far more compelling failure three years before with \u003cem>Glen or Glenda\u003c/em>, a semi-autobiographical melodrama about a cross-dresser, played by Wood under the pseudonym “Daniel Davis.” \u003cem>Glen or Glenda\u003c/em> has all the staggering ineptitude of \u003cem>Plan 9\u003c/em> — most memorably, Bela Lugosi’s armchair commentator shouting “Pull the string!” — but it has the added benefit of being nakedly personal, a plea for tolerance from a man who has chosen to reveal a closely guarded secret on screen. Bad films are released every week, but the truly enduring ones tell us something about their creators that is utterly specific and unique.\u003c/p>\n\u003cp>Tommy Wiseau’s 2003 opus, \u003cem>The Room\u003c/em>,is a miracle of a movie, a modern-day \u003cem>Glen or Glenda\u003c/em> in which the writer/director/star, so spectacularly inept in all three departments, bares his soul (and his body) for all to see. So much about Wiseau is famously murky — his country of origin, which by his accent sounds vaguely Eastern European; his age, which is surely much older than he suggests; and his seemingly bottomless source of financing — but \u003cem>The Room\u003c/em> is a tale of heartbreak and betrayal that is defined by an almost childlike simplicity. Wiseau’s understanding of human relationships may be hilariously alien, but his emotions are raw and unfiltered.\u003c/p>\n\u003cp>The cult of \u003cem>The Room\u003c/em> started in Los Angeles over a decade ago, built on word-of-mouth and a \u003ca href=\"http://hollywood-elsewhere.com/images/column/ocky17/roombillboard640.jpg\" target=\"_blank\" rel=\"noopener\">curious promotional billboard\u003c/a>, and it has since become a 21st century \u003cem>Rocky Horror Picture Show\u003c/em>, with audiences yelling canned one-liners at the screen and lobbing footballs and plastic spoons. In 2013, Wiseau’s co-star and partner-in-crime, Greg Sestero, teamed up with author Tom Bissell to publish \u003cem>The Disaster Artist\u003c/em>, a wildly entertaining book that deserves shelf space alongside other classics of the movie-fiasco genre like Steven Bach’s \u003cem>Final Cut\u003c/em> (about \u003cem>Heaven’s Gate\u003c/em>) and Julie Salamon’s \u003cem>The Devil’s Candy\u003c/em> (about \u003cem>The Bonfire of the Vanities\u003c/em>). It turns out the behind-the-scenes story is every bit as stupefying as film itself.\u003c/p>\n\u003cp>With his winning adaptation of \u003cem>The Disaster Artist\u003c/em>, director/star James Franco follows the model of Tim Burton’s biopic \u003cem>Ed Wood\u003c/em>, approaching Wiseau with a delicate balance of affectionate mockery and a heartfelt appreciation for his creative passion. It would be unforgivably mean-spirited for Franco merely to point and laugh, so instead he casts Wiseau as a Hollywood outsider who chose to defy the gatekeepers and pursue his cinematic dreams on his own dime. That may be the path of least resistance, given the darker corners of Wiseau’s biography and the gross misogyny at the core of \u003cem>The Room\u003c/em>, but it’s also the most gratifying, because it so firmly embraces the cult that’s rallied around Wiseau and his peculiar DIY triumph.\u003c/p>\n\u003cp>Before the cameras start to roll, however, \u003cem>The Disaster Artist\u003c/em> begins with the friendship between Wiseau (James Franco) and Sestero (Dave Franco), two Hollywood nobodies who meet at an acting class and wind up making history together. In Sestero’s telling, he is the passenger in a car that is careening down Sunset Boulevard, a passive accomplice to the runaway ambitions of a man who wants to be the next James Dean or Marlon Brando and has the money to make it happen. When Wiseau hacks out a script for \u003cem>The Room\u003c/em>, Sestero recognizes it as a nonsensical, subliterate bafflement, but Wiseau’s mysterious millions will the production into existence anyway and movie anti-magic commences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cMKX2tE5Luk\u003c/p>\n\u003cp>In the book and in the film, there’s something naggingly inauthentic about Sestero’s friendship with Wiseau: He presents himself as an insider while also keeping his distance, in case anyone might associate him with historic failure. But \u003cem>The Disaster Artist\u003c/em> is comedy gold once Wiseau starts making \u003cem>The Room\u003c/em> in earnest and Franco re-creates every misstep with the scrupulousness of a medieval monk transcribing religious text. There are production follies, like Wiseau shooting on digital and film simultaneously or using green screens of a balcony rather than the real thing, and there are multiple takes of treasured moments, culminating in the immortal “You’re tearing me apart, Lisa!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Disaster Artist\u003c/em> eases into the uncomfortable nature of a so-bad-it’s-good phenomenon like \u003cem>The Room\u003c/em>, when audiences turn out to hoot at a film that its creator intended to move them. The real-life Wiseau has been steering into that curve for years — he even tried to promote it as a “black comedy” — but the film does well to register the sting of failure while celebrating the creative spirit that drove him to realize his ambitions. As someone who has attached his name to plenty of ill-conceived enterprises himself recently — he adapted unadaptable William Faulkner and Cormac McCarthy novels in the same year! — Franco understands the perils of the profession. In that respect, Wiseau isn’t a case study. He’s a kindred spirit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Disaster+Artist%27+Is+%27The+Room%27+Where+It+Happened&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Ed Wood’s \u003cem>Plan 9 From Outer Space\u003c/em> is commonly cited as the worst film ever made, he released a far more compelling failure three years before with \u003cem>Glen or Glenda\u003c/em>, a semi-autobiographical melodrama about a cross-dresser, played by Wood under the pseudonym “Daniel Davis.” \u003cem>Glen or Glenda\u003c/em> has all the staggering ineptitude of \u003cem>Plan 9\u003c/em> — most memorably, Bela Lugosi’s armchair commentator shouting “Pull the string!” — but it has the added benefit of being nakedly personal, a plea for tolerance from a man who has chosen to reveal a closely guarded secret on screen. Bad films are released every week, but the truly enduring ones tell us something about their creators that is utterly specific and unique.\u003c/p>\n\u003cp>Tommy Wiseau’s 2003 opus, \u003cem>The Room\u003c/em>,is a miracle of a movie, a modern-day \u003cem>Glen or Glenda\u003c/em> in which the writer/director/star, so spectacularly inept in all three departments, bares his soul (and his body) for all to see. So much about Wiseau is famously murky — his country of origin, which by his accent sounds vaguely Eastern European; his age, which is surely much older than he suggests; and his seemingly bottomless source of financing — but \u003cem>The Room\u003c/em> is a tale of heartbreak and betrayal that is defined by an almost childlike simplicity. Wiseau’s understanding of human relationships may be hilariously alien, but his emotions are raw and unfiltered.\u003c/p>\n\u003cp>The cult of \u003cem>The Room\u003c/em> started in Los Angeles over a decade ago, built on word-of-mouth and a \u003ca href=\"http://hollywood-elsewhere.com/images/column/ocky17/roombillboard640.jpg\" target=\"_blank\" rel=\"noopener\">curious promotional billboard\u003c/a>, and it has since become a 21st century \u003cem>Rocky Horror Picture Show\u003c/em>, with audiences yelling canned one-liners at the screen and lobbing footballs and plastic spoons. In 2013, Wiseau’s co-star and partner-in-crime, Greg Sestero, teamed up with author Tom Bissell to publish \u003cem>The Disaster Artist\u003c/em>, a wildly entertaining book that deserves shelf space alongside other classics of the movie-fiasco genre like Steven Bach’s \u003cem>Final Cut\u003c/em> (about \u003cem>Heaven’s Gate\u003c/em>) and Julie Salamon’s \u003cem>The Devil’s Candy\u003c/em> (about \u003cem>The Bonfire of the Vanities\u003c/em>). It turns out the behind-the-scenes story is every bit as stupefying as film itself.\u003c/p>\n\u003cp>With his winning adaptation of \u003cem>The Disaster Artist\u003c/em>, director/star James Franco follows the model of Tim Burton’s biopic \u003cem>Ed Wood\u003c/em>, approaching Wiseau with a delicate balance of affectionate mockery and a heartfelt appreciation for his creative passion. It would be unforgivably mean-spirited for Franco merely to point and laugh, so instead he casts Wiseau as a Hollywood outsider who chose to defy the gatekeepers and pursue his cinematic dreams on his own dime. That may be the path of least resistance, given the darker corners of Wiseau’s biography and the gross misogyny at the core of \u003cem>The Room\u003c/em>, but it’s also the most gratifying, because it so firmly embraces the cult that’s rallied around Wiseau and his peculiar DIY triumph.\u003c/p>\n\u003cp>Before the cameras start to roll, however, \u003cem>The Disaster Artist\u003c/em> begins with the friendship between Wiseau (James Franco) and Sestero (Dave Franco), two Hollywood nobodies who meet at an acting class and wind up making history together. In Sestero’s telling, he is the passenger in a car that is careening down Sunset Boulevard, a passive accomplice to the runaway ambitions of a man who wants to be the next James Dean or Marlon Brando and has the money to make it happen. When Wiseau hacks out a script for \u003cem>The Room\u003c/em>, Sestero recognizes it as a nonsensical, subliterate bafflement, but Wiseau’s mysterious millions will the production into existence anyway and movie anti-magic commences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cMKX2tE5Luk'\n title='//www.youtube.com/embed/cMKX2tE5Luk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the book and in the film, there’s something naggingly inauthentic about Sestero’s friendship with Wiseau: He presents himself as an insider while also keeping his distance, in case anyone might associate him with historic failure. But \u003cem>The Disaster Artist\u003c/em> is comedy gold once Wiseau starts making \u003cem>The Room\u003c/em> in earnest and Franco re-creates every misstep with the scrupulousness of a medieval monk transcribing religious text. There are production follies, like Wiseau shooting on digital and film simultaneously or using green screens of a balcony rather than the real thing, and there are multiple takes of treasured moments, culminating in the immortal “You’re tearing me apart, Lisa!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Disaster Artist\u003c/em> eases into the uncomfortable nature of a so-bad-it’s-good phenomenon like \u003cem>The Room\u003c/em>, when audiences turn out to hoot at a film that its creator intended to move them. The real-life Wiseau has been steering into that curve for years — he even tried to promote it as a “black comedy” — but the film does well to register the sting of failure while celebrating the creative spirit that drove him to realize his ambitions. As someone who has attached his name to plenty of ill-conceived enterprises himself recently — he adapted unadaptable William Faulkner and Cormac McCarthy novels in the same year! — Franco understands the perils of the profession. In that respect, Wiseau isn’t a case study. He’s a kindred spirit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Disaster+Artist%27+Is+%27The+Room%27+Where+It+Happened&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Def Jam Recordings co-founder Russell Simmons announced Thursday that he would relinquish his leadership roles in “all the companies I founded,” after a second woman accused him of sexual assault.\u003c/p>\n\u003cp>Following the publication of a letter by writer Jenny Lumet in \u003cem>The Hollywood Reporter\u003c/em>, Simmons issued \u003ca href=\"https://www.instagram.com/p/BcH9Ua3DVaj/?taken-by=unclerush\">a statement\u003c/a> that he would be “removing” himself from his companies. In his statement, Simmons acknowledges Lumet’s allegation but only admits to being “thoughtless and insensitive in some of my relationships over many decades.