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"title": "Why Questlove's 201-Song Playlist for Keith Olbermann is Bigger Than Hip-Hop",
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"content": "\u003cp>When it comes to music history, \u003ca href=\"http://www.npr.org/2016/04/27/475721555/questlove-on-prince-doo-wop-and-the-food-equivalent-of-the-mona-lisa\" target=\"_blank\" rel=\"noopener\">Questlove\u003c/a> is an Afro-pick rocking compendium of knowledge. So when the co-founder of The Roots got wind that Keith Olbermann’s come-lately compliment of Eminem’s Trump smackdown was couched within a tweet that seemed to dismiss the entire genre of rap, he vowed to take the progressive pundit to school.\u003c/p>\n\u003cp>Olbermann, whose new book \u003cem>Trump Is F****** Crazy (this is not a joke)\u003c/em> came out this week, was likely just tipping his hat to a fellow anti-Trumpite when he tweeted: “After 27 years of doubts about rap I am now an Eminem fan. Best political writing of the year, period.” But the host of \u003cem>GQ\u003c/em>‘s \u003cem>The Resistance\u003c/em> unwittingly revealed his willful ignorance of the genre in the process.\u003c/p>\n\u003cp>https://twitter.com/questlove/status/919104904161103872\u003c/p>\n\u003cp>https://twitter.com/questlove/status/919105936949641216\u003c/p>\n\u003cp>“You have to have your mind SET to shut out hip hop,” Questlove wrote Saturday in a series of \u003ca href=\"https://twitter.com/questlove\" target=\"_blank\" rel=\"noopener\">23 (unthreaded) tweets\u003c/a> that questioned how the political commentator — with whom the five-time Grammy Award-winner often agrees — could be so culturally un-hip. “Saying you ignored rap for 27 years is basically saying you’re indifferent to the very black lives you champion on your platform.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then he proceeded to do the most Questlovian thing ever. \u003cstrong>He made Olbermann a mixtape.\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Titled \u003cem>The Keith O Challeng\u003c/em>e, the resulting \u003ca href=\"https://open.spotify.com/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" target=\"_blank\" rel=\"noopener\">201-song playlist\u003c/a> is now streaming on Spotify. (And before you ask whether this is just some promo deal on the low, you should know that Questlove is also a “strategic ambassador and advisor” at the competing platform Pandora, which airs his weekly \u003ca href=\"https://www.pandora.com/station/play/3707576888858264319\" target=\"_blank\" rel=\"noopener\">\u003cem>Questlove Supreme\u003c/em>\u003c/a> podcast. In other words, he did this one for — you guessed it — the culture.)\u003c/p>\n\u003cp>But here’s the twist: Questlove’s playlist contains \u003cem>not one single rap song\u003c/em>. We’ll get back to that in a minute.\u003c/p>\n\u003cp>Turns out he wasn’t Olbermann’s only vocal critic over the weekend, or the first. After appearing on \u003cem>All Things Considered \u003c/em>last Friday to parse the fallout surrounding \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">Eminem’s BET Hip Hop Awards freestyle\u003c/a>, I continued my commentary, originally intended for my on-air conversation with \u003ca href=\"http://www.npr.org/people/131876588/kelly-mcevers\" target=\"_blank\" rel=\"noopener\">Kelly McEvers\u003c/a>, on social media.\u003c/p>\n\u003cp>https://twitter.com/Rodneyology/status/918987125005213697\u003c/p>\n\u003cp>“[H]ow much rap have you listened [to] — or ignored — over the past 27 years?” I tweeted at Olbermann in a \u003ca href=\"https://twitter.com/Rodneyology/status/918987125005213697\">thread\u003c/a> that somehow went viral. “[F]rom Chuck D to Joey Bad*ss, hip-hop has been the most politically outspoken genre of the last three decades.”\u003c/p>\n\u003cp>The question posed to Olbermann was an attempt to grapple with all the misconceptions flourishing in the wake of Eminem’s dis. With the hype reaching a mainstream pitch, Eminem’s attack of the president’s policies and personal character was being framed as some kind of first — as if hip-hop, and the bulk of African-American MCs who make up the genre, have been biting their tongues for the past year, and even the past 27, as Olbermann’s tweet implied.\u003c/p>\n\u003cp>It revealed a deeper truth, in a sense. “By and large, white America \u003cem>still \u003c/em>doesn’t hear black people,” I tweeted. And that in no way contradicts Nielsen’s mid-year report for 2017, which ranked hip-hop/R&B as the most consumed music genre. Rather, it suggests that despite being entertained by our rhythm and modern-day blues, Middle America often fails to comprehend the black experience, even when painstakingly articulated. Hip-hop’s righteous rage and political outspokenness still falls on deaf ears outside the culture. Eminem just echoed what his black and brown peers have been saying, spitting, screaming and streaming in record numbers for the past year and a half.\u003c/p>\n\u003cp>“So we don’t get no credit for dissing Trump a year ago,” West Coast rapper \u003ca href=\"http://www.xxlmag.com/news/2017/10/yg-credit-dissing-president-trump/\">YG tweeted\u003c/a> in the midst of last week’s media frenzy. His song “F*** Donald Trump,” featuring Nipsey Hussle, was released back in March 2016. It’s one of numerous presidential critiques, ranging from profane to profound, released by artists including A Tribe Called Quest, Common, Kendrick Lamar, will.i.am, T.I. Amine, and a lot more.\u003c/p>\n\u003cp>The main thing that made Eminem’s rehearsed freestyle different is his intended listener. He knows as well as anyone how much overlap there is on a Venn diagram of his fanbase and Trump’s constituency. And that’s no attempt to discredit Em because of his whiteness; he’s an undeniable giant of the genre. But when his contemporaries of color take part in similar political discourse without receiving the same elevated platform or heightened fanfare, it highlights the insidious role race has played in the appropriation of black music since the industry’s beginning.\u003c/p>\n\u003cp>By applauding Eminem’s critique without full consideration of that context, Olbermann contributed to that historical downplaying. He shouldn’t be expected to have an exhaustive knowledge of the genre; taste in music is totally subjective. But implying hip-hop lacks political heft is beyond laughable; it’s legacy denial, whether intended or not.\u003c/p>\n\u003cp>Which brings us back to Questlove’s monster playlist: More than 10 hours long and not one solitary rap song.\u003c/p>\n\u003cp>What it does contain, however, is a deep dive on the genre’s genetic forebear: the funk. Questlove mines hip-hop’s sonic DNA with heavily-sampled ’60s/’70s classics from \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">Earth, Wind & Fire\u003c/a>, The Ohio Players, \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15595533/the-meters\" target=\"_blank\" rel=\"noopener\">The Meters\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15127458/booker-t-the-mg-s\" target=\"_blank\" rel=\"noopener\">Booker T. and The MGs\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15166353/betty-davis\" target=\"_blank\" rel=\"noopener\">Betty Davis\u003c/a>, \u003ca href=\"http://www.npr.org/artists/539035525/diana-ross\" target=\"_blank\" rel=\"noopener\">Diana Ross\u003c/a> and, of course, a heap of \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>.\u003c/p>\n\u003cp>It’s a crate-diggers dream, full of familiar-sounding obscurities such as Dyke & The Blazers “Let A Woman Be A Woman – Let A Man Be A Man,” notably sampled by artists ranging from Stetsasonic (“Sally”) to Public Enemy (“Welcome To The Terrordome”) to Tyler, the Creator (“Rusty”). There’s Blackbyrds’ “Mysterious Vibes” (Paris’ “The Days Of Old,” Big K.R.I.T.’s “Highs And Lows,” et al.) and Faze-O’s “Riding High” (EPMD’s “Please Listen To My Demo” and more). The opening saxophone riff from \u003ca href=\"http://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>‘s “Show Me What You Got”? It’s in there, all languid and mellow, on Lafayette Afro Rock Band’s “Darkest Light.” And if you’re looking for some of those uncleared gems buried in De La Soul’s classic discography, still in digital limbo, you’ll recognize the piano licks from Erma Franklin’s 1969 cover of “Light My Fire” as the end transition of \u003cem>De La Soul Is Dead\u003c/em>‘s “A Roller Skating Jam Named Saturdays.”\u003c/p>\n\u003cp>Point being, this is deeper than rap. There’s an entire cultural continuum that undergirds even the most commercial rubble of any genre. To doubt hip-hop is to dismiss its rich heritage and to shrug off the contemporary trials and triumphs of its progeny.\u003c/p>\n\u003cp>Though I seriously doubt Questlove ever saw the \u003ca href=\"https://twitter.com/Rodneyology/status/918993673840406529\">#KeithOlbermannMixtape\u003c/a> hashtag I tweeted out the night before, hip-hop heads — whether afros or baldies like me — tend to think alike. The artist-scholar and occasional DJ probably already had the syllabus I’d merely alluded to cued up and ready to go. The best part is his 201-song playlist is just the jump-off. He’s already promised to return next month with another installment.\u003c/p>\n\u003cp>More power to Questlove. It takes a special kind of emotional labor to play cultural ambassador to an indifferent audience. But to Olbermann’s credit — and my surprise — he replied to my tweets the following day. “Hate to hit your narrative but I’ve been a fan of political protest music, rap and otherwise, for 50 years. My ‘doubts’ were about my personal tastes,” he explained, before name-dropping a couple references meant to highlight his hip-hop bona fides. “I had Coolio and LL Cool J cassettes before I owned a CD player.”\u003c/p>\n\u003cp>With that admission, he may have earned more pity than cool points. But point taken, nonetheless.\u003c/p>\n\u003cp>https://twitter.com/KeithOlbermann/status/919079555310243840\u003c/p>\n\u003cp>“Eminem’s bodying Trump was the first time I got the thrill,” Olbermann continued. “No disrespect intended, more a public questioning of my own tastes.”\u003c/p>\n\u003cp>And every man should indeed be entitled to his own taste. But if Keith O ever feels the urge to challenge himself with a deep dive into hip-hop’s historical and sociopolitical significance, Questlove’s curated the perfect playlist for that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll be bumping it on repeat in the meantime. \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=Why+Questlove%27s+201-Song+Playlist+For+Keith+Olbermann+Is+Bigger+Than+Hip-Hop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Or, how I became the third wheel in a weekend Twitter beef over rap, culture and politics following Eminem's Trump tirade.