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.hollywoodreporter.com/news/writer-jenny-lumet-russell-simmons-sexually-violated-me-guest-column-1062934\">her letter\u003c/a>, Lumet — who is a story writer on the Tom Cruise film \u003cem>The Mummy\u003c/em>, which was released this year, and the daughter of director Sidney Lumet — writes that Simmons had expressed romantic interest in her prior to the night of the alleged assault, sending her 250 balloons. Some time after, she says, Simmons offered her a ride home after a dinner but then directed his driver to take them to Simmons’ home, despite her repeated requests to be driven to her home.\u003c/p>\n\u003cp>“I felt dread and disorientation,” she writes, “I wanted to go home. I said I wanted to go home. I didn’t recognize the man next to me. I didn’t know if the situation would turn violent. I remember thinking that I must be crazy; I remember hoping that the Russell I knew would return any moment.”\u003c/p>\n\u003cp>“Alone in the elevator” to Simmons’ apartment, Lumet continues, “you pressed me into the corner with your body, your hands and your mouth.” She then describes making “the trade in my mind” and acquiescing to sex with Simmons, fearing for her safety if she refused.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Nov. 19, the model Keri Claussen Khalighi also levied allegations of sexual assault against Simmons, \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-brett-ratner-russell-simmons-20171119-htmlstory.html\">telling The Los Angeles Times\u003c/a> that Simmons and the director Brett Ratner — himself the subject of sexual assault allegations by six women, also reported \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-ct-brett-ratner-allegations-20171101-htmlstory.html\">by the Times\u003c/a> — had invited her back to Ratner’s apartment. There, the newspaper writes, Simmons reportedly began “yanking off” Khalighi’s clothes and “tried to force her to have intercourse.”\u003c/p>\n\u003cp>Khalighi said the assault occurred in 1991, the same year Lumet said she was assaulted by Simmons.\u003c/p>\n\u003cp>Simmons \u003ca href=\"https://twitter.com/UncleRUSH/status/932249961638584320\">denied\u003c/a> Khalighi’s accusations the day they were published, writing that their interaction was “completely consensual and with Keri’s full participation.” He continued: “Let me be crystal clear and very direct. Abusing women in any way shape or form violates the very core of my being.”\u003c/p>\n\u003cp>Simmons is best-known as the co-founder Def Jam Recordings, one of the keystone labels in the history of hip-hop, which he and Rick Rubin famously began in Rubin’s New York University dorm room. Rubin sold his portion of the company to Simmons four years after the label’s founding. In 1999, Simmons sold off his stake in the label to Universal Music Group for a reported $100 million. In the years since, Simmons has been a producer, writer and guest star on the reality series \u003cem>Run’s House\u003c/em>, starring Reverend Run of Run-DMC. The hip-hop group helped establish Def Jam as a cornerstone in the mainstream development of hip-hop. Simmons has founded several other companies, most recently digital media startup All Def Digital.\u003c/p>\n\u003cp>A representative for Def Jam declined to comment; All Def Digital couldn’t immediately be reached for comment.\u003c/p>\n\u003cp>Simmons is the latest high-profile figure — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/28/567026934/npr-chief-news-editor-departs-in-wake-of-harassment-allegations\">two senior news executives\u003c/a> at NPR — forced to publicly reckon with damaging allegations of sexual misconduct against women. On Wednesday, longtime \u003cem>Today\u003c/em> co-host Matt Lauer was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\">fired by NBC News\u003c/a> following sexual assault allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will step aside,” Simmons concludes in Thursday’s statement, “and commit myself to continuing my personal growth, spiritual learning and above all to listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Russell+Simmons+%27Removing%27+Himself+After+2nd+Allegation+Of+Sexual+Assault&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Def Jam Recordings co-founder Russell Simmons announced Thursday that he would relinquish his leadership roles in “all the companies I founded,” after a second woman accused him of sexual assault.\u003c/p>\n\u003cp>Following the publication of a letter by writer Jenny Lumet in \u003cem>The Hollywood Reporter\u003c/em>, Simmons issued \u003ca href=\"https://www.instagram.com/p/BcH9Ua3DVaj/?taken-by=unclerush\">a statement\u003c/a> that he would be “removing” himself from his companies. In his statement, Simmons acknowledges Lumet’s allegation but only admits to being “thoughtless and insensitive in some of my relationships over many decades.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.hollywoodreporter.com/news/writer-jenny-lumet-russell-simmons-sexually-violated-me-guest-column-1062934\">her letter\u003c/a>, Lumet — who is a story writer on the Tom Cruise film \u003cem>The Mummy\u003c/em>, which was released this year, and the daughter of director Sidney Lumet — writes that Simmons had expressed romantic interest in her prior to the night of the alleged assault, sending her 250 balloons. Some time after, she says, Simmons offered her a ride home after a dinner but then directed his driver to take them to Simmons’ home, despite her repeated requests to be driven to her home.\u003c/p>\n\u003cp>“I felt dread and disorientation,” she writes, “I wanted to go home. I said I wanted to go home. I didn’t recognize the man next to me. I didn’t know if the situation would turn violent. I remember thinking that I must be crazy; I remember hoping that the Russell I knew would return any moment.”\u003c/p>\n\u003cp>“Alone in the elevator” to Simmons’ apartment, Lumet continues, “you pressed me into the corner with your body, your hands and your mouth.” She then describes making “the trade in my mind” and acquiescing to sex with Simmons, fearing for her safety if she refused.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Nov. 19, the model Keri Claussen Khalighi also levied allegations of sexual assault against Simmons, \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-brett-ratner-russell-simmons-20171119-htmlstory.html\">telling The Los Angeles Times\u003c/a> that Simmons and the director Brett Ratner — himself the subject of sexual assault allegations by six women, also reported \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-ct-brett-ratner-allegations-20171101-htmlstory.html\">by the Times\u003c/a> — had invited her back to Ratner’s apartment. There, the newspaper writes, Simmons reportedly began “yanking off” Khalighi’s clothes and “tried to force her to have intercourse.”\u003c/p>\n\u003cp>Khalighi said the assault occurred in 1991, the same year Lumet said she was assaulted by Simmons.\u003c/p>\n\u003cp>Simmons \u003ca href=\"https://twitter.com/UncleRUSH/status/932249961638584320\">denied\u003c/a> Khalighi’s accusations the day they were published, writing that their interaction was “completely consensual and with Keri’s full participation.” He continued: “Let me be crystal clear and very direct. Abusing women in any way shape or form violates the very core of my being.”\u003c/p>\n\u003cp>Simmons is best-known as the co-founder Def Jam Recordings, one of the keystone labels in the history of hip-hop, which he and Rick Rubin famously began in Rubin’s New York University dorm room. Rubin sold his portion of the company to Simmons four years after the label’s founding. In 1999, Simmons sold off his stake in the label to Universal Music Group for a reported $100 million. In the years since, Simmons has been a producer, writer and guest star on the reality series \u003cem>Run’s House\u003c/em>, starring Reverend Run of Run-DMC. The hip-hop group helped establish Def Jam as a cornerstone in the mainstream development of hip-hop. Simmons has founded several other companies, most recently digital media startup All Def Digital.\u003c/p>\n\u003cp>A representative for Def Jam declined to comment; All Def Digital couldn’t immediately be reached for comment.\u003c/p>\n\u003cp>Simmons is the latest high-profile figure — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/28/567026934/npr-chief-news-editor-departs-in-wake-of-harassment-allegations\">two senior news executives\u003c/a> at NPR — forced to publicly reckon with damaging allegations of sexual misconduct against women. On Wednesday, longtime \u003cem>Today\u003c/em> co-host Matt Lauer was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\">fired by NBC News\u003c/a> following sexual assault allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will step aside,” Simmons concludes in Thursday’s statement, “and commit myself to continuing my personal growth, spiritual learning and above all to listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Russell+Simmons+%27Removing%27+Himself+After+2nd+Allegation+Of+Sexual+Assault&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music",
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"content": "\u003cp>\u003cstrong>Imagine you are\u003c/strong> in an averagely pleasant pub in Manhattan, talking to a couple of people, half-listening to the music being played from the ceiling speakers, until a song from the distant past makes you start listening closely.\u003c/p>\n\u003cp>The song is Homer Banks’ “\u003ca href=\"https://www.youtube.com/watch?v=CrMgLRZ6Wzk\" target=\"_blank\" rel=\"noopener\">60 Minutes of Your Love\u003c/a>,” from 1966, which was not an American hit, but became a favorite in the English mod club-dancer’s canon of rediscovery called Northern Soul. Now this is a \u003cem>song\u003c/em>: undiluted momentum from the first beat, one satisfying jolt after another. There you are, having an encounter with music’s past. You point at the ceiling in recognition. You realize that you have been pointing at the ceiling more often lately.\u003c/p>\n\u003cp>All right: “You” is really me. I am a music critic, for whom all songs carry some kind of coding. I would be paying attention anyway — but I have a feeling you’d have noticed that song too. A while after Homer Banks, Ruth Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=OA2U5Rh8-qg\" target=\"_blank\" rel=\"noopener\">Wild, Wild Young Men\u003c/a>,” from 1953, came on. Ruth Brown is in the Rock and Roll Hall of Fame and her song \u003cem>was \u003c/em>a hit, rising to No. 3 on the R&B charts that year; even so, you’d need to have a pretty decent grip on the history of American music to know it by ear. Later, I heard a few southern rock-shuffles strung together, including ZZ Top’s famous “\u003ca href=\"https://www.youtube.com/watch?v=Vppbdf-qtGU\" target=\"_blank\" rel=\"noopener\">La Grange\u003c/a>” and a more recent and more leaden one that I felt I should know and didn’t. (It bothered me that I didn’t.) And then, out of the blue: Blind Melon’s “\u003ca href=\"https://www.youtube.com/watch?v=3qVPNONdF58\" target=\"_blank\" rel=\"noopener\">No Rain\u003c/a>,” a doughy song that seemed to be for some other place than this one, an early ’90s MTV hit which I suspect far more people know than like. It felt even more shallow than usual, by virtue of the depth that had preceded it.\u003c/p>\n\u003cp>Clearly, I was listening to a streaming-service algorithm. The overall sequence made no sense. The music in that place, while I was there, at first felt like a gift — and then like an encounter with an alien presence. It had “taste” — and then no-taste. (Not “tastelessness,” but an \u003cem>absence\u003c/em> of so-called taste.) The signifiers had gone haywire.\u003c/p>\n\u003cp>Part of becoming an adult is learning to recognize cultural signifiers, which tell you something about where you are and who’s behind the bar and what kind of time you might be having before you leave. These signifiers (not just musical ones) always, in some way, have to do with history, with the past. That Blind Melon song retroactively soured the Homer Banks encounter a little. Also, I recognized that Homer Banks song, but what if I didn’t? The appropriate or typical response to it in our time might not be \u003cem>this is part of a tradition about which I want to know more, \u003c/em>but rather: \u003cem>what the hell is this? \u003c/em>And then, maybe, at best, a\u003cem> \u003c/em>half-step further: \u003cem>What’s the footprint of this thing? How many views on YouTube? Who knew about it first? How did this escape me? How did it find me? \u003c/em>And so on. A paradoxical reaction, both uninformed and\u003cem> \u003c/em>connoisseur-ish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a different example. A few weeks ago, in my Discover Weekly playlist on Spotify — constructed by an algorithm for someone of my data-set – came “\u003ca href=\"https://www.youtube.com/watch?v=gLyoHrZ1kqY\" target=\"_blank\" rel=\"noopener\">Pourquoi Tu Me Fous Plus des Coups?\u003c/a>,” an electro-pop love song, a good one, by the French-Vietnamese singer An Luu. I put its lyrics into a translation engine: The conceit of the song is domestic abuse — one of those he-hit-me-and-it-felt-like-a-kiss songs, a complicated and disconcerting trope that also comes up in Bessie Smith, Rodgers and Hammerstein, The Crystals and Lana Del Rey. I’d never heard of An Luu,\u003cem> \u003c/em>so\u003cem> \u003c/em>I looked her up online. Oh, okay — she’s an actor; she was in the movie \u003cem>Diva. \u003c/em>I remember that. Otherwise, not much there. A YouTube video with about 10,000 views, and also a \u003ca href=\"http://blog.joshuadsites.com/2017/04/25/todays-lesson-an-luu-pourquoi-tu-me-fous-plus-des-coups/\" target=\"_blank\" rel=\"noopener\">blog post about it\u003c/a> written a few months ago by a media-studies Ph.D in Indiana. “I don’t know how or why Spotify recommended this track to me,” that Ph.D student wrote, “but I sure am grateful they did.” Like me, he was registering the surprise of secondary use. Meaning: He didn’t come to the song because something led him toward the work of An Luu, French-Vietnamese actor and singer, in and of herself. He came to it incidentally, because Spotify used it, within a playlist, as an act of seduction by orphaned data.\u003c/p>\n\u003cp>I’d want to know who An Luu is and what else she did and what led her to record “Pourquoi Tu Me Fous Plus des Coups?” (The song was written, unsurprisingly, by two men — Jacques Duvall and Philipe Chany.) But Spotify won’t tell me any of that, because Spotify tells you very little. Instead, I’m given an encounter that ends with me wondering: \u003cem>What the hell is this? \u003c/em>Nevertheless, now I recognize the song, for what it’s worth.\u003c/p>\n\u003cp>My sense is that such encounters, just like encountering little-known songs in movies and advertisements and new TV shows (such as when the funk-pop slow-dance “\u003ca href=\"https://www.youtube.com/watch?v=ODgezpIjR9k\" target=\"_blank\" rel=\"noopener\">Amarsi Un Po\u003c/a>” by Lucio Battisti, a wise and searching Italian pop singer of the ’70s and ’80s who never had any American audience whatsoever, appeared on \u003cem>Master of None\u003c/em> last spring) are changing, perhaps subtly, what we are looking for from the past. And just as importantly, what we are getting.\u003c/p>\n\u003cp>I’m going to generalize for a minute. The new assumption we carry around is that we know most of what we need to know because of the considerable labor most of us put into using social media and streaming services. If you use them, think of how many ideas, observations, warnings, judgments, alarms, images, videos and sounds you absorb regularly. The neuroscientist Daniel Levitin has, by some wild math, estimated the information intake of a social-media user as similar to reading 175 newspapers per day. I would imagine this all leads us to feel we recognize what is “relevant” simply because we feel the fatigue of so much keeping up. If something escapes our attention, it must be pretty negligible. Relevance, as logic requires, is finite. If it weren’t, then everything would be relevant, and there would be no use for the concept. What really takes us by surprise is when we hear music that has perhaps never been important to our way of thinking but is somehow smuggled into our presence. We experience a feeling of temporary disbelief, or of being privy to an alternate reality. It’s lucky to get our attention.\u003c/p>\n\u003cp>Old music, reframed or brought into new circulation, can be as dynamic and unpredictable as new music. Its work is not done by the end of its own epoch. This was always so, but once, only a small number of people truly knew it; scholars, mostly, who understand that the past evolves by our understanding of its context. People like Mary Beard, the Cambridge professor of ancient Greek and Latin languages and history, who \u003ca href=\"http://www.nybooks.com/articles/2012/01/12/do-classics-have-future/\" target=\"_blank\" rel=\"noopener\">wrote in a 2012 essay\u003c/a> that “the study of the Classics is the study of what happens in the gap between antiquity and ourselves.”\u003c/p>\n\u003cp>College-radio DJs, a guild whose influence is disappearing, knew too. I was one during what I take to be the first great wave of reissued popular music, the mid-’80s. American roots music issued from little record labels in Massachusetts, California, Germany, England; Rounder, Arhoolie, Bear Family, Charly, Ace. (Reissues of funk, disco, electronic and psychedelic music came slightly later.) When Ace, an English label, released B. B. King’s music from the 1950s in an ongoing series of LPs during the mid-’80s, there was a sense that a presidential door had been unbolted. These extravagant outpourings of blues, massive and sophisticated and virtuosic, weren’t really accessible in any other way. There was no YouTube, no Amazon, no Discogs, no Spotify. Even when Ace made it available, this music would not probably reach you unless you moved toward it — and when you did, you committed yourself a little. Here was the past as national library, offering you on the back cover what sober and legitimate context was required, but otherwise letting the work, in considerable quantities, stand for its own powerful self.\u003c/p>\n\u003cp>Around the same time came a different orientation to the past, typified by the Norton label, run by Miriam Linna and Billy Miller. Norton presented American music from the ’50s and ’60s as regional and eccentric and extreme. Hits, in Norton logic, were exceptions; the more common reality was a bunch of tapes made by nobodies like Hasil Adkins, Wade Curtiss and Jack Starr. “The idea was the discovery of stuff that was not available at all,” Linna told me. “We hated to call ourselves a reissue label — we wanted to find people whose music was \u003cem>never\u003c/em> released.” Here was the past as delirious garage-cult fandom, with lots of information attached, and it was just as immersive as the legit kind — again, as long as \u003cem>you went toward it\u003c/em>, rather than \u003cem>waiting for it to come toward you\u003c/em>.\u003c/p>\n\u003cp>When I think about listening to those B.B. King records in 1986, I am thinking of a time when the role of music’s present was usually surprise, counter-argument and probable oblivion. The role of music’s past was confirmation, grounding, study and possible immortality. My sense is that these roles are being reversed. In 2014, Daniel Ek, the CEO of Spotify, said to the \u003cem>New Yorker\u003c/em> journalist John Seabrook: “We’re not in the music space — we’re in the moment space.” This implies that music’s past could become a sequence of brief, discontinuous moments, like quick-fading Snapchat pictures.\u003c/p>\n\u003cp>Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. I liked that idea, and I imagine Mary Beard would too. But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape.\u003c/p>\n\u003cfigure id=\"attachment_13815921\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cassette.jpg\" alt=\"Audio cassette.\" width=\"500\" height=\"323\" class=\"size-full wp-image-13815921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-375x242.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Audio cassette. \u003ccite>(Serts/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My encounter with Homer Banks\u003c/strong> happened during a conversation I was having in an Irish pub with Ken Shipley and Rob Sevier, who run the Numero Group, a Chicago-based label for reissuing old music. They have worked together for 15 years, long enough to become foils: Shipley is sparky and associative, optimistically building theories, and Sevier is saturnine and skeptical, taking them apart.\u003c/p>\n\u003cp>They were in Manhattan on scouting trips. The day before, they’d visited a private collector of instructional belly-dancing records in Brooklyn; they’re working on a project about what they called “appropriated ethnic music.” After meeting me, they were off to visit a New York avant-gardist of great stature with a promising archive of early work. They spend long periods of time working on multiple deep and esoteric projects simultaneously, finding master tapes, securing the rights, then doing the complicated work of re-framing the past. This is their passion.\u003c/p>\n\u003cp>Are they obscurity snobs? Probably. But beyond that, they are betting on a belief that even average listeners know there is more to the history of music than what has been placed before them by radio, algorithms or the happenstance of social media. Their work has originality and integrity as \u003cem>primary-use\u003c/em> culture — you buy, you \u003cem>move towards\u003c/em>, a Numero Group record or box set dedicated to a single artist or label from the past, beautifully designed and well-annotated, and you’re going to learn a lot. But primary use isn’t paying the bills anymore.\u003c/p>\n\u003cp>“Ten years ago, it didn’t take any effort to sell 5 to 10,000 CDs,” Shipley told me. “Now you’re lucky if you can sell 3,000.” Just recently, as they noticed in their last round of royalty statements, Numero has started to sell more LPs than CDs. And though there has been a gradual rise in the sales of LPs, the few small (actual) stores that sell them, as Shipley explained, prioritize LPs that young people are actually going to buy. The Beatles’ \u003cem>Abbey Road\u003c/em>, Metallica’s \u003cem>Kill ‘Em All\u003c/em>, and so on. There may not be room in the bin for obscure soul records after that. The LP revival does not lift all boats.\u003c/p>\n\u003cp>Not long ago, they realized the vastness of their interests was outpacing the market. They’d been great at the game of reframing the past and won Grammys for their work, but were now sitting on dead stock. As a consequence, they are putting out far fewer records now, a fifth as many as they did four years ago. And their priority, increasingly, is to be able to administer the “sync rights” (synchronization rights, for songs to be used in movies or TV or in ads) themselves. They’ve negotiated for songs — mostly American music from the ’60s and ’70s — in many movies: \u003cem>The Circle, The Trust, Loving \u003c/em>— lots and lots. Take my word for it. If you don’t talk about music while pointing at the ceiling in bars, perhaps you are doing it while pointing at the television. Same thing. You are pointing at the means of production. Secondary use.