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to music history, \u003ca href=\"http://www.npr.org/2016/04/27/475721555/questlove-on-prince-doo-wop-and-the-food-equivalent-of-the-mona-lisa\" target=\"_blank\" rel=\"noopener\">Questlove\u003c/a> is an Afro-pick rocking compendium of knowledge. So when the co-founder of The Roots got wind that Keith Olbermann’s come-lately compliment of Eminem’s Trump smackdown was couched within a tweet that seemed to dismiss the entire genre of rap, he vowed to take the progressive pundit to school.\u003c/p>\n\u003cp>Olbermann, whose new book \u003cem>Trump Is F****** Crazy (this is not a joke)\u003c/em> came out this week, was likely just tipping his hat to a fellow anti-Trumpite when he tweeted: “After 27 years of doubts about rap I am now an Eminem fan. Best political writing of the year, period.” But the host of \u003cem>GQ\u003c/em>‘s \u003cem>The Resistance\u003c/em> unwittingly revealed his willful ignorance of the genre in the process.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“You have to have your mind SET to shut out hip hop,” Questlove wrote Saturday in a series of \u003ca href=\"https://twitter.com/questlove\" target=\"_blank\" rel=\"noopener\">23 (unthreaded) tweets\u003c/a> that questioned how the political commentator — with whom the five-time Grammy Award-winner often agrees — could be so culturally un-hip. “Saying you ignored rap for 27 years is basically saying you’re indifferent to the very black lives you champion on your platform.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then he proceeded to do the most Questlovian thing ever. \u003cstrong>He made Olbermann a mixtape.\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Titled \u003cem>The Keith O Challeng\u003c/em>e, the resulting \u003ca href=\"https://open.spotify.com/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" target=\"_blank\" rel=\"noopener\">201-song playlist\u003c/a> is now streaming on Spotify. (And before you ask whether this is just some promo deal on the low, you should know that Questlove is also a “strategic ambassador and advisor” at the competing platform Pandora, which airs his weekly \u003ca href=\"https://www.pandora.com/station/play/3707576888858264319\" target=\"_blank\" rel=\"noopener\">\u003cem>Questlove Supreme\u003c/em>\u003c/a> podcast. In other words, he did this one for — you guessed it — the culture.)\u003c/p>\n\u003cp>But here’s the twist: Questlove’s playlist contains \u003cem>not one single rap song\u003c/em>. We’ll get back to that in a minute.\u003c/p>\n\u003cp>Turns out he wasn’t Olbermann’s only vocal critic over the weekend, or the first. After appearing on \u003cem>All Things Considered \u003c/em>last Friday to parse the fallout surrounding \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">Eminem’s BET Hip Hop Awards freestyle\u003c/a>, I continued my commentary, originally intended for my on-air conversation with \u003ca href=\"http://www.npr.org/people/131876588/kelly-mcevers\" target=\"_blank\" rel=\"noopener\">Kelly McEvers\u003c/a>, on social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“[H]ow much rap have you listened [to] — or ignored — over the past 27 years?” I tweeted at Olbermann in a \u003ca href=\"https://twitter.com/Rodneyology/status/918987125005213697\">thread\u003c/a> that somehow went viral. “[F]rom Chuck D to Joey Bad*ss, hip-hop has been the most politically outspoken genre of the last three decades.”\u003c/p>\n\u003cp>The question posed to Olbermann was an attempt to grapple with all the misconceptions flourishing in the wake of Eminem’s dis. With the hype reaching a mainstream pitch, Eminem’s attack of the president’s policies and personal character was being framed as some kind of first — as if hip-hop, and the bulk of African-American MCs who make up the genre, have been biting their tongues for the past year, and even the past 27, as Olbermann’s tweet implied.\u003c/p>\n\u003cp>It revealed a deeper truth, in a sense. “By and large, white America \u003cem>still \u003c/em>doesn’t hear black people,” I tweeted. And that in no way contradicts Nielsen’s mid-year report for 2017, which ranked hip-hop/R&B as the most consumed music genre. Rather, it suggests that despite being entertained by our rhythm and modern-day blues, Middle America often fails to comprehend the black experience, even when painstakingly articulated. Hip-hop’s righteous rage and political outspokenness still falls on deaf ears outside the culture. Eminem just echoed what his black and brown peers have been saying, spitting, screaming and streaming in record numbers for the past year and a half.\u003c/p>\n\u003cp>“So we don’t get no credit for dissing Trump a year ago,” West Coast rapper \u003ca href=\"http://www.xxlmag.com/news/2017/10/yg-credit-dissing-president-trump/\">YG tweeted\u003c/a> in the midst of last week’s media frenzy. His song “F*** Donald Trump,” featuring Nipsey Hussle, was released back in March 2016. It’s one of numerous presidential critiques, ranging from profane to profound, released by artists including A Tribe Called Quest, Common, Kendrick Lamar, will.i.am, T.I. Amine, and a lot more.\u003c/p>\n\u003cp>The main thing that made Eminem’s rehearsed freestyle different is his intended listener. He knows as well as anyone how much overlap there is on a Venn diagram of his fanbase and Trump’s constituency. And that’s no attempt to discredit Em because of his whiteness; he’s an undeniable giant of the genre. But when his contemporaries of color take part in similar political discourse without receiving the same elevated platform or heightened fanfare, it highlights the insidious role race has played in the appropriation of black music since the industry’s beginning.\u003c/p>\n\u003cp>By applauding Eminem’s critique without full consideration of that context, Olbermann contributed to that historical downplaying. He shouldn’t be expected to have an exhaustive knowledge of the genre; taste in music is totally subjective. But implying hip-hop lacks political heft is beyond laughable; it’s legacy denial, whether intended or not.\u003c/p>\n\u003cp>Which brings us back to Questlove’s monster playlist: More than 10 hours long and not one solitary rap song.\u003c/p>\n\u003cp>What it does contain, however, is a deep dive on the genre’s genetic forebear: the funk. Questlove mines hip-hop’s sonic DNA with heavily-sampled ’60s/’70s classics from \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">Earth, Wind & Fire\u003c/a>, The Ohio Players, \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15595533/the-meters\" target=\"_blank\" rel=\"noopener\">The Meters\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15127458/booker-t-the-mg-s\" target=\"_blank\" rel=\"noopener\">Booker T. and The MGs\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15166353/betty-davis\" target=\"_blank\" rel=\"noopener\">Betty Davis\u003c/a>, \u003ca href=\"http://www.npr.org/artists/539035525/diana-ross\" target=\"_blank\" rel=\"noopener\">Diana Ross\u003c/a> and, of course, a heap of \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>.\u003c/p>\n\u003cp>It’s a crate-diggers dream, full of familiar-sounding obscurities such as Dyke & The Blazers “Let A Woman Be A Woman – Let A Man Be A Man,” notably sampled by artists ranging from Stetsasonic (“Sally”) to Public Enemy (“Welcome To The Terrordome”) to Tyler, the Creator (“Rusty”). There’s Blackbyrds’ “Mysterious Vibes” (Paris’ “The Days Of Old,” Big K.R.I.T.’s “Highs And Lows,” et al.) and Faze-O’s “Riding High” (EPMD’s “Please Listen To My Demo” and more). The opening saxophone riff from \u003ca href=\"http://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>‘s “Show Me What You Got”? It’s in there, all languid and mellow, on Lafayette Afro Rock Band’s “Darkest Light.” And if you’re looking for some of those uncleared gems buried in De La Soul’s classic discography, still in digital limbo, you’ll recognize the piano licks from Erma Franklin’s 1969 cover of “Light My Fire” as the end transition of \u003cem>De La Soul Is Dead\u003c/em>‘s “A Roller Skating Jam Named Saturdays.”\u003c/p>\n\u003cp>Point being, this is deeper than rap. There’s an entire cultural continuum that undergirds even the most commercial rubble of any genre. To doubt hip-hop is to dismiss its rich heritage and to shrug off the contemporary trials and triumphs of its progeny.\u003c/p>\n\u003cp>Though I seriously doubt Questlove ever saw the \u003ca href=\"https://twitter.com/Rodneyology/status/918993673840406529\">#KeithOlbermannMixtape\u003c/a> hashtag I tweeted out the night before, hip-hop heads — whether afros or baldies like me — tend to think alike. The artist-scholar and occasional DJ probably already had the syllabus I’d merely alluded to cued up and ready to go. The best part is his 201-song playlist is just the jump-off. He’s already promised to return next month with another installment.\u003c/p>\n\u003cp>More power to Questlove. It takes a special kind of emotional labor to play cultural ambassador to an indifferent audience. But to Olbermann’s credit — and my surprise — he replied to my tweets the following day. “Hate to hit your narrative but I’ve been a fan of political protest music, rap and otherwise, for 50 years. My ‘doubts’ were about my personal tastes,” he explained, before name-dropping a couple references meant to highlight his hip-hop bona fides. “I had Coolio and LL Cool J cassettes before I owned a CD player.”\u003c/p>\n\u003cp>With that admission, he may have earned more pity than cool points. But point taken, nonetheless.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Eminem’s bodying Trump was the first time I got the thrill,” Olbermann continued. “No disrespect intended, more a public questioning of my own tastes.”\u003c/p>\n\u003cp>And every man should indeed be entitled to his own taste. But if Keith O ever feels the urge to challenge himself with a deep dive into hip-hop’s historical and sociopolitical significance, Questlove’s curated the perfect playlist for that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll be bumping it on repeat in the meantime. \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=Why+Questlove%27s+201-Song+Playlist+For+Keith+Olbermann+Is+Bigger+Than+Hip-Hop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amazon Studios confirms that it has accepted the resignation of top executive Roy Price after he was suspended following \u003ca href=\"https://ww2.kqed.org/arts/2017/10/13/top-exec-at-amazon-studios-put-on-leave-after-harassment-allegations/\" target=\"_blank\" rel=\"noopener\">allegations of sexual harassment.\u003c/a>\u003c/p>\n\u003cp>In a story that appeared last week in \u003cem>The Hollywood Reporter\u003c/em>, Isa Hackett, a producer on the Amazon series \u003cem>The Man in the High Castle\u003c/em>, said she was “repeatedly and insistently propositioned” by Price in 2015 at a Comic-Con in San Diego, where Hackett was promoting the show.