\u003c/p>\n\u003cp>“Our business is changing away from being a record company to being a copyright company, which is kind of ugly,” Shipley said. From primary to secondary. “But: You make these records, they’re really beautiful, and the record audience is actually really minimal. I don’t care who you talk to” — here he named four other pre-eminent “reissue” labels — “Light in the Attic, Ace, Rhino, Now Again. Physical business is not the business any more, it can’t survive on selling CDs and LPs. It’s not a sustainable way of thinking about copyrights. The sustainable way is to figure out: One, how can you get something to stream as many times as possible? Two, how can you put it in a film, television show, or advertisement? Those are the two avenues for historical music that are available to finance it.”\u003c/p>\n\u003cp>They hope that the \u003ca href=\"https://open.spotify.com/user/numerogroup/playlist/52WrPQG9sn9xVS9PK00i2z\" target=\"_blank\" rel=\"noopener\">’60s Girl Group playlist\u003c/a> they made for Spotify, full of obscurities, called “Basement Beehive,” will become more widely listened to than the mainstream-oriented one created by Spotify. (It’s making gains. It could happen.)\u003c/p>\n\u003cp>Actively reframing the past is another way. Shipley and Sevier, who are putting their fingerprints on currents in music of the past that did not have a name or genre: “Kid Soul” (little-known Motown-era bands with pre-adolescent singers), “Black Vietnam” (war-haunted ’70s soul and funk). They’re taking many approaches: national-library, garage-cult, critical reframing \u003cem>and\u003c/em> playlisting. They are sharing minute obsessions for fun, because obsession is fun, and it is communicable. But they are also challenging theories of relevance.\u003c/p>\n\u003cp>“We’re reframing in a way that \u003cem>corrects for hits,” \u003c/em>Sevier told me. “Look at what the history of popular music is at any given point. What’s focused on are the hits. We’re getting into what happened at the time and creating a restructured version that just looks at what happened in the scene, but doesn’t have anything to do with hits. Isn’t interested in it.” The restructured version doesn’t just rule out big, dumb pop music; it might rule out B. B. King, too. But their theory is still legitimate. The American imagination, and American media, can stand to devote more time considering what was \u003cem>not\u003c/em> made successful by the usual commercial forces.\u003c/p>\n\u003cp>When I pointed at the ceiling, Shipley and Sevier both made the same doubtful face. They were listening to the whole sequence of songs, not just the one that got me excited. This, I said to them, must be the real challenge in your work — it’s easy now to have an \u003cem>adequately new\u003c/em> experience with old music. You don’t need to be curious about anything in particular; you just leave it to an algorithm or a new Netflix show and you’ll hear something you don’t know. They looked at me as if I didn’t know the half of it. Or a fifth of it.\u003c/p>\n\u003cp>\u003cstrong>As Shipley suggested\u003c/strong>, I spoke to Matt Sullivan, of Light in the Attic, founded in 2002. “The sync world… to be frank, it’s one of the last bastions of making a living in music,” he said. His label, he explained, had hired one person to work on licensing ten years ago — now it has three. “There are more original TV shows,” he said, “and a lot of supervisors now — this has been building for the last 15 or 20 years — come from a college radio or record-store background. \u003cem>Master of None\u003c/em>, or \u003cem>Fargo\u003c/em>, these shows have phenomenal music. They’re almost the new form of college radio, in terms of a discovery tool.”\u003c/p>\n\u003cp>This seems true. You want to know about new hip-hop and R&B? Watch \u003cem>Insecure. \u003c/em>You want to see music used with subtlety as a mood, or as an extension of the character? Watch the shows Sullivan mentioned, or \u003cem>Transparent, \u003c/em>or \u003cem>Big Little Lies\u003c/em>, whose music supervisor, Susan Jacobs, very recently won the first-ever Emmy for music supervision.\u003c/p>\n\u003cp>Like Numero Group, Light in the Attic has released some of the most interesting records of the last 15 years: its \u003cem>Native North America \u003c/em>compilation of Canadian Native-American folk-rock; the catalogs of Lizzie Mercier Descloux, Betty Davis, Françoise Hardy, and Rodriguez, all of which can reorder and expand the histories of pop you have in your head. It just put out a collection of the work of the 1990s Los Angeles post-rock band Acetone, a band which for me certainly needed reframing, since I ignored them at the time. At the moment, starting with the compilation \u003cem>Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973\u003c/em>, the label is looking toward Japanese pop from the ’70s and ’80s, the next frontier for discophiles — and if Sullivan is lucky, for secondary use.\u003c/p>\n\u003cp>It could be that the current generation of music supervisors for TV and film are establishing a new express lane that connects a certain kind of obscurantist taste (mining for overlooked artists who are either representative or unusual, but not exceptional in the old way, the stun-you-up-front, accomplished-all-around way of B.B. King, or Aretha Franklin, or Prince) and the most powerful secondary-source platforms for music. From there, they all run together; an obscure old song that gains traction in a film or TV show can quickly enter streaming-service playlists.\u003c/p>\n\u003cfigure id=\"attachment_13815922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg\" alt=\"Our relationships to music are dictated by the means of its transmission to us\" width=\"800\" height=\"392\" class=\"size-medium wp-image-13815922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-768x376.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1180x578.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-960x470.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-520x255.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Our relationships to music are dictated by the means of its transmission to us \u003ccite>(Getty/Glasshouse Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I can fancy a man,”\u003c/strong> wrote Oscar Wilde in \u003cem>The Critic as Artist\u003c/em>, “who had led a perfectly commonplace life, hearing by chance some curious piece of music, and suddenly discovering that his soul, without his being conscious of it, had passed through terrible experiences, and known fearful joys, or wild romantic loves, or great renunciations.” Music is particularly good at suggesting a kind of alternative past for the listener, Wilde argued, because it is always implying motion, and because it has a life of its own. It can’t be bound by the intention of the composer.\u003c/p>\n\u003cp>Zach Cowie might disagree. I used to correspond with him 15 years ago when he worked as a publicist for Drag City records, and it was clear that he knew more about music than most of the writers he was helping. He is now one of the music supervisors for \u003cem>Master of None\u003c/em> (he and Kerri Drootin are responsible for that Lucio Battisti moment at the end of that show’s second season). They were also nominated for the music-supervising Emmy this year. He finds himself in an interesting position: His job is encouraging secondary use, but he worries about what secondary use is doing to music.\u003c/p>\n\u003cp>“I don’t think any music goes beyond its intention,” he told me. “And a lot of music that is being passed my way as a supervisor has a commercial intent. A lot of reasons got us to this point, but I can detect it right away. My interest in finding these old things is to find music that was made for the \u003cem>sake of making music,”\u003c/em> he said. “Music-making has changed so much since the era of everything’s-available, to where I hear more direct derivativeness than ever before. I get pitched stuff all day: ‘Imagine Kate Bush fronting Kraftwerk!’ Well, the reason I love Kate Bush and I love Kraftwerk is because they never wanted to be anything other than themselves.”\u003c/p>\n\u003cp>If Cowie is right — and if the commercial intent of more and more new music is, increasingly, for secondary use — what then? Will ahistoricism eventually make all music even out? The English theorist and critic Mark Fisher, who died earlier this year at the age of 48, had a Marxist answer to this question. Capitalism, as he wrote about it in the books \u003cem>Capitalist Realism \u003c/em>and \u003cem>Ghosts of My Life, \u003c/em>unhitches us from a structured idea of history and makes us unable to imagine a future of any kind, including a future of art. He noticed that pastiche was all around us in pop music of the ’80s, coming with quotation marks included. But around the turn of the 21st century, he argued, the quotation marks came off, resulting in bands like the Arctic Monkeys. “They’re clearly a retro group,” he said in \u003ca href=\"http://crackmagazine.net/article/music/mark-fisher-interviewed/\">an interview from 2014\u003c/a>, “but the category of retro doesn’t make any sense anymore because it’s retro compared to what?” It was around 2003, in his estimation, when he felt that listeners on a grand scale got used to the idea that they would never hear anything new again.\u003c/p>\n\u003cp>I’m sympathetic to that idea, but I can’t fully get on board with it. Fisher was generally talking about pop music, which carries the profit motive genetically. But pop music isn’t all music, and it makes sense that what lives by capitalism may die by it. I have spent a lot of time writing and thinking about music in which innovation happens slowly, and in which tendencies that might otherwise be known as “retro” are really strategies for survival, for learning from the elder spirits. In jazz, the elder spirits are often still alive, playing, sometimes giving lessons. Then there’s hip-hop. Hip-hop’s never satisfied for long. It comes with aspirations of change.\u003c/p>\n\u003cp>This isn’t a bad period for music’s past. (No time ever was.) And it has some clear advantages — a mania about stories, stoked by public radio and podcasts and documentaries; the everything’s-available assumption, making what is \u003cem>not \u003c/em>available seem exotically attractive; a sense of sociocultural reparation, leading the charge in bringing some artists back to light; and a furious new intensity of research, which is a byproduct of all the other advantages. (For example, A 12,000-word essay accompanies Numero’s Hüsker Dü box set.) Now may be the time of passive encounters and secondary use, but it is also the time of the Julius Eastman revival. Eastman, the New York composer who died in 1990, was uncannily contemporary —an honorary citizen of \u003cem>now\u003c/em> — in his forthright blackness, gayness, and disinterest in institutional power. The reissue culture of the last few years has directed us to his recorded music and has started to bring his repertory into contemporary music ensembles. None of this happened because of ahistoricism — quite the opposite.\u003c/p>\n\u003cp>But what if the real proof of Eastman’s relevance is if his music becomes used for TV shows and streaming playlists, and thereafter lives only as vague allusions in the music of others who want their tunes to be picked up for later secondary use?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg\" alt=\"\" width=\"500\" height=\"275\" class=\"alignright size-full wp-image-13815924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-160x88.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-240x132.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-375x206.jpeg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>\u003cstrong>The real lesson of the past\u003c/strong>, now that cultural artifacts have become so easy to share, is the unwieldiness of it. Once there wasn’t enough, now there’s too much to go around. A national-library approach to old music, understanding artists of special stature in and of themselves, may be respectful and responsible and history-minded, but isn’t the only way, and can hardly be trusted. Who has bestowed the special stature? And what’s their stake in it?