\u003c/p>\n\u003cp>Hackett called the incident “shocking and surreal” and said she was inspired to tell her story by women who came forward to publicly detail allegations of sexual harassment against film and TV mogul Harvey Weinstein.\u003c/p>\n\u003cp>The firing of Price comes less than two weeks after the Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">fired him\u003c/a> following accusations of sexual misconduct and assault by dozens of women, including actors Angelina Jolie and Gwyneth Paltrow.\u003c/p>\n\u003cp>Price was the top entertainment executive at Amazon Studios, which has developed movies such as the Oscar-winning film \u003cem>Manchester\u003c/em> \u003cem>by the Sea\u003c/em> and original TV shows for its Amazon Prime streaming service, such as \u003cem>Transparent.\u003c/em> \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=Amazon+Studios+Exec+Roy+Price+Resigns+Following+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>As thousands of Californians take stock of the damage caused by wildfires, one boy’s story has at least half of the teams in Major League Baseball rallying behind him.\u003c/p>\n\u003cp>In a letter to the Oakland Athletics, posted on Twitter by Katie Utehs, an ABC 7 News Bay Area journalist, 9-year-old Loren Jade Smith writes about his love of the team and the loss of his beloved baseball collection in the fire.\u003c/p>\n\u003cp>https://twitter.com/KatieUtehs/status/919352145668739072\u003c/p>\n\u003cp>“[M]y house burned down in Santa Rosa and my saddest things was my baseball collection cards, my 17 jerseys and 10 hats and my baseball from the game and also a ball signed by the whole team and Ricky [Henderson] and Bob Melvin,” Smith wrote. “I had a major league baseball and it all burned up. So sad. I know you are not all together but hope they get this.”\u003c/p>\n\u003cp>https://twitter.com/MelanieWoodrow/status/919736522215063552\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/DaveKaval/status/919486278852210690?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fm.mlb.com%2Fnews%2Farticle%2F258746000%2Fas-gather-memorabilia-for-loren-jade-smith%2F\">A’s President Dave Kaval\u003c/a> quickly posted on Twitter: “This is so touching. So sad to hear about their loss. We would be happy to completely outfit the family in new @Athletics gear.”\u003c/p>\n\u003cp>The responses snowballed. The A’s tweeted out an address that people could use to send baseball memorabilia to the young fan.\u003c/p>\n\u003cp>https://twitter.com/Athletics/status/919990036862349312\u003c/p>\n\u003cp>And one after another, major league teams responded, along with minor league teams and other individuals who wanted to help.\u003c/p>\n\u003cp>“Hey Loren, we got a package with your name on it on the way!” wrote the Tampa Bay Rays. “We’ve got a Padres pack on its way for Loren — including an autographed Mark McGwire baseball,” the San Diego Padres said.\u003c/p>\n\u003cp>The collective responses appear to have the makings of a world-class memorabilia collection for the fire survivor.\u003c/p>\n\u003cp>Prior to the outpouring of support, Loren’s dad, Tait Smith, \u003ca href=\"http://abc7news.com/9-year-old-writes-heartbreaking-letter-to-as-after-house-burns-down/2534781/\">told ABC 7\u003c/a> that it “breaks my heart just that he is not going to be back here screaming and yelling home runs that he hit over the fence with the whiffle ball to the neighbors.” The news piece shows the father and son throwing and batting in the backyard of their burned home.\u003c/p>\n\u003cp>The A’s \u003ca href=\"http://m.athletics.mlb.com/news/article/258746000/as-gather-memorabilia-for-loren-jade-smith/\">say they are working\u003c/a> with other Bay Area teams on disaster relief efforts, committing a total of $450,000.\u003c/p>\n\u003cp>Here are the MLB responses to the A’s callout: \u003c/p>\n\u003cp>https://twitter.com/RaysBaseball/status/920013500935757825\u003c/p>\n\u003cp>https://twitter.com/Rockies/status/920299015354318856\u003c/p>\n\u003cp>https://twitter.com/Padres/status/920049499095126016\u003c/p>\n\u003cp>https://twitter.com/Mets/status/920037119762096128\u003c/p>\n\u003cp>https://twitter.com/RedSox/status/920037754821636096\u003c/p>\n\u003cp>https://twitter.com/SFGiants/status/920129196487090176\u003c/p>\n\u003cp>https://twitter.com/Royals/status/920069357551550464\u003c/p>\n\u003cp>https://twitter.com/astros/status/920036542571335682\u003c/p>\n\u003cp>https://twitter.com/Mariners/status/920046499286761474\u003c/p>\n\u003cp>https://twitter.com/Dbacks/status/920040862310055936\u003c/p>\n\u003cp>https://twitter.com/Reds/status/920079389299216384\u003c/p>\n\u003cp>https://twitter.com/tigers/status/920036785752768515\u003c/p>\n\u003cp>https://twitter.com/Indians/status/920304261174583297\u003c/p>\n\u003cp>https://twitter.com/Orioles/status/920321957433888770\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Rangers/status/920328956057931776\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=MLB+Rallies+To+Help+Boy+Whose+Baseball+Collection+Was+Destroyed+By+Fire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>American author George Saunders has won the Man Booker prize for his first novel, \u003cem>Lincoln in the Bardo, \u003c/em>a polyphonous meditation on death, grief and American history.\u003c/p>\n\u003cp>Saunders, widely lauded for his short stories, was considered the favorite to win the award. His novel centers on the death of Abraham Lincoln’s beloved son Willie, and the night that Lincoln reportedly spent in the graveyard, devastated by his grief and lingering by his son’s body.\u003c/p>\n\u003cp>In the book, Saunders weaves fragments of historical documents (both authentic and imagined) with the voices of ghosts trapped in the graveyard with young Willie, watching in wonder at the strength of his father’s love. The devastating toll of the Civil War is the backdrop for the scene of very particular loss.\u003c/p>\n\u003cp>Lola Young, the chair of the panel of judges that awarded the Booker Prize, called the novel “utterly original,” praising the narrative as “witty, intelligent, and deeply moving.”\u003c/p>\n\u003cp>In February, Saunders \u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">told NPR\u003c/a> that he carried the idea for the novel around with him for 20 years — although he wasn’t sure it would be a novel at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Four years ago, I was like, jeez, this has been bothering me all these years, maybe it’s time to give it a try,” he said. “And I kind of almost had a contract with this book. Kind of like, don’t bloat up on me — be a story if you can be a story. If you can be a nice paragraph, that’s fine. So I kind of kept it on a short leash, but it just kept growing, so I finally said, ‘OK, you are what you are.’ ”\u003c/p>\n\u003cp>Saunders explained that the “bardo” of the title is a Tibetan concept for a sort of transitional zone — a space between death and whatever comes after, in the world of the novel.\u003c/p>\n\u003cp>This is the second year in a row that an American has taken home the prize — in a year when U.S. authors made up fully 50 percent of the shortlist.\u003c/p>\n\u003cp>The Man Booker, one of the most prestigious prizes in literature, has been awarded annually since 1969. It comes with a £50,000 (nearly $66,000) cash prize, and is generally associated with a substantial boost in sales for the winning book.\u003c/p>\n\u003cp>The award was originally reserved only for writers from the U.K. or the Commonwealth (countries that were once part of the British empire.), but four years ago, the prize was opened up to Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/25/499368241/novelist-paul-beatty-is-first-american-to-win-britains-man-booker-prize\" target=\"_blank\" rel=\"noopener\">the prize went to Paul Beatty\u003c/a> for \u003cem>The Sellout\u003c/em>. It was the first time the Man Booker had ever been awarded to an American. \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=George+Saunders+Wins+Man+Booker+Prize+For+%27Lincoln+In+The+Bardo%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American author George Saunders has won the Man Booker prize for his first novel, \u003cem>Lincoln in the Bardo, \u003c/em>a polyphonous meditation on death, grief and American history.\u003c/p>\n\u003cp>Saunders, widely lauded for his short stories, was considered the favorite to win the award. His novel centers on the death of Abraham Lincoln’s beloved son Willie, and the night that Lincoln reportedly spent in the graveyard, devastated by his grief and lingering by his son’s body.\u003c/p>\n\u003cp>In the book, Saunders weaves fragments of historical documents (both authentic and imagined) with the voices of ghosts trapped in the graveyard with young Willie, watching in wonder at the strength of his father’s love. The devastating toll of the Civil War is the backdrop for the scene of very particular loss.\u003c/p>\n\u003cp>Lola Young, the chair of the panel of judges that awarded the Booker Prize, called the novel “utterly original,” praising the narrative as “witty, intelligent, and deeply moving.”\u003c/p>\n\u003cp>In February, Saunders \u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">told NPR\u003c/a> that he carried the idea for the novel around with him for 20 years — although he wasn’t sure it would be a novel at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Four years ago, I was like, jeez, this has been bothering me all these years, maybe it’s time to give it a try,” he said. “And I kind of almost had a contract with this book. Kind of like, don’t bloat up on me — be a story if you can be a story. If you can be a nice paragraph, that’s fine. So I kind of kept it on a short leash, but it just kept growing, so I finally said, ‘OK, you are what you are.’ ”\u003c/p>\n\u003cp>Saunders explained that the “bardo” of the title is a Tibetan concept for a sort of transitional zone — a space between death and whatever comes after, in the world of the novel.\u003c/p>\n\u003cp>This is the second year in a row that an American has taken home the prize — in a year when U.S. authors made up fully 50 percent of the shortlist.\u003c/p>\n\u003cp>The Man Booker, one of the most prestigious prizes in literature, has been awarded annually since 1969. It comes with a £50,000 (nearly $66,000) cash prize, and is generally associated with a substantial boost in sales for the winning book.\u003c/p>\n\u003cp>The award was originally reserved only for writers from the U.K. or the Commonwealth (countries that were once part of the British empire.), but four years ago, the prize was opened up to Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/25/499368241/novelist-paul-beatty-is-first-american-to-win-britains-man-booker-prize\" target=\"_blank\" rel=\"noopener\">the prize went to Paul Beatty\u003c/a> for \u003cem>The Sellout\u003c/em>. It was the first time the Man Booker had ever been awarded to an American. \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=George+Saunders+Wins+Man+Booker+Prize+For+%27Lincoln+In+The+Bardo%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Songs That Say 'Me Too'",
"headTitle": "Songs That Say ‘Me Too’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Content advisory:\u003c/strong>\u003c/em>\u003cem> The videos and language below contain strong language and may be offensive to some.\u003c/em>\u003c/p>\n\u003cp>For the past two days women have overwhelmed social media with a truth often hidden in plain sight: \u003ca href=\"https://www.rainn.org/statistics/scope-problem\" target=\"_blank\" rel=\"noopener\">One out of every six\u003c/a> women has been subject to an attempted or completed rape during her lifetime. Countless more endure other forms of assault, abuse or harassment.\u003c/p>\n\u003cp>Prompted by the recent revelations that Hollywood mogul Harvey Weinstein performed such acts on dozens of women over the past four decades, the phrase “\u003ca href=\"https://www.bustle.com/p/the-woman-who-started-me-too-on-why-we-didnt-need-another-quiet-day-2920079\" target=\"_blank\" rel=\"noopener\">me too,\u003c/a>” posted as a hashtag or Facebook status, did the usual digital-activism work of intensely personalizing a social and political issue that many could otherwise dismiss as “not my problem.” As some men posted, and some women of color argued, it takes a certain amount of privilege to feel safe enough to make even a two-word disclosure like this one. Questions about race and gender arose that necessarily complicate rapid-fire political discourses. Yet “me too” has approached a certain critical mass; the hashtag had been used 200,000 times as of Monday morning.\u003c/p>\n\u003cp>As a meme, “me too” does a great job of crystallizing the rage and vulnerability women feel in the face of rape culture. This conversation, however, is hardly new. Artists, activists, writers and musicians have told the stories of violated women across time — particularly since the 1990s, when popular music and feminism powerfully intersected in the pop mainstream and the musical underground. Here’s a list of twenty songs in which women said “me too” — without shame.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tori Amos, “Me And A Gun” (1991)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4KjmFMtiywPXyr6CbLOhY3\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>This stark, semi-autobiographical monologue, which \u003ca href=\"http://www.npr.org/artists/15182176/tori-amos\" target=\"_blank\" rel=\"noopener\">Amos\u003c/a> wrote to be performed a capella, takes the listener within the mind of a woman being raped – and is based on details of the singer-songwriter’s own assault after a show when she was 21. The emotional centerpiece of her solo debut album \u003cem>Little Earthquakes\u003c/em>, it remains one of pop’s most intimate and forthright accounts of how women experience sexual violence.\u003c/p>\n\u003cp>\u003cstrong>TLC, “His Story” (1992)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3naqVKAWQJyghdX9VzYEJA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“‘His Story’ was happening before we were born,” \u003ca href=\"http://www.npr.org/artists/15807876/tlc\" target=\"_blank\" rel=\"noopener\">TLC\u003c/a> member Rozonda “Chilli” Thomas said in a recent interview, addressing this song’s theme of society’s tendency to accept the male viewpoint on sexual assault, even in the most dubious circumstances. A protest song in the guise of a funk jam, TLC’s invective has been somewhat forgotten, perhaps because it was inspired by and mentioned the highly controversial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/08/05/209194252/15-years-later-tawana-brawley-has-paid-1-percent-of-penalty\" target=\"_blank\" rel=\"noopener\">Tawana Brawley\u003c/a> case of 1987; its big-picture take still resonates.\u003c/p>\n\u003cp>\u003cstrong>Au Pairs, “Armagh” (1981)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5OqNaCBBU7qK5TeUzREhx1\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Sexual assault is always political, and sometimes it’s actually a tool of the state. The post-punk band Au Pairs – part of a vibrant feminist scene that arose in Northern England at the turn of the ’80s – made that reality explicit in this song, about female Irish Republican prisoners who were repeatedly strip-searched and reportedly violated as part of the daily routine in the Northern Irish prison of the song’s title. The women of Armagh conducted a \u003ca href=\"http://www.theirisharchives.com/articles/view/97/The-Women-Hunger-Strikers-Of-Armagh-Prison\" target=\"_blank\" rel=\"noopener\">“dirty protest”\u003c/a> to call attention to their plight; this song captures its disgust.\u003c/p>\n\u003cp>\u003cstrong>Liz Phair, “F*** and Run” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4MSdFtD1JPc2W3J13uJPeS\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15402643/liz-phair\" target=\"_blank\" rel=\"noopener\">Phair\u003c/a>‘s album-length rejoinder to carelessly sexist indie rockers, \u003cem>Exile in Guyville\u003c/em>, is one of the finest accounts of all the crap that women put up with within music scenes. This deceptively wry ballad about one-night-stand Johnnies contains a shocking line — “even when I was twelve,” Phair sang, recalling all the times men enjoyed her body and then left her behind — that connects everyday, callous treatment to the larger culture of abuse that women must navigate, starting when they are girls.\u003c/p>\n\u003cp>\u003cstrong>Bikini Kill, “Liar” (1991)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i1aycS7_P-M\u003c/p>\n\u003cp>The early ’90s Riot Grrrl movement brought the realities of rape culture into stark focus within an indie rock community that often presented itself as above “all that.” Kathleen Hanna, \u003ca href=\"http://www.npr.org/artists/106311747/bikini-kill\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>‘s vocalist and visionary, was the Cassandra who demanded that the men around her acknowledge that they, too, were part of the mass deceit that allows male perpetrators to “deny, deny, deny, deny.”\u003c/p>\n\u003cp>\u003cstrong>Fiona Apple, “Sullen Girl” (1996)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6cVxGzo7214XabSXFGasNl\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The effects of sexual assault often, perhaps nearly always, last a lifetime. At 17, in this blunt, introspective, beautiful piano ballad, \u003ca href=\"http://www.npr.org/artists/15183593/fiona-apple\" target=\"_blank\" rel=\"noopener\">Fiona Apple\u003c/a> revealed the aftermath of her rape at age 12. “My oblivion,” she called it, resurrecting herself through sheer grit and musicality, and guiding others to do the same.\u003c/p>\n\u003cp>\u003cstrong>The Raincoats, “Off Duty Trip” (1979)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6hsh2tGBNL5WlaQLrD61P7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Rape culture is supported by a criminal justice system that can seem inclined towards preserving male power. (The recent case of Brock Turner, the Stanford student whose sentence was reduced by a judge concerned about its \u003ca href=\"https://www.washingtonpost.com/news/grade-point/wp/2017/07/02/the-judge-in-the-infamous-brock-turner-case-finally-explains-his-decision-a-year-later/?utm_term=.afbf2b168bee\" target=\"_blank\" rel=\"noopener\">impact on his future\u003c/a>, is illustrative.) Post-punk greats \u003ca href=\"http://www.npr.org/artists/539037321/the-raincoats\" target=\"_blank\" rel=\"noopener\">The Raincoats\u003c/a> refer in this song to a much-publicized rape trial in which a British Army officer received lenient treatment from a judge concerned about his military standing, and contextualizes that outrage within a larger view of women’s objectification.\u003c/p>\n\u003cp>\u003cstrong>Rihanna, “Man Down” (2010)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/454h9zAIuTe1eJyw9iTnj4\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The Barbadian queen of international pop has often alluded to sexualized violence in her songs, partly because of her own history, which includes surviving domestic assault by her then-boyfriend, the singer Chris Brown. This song takes on rape directly, and can be heard as a revenge fantasy aimed at the fiercely patriarchal culture of the Caribbean dancehall music it mines.\u003c/p>\n\u003cp>\u003cstrong>War On Women, “Say It” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0eta41JkL9xjzWxiPtuMEQ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Certain environments where male bonding is prioritized — fraternities, for example, or perhaps summer rock festivals — have proven particularly conducive to men who violate women. This past summer, the Baltimore band War On Women brought this demand to disrupt such enclaves to Warped Tour, and, perhaps predictably,\u003cstrong> \u003c/strong>\u003ca href=\"https://www.popsugar.com/news/How-Women-Warped-Tour-Pushing-Back-Against-Sexual-Harassment-43727311\" target=\"_blank\" rel=\"noopener\">endured a backlash\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sarah McLachlan, “Possession” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/28SynOAuafgfxvPXWFgS7D\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Stalking – the relentless invasion of a woman’s space and privacy – is a major aspect of the culture of misogyny. In one of her most resonant and popular songs, Lilith Fair co-founder \u003ca href=\"http://www.npr.org/artists/15397450/sarah-mclachlan\" target=\"_blank\" rel=\"noopener\">Sarah McLachlan\u003c/a> claimed power over a fan who’d stalked her by imagining herself in his position, a chancy move that allowed her some sense of power. Though, she said, the experience had forced her to live with the constant fear that she \u003ca href=\"http://www.addictedtosongwriting.com/sarah-mclachlan.html\" target=\"_blank\" rel=\"noopener\">might be raped\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rhiannon Giddens, “At the Purchaser’s Option” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5RmAtT0VaKttU0Eybo6ZWA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The #metoo hashtag rivets us because it feels urgent and new. But sexual assault is embedded in American culture, especially within the poison legacy of slavery. Newly minted MacArthur Foundation Genius \u003ca href=\"http://www.npr.org/artists/384980773/rhiannon-giddens\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a> brings listeners right into the bloodied heart of one enslaved woman impregnated by her rapist, whose resilience defied history itself.