\u003c/p>\n\u003cp>One of my recent interests is an English label, or some kind of music-organizing entity called \u003ca href=\"https://twitter.com/deathisnot?lang=en\">Death Is Not the End\u003c/a>, run by Luke Owen. He finished university seven years ago, he told me, and has worked for record distributors ever since, surrounded by old music. He has put together a series of brilliant shows for NTS — an English, web-based radio-station — filled with music still lurking below the level of collection, from pre-LP times, from the radio, from microphones someone stuck in the air at a certain time and place. The shows overlap with what he has released on his label, mostly digitally or in small editions on cassette. One of his recent shows, in mid-August, was \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">an edit of various tapes\u003c/a> from from reggae sound-clash and sound-system sets in London during the ’80s and ’90s. They represent hectic places. The backing tracks stop and start, the singers and toasters wail and imprecate and drift in and out, including one called Screamer, who made me think, much like Wilde’s man, \u003cem>I’ve been there. \u003c/em>They’re not unlike field recordings, and as with many field recordings, there’s not a lot of information attached to this music. The assumption, somehow, on behalf of someone, is that you don’t want to know the information, or it’s unknowable, or it’s all better when presented as an uncanny mystery. I’ve looked up Screamer. Next to nothing. Less than An Luu.\u003c/p>\n\u003cp>The recordings come from sites like \u003ca href=\"http://whocorkthedance.com\" target=\"_blank\" rel=\"noopener\">Who Cork The Dance\u003c/a>, among others—online storage-houses of old soundsystem tapes. This isn’t ephemera, it’s the true broth. \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">The sound-clash program\u003c/a> was one of the best things I’ve heard in months. I went toward it, learned from it, made primary use of it. But I also got a major hit of the uncanny feeling, the punch-in-the-neck feeling. I wondered what was rendering this music especially attractive to me: the indistinct, slurry-like sound quality? The density of the action, making me conjure the place? The ongoingness and never-endingness of it, such that one thing is pretty much as good as the next? The fact that I don’t know how to find out more about Screamer?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>What’s the worst\u003c/strong> that can happen? Oh, I don’t know — where to begin? That new music won’t suggest a future; that the only viable use of music’s past is as ahistorical amusement to accompany scripted stories or conversations in bars; and every note ever played will level out into a vaguely seductive past-present. Perhaps, at that point, all music will become field recordings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Within+The+Context+Of+All+Contexts%3A+The+Rewiring+Of+Our+Relationship+To+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Imagine you are\u003c/strong> in an averagely pleasant pub in Manhattan, talking to a couple of people, half-listening to the music being played from the ceiling speakers, until a song from the distant past makes you start listening closely.\u003c/p>\n\u003cp>The song is Homer Banks’ “\u003ca href=\"https://www.youtube.com/watch?v=CrMgLRZ6Wzk\" target=\"_blank\" rel=\"noopener\">60 Minutes of Your Love\u003c/a>,” from 1966, which was not an American hit, but became a favorite in the English mod club-dancer’s canon of rediscovery called Northern Soul. Now this is a \u003cem>song\u003c/em>: undiluted momentum from the first beat, one satisfying jolt after another. There you are, having an encounter with music’s past. You point at the ceiling in recognition. You realize that you have been pointing at the ceiling more often lately.\u003c/p>\n\u003cp>All right: “You” is really me. I am a music critic, for whom all songs carry some kind of coding. I would be paying attention anyway — but I have a feeling you’d have noticed that song too. A while after Homer Banks, Ruth Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=OA2U5Rh8-qg\" target=\"_blank\" rel=\"noopener\">Wild, Wild Young Men\u003c/a>,” from 1953, came on. Ruth Brown is in the Rock and Roll Hall of Fame and her song \u003cem>was \u003c/em>a hit, rising to No. 3 on the R&B charts that year; even so, you’d need to have a pretty decent grip on the history of American music to know it by ear. Later, I heard a few southern rock-shuffles strung together, including ZZ Top’s famous “\u003ca href=\"https://www.youtube.com/watch?v=Vppbdf-qtGU\" target=\"_blank\" rel=\"noopener\">La Grange\u003c/a>” and a more recent and more leaden one that I felt I should know and didn’t. (It bothered me that I didn’t.) And then, out of the blue: Blind Melon’s “\u003ca href=\"https://www.youtube.com/watch?v=3qVPNONdF58\" target=\"_blank\" rel=\"noopener\">No Rain\u003c/a>,” a doughy song that seemed to be for some other place than this one, an early ’90s MTV hit which I suspect far more people know than like. It felt even more shallow than usual, by virtue of the depth that had preceded it.\u003c/p>\n\u003cp>Clearly, I was listening to a streaming-service algorithm. The overall sequence made no sense. The music in that place, while I was there, at first felt like a gift — and then like an encounter with an alien presence. It had “taste” — and then no-taste. (Not “tastelessness,” but an \u003cem>absence\u003c/em> of so-called taste.) The signifiers had gone haywire.\u003c/p>\n\u003cp>Part of becoming an adult is learning to recognize cultural signifiers, which tell you something about where you are and who’s behind the bar and what kind of time you might be having before you leave. These signifiers (not just musical ones) always, in some way, have to do with history, with the past. That Blind Melon song retroactively soured the Homer Banks encounter a little. Also, I recognized that Homer Banks song, but what if I didn’t? The appropriate or typical response to it in our time might not be \u003cem>this is part of a tradition about which I want to know more, \u003c/em>but rather: \u003cem>what the hell is this? \u003c/em>And then, maybe, at best, a\u003cem> \u003c/em>half-step further: \u003cem>What’s the footprint of this thing? How many views on YouTube? Who knew about it first? How did this escape me? How did it find me? \u003c/em>And so on. A paradoxical reaction, both uninformed and\u003cem> \u003c/em>connoisseur-ish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a different example. A few weeks ago, in my Discover Weekly playlist on Spotify — constructed by an algorithm for someone of my data-set – came “\u003ca href=\"https://www.youtube.com/watch?v=gLyoHrZ1kqY\" target=\"_blank\" rel=\"noopener\">Pourquoi Tu Me Fous Plus des Coups?\u003c/a>,” an electro-pop love song, a good one, by the French-Vietnamese singer An Luu. I put its lyrics into a translation engine: The conceit of the song is domestic abuse — one of those he-hit-me-and-it-felt-like-a-kiss songs, a complicated and disconcerting trope that also comes up in Bessie Smith, Rodgers and Hammerstein, The Crystals and Lana Del Rey. I’d never heard of An Luu,\u003cem> \u003c/em>so\u003cem> \u003c/em>I looked her up online. Oh, okay — she’s an actor; she was in the movie \u003cem>Diva. \u003c/em>I remember that. Otherwise, not much there. A YouTube video with about 10,000 views, and also a \u003ca href=\"http://blog.joshuadsites.com/2017/04/25/todays-lesson-an-luu-pourquoi-tu-me-fous-plus-des-coups/\" target=\"_blank\" rel=\"noopener\">blog post about it\u003c/a> written a few months ago by a media-studies Ph.D in Indiana. “I don’t know how or why Spotify recommended this track to me,” that Ph.D student wrote, “but I sure am grateful they did.” Like me, he was registering the surprise of secondary use. Meaning: He didn’t come to the song because something led him toward the work of An Luu, French-Vietnamese actor and singer, in and of herself. He came to it incidentally, because Spotify used it, within a playlist, as an act of seduction by orphaned data.\u003c/p>\n\u003cp>I’d want to know who An Luu is and what else she did and what led her to record “Pourquoi Tu Me Fous Plus des Coups?” (The song was written, unsurprisingly, by two men — Jacques Duvall and Philipe Chany.) But Spotify won’t tell me any of that, because Spotify tells you very little. Instead, I’m given an encounter that ends with me wondering: \u003cem>What the hell is this? \u003c/em>Nevertheless, now I recognize the song, for what it’s worth.\u003c/p>\n\u003cp>My sense is that such encounters, just like encountering little-known songs in movies and advertisements and new TV shows (such as when the funk-pop slow-dance “\u003ca href=\"https://www.youtube.com/watch?v=ODgezpIjR9k\" target=\"_blank\" rel=\"noopener\">Amarsi Un Po\u003c/a>” by Lucio Battisti, a wise and searching Italian pop singer of the ’70s and ’80s who never had any American audience whatsoever, appeared on \u003cem>Master of None\u003c/em> last spring) are changing, perhaps subtly, what we are looking for from the past. And just as importantly, what we are getting.\u003c/p>\n\u003cp>I’m going to generalize for a minute. The new assumption we carry around is that we know most of what we need to know because of the considerable labor most of us put into using social media and streaming services. If you use them, think of how many ideas, observations, warnings, judgments, alarms, images, videos and sounds you absorb regularly. The neuroscientist Daniel Levitin has, by some wild math, estimated the information intake of a social-media user as similar to reading 175 newspapers per day. I would imagine this all leads us to feel we recognize what is “relevant” simply because we feel the fatigue of so much keeping up. If something escapes our attention, it must be pretty negligible. Relevance, as logic requires, is finite. If it weren’t, then everything would be relevant, and there would be no use for the concept. What really takes us by surprise is when we hear music that has perhaps never been important to our way of thinking but is somehow smuggled into our presence. We experience a feeling of temporary disbelief, or of being privy to an alternate reality. It’s lucky to get our attention.\u003c/p>\n\u003cp>Old music, reframed or brought into new circulation, can be as dynamic and unpredictable as new music. Its work is not done by the end of its own epoch. This was always so, but once, only a small number of people truly knew it; scholars, mostly, who understand that the past evolves by our understanding of its context. People like Mary Beard, the Cambridge professor of ancient Greek and Latin languages and history, who \u003ca href=\"http://www.nybooks.com/articles/2012/01/12/do-classics-have-future/\" target=\"_blank\" rel=\"noopener\">wrote in a 2012 essay\u003c/a> that “the study of the Classics is the study of what happens in the gap between antiquity and ourselves.”\u003c/p>\n\u003cp>College-radio DJs, a guild whose influence is disappearing, knew too. I was one during what I take to be the first great wave of reissued popular music, the mid-’80s. American roots music issued from little record labels in Massachusetts, California, Germany, England; Rounder, Arhoolie, Bear Family, Charly, Ace. (Reissues of funk, disco, electronic and psychedelic music came slightly later.) When Ace, an English label, released B. B. King’s music from the 1950s in an ongoing series of LPs during the mid-’80s, there was a sense that a presidential door had been unbolted. These extravagant outpourings of blues, massive and sophisticated and virtuosic, weren’t really accessible in any other way. There was no YouTube, no Amazon, no Discogs, no Spotify. Even when Ace made it available, this music would not probably reach you unless you moved toward it — and when you did, you committed yourself a little. Here was the past as national library, offering you on the back cover what sober and legitimate context was required, but otherwise letting the work, in considerable quantities, stand for its own powerful self.\u003c/p>\n\u003cp>Around the same time came a different orientation to the past, typified by the Norton label, run by Miriam Linna and Billy Miller. Norton presented American music from the ’50s and ’60s as regional and eccentric and extreme. Hits, in Norton logic, were exceptions; the more common reality was a bunch of tapes made by nobodies like Hasil Adkins, Wade Curtiss and Jack Starr. “The idea was the discovery of stuff that was not available at all,” Linna told me. “We hated to call ourselves a reissue label — we wanted to find people whose music was \u003cem>never\u003c/em> released.” Here was the past as delirious garage-cult fandom, with lots of information attached, and it was just as immersive as the legit kind — again, as long as \u003cem>you went toward it\u003c/em>, rather than \u003cem>waiting for it to come toward you\u003c/em>.\u003c/p>\n\u003cp>When I think about listening to those B.B. King records in 1986, I am thinking of a time when the role of music’s present was usually surprise, counter-argument and probable oblivion. The role of music’s past was confirmation, grounding, study and possible immortality. My sense is that these roles are being reversed. In 2014, Daniel Ek, the CEO of Spotify, said to the \u003cem>New Yorker\u003c/em> journalist John Seabrook: “We’re not in the music space — we’re in the moment space.” This implies that music’s past could become a sequence of brief, discontinuous moments, like quick-fading Snapchat pictures.\u003c/p>\n\u003cp>Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. I liked that idea, and I imagine Mary Beard would too. But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape.\u003c/p>\n\u003cfigure id=\"attachment_13815921\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cassette.jpg\" alt=\"Audio cassette.\" width=\"500\" height=\"323\" class=\"size-full wp-image-13815921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-375x242.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Audio cassette. \u003ccite>(Serts/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My encounter with Homer Banks\u003c/strong> happened during a conversation I was having in an Irish pub with Ken Shipley and Rob Sevier, who run the Numero Group, a Chicago-based label for reissuing old music. They have worked together for 15 years, long enough to become foils: Shipley is sparky and associative, optimistically building theories, and Sevier is saturnine and skeptical, taking them apart.\u003c/p>\n\u003cp>They were in Manhattan on scouting trips. The day before, they’d visited a private collector of instructional belly-dancing records in Brooklyn; they’re working on a project about what they called “appropriated ethnic music.” After meeting me, they were off to visit a New York avant-gardist of great stature with a promising archive of early work. They spend long periods of time working on multiple deep and esoteric projects simultaneously, finding master tapes, securing the rights, then doing the complicated work of re-framing the past. This is their passion.\u003c/p>\n\u003cp>Are they obscurity snobs? Probably. But beyond that, they are betting on a belief that even average listeners know there is more to the history of music than what has been placed before them by radio, algorithms or the happenstance of social media. Their work has originality and integrity as \u003cem>primary-use\u003c/em> culture — you buy, you \u003cem>move towards\u003c/em>, a Numero Group record or box set dedicated to a single artist or label from the past, beautifully designed and well-annotated, and you’re going to learn a lot. But primary use isn’t paying the bills anymore.\u003c/p>\n\u003cp>“Ten years ago, it didn’t take any effort to sell 5 to 10,000 CDs,” Shipley told me. “Now you’re lucky if you can sell 3,000.” Just recently, as they noticed in their last round of royalty statements, Numero has started to sell more LPs than CDs. And though there has been a gradual rise in the sales of LPs, the few small (actual) stores that sell them, as Shipley explained, prioritize LPs that young people are actually going to buy. The Beatles’ \u003cem>Abbey Road\u003c/em>, Metallica’s \u003cem>Kill ‘Em All\u003c/em>, and so on. There may not be room in the bin for obscure soul records after that. The LP revival does not lift all boats.\u003c/p>\n\u003cp>Not long ago, they realized the vastness of their interests was outpacing the market. They’d been great at the game of reframing the past and won Grammys for their work, but were now sitting on dead stock. As a consequence, they are putting out far fewer records now, a fifth as many as they did four years ago. And their priority, increasingly, is to be able to administer the “sync rights” (synchronization rights, for songs to be used in movies or TV or in ads) themselves. They’ve negotiated for songs — mostly American music from the ’60s and ’70s — in many movies: \u003cem>The Circle, The Trust, Loving \u003c/em>— lots and lots. Take my word for it. If you don’t talk about music while pointing at the ceiling in bars, perhaps you are doing it while pointing at the television. Same thing. You are pointing at the means of production. Secondary use.\u003c/p>\n\u003cp>“Our business is changing away from being a record company to being a copyright company, which is kind of ugly,” Shipley said. From primary to secondary. “But: You make these records, they’re really beautiful, and the record audience is actually really minimal. I don’t care who you talk to” — here he named four other pre-eminent “reissue” labels — “Light in the Attic, Ace, Rhino, Now Again. Physical business is not the business any more, it can’t survive on selling CDs and LPs. It’s not a sustainable way of thinking about copyrights. The sustainable way is to figure out: One, how can you get something to stream as many times as possible? Two, how can you put it in a film, television show, or advertisement? Those are the two avenues for historical music that are available to finance it.”\u003c/p>\n\u003cp>They hope that the \u003ca href=\"https://open.spotify.com/user/numerogroup/playlist/52WrPQG9sn9xVS9PK00i2z\" target=\"_blank\" rel=\"noopener\">’60s Girl Group playlist\u003c/a> they made for Spotify, full of obscurities, called “Basement Beehive,” will become more widely listened to than the mainstream-oriented one created by Spotify. (It’s making gains. It could happen.)\u003c/p>\n\u003cp>Actively reframing the past is another way. Shipley and Sevier, who are putting their fingerprints on currents in music of the past that did not have a name or genre: “Kid Soul” (little-known Motown-era bands with pre-adolescent singers), “Black Vietnam” (war-haunted ’70s soul and funk). They’re taking many approaches: national-library, garage-cult, critical reframing \u003cem>and\u003c/em> playlisting. They are sharing minute obsessions for fun, because obsession is fun, and it is communicable. But they are also challenging theories of relevance.\u003c/p>\n\u003cp>“We’re reframing in a way that \u003cem>corrects for hits,” \u003c/em>Sevier told me. “Look at what the history of popular music is at any given point. What’s focused on are the hits. We’re getting into what happened at the time and creating a restructured version that just looks at what happened in the scene, but doesn’t have anything to do with hits. Isn’t interested in it.” The restructured version doesn’t just rule out big, dumb pop music; it might rule out B. B. King, too. But their theory is still legitimate. The American imagination, and American media, can stand to devote more time considering what was \u003cem>not\u003c/em> made successful by the usual commercial forces.\u003c/p>\n\u003cp>When I pointed at the ceiling, Shipley and Sevier both made the same doubtful face. They were listening to the whole sequence of songs, not just the one that got me excited. This, I said to them, must be the real challenge in your work — it’s easy now to have an \u003cem>adequately new\u003c/em> experience with old music. You don’t need to be curious about anything in particular; you just leave it to an algorithm or a new Netflix show and you’ll hear something you don’t know. They looked at me as if I didn’t know the half of it. Or a fifth of it.\u003c/p>\n\u003cp>\u003cstrong>As Shipley suggested\u003c/strong>, I spoke to Matt Sullivan, of Light in the Attic, founded in 2002. “The sync world… to be frank, it’s one of the last bastions of making a living in music,” he said. His label, he explained, had hired one person to work on licensing ten years ago — now it has three. “There are more original TV shows,” he said, “and a lot of supervisors now — this has been building for the last 15 or 20 years — come from a college radio or record-store background. \u003cem>Master of None\u003c/em>, or \u003cem>Fargo\u003c/em>, these shows have phenomenal music. They’re almost the new form of college radio, in terms of a discovery tool.”\u003c/p>\n\u003cp>This seems true. You want to know about new hip-hop and R&B? Watch \u003cem>Insecure. \u003c/em>You want to see music used with subtlety as a mood, or as an extension of the character? Watch the shows Sullivan mentioned, or \u003cem>Transparent, \u003c/em>or \u003cem>Big Little Lies\u003c/em>, whose music supervisor, Susan Jacobs, very recently won the first-ever Emmy for music supervision.\u003c/p>\n\u003cp>Like Numero Group, Light in the Attic has released some of the most interesting records of the last 15 years: its \u003cem>Native North America \u003c/em>compilation of Canadian Native-American folk-rock; the catalogs of Lizzie Mercier Descloux, Betty Davis, Françoise Hardy, and Rodriguez, all of which can reorder and expand the histories of pop you have in your head. It just put out a collection of the work of the 1990s Los Angeles post-rock band Acetone, a band which for me certainly needed reframing, since I ignored them at the time. At the moment, starting with the compilation \u003cem>Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973\u003c/em>, the label is looking toward Japanese pop from the ’70s and ’80s, the next frontier for discophiles — and if Sullivan is lucky, for secondary use.\u003c/p>\n\u003cp>It could be that the current generation of music supervisors for TV and film are establishing a new express lane that connects a certain kind of obscurantist taste (mining for overlooked artists who are either representative or unusual, but not exceptional in the old way, the stun-you-up-front, accomplished-all-around way of B.B. King, or Aretha Franklin, or Prince) and the most powerful secondary-source platforms for music. From there, they all run together; an obscure old song that gains traction in a film or TV show can quickly enter streaming-service playlists.\u003c/p>\n\u003cfigure id=\"attachment_13815922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg\" alt=\"Our relationships to music are dictated by the means of its transmission to us\" width=\"800\" height=\"392\" class=\"size-medium wp-image-13815922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-768x376.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1180x578.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-960x470.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-520x255.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Our relationships to music are dictated by the means of its transmission to us \u003ccite>(Getty/Glasshouse Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I can fancy a man,”\u003c/strong> wrote Oscar Wilde in \u003cem>The Critic as Artist\u003c/em>, “who had led a perfectly commonplace life, hearing by chance some curious piece of music, and suddenly discovering that his soul, without his being conscious of it, had passed through terrible experiences, and known fearful joys, or wild romantic loves, or great renunciations.” Music is particularly good at suggesting a kind of alternative past for the listener, Wilde argued, because it is always implying motion, and because it has a life of its own. It can’t be bound by the intention of the composer.