\u003c/p>\n\u003cp>\u003cstrong>Eve, “Love is Blind” (1999)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0H2jfzzREOr9MF95HB7ry6\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“What kind of love,” Eve asked in this song dedicated to a friend who’d been killed by her boyfriend, “make you wish he would die?” The cycle of domestic violence included rape, and the rap royal included it as part of this cry for justice, which ends in a scenario of revenge. “Love is Blind” is a swaggering achievement that stands against hip-hop’s longstanding practice of \u003ca href=\"http://uproxx.com/webculture/50-absurd-rape-lyrics/\">making light\u003c/a> of sexual assault and harassment.\u003c/p>\n\u003cp>\u003cstrong>Otep, “Fillthee” (2001)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0AWMwRNXNc0bX2sPLWrxX7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The atmospheres in which violence can be mounted against women are often aggressively male. Extreme heavy metal is, notoriously, a dude’s paradise; Otep Shamaya is one of the few women who has found stardom within it. From the start of her career, as in this song confronting the shame a rape victim feels, she has demanded that her peers acknowledge the ways in which they quash the feminine.\u003c/p>\n\u003cp>\u003cstrong>Amy Grant, “Ask Me” (1991)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5rLGbtNvUB8nqyUNTRC5n9\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>All too often, women have been taught to blame themselves for their own victimization. Sometimes religion has enforced this self-condemnation. Amy Grant, one of contemporary Christian music’s superstars, turns this shame around by telling the story of a sexually abused child in poignant detail before celebrating the girl’s redemption as a grown woman. Grant puts mercy before patriarchal judgment in her version of being born again.\u003c/p>\n\u003cp>\u003cstrong>Gillian Welch, “Caleb Meyer” (1998)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/170BlLwmzfaW7hlKCl24sb\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The murder ballad is a Euro-American traditional song form that forms one of the foundations of folk music. Through its many tales of lone male wolves strangling women or \u003ca href=\"https://www.youtube.com/watch?v=_KvXteZkByE\" target=\"_blank\" rel=\"noopener\">pushing them into rivers\u003c/a>, it also normalizes misogyny. In this satisfying twist on the usual story, by Americana’s master storyteller \u003ca href=\"http://www.npr.org/artists/15237439/gillian-welch\" target=\"_blank\" rel=\"noopener\">Gillian Welch\u003c/a> and her partner David Rawlings, the titular character is a rapist who becomes a casualty of his own criminal act when his victim – a determined survivor – grabs a broken bottle and ends both the crime and his life.\u003c/p>\n\u003cp>\u003cstrong>Angel Haze, “Cleaning Out My Closet” (2012)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=olBOFLqEREI\u003c/p>\n\u003cp>One way that men have erased women’s accounts of their own realities is by treating misogyny as a joke. The Detroit rapper Angel Haze battles one of the masters of that despicable art, \u003ca href=\"http://www.npr.org/artists/15404635/eminem\" target=\"_blank\" rel=\"noopener\">Eminem\u003c/a>, in this truth-baring session. The Eminem song that shares this title is uncharacteristically (and barely) tender, qualified by a final rhyme about almost shooting his ex-wife Kim. Haze’s is much deeper, detailing childhood trauma enacted by multiple abusers and ending with her listing its devastating effects on her psyche. The truth is not a punchline.\u003c/p>\n\u003cp>\u003cstrong>Big Thief, “Coma” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0cMGrVR6OQoNZwgmtQ0jWC\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The crucial task of helping women recover from violence often falls to other women. In this gently redemptive song about recovery from \u003ca href=\"http://www.npr.org/artists/467816510/big-thief\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a> — a response to Big Thief’s “Watering,” which details an assault, possibly of the same woman — the band’s singer-guitarist and main songwriter Adrianne Lenker becomes that nurturing companion, helping a survivor understand that both her inner and outer world have forever changed with what she’s endured, but that she can still see light.\u003c/p>\n\u003cp>\u003cstrong>Kira Isabella, “Quarterback” (2014)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5aIPwyYKzd3RyPvhwloeoZ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Peer pressure and alcohol are two potent forces that both feed rape culture and, sometimes, protect its perpetrators. Canadian country artist Kira Isabella and her songwriting team (including Saving Jane’s \u003ca href=\"https://twitter.com/martilynndodson?lang=en\" target=\"_blank\" rel=\"noopener\">Marti Dodson\u003c/a>) capture that reality in the tale of a “no name girl from the freshman class” violated by the big man on campus and, in a tragic contemporary twist, by whatever witness chose to post images of the act on the Internet. Penn State and Steubenville are the backdrop for this all-too-familiar tale.\u003c/p>\n\u003cp>\u003cstrong>Petrol Girls, “Touch Me Again” (2016)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/21oFKSwN0SnBYC4bFtDZEI\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“This is about the really not-very-difficult idea that you shouldn’t f*** people if they don’t want to have sex with you, and you shouldn’t touch people if they don’t want to be touched,” said Ren Aldridge, vocalist and leader of this raucously righteous London-based hardcore band, introducing this song at a recent show.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga, “Til It Happens To You” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0bCCGLHflR08UVA6oJJc8I\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If today’s rejuvenated mainstream consciousness about sexual assault has an anthem it is this ballad, co-written by pop’s Mother Monster alongside Diane Warren, the mother of many other massive hits. Featured in \u003cem>The Hunting Ground\u003c/em>, a 2015 documentary about rape on college campuses, it’s a giant power ballad whose ultimate message is that only those who’ve survived sexual violence can understand it. Tragically, the past few days have indicated that most women are in that position; songs like this one resonate all too widely. \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=Songs+That+Say+%27Me+Too%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Women have posted the phrase on social media to raise awareness of sexual assault, abuse, and harassment. Here is a list of songs in which artists said \"me too.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Content advisory:\u003c/strong>\u003c/em>\u003cem> The videos and language below contain strong language and may be offensive to some.\u003c/em>\u003c/p>\n\u003cp>For the past two days women have overwhelmed social media with a truth often hidden in plain sight: \u003ca href=\"https://www.rainn.org/statistics/scope-problem\" target=\"_blank\" rel=\"noopener\">One out of every six\u003c/a> women has been subject to an attempted or completed rape during her lifetime. Countless more endure other forms of assault, abuse or harassment.\u003c/p>\n\u003cp>Prompted by the recent revelations that Hollywood mogul Harvey Weinstein performed such acts on dozens of women over the past four decades, the phrase “\u003ca href=\"https://www.bustle.com/p/the-woman-who-started-me-too-on-why-we-didnt-need-another-quiet-day-2920079\" target=\"_blank\" rel=\"noopener\">me too,\u003c/a>” posted as a hashtag or Facebook status, did the usual digital-activism work of intensely personalizing a social and political issue that many could otherwise dismiss as “not my problem.” As some men posted, and some women of color argued, it takes a certain amount of privilege to feel safe enough to make even a two-word disclosure like this one. Questions about race and gender arose that necessarily complicate rapid-fire political discourses. Yet “me too” has approached a certain critical mass; the hashtag had been used 200,000 times as of Monday morning.\u003c/p>\n\u003cp>As a meme, “me too” does a great job of crystallizing the rage and vulnerability women feel in the face of rape culture. This conversation, however, is hardly new. Artists, activists, writers and musicians have told the stories of violated women across time — particularly since the 1990s, when popular music and feminism powerfully intersected in the pop mainstream and the musical underground. Here’s a list of twenty songs in which women said “me too” — without shame.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tori Amos, “Me And A Gun” (1991)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4KjmFMtiywPXyr6CbLOhY3\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>This stark, semi-autobiographical monologue, which \u003ca href=\"http://www.npr.org/artists/15182176/tori-amos\" target=\"_blank\" rel=\"noopener\">Amos\u003c/a> wrote to be performed a capella, takes the listener within the mind of a woman being raped – and is based on details of the singer-songwriter’s own assault after a show when she was 21. The emotional centerpiece of her solo debut album \u003cem>Little Earthquakes\u003c/em>, it remains one of pop’s most intimate and forthright accounts of how women experience sexual violence.\u003c/p>\n\u003cp>\u003cstrong>TLC, “His Story” (1992)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3naqVKAWQJyghdX9VzYEJA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“‘His Story’ was happening before we were born,” \u003ca href=\"http://www.npr.org/artists/15807876/tlc\" target=\"_blank\" rel=\"noopener\">TLC\u003c/a> member Rozonda “Chilli” Thomas said in a recent interview, addressing this song’s theme of society’s tendency to accept the male viewpoint on sexual assault, even in the most dubious circumstances. A protest song in the guise of a funk jam, TLC’s invective has been somewhat forgotten, perhaps because it was inspired by and mentioned the highly controversial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/08/05/209194252/15-years-later-tawana-brawley-has-paid-1-percent-of-penalty\" target=\"_blank\" rel=\"noopener\">Tawana Brawley\u003c/a> case of 1987; its big-picture take still resonates.