\u003c/p>\n\u003cp>Zach Cowie might disagree. I used to correspond with him 15 years ago when he worked as a publicist for Drag City records, and it was clear that he knew more about music than most of the writers he was helping. He is now one of the music supervisors for \u003cem>Master of None\u003c/em> (he and Kerri Drootin are responsible for that Lucio Battisti moment at the end of that show’s second season). They were also nominated for the music-supervising Emmy this year. He finds himself in an interesting position: His job is encouraging secondary use, but he worries about what secondary use is doing to music.\u003c/p>\n\u003cp>“I don’t think any music goes beyond its intention,” he told me. “And a lot of music that is being passed my way as a supervisor has a commercial intent. A lot of reasons got us to this point, but I can detect it right away. My interest in finding these old things is to find music that was made for the \u003cem>sake of making music,”\u003c/em> he said. “Music-making has changed so much since the era of everything’s-available, to where I hear more direct derivativeness than ever before. I get pitched stuff all day: ‘Imagine Kate Bush fronting Kraftwerk!’ Well, the reason I love Kate Bush and I love Kraftwerk is because they never wanted to be anything other than themselves.”\u003c/p>\n\u003cp>If Cowie is right — and if the commercial intent of more and more new music is, increasingly, for secondary use — what then? Will ahistoricism eventually make all music even out? The English theorist and critic Mark Fisher, who died earlier this year at the age of 48, had a Marxist answer to this question. Capitalism, as he wrote about it in the books \u003cem>Capitalist Realism \u003c/em>and \u003cem>Ghosts of My Life, \u003c/em>unhitches us from a structured idea of history and makes us unable to imagine a future of any kind, including a future of art. He noticed that pastiche was all around us in pop music of the ’80s, coming with quotation marks included. But around the turn of the 21st century, he argued, the quotation marks came off, resulting in bands like the Arctic Monkeys. “They’re clearly a retro group,” he said in \u003ca href=\"http://crackmagazine.net/article/music/mark-fisher-interviewed/\">an interview from 2014\u003c/a>, “but the category of retro doesn’t make any sense anymore because it’s retro compared to what?” It was around 2003, in his estimation, when he felt that listeners on a grand scale got used to the idea that they would never hear anything new again.\u003c/p>\n\u003cp>I’m sympathetic to that idea, but I can’t fully get on board with it. Fisher was generally talking about pop music, which carries the profit motive genetically. But pop music isn’t all music, and it makes sense that what lives by capitalism may die by it. I have spent a lot of time writing and thinking about music in which innovation happens slowly, and in which tendencies that might otherwise be known as “retro” are really strategies for survival, for learning from the elder spirits. In jazz, the elder spirits are often still alive, playing, sometimes giving lessons. Then there’s hip-hop. Hip-hop’s never satisfied for long. It comes with aspirations of change.\u003c/p>\n\u003cp>This isn’t a bad period for music’s past. (No time ever was.) And it has some clear advantages — a mania about stories, stoked by public radio and podcasts and documentaries; the everything’s-available assumption, making what is \u003cem>not \u003c/em>available seem exotically attractive; a sense of sociocultural reparation, leading the charge in bringing some artists back to light; and a furious new intensity of research, which is a byproduct of all the other advantages. (For example, A 12,000-word essay accompanies Numero’s Hüsker Dü box set.) Now may be the time of passive encounters and secondary use, but it is also the time of the Julius Eastman revival. Eastman, the New York composer who died in 1990, was uncannily contemporary —an honorary citizen of \u003cem>now\u003c/em> — in his forthright blackness, gayness, and disinterest in institutional power. The reissue culture of the last few years has directed us to his recorded music and has started to bring his repertory into contemporary music ensembles. None of this happened because of ahistoricism — quite the opposite.\u003c/p>\n\u003cp>But what if the real proof of Eastman’s relevance is if his music becomes used for TV shows and streaming playlists, and thereafter lives only as vague allusions in the music of others who want their tunes to be picked up for later secondary use?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg\" alt=\"\" width=\"500\" height=\"275\" class=\"alignright size-full wp-image-13815924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-160x88.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-240x132.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-375x206.jpeg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>\u003cstrong>The real lesson of the past\u003c/strong>, now that cultural artifacts have become so easy to share, is the unwieldiness of it. Once there wasn’t enough, now there’s too much to go around. A national-library approach to old music, understanding artists of special stature in and of themselves, may be respectful and responsible and history-minded, but isn’t the only way, and can hardly be trusted. Who has bestowed the special stature? And what’s their stake in it?\u003c/p>\n\u003cp>One of my recent interests is an English label, or some kind of music-organizing entity called \u003ca href=\"https://twitter.com/deathisnot?lang=en\">Death Is Not the End\u003c/a>, run by Luke Owen. He finished university seven years ago, he told me, and has worked for record distributors ever since, surrounded by old music. He has put together a series of brilliant shows for NTS — an English, web-based radio-station — filled with music still lurking below the level of collection, from pre-LP times, from the radio, from microphones someone stuck in the air at a certain time and place. The shows overlap with what he has released on his label, mostly digitally or in small editions on cassette. One of his recent shows, in mid-August, was \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">an edit of various tapes\u003c/a> from from reggae sound-clash and sound-system sets in London during the ’80s and ’90s. They represent hectic places. The backing tracks stop and start, the singers and toasters wail and imprecate and drift in and out, including one called Screamer, who made me think, much like Wilde’s man, \u003cem>I’ve been there. \u003c/em>They’re not unlike field recordings, and as with many field recordings, there’s not a lot of information attached to this music. The assumption, somehow, on behalf of someone, is that you don’t want to know the information, or it’s unknowable, or it’s all better when presented as an uncanny mystery. I’ve looked up Screamer. Next to nothing. Less than An Luu.\u003c/p>\n\u003cp>The recordings come from sites like \u003ca href=\"http://whocorkthedance.com\" target=\"_blank\" rel=\"noopener\">Who Cork The Dance\u003c/a>, among others—online storage-houses of old soundsystem tapes. This isn’t ephemera, it’s the true broth. \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">The sound-clash program\u003c/a> was one of the best things I’ve heard in months. I went toward it, learned from it, made primary use of it. But I also got a major hit of the uncanny feeling, the punch-in-the-neck feeling. I wondered what was rendering this music especially attractive to me: the indistinct, slurry-like sound quality? The density of the action, making me conjure the place? The ongoingness and never-endingness of it, such that one thing is pretty much as good as the next? The fact that I don’t know how to find out more about Screamer?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What’s the worst\u003c/strong> that can happen? Oh, I don’t know — where to begin? That new music won’t suggest a future; that the only viable use of music’s past is as ahistorical amusement to accompany scripted stories or conversations in bars; and every note ever played will level out into a vaguely seductive past-present. Perhaps, at that point, all music will become field recordings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Within+The+Context+Of+All+Contexts%3A+The+Rewiring+Of+Our+Relationship+To+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Steely Dan, the artistic partnership of Donald Fagen and Walter Becker (with a revolving cast of songwriters and players), lasted nearly 50 years before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/03/548290182/steely-dans-walter-becker-dies-at-67\" target=\"_blank\" rel=\"noopener\">Becker’s death\u003c/a> in early September. Now, a dispute between Fagen and Becker’s estate, which is now owned by his widow Delia Coffi, has put a bitter spin on the legacy of a warm, winking, coolly funky corner of pop.\u003c/p>\n\u003cp>The suit is over a “buy/sell” contract the members of Steely Dan signed more than 45 years ago, on Halloween, 1972. The contract, included as an addendum to the complaint filed by Fagen’s lawyer, Skip Miller last Tuesday (Nov. 21), says that if any of its signees dies or leaves the band, the band’s corporation has the right to immediately repurchase their shares at book value. The contract also includes mention that any transfer of those shares to another person is still subject to the agreement. Fagen is the only surviving member of the original lineup of five players who signed the contract.\u003c/p>\n\u003cp>Delia Coffi’s lawyers, Fagen claims, sent him a letter asserting “that the buy/sell agreement dated as of October 31, 1972 is of no force or effect.” They also claim that the company managing Steely Dan, Inc.’s finances and business — Nigro, Karlin, Segal, Feldstein & Bolno (NKSFB), which also oversees the estate of Walter Becker — mismanaged Steely Dan’s accounts and did not respond to Fagen’s request for documents on the band’s finances.\u003c/p>\n\u003cp>Fagen wants $1 million in damages and for the court to rule on whether the buy/sell agreement remains in effect.\u003c/p>\n\u003cp>When reached, NKSFB declined to comment on the lawsuit or any potential conflict of interest in representing both sides of the pending case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement released earlier today, the estate of Becker writes again that it believes the 1972 contract “was not in effect” when Becker passed away, continuing: “The misrepresentation that [Becker’s] widow, Ms. Cioffi, initiated any litigious action is simply untrue. In our view, Mr. Fagen is unfairly trying to deprive Walter’s family of the fruits of their joint labors.\u003c/p>\n\u003cp>“Since Walter’s passing, we have endeavored to achieve a compromise with Mr. Fagen,” going on to say that Fagen, through Skip Miller, “did not even attempt to contact us prior to filing a lawsuit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to that response, Skip Miller writes today that “the main point is that the buy/sell agreement at the heart of the suit is as valid as the day it was signed. It’s something Mr. Becker felt strongly about keeping in place and honoring, even during his years of illness. Mr. Fagen believes Mr. Becker’s estate is entitled to receive all normal royalties on the songs they wrote together. But this case is about the future of the band, and we will vigorously defend the contract.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Steely+Dan%2C+Inc.+Fights+Itself+In+Lawsuit+Over+Shares&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steely Dan, the artistic partnership of Donald Fagen and Walter Becker (with a revolving cast of songwriters and players), lasted nearly 50 years before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/03/548290182/steely-dans-walter-becker-dies-at-67\" target=\"_blank\" rel=\"noopener\">Becker’s death\u003c/a> in early September. Now, a dispute between Fagen and Becker’s estate, which is now owned by his widow Delia Coffi, has put a bitter spin on the legacy of a warm, winking, coolly funky corner of pop.