\u003c/p>\n\u003cp>\u003cstrong>Au Pairs, “Armagh” (1981)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5OqNaCBBU7qK5TeUzREhx1\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Sexual assault is always political, and sometimes it’s actually a tool of the state. The post-punk band Au Pairs – part of a vibrant feminist scene that arose in Northern England at the turn of the ’80s – made that reality explicit in this song, about female Irish Republican prisoners who were repeatedly strip-searched and reportedly violated as part of the daily routine in the Northern Irish prison of the song’s title. The women of Armagh conducted a \u003ca href=\"http://www.theirisharchives.com/articles/view/97/The-Women-Hunger-Strikers-Of-Armagh-Prison\" target=\"_blank\" rel=\"noopener\">“dirty protest”\u003c/a> to call attention to their plight; this song captures its disgust.\u003c/p>\n\u003cp>\u003cstrong>Liz Phair, “F*** and Run” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4MSdFtD1JPc2W3J13uJPeS\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15402643/liz-phair\" target=\"_blank\" rel=\"noopener\">Phair\u003c/a>‘s album-length rejoinder to carelessly sexist indie rockers, \u003cem>Exile in Guyville\u003c/em>, is one of the finest accounts of all the crap that women put up with within music scenes. This deceptively wry ballad about one-night-stand Johnnies contains a shocking line — “even when I was twelve,” Phair sang, recalling all the times men enjoyed her body and then left her behind — that connects everyday, callous treatment to the larger culture of abuse that women must navigate, starting when they are girls.\u003c/p>\n\u003cp>\u003cstrong>Bikini Kill, “Liar” (1991)\u003c/strong>\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/i1aycS7_P-M'\n title='//www.youtube.com/embed/i1aycS7_P-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The early ’90s Riot Grrrl movement brought the realities of rape culture into stark focus within an indie rock community that often presented itself as above “all that.” Kathleen Hanna, \u003ca href=\"http://www.npr.org/artists/106311747/bikini-kill\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>‘s vocalist and visionary, was the Cassandra who demanded that the men around her acknowledge that they, too, were part of the mass deceit that allows male perpetrators to “deny, deny, deny, deny.”\u003c/p>\n\u003cp>\u003cstrong>Fiona Apple, “Sullen Girl” (1996)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6cVxGzo7214XabSXFGasNl\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The effects of sexual assault often, perhaps nearly always, last a lifetime. At 17, in this blunt, introspective, beautiful piano ballad, \u003ca href=\"http://www.npr.org/artists/15183593/fiona-apple\" target=\"_blank\" rel=\"noopener\">Fiona Apple\u003c/a> revealed the aftermath of her rape at age 12. “My oblivion,” she called it, resurrecting herself through sheer grit and musicality, and guiding others to do the same.\u003c/p>\n\u003cp>\u003cstrong>The Raincoats, “Off Duty Trip” (1979)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6hsh2tGBNL5WlaQLrD61P7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Rape culture is supported by a criminal justice system that can seem inclined towards preserving male power. (The recent case of Brock Turner, the Stanford student whose sentence was reduced by a judge concerned about its \u003ca href=\"https://www.washingtonpost.com/news/grade-point/wp/2017/07/02/the-judge-in-the-infamous-brock-turner-case-finally-explains-his-decision-a-year-later/?utm_term=.afbf2b168bee\" target=\"_blank\" rel=\"noopener\">impact on his future\u003c/a>, is illustrative.) Post-punk greats \u003ca href=\"http://www.npr.org/artists/539037321/the-raincoats\" target=\"_blank\" rel=\"noopener\">The Raincoats\u003c/a> refer in this song to a much-publicized rape trial in which a British Army officer received lenient treatment from a judge concerned about his military standing, and contextualizes that outrage within a larger view of women’s objectification.\u003c/p>\n\u003cp>\u003cstrong>Rihanna, “Man Down” (2010)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/454h9zAIuTe1eJyw9iTnj4\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The Barbadian queen of international pop has often alluded to sexualized violence in her songs, partly because of her own history, which includes surviving domestic assault by her then-boyfriend, the singer Chris Brown. This song takes on rape directly, and can be heard as a revenge fantasy aimed at the fiercely patriarchal culture of the Caribbean dancehall music it mines.\u003c/p>\n\u003cp>\u003cstrong>War On Women, “Say It” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0eta41JkL9xjzWxiPtuMEQ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Certain environments where male bonding is prioritized — fraternities, for example, or perhaps summer rock festivals — have proven particularly conducive to men who violate women. This past summer, the Baltimore band War On Women brought this demand to disrupt such enclaves to Warped Tour, and, perhaps predictably,\u003cstrong> \u003c/strong>\u003ca href=\"https://www.popsugar.com/news/How-Women-Warped-Tour-Pushing-Back-Against-Sexual-Harassment-43727311\" target=\"_blank\" rel=\"noopener\">endured a backlash\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sarah McLachlan, “Possession” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/28SynOAuafgfxvPXWFgS7D\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Stalking – the relentless invasion of a woman’s space and privacy – is a major aspect of the culture of misogyny. In one of her most resonant and popular songs, Lilith Fair co-founder \u003ca href=\"http://www.npr.org/artists/15397450/sarah-mclachlan\" target=\"_blank\" rel=\"noopener\">Sarah McLachlan\u003c/a> claimed power over a fan who’d stalked her by imagining herself in his position, a chancy move that allowed her some sense of power. Though, she said, the experience had forced her to live with the constant fear that she \u003ca href=\"http://www.addictedtosongwriting.com/sarah-mclachlan.html\" target=\"_blank\" rel=\"noopener\">might be raped\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rhiannon Giddens, “At the Purchaser’s Option” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5RmAtT0VaKttU0Eybo6ZWA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The #metoo hashtag rivets us because it feels urgent and new. But sexual assault is embedded in American culture, especially within the poison legacy of slavery. Newly minted MacArthur Foundation Genius \u003ca href=\"http://www.npr.org/artists/384980773/rhiannon-giddens\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a> brings listeners right into the bloodied heart of one enslaved woman impregnated by her rapist, whose resilience defied history itself.\u003c/p>\n\u003cp>\u003cstrong>Eve, “Love is Blind” (1999)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0H2jfzzREOr9MF95HB7ry6\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“What kind of love,” Eve asked in this song dedicated to a friend who’d been killed by her boyfriend, “make you wish he would die?” The cycle of domestic violence included rape, and the rap royal included it as part of this cry for justice, which ends in a scenario of revenge. “Love is Blind” is a swaggering achievement that stands against hip-hop’s longstanding practice of \u003ca href=\"http://uproxx.com/webculture/50-absurd-rape-lyrics/\">making light\u003c/a> of sexual assault and harassment.\u003c/p>\n\u003cp>\u003cstrong>Otep, “Fillthee” (2001)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0AWMwRNXNc0bX2sPLWrxX7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The atmospheres in which violence can be mounted against women are often aggressively male. Extreme heavy metal is, notoriously, a dude’s paradise; Otep Shamaya is one of the few women who has found stardom within it. From the start of her career, as in this song confronting the shame a rape victim feels, she has demanded that her peers acknowledge the ways in which they quash the feminine.\u003c/p>\n\u003cp>\u003cstrong>Amy Grant, “Ask Me” (1991)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5rLGbtNvUB8nqyUNTRC5n9\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>All too often, women have been taught to blame themselves for their own victimization. Sometimes religion has enforced this self-condemnation. Amy Grant, one of contemporary Christian music’s superstars, turns this shame around by telling the story of a sexually abused child in poignant detail before celebrating the girl’s redemption as a grown woman. Grant puts mercy before patriarchal judgment in her version of being born again.\u003c/p>\n\u003cp>\u003cstrong>Gillian Welch, “Caleb Meyer” (1998)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/170BlLwmzfaW7hlKCl24sb\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The murder ballad is a Euro-American traditional song form that forms one of the foundations of folk music. Through its many tales of lone male wolves strangling women or \u003ca href=\"https://www.youtube.com/watch?v=_KvXteZkByE\" target=\"_blank\" rel=\"noopener\">pushing them into rivers\u003c/a>, it also normalizes misogyny. In this satisfying twist on the usual story, by Americana’s master storyteller \u003ca href=\"http://www.npr.org/artists/15237439/gillian-welch\" target=\"_blank\" rel=\"noopener\">Gillian Welch\u003c/a> and her partner David Rawlings, the titular character is a rapist who becomes a casualty of his own criminal act when his victim – a determined survivor – grabs a broken bottle and ends both the crime and his life.\u003c/p>\n\u003cp>\u003cstrong>Angel Haze, “Cleaning Out My Closet” (2012)\u003c/strong>\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/olBOFLqEREI'\n title='//www.youtube.com/embed/olBOFLqEREI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One way that men have erased women’s accounts of their own realities is by treating misogyny as a joke. The Detroit rapper Angel Haze battles one of the masters of that despicable art, \u003ca href=\"http://www.npr.org/artists/15404635/eminem\" target=\"_blank\" rel=\"noopener\">Eminem\u003c/a>, in this truth-baring session. The Eminem song that shares this title is uncharacteristically (and barely) tender, qualified by a final rhyme about almost shooting his ex-wife Kim. Haze’s is much deeper, detailing childhood trauma enacted by multiple abusers and ending with her listing its devastating effects on her psyche. The truth is not a punchline.\u003c/p>\n\u003cp>\u003cstrong>Big Thief, “Coma” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0cMGrVR6OQoNZwgmtQ0jWC\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The crucial task of helping women recover from violence often falls to other women. In this gently redemptive song about recovery from \u003ca href=\"http://www.npr.org/artists/467816510/big-thief\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a> — a response to Big Thief’s “Watering,” which details an assault, possibly of the same woman — the band’s singer-guitarist and main songwriter Adrianne Lenker becomes that nurturing companion, helping a survivor understand that both her inner and outer world have forever changed with what she’s endured, but that she can still see light.\u003c/p>\n\u003cp>\u003cstrong>Kira Isabella, “Quarterback” (2014)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5aIPwyYKzd3RyPvhwloeoZ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Peer pressure and alcohol are two potent forces that both feed rape culture and, sometimes, protect its perpetrators. Canadian country artist Kira Isabella and her songwriting team (including Saving Jane’s \u003ca href=\"https://twitter.com/martilynndodson?lang=en\" target=\"_blank\" rel=\"noopener\">Marti Dodson\u003c/a>) capture that reality in the tale of a “no name girl from the freshman class” violated by the big man on campus and, in a tragic contemporary twist, by whatever witness chose to post images of the act on the Internet. Penn State and Steubenville are the backdrop for this all-too-familiar tale.\u003c/p>\n\u003cp>\u003cstrong>Petrol Girls, “Touch Me Again” (2016)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/21oFKSwN0SnBYC4bFtDZEI\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“This is about the really not-very-difficult idea that you shouldn’t f*** people if they don’t want to have sex with you, and you shouldn’t touch people if they don’t want to be touched,” said Ren Aldridge, vocalist and leader of this raucously righteous London-based hardcore band, introducing this song at a recent show.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga, “Til It Happens To You” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0bCCGLHflR08UVA6oJJc8I\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If today’s rejuvenated mainstream consciousness about sexual assault has an anthem it is this ballad, co-written by pop’s Mother Monster alongside Diane Warren, the mother of many other massive hits. Featured in \u003cem>The Hunting Ground\u003c/em>, a 2015 documentary about rape on college campuses, it’s a giant power ballad whose ultimate message is that only those who’ve survived sexual violence can understand it. Tragically, the past few days have indicated that most women are in that position; songs like this one resonate all too widely. \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=Songs+That+Say+%27Me+Too%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In New Video, Prophets Of Rage Gives NFL's #TakeAKnee Protest Historical Context",
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"content": "\u003cp>\u003cem>Content advisory: The video below contains imagery and language that some may find offensive.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Move over, Eminem.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n\u003cp>https://www.facebook.com/prophetsofrageofficial/videos/1481275721938022/\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Barely one week after the rapper’s \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">anti-Trump tirade\u003c/a>, performed during the annual BET Hip Hop Awards, sparked buzz and\u003cstrong> \u003c/strong>debates over America’s double standards race and rap, Chuck D\u003cstrong>,\u003c/strong> one of the genre’s most politically outspoken artists, has returned to bring the noise.\u003c/p>\n\u003cp>Prophets of Rage — a rock-rap supergroup started by the Public Enemy lead and featuring Tom Morello, Tim Commerford, Brad Wilk, B-Real and DJ Lord — released a provocative video today for the unity anthem “Strength In Numbers.”\u003c/p>\n\u003cp>The video juxtaposes a barrage of visuals; Hollywood’s racist history of stereotypical blackface imagery in films and cartoons (similarly referenced in Jay-Z’s recent “Story of O.J.” \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/05/535638777/lets-unpack-jay-zs-4-44\" target=\"_blank\" rel=\"noopener\">video\u003c/a>), the desecration of the American flag by its most strident defenders, footage of unarmed blacks being killed by police and \u003ca href=\"http://www.npr.org/2017/09/24/553336083/across-the-nation-nfl-teams-take-a-knee-in-protest-of-presidents-comments\" target=\"_blank\" rel=\"noopener\">controversial protests\u003c/a> during the national anthem by NFL players, meant to highlight such unjust deaths. These are interspersed with images of insect colonies, schools of fish and swarms of bees mounting collective attacks on larger opponents, cutting a clear allusion to the song’s title.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Unify or it’s do or die,” B-Real raps on the hook of the song from the group’s self-titled LP, which recently \u003ca href=\"http://www.billboard.com/music/prophets-of-rage/chart-history/rock-albums/song/1045643\" target=\"_blank\" rel=\"noopener\">peaked at No. 4\u003c/a> on \u003cem>Billboard\u003c/em>‘s rock albums chart.\u003c/p>\n\u003cp>The video ends by posing a question in response to the politically divisive #TakeAKnee protests that continue in Colin Kaepernick’s wake: “Is it the knee or the Negro?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Considering the former quarterback’s recently-filed \u003ca href=\"http://www.slate.com/blogs/the_slatest/2017/10/15/colin_kaepernick_files_grievance_against_nfl_owners_alleging_collusion.html\" target=\"_blank\" rel=\"noopener\">grievance \u003c/a>against NFL owners for allegedly blackballing him from the league, there’s no need to guess what his answer would be. \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=+In+New+Video%2C+Prophets+Of+Rage+Gives+NFL%27s+%23TakeAKnee+Protest+Historical+Context&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Content advisory: The video below contains imagery and language that some may find offensive.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Move over, Eminem.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n\u003cp>https://www.facebook.com/prophetsofrageofficial/videos/1481275721938022/\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Barely one week after the rapper’s \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">anti-Trump tirade\u003c/a>, performed during the annual BET Hip Hop Awards, sparked buzz and\u003cstrong> \u003c/strong>debates over America’s double standards race and rap, Chuck D\u003cstrong>,\u003c/strong> one of the genre’s most politically outspoken artists, has returned to bring the noise.\u003c/p>\n\u003cp>Prophets of Rage — a rock-rap supergroup started by the Public Enemy lead and featuring Tom Morello, Tim Commerford, Brad Wilk, B-Real and DJ Lord — released a provocative video today for the unity anthem “Strength In Numbers.”\u003c/p>\n\u003cp>The video juxtaposes a barrage of visuals; Hollywood’s racist history of stereotypical blackface imagery in films and cartoons (similarly referenced in Jay-Z’s recent “Story of O.J.” \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/05/535638777/lets-unpack-jay-zs-4-44\" target=\"_blank\" rel=\"noopener\">video\u003c/a>), the desecration of the American flag by its most strident defenders, footage of unarmed blacks being killed by police and \u003ca href=\"http://www.npr.org/2017/09/24/553336083/across-the-nation-nfl-teams-take-a-knee-in-protest-of-presidents-comments\" target=\"_blank\" rel=\"noopener\">controversial protests\u003c/a> during the national anthem by NFL players, meant to highlight such unjust deaths. These are interspersed with images of insect colonies, schools of fish and swarms of bees mounting collective attacks on larger opponents, cutting a clear allusion to the song’s title.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Unify or it’s do or die,” B-Real raps on the hook of the song from the group’s self-titled LP, which recently \u003ca href=\"http://www.billboard.com/music/prophets-of-rage/chart-history/rock-albums/song/1045643\" target=\"_blank\" rel=\"noopener\">peaked at No. 4\u003c/a> on \u003cem>Billboard\u003c/em>‘s rock albums chart.\u003c/p>\n\u003cp>The video ends by posing a question in response to the politically divisive #TakeAKnee protests that continue in Colin Kaepernick’s wake: “Is it the knee or the Negro?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Considering the former quarterback’s recently-filed \u003ca href=\"http://www.slate.com/blogs/the_slatest/2017/10/15/colin_kaepernick_files_grievance_against_nfl_owners_alleging_collusion.html\" target=\"_blank\" rel=\"noopener\">grievance \u003c/a>against NFL owners for allegedly blackballing him from the league, there’s no need to guess what his answer would be. \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=+In+New+Video%2C+Prophets+Of+Rage+Gives+NFL%27s+%23TakeAKnee+Protest+Historical+Context&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Dan Deacon Collaborated With Rats to Make his Latest Film Score",
"headTitle": "How Dan Deacon Collaborated With Rats to Make his Latest Film Score | KQED",
"content": "\u003cp>It’s not unusual for film composers to make music out of organic sounds found in or related to the movie. Take Nathan Johnson’s stunning \u003ca href=\"http://www.npr.org/2013/01/01/162734982/looper-a-world-of-musical-clicks-and-pops\" target=\"_blank\" rel=\"noopener\">\u003cem>Looper \u003c/em>score\u003c/a> which was built on a foundation of sampled clicks and pops that captured the film’s steampunk creakiness. Or, more elementally, the typewriter rhythms Mark Mothersbaugh used for his \u003cem>Royal Tenenbaums\u003c/em> score, emulating the film’s anachronistic storytelling themes.\u003c/p>\n\u003cp>For \u003cem>Rat Film, \u003c/em>a new documentary that explores Baltimore’s complicated history (as told through the city’s rat infestation), electronic artist Dan Deacon developed an elaborate system to get the rats themselves to make the music. Let’s just say \u003ca href=\"https://www.youtube.com/watch?v=YsJ9NrUtGik\" target=\"_blank\" rel=\"noopener\">it’s technical\u003c/a>. But in this track-by-track breakdown, he explains just how he did it, the challenges of making music that’s simultaneously uplifting and moody, and how he navigated seeming failure and happy accidents.\u003c/p>\n\u003chr>\n\u003ch3>“Redlining”\u003c/h3>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5DvVMuDY6A8md1iv26XgMv\" align=\"right\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“At the onset of the project, [director] Theo [Anthony] asked me if I could make music with rats. After some thought, my brain landed on the concept of an enclosure made out of theremins (one of the first electronic instruments ever invented and played by hand gestures). As the rats moved from one corner to another, the pitch and volume would change and create these odd harmonies. I was able to record not just the sound, but a digital conversion of the voltage, which proved the most useful. ‘Redlining,’ a piece for a Disklavier player piano (a self-playing piano that takes incoming MIDI data from a computer), is one of the products of that rat theremin performance/experiment. Using the rat movements as rhythmic data and a rough pitch contour, I began the process of editing together my favorite sections and conforming the note data to a scale. I wanted the tone to be emotionally ambivalent, in parallel with the narration. I wanted the viewer/listener to project their own feeling from their reactions to the content Theo was presenting. The music couldn’t be too steering or it would take away from the experience. This ideology was used throughout the film but I tried to most strongly apply it with this track.”