\u003c/p>\n\u003cp>The suit is over a “buy/sell” contract the members of Steely Dan signed more than 45 years ago, on Halloween, 1972. The contract, included as an addendum to the complaint filed by Fagen’s lawyer, Skip Miller last Tuesday (Nov. 21), says that if any of its signees dies or leaves the band, the band’s corporation has the right to immediately repurchase their shares at book value. The contract also includes mention that any transfer of those shares to another person is still subject to the agreement. Fagen is the only surviving member of the original lineup of five players who signed the contract.\u003c/p>\n\u003cp>Delia Coffi’s lawyers, Fagen claims, sent him a letter asserting “that the buy/sell agreement dated as of October 31, 1972 is of no force or effect.” They also claim that the company managing Steely Dan, Inc.’s finances and business — Nigro, Karlin, Segal, Feldstein & Bolno (NKSFB), which also oversees the estate of Walter Becker — mismanaged Steely Dan’s accounts and did not respond to Fagen’s request for documents on the band’s finances.\u003c/p>\n\u003cp>Fagen wants $1 million in damages and for the court to rule on whether the buy/sell agreement remains in effect.\u003c/p>\n\u003cp>When reached, NKSFB declined to comment on the lawsuit or any potential conflict of interest in representing both sides of the pending case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=hGoQ44SfV-c\u003c/p>\n\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\n\u003cp>https://twitter.com/mrjalco/status/932608894563770369?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2017%2F11%2F24%2F566370961%2Fwhats-800-and-already-sold-out-this-lego-star-wars-ship\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GeLbhxJxUHU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\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/hGoQ44SfV-c'\n title='//www.youtube.com/embed/hGoQ44SfV-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\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/GeLbhxJxUHU'\n title='//www.youtube.com/embed/GeLbhxJxUHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rvr68u6k5sI\u003c/p>\n\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\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/Rvr68u6k5sI'\n title='//www.youtube.com/embed/Rvr68u6k5sI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/17931003/jon-hendricks\" target=\"_blank\" rel=\"noopener\">Jon Hendricks\u003c/a>, the singer and songwriter who \u003cem>Time\u003c/em> Magazine called the “James Joyce of jive,” died today in New York at the age of 96. Hendricks was best known for his work in the pioneering vocal jazz trio Lambert, Hendricks and Ross. His death was confirmed by fellow singer and composer Kurt Elling and Hendricks’ publicist, Don Lucoff.\u003c/p>\n\u003cp>First and foremost, he was a storyteller: funny, dexterous with language and erudite. Jon Hendricks could reference practically anything in his lyrics – from the controversy over Shakespeare’s identity to the Spanish Civil War – and make them swing.\u003c/p>\n\u003cp>Still, he’ll be remembered best for his mini-oral histories of the jazz world — like his lyrics for Count Basie’s 1930’s classic “Jumpin’ at the Woodside.”\u003c/p>\n\u003cp>“The Woodside is a hotel on 125th [St.] and 8th Avenue,” Hendricks \u003ca href=\"http://www.npr.org/2011/09/16/140532273/john-hendricks-the-father-of-vocalese-at-90\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> in 2011. “Everybody stayed there because you didn’t have to go to bed at nine or 10. You could have jam session at 3 a.m. Old vaudevillians and musicians ran the hotel, the man and his wife. And so I told that story.”\u003c/p>\n\u003cp>Like his idol, the poet Paul Lawrence Dunbar, Hendricks penned folk poetry. Only he chose his words to mimic the sounds of instruments, fitting texts not just to melodies, but the most technically demanding jazz solos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Who would think to do a lyric for the John Coltrane, for any John Coltrane solo? That’s highly complex music,” said the late singer Al Jarreau, talking to NPR \u003ca href=\"http://www.npr.org/sections/ablogsupreme/2011/09/16/140533374/voices-al-jarreau-on-jon-hendricks\" target=\"_blank\" rel=\"noopener\">in 2011\u003c/a>. Jarreau sang with Hendricks on his 1990 album \u003cem>Freddie Freeloader\u003c/em>.\u003c/p>\n\u003cp>“Similarly, there’s very highly complex music in the Basie book, very highly complex music in the Miles [Davis] book,” Jarreau continued. “And to have the idea that yes, I can write a lyric for this stuff that makes sense and I’ll even sing the solos, the great classic solos — just wild.”\u003c/p>\n\u003cp>Jon Carl Hendricks was born in Newark, Ohio in 1921, the son of a minister and one of 14 children.\u003c/p>\n\u003cp>“I was always precocious about English language and the King James Bible especially,” Hendricks told NPR, “because my job in my family was to assist my father and look up in the King James whatever he wanted to use as a text for his sermon that Sunday.”\u003c/p>\n\u003cp>As a youngster, Hendricks performed with piano virtuoso Art Tatum. He studied law on the G.I. Bill after World War II, but abandoned jurisprudence for jazz at the suggestion of legend Charlie Parker. He moved to New York City and supported himself ghostwriting lyrics for Tin Pan Alley, until he found a kindred spirit.\u003c/p>\n\u003cp>“Dave Lambert and I were looking for something to do before we died. Before we starved death!” Hendricks recalled. “That’s literally true. Dave said, ‘We both like Basie. Why don’t you write lyrics to four Basie tunes and we’ll take them uptown and sell them as an album?'”\u003c/p>\n\u003cp>They did. \u003cem>Sing a Song of Basie\u003c/em> became a hit in 1957. And, with the addition of singer Annie Ross, the trio Lambert, Hendricks, and Ross was voted the most popular vocal group in the world for the next five years by readers of \u003cem>Melody Maker\u003c/em> Magazine.\u003c/p>\n\u003cp>After they split up in 1962, Hendricks turned up in some unlikely places: as the lyricist for the No. 1 hit \u003ca href=\"https://www.youtube.com/watch?v=jf-cCL3TOCo\">“Yeh Yeh”\u003c/a> by British R&B singer Georgie Fame and singing about race riots with a fledgling rock band called The Warlocks — soon rechristened the Grateful Dead.\u003c/p>\n\u003cp>Hendricks worked as a music critic, taught college and wrote for the theater, singing with family groups that sometimes included young talents—among them singer Bobby McFerrin. In 1985, Hendricks collaborated with The Manhattan Transfer on their album \u003cem>Vocalese\u003c/em>, for which they won seven Grammy Awards.\u003c/p>\n\u003cp>Jon Hendricks was a professor of Jazz at the University of Toledo, where he previously studied law. An NEA Jazz Master, he served on the Kennedy Center Honors committee under three presidents.\u003c/p>\n\u003cp>A reunion with Annie Ross in 2000, during the revival of the swing style, introduced him to a new generation. He continued performing almost to the end of his life. But one thing Hendricks seldom did was sing other writer’s lyrics.\u003c/p>\n\u003cp>“Jon Hendricks always will be the greatest of jazz lyricists,” says Kurt Elling, in a statement on the news. “I can’t imagine him being surprised that his wife Judith thought of him as a mystical offspring of William Shakespeare.”\u003c/p>\n\u003cp>Asked why he wasn’t content to sing the words of other people, Hendricks would point to the discrimination against African-Americans in Tin Pan Alley. That, and one minor flaw he saw in the pop songs of the day: “Well, they weren’t deep enough for me. They didn’t go deep enough.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortunately, Jon Hendricks did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jon+Hendricks%2C+Genre-Pushing+Jazz+Vocalist%2C+Dead+At+96&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who would think to do a lyric for the John Coltrane, for any John Coltrane solo? That’s highly complex music,” said the late singer Al Jarreau, talking to NPR \u003ca href=\"http://www.npr.org/sections/ablogsupreme/2011/09/16/140533374/voices-al-jarreau-on-jon-hendricks\" target=\"_blank\" rel=\"noopener\">in 2011\u003c/a>. Jarreau sang with Hendricks on his 1990 album \u003cem>Freddie Freeloader\u003c/em>.\u003c/p>\n\u003cp>“Similarly, there’s very highly complex music in the Basie book, very highly complex music in the Miles [Davis] book,” Jarreau continued. “And to have the idea that yes, I can write a lyric for this stuff that makes sense and I’ll even sing the solos, the great classic solos — just wild.”\u003c/p>\n\u003cp>Jon Carl Hendricks was born in Newark, Ohio in 1921, the son of a minister and one of 14 children.\u003c/p>\n\u003cp>“I was always precocious about English language and the King James Bible especially,” Hendricks told NPR, “because my job in my family was to assist my father and look up in the King James whatever he wanted to use as a text for his sermon that Sunday.”\u003c/p>\n\u003cp>As a youngster, Hendricks performed with piano virtuoso Art Tatum. He studied law on the G.I. Bill after World War II, but abandoned jurisprudence for jazz at the suggestion of legend Charlie Parker. He moved to New York City and supported himself ghostwriting lyrics for Tin Pan Alley, until he found a kindred spirit.\u003c/p>\n\u003cp>“Dave Lambert and I were looking for something to do before we died. Before we starved death!” Hendricks recalled. “That’s literally true. Dave said, ‘We both like Basie. Why don’t you write lyrics to four Basie tunes and we’ll take them uptown and sell them as an album?'”\u003c/p>\n\u003cp>They did. \u003cem>Sing a Song of Basie\u003c/em> became a hit in 1957. And, with the addition of singer Annie Ross, the trio Lambert, Hendricks, and Ross was voted the most popular vocal group in the world for the next five years by readers of \u003cem>Melody Maker\u003c/em> Magazine.\u003c/p>\n\u003cp>After they split up in 1962, Hendricks turned up in some unlikely places: as the lyricist for the No. 1 hit \u003ca href=\"https://www.youtube.com/watch?v=jf-cCL3TOCo\">“Yeh Yeh”\u003c/a> by British R&B singer Georgie Fame and singing about race riots with a fledgling rock band called The Warlocks — soon rechristened the Grateful Dead.\u003c/p>\n\u003cp>Hendricks worked as a music critic, taught college and wrote for the theater, singing with family groups that sometimes included young talents—among them singer Bobby McFerrin. In 1985, Hendricks collaborated with The Manhattan Transfer on their album \u003cem>Vocalese\u003c/em>, for which they won seven Grammy Awards.\u003c/p>\n\u003cp>Jon Hendricks was a professor of Jazz at the University of Toledo, where he previously studied law. An NEA Jazz Master, he served on the Kennedy Center Honors committee under three presidents.\u003c/p>\n\u003cp>A reunion with Annie Ross in 2000, during the revival of the swing style, introduced him to a new generation. He continued performing almost to the end of his life. But one thing Hendricks seldom did was sing other writer’s lyrics.\u003c/p>\n\u003cp>“Jon Hendricks always will be the greatest of jazz lyricists,” says Kurt Elling, in a statement on the news. “I can’t imagine him being surprised that his wife Judith thought of him as a mystical offspring of William Shakespeare.”\u003c/p>\n\u003cp>Asked why he wasn’t content to sing the words of other people, Hendricks would point to the discrimination against African-Americans in Tin Pan Alley. That, and one minor flaw he saw in the pop songs of the day: “Well, they weren’t deep enough for me. They didn’t go deep enough.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortunately, Jon Hendricks did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jon+Hendricks%2C+Genre-Pushing+Jazz+Vocalist%2C+Dead+At+96&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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