\u003c/p>\n\u003cfigure id=\"attachment_13811646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Deacon-box-800x450.jpg\" alt=\"Dan Deacon positions a plexiglass case used to hold rats for the 'Rat Film' score.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Deacon positions a plexiglass case used to hold rats for the ‘Rat Film’ score. \u003ccite>(Domino Recording Co./Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Horn Phase”\u003c/h3>\n\u003cp>“This is one of the first pieces I wrote after seeing some raw, initial footage from Theo. The slow panning Google Earth footage of Baltimore thought of as a ‘video game’ was really disturbing to me. Sitting so heavy in the uncanny valley, I used the images’ unrealness as inspiration for a hanging, never settling or resolving sextet of synthetic brass. It made me really happy when Theo paired the piece with those images.”\u003c/p>\n\u003ch3>“Pelican”\u003c/h3>\n\u003cp>“‘Pelican’ is the exact opposite of ‘Horn Phase’ and the piece that came with the most input from Theo. It needed the feeling of falling back into your chair with an all-too familiar disbelief, like a musical shaking of your head in disappointment. But it needed to be light and airy, laid back and calm. The brilliant guitarist Steve Strohmeier came in and improvised over a loose structure for a few hours, leaving me with a vast collection of perfect riffs to assemble into a small ensemble of somber guitars.”\u003c/p>\n\u003cfigure id=\"attachment_13811647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-800x450.jpg\" alt=\"Will and Greg Kearney go rat fishing in East Baltimore.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore..jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will and Greg Kearney go rat fishing in East Baltimore. \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“OCME”\u003c/h3>\n\u003cp>“‘OCME’ was the result of a mistake turned into a blessing at the end of an extremely long and trying day. Theo was over at my studio and we struggled with finding anything either of us felt happy with for this section. I was accidentally moving the MIDI data from the rat-theremin performance and dropped it into a synth-patch channel and all of a sudden these eerie, singing-saw-like sounds began coming out. It was a real ghost in the machine moment that I would never have planned if I tried.”\u003c/p>\n\u003ch3>“Harold”\u003c/h3>\n\u003cp>“Some of the first footage I saw — and one of the only sections I wrote to picture — was the introduction of [a man named] Harold and the Baltimore City Rat Rub Out team playing ping pong. I wanted something that complimented the ping pong sounds and the rat brain clicks that color the sound design at cut points. Growing up, my parents owned and operated a small, two-person pest control company. Harold’s viewpoints and outlook on life come across as very similar to that of my parents.”\u003c/p>\n\u003cfigure id=\"attachment_13811650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Baltimore-rats-800x450.jpg\" alt=\"Baltimore resident Harold Edmond in Theo Anthony's 'Rat Film'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baltimore resident Harold Edmond in Theo Anthony’s ‘Rat Film’ \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Reed Clouds”\u003c/h3>\n\u003cp>“‘Reed Clouds,’ a processed layering of several improvisations by one of my favorite musicians, Andrew Bernstein, was recorded in a large pantry off the kitchen in my apartment that I converted into an isolation booth. Bernie was over for a session to do some takes on another large project I was working on simultaneously. I asked him to improvise free, then to improvise over some loops I prepared. Afterwards, with all the various takes, I began altering and editing them into what I wanted to sound like a cloud or haze. As it was early on in the process, I sent it to Theo with no notes on placement and it lived in a few spots before eventually finding its home being paired with the pops of the rat brain and the images of driving through Baltimore.”\u003c/p>\n\u003ch3>“Seagull”\u003c/h3>\n\u003cp>“For ‘Seagull,’ I recorded cellist Owen Gardner in a similar fashion to the way I recorded Bernie for ‘Reed Clouds.’ A series of improvisations, first free and then directed, ‘Seagull’ is a layering of Owen’s masterful playing of a series of ‘seagull glissandi,’ a technique which yields a beautiful cycling of artificial harmonics. I asked him to play these seagull glisses for an extremely long time (mostly for my own pleasure). After the session, I watched some of the footage Theo had sent over and got inspired to focus on these seagull glisses. I slowed and pitched them down, layered them and applied a series of effects. (I’m now just realizing the other project I was working on also has a song called ‘Seagull’).”\u003c/p>\n\u003ch3>“Calhoun”\u003c/h3>\n\u003cp>“‘Calhoun’ is a variation of ‘Redlining’ with a different voicing realized using vibraphone samples.”\u003c/p>\n\u003cfigure id=\"attachment_13811632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-800x599.jpg\" alt=\"A mass of baby rats featured in 'Rat Film.'\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13811632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mass of baby rats featured in ‘Rat Film.’ \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Rat Poison”\u003c/h3>\n\u003cp>“After watching the raw material Theo gave me, I learned so many details about rampant systematic institutional racism the city and JHU [John’s Hopkins University] have been imposing for decades. It felt like a dreary, sickening haze imagining the boardroom conversations where people justified and normalized their practices. Using that reaction, I also tried to focus on the surface-level subject matter, the actual rat poison. Working towards a drugged-out, hazy feeling, I experimented with chords on a pillowy synth as the framework and then applied some rat Theremin data to a woodwind synth patch for the melodic content towards the end of the piece.”\u003c/p>\n\u003ch3>“Video Game”\u003c/h3>\n\u003cp>“‘Video Game’ is perhaps the first piece I wrote for the score after watching the Google footage of Baltimore and hearing the initial narration Theo has in place about the video game. I really like how digitally corroded the images were, where the streets are growing up into the wheel wells of cars like asphalt weeds, the trees morphing together with the bricks of the row homes. It was a horrifying set of images and I wanted overly synthetic sounds to pair with the corrosion I was seeing.”\u003c/p>\n\u003cfigure id=\"attachment_13811637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-800x450.jpg\" alt=\"Matt Fouse, also known as the Rat Czar, shows off his collection of weapons that he uses to hunt for rats in his Baltimore backyard.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Fouse, also known as the Rat Czar, shows off his collection of weapons that he uses to hunt for rats in his Baltimore backyard. \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Harold’s Lament”\u003c/h3>\n\u003cp>“‘Harold’s Lament’ is another piece for cello performed by Owen Gardner. One of my favorite parts of this recording is the sound of the creaking Ikea chair Owen was sitting on that I grabbed from my kitchen for the session. Beyond Owen’s extended technique for kitchen chair, the piece is a structured improvisation, asking him to focus on extended techniques and effects, slowly drifting into a series of audio effects, and then layered with various other sections of the take.”\u003c/p>\n\u003ch3>“Map Overlays”\u003c/h3>\n\u003cp>“‘Map Overlays’ is a companion piece to ‘Redlining.’ Another piece of player piano, sculpted from the rat performance session (which, I should note, is seen throughout the film). For a great deal of the rat performance, the rats huddled up into a corner and sat still, leaving the Theremins droning with only very slight variation. At times during the recording, it seemed like the bulk of the experiment was a failure. But after getting the data and seeing these slight variations I found them really inspiring to work with. I applied the sections of stillness to a single note on the piano and octave, and layering of the note would change whenever there was a fluctuation in their small, huddled movements. I really enjoyed the effect and I don’t think I would have scored the section the same without it. We really had no idea what to expect from the rats and the Theremins. In hindsight, I couldn’t be happier with the result of that experiment. Not only for the music it helped create and inspire but because it marked the start of an extremely rewarding collaboration and, more importantly, a strong friendship with Theo.\u003c/p>\n\u003cfigure id=\"attachment_13811651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rat-King-800x450.jpg\" alt=\"Louis Eagle Warrior, celebrated musician and member of the Lenape Indian Nation, plays the flute in his living room.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Eagle Warrior, celebrated musician and member of the Lenape Indian Nation, plays the flute in his living room. \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so lucky to have worked on this film with such a thoughtful and brilliant artist. Towards the end of the process, working together side-by-side in my studio was some of the most fun I had that summer. Everything about this process seemed open to experimentation, new directions, recontextualization. Nothing was precious, yet every idea was important and worth exploring to its fullest. I can’t thank Theo enough for entrusting me with the task of scoring this film.” \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=How+Dan+Deacon+Collaborated+With+Rats+To+Make+His+Latest+Film+Score&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Deacon's music for the documentary 'Rat Film' is a pulsing electronic soundscape made, in part, by rats themselves. He explains how in this track-by-track breakdown of the score.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not unusual for film composers to make music out of organic sounds found in or related to the movie. Take Nathan Johnson’s stunning \u003ca href=\"http://www.npr.org/2013/01/01/162734982/looper-a-world-of-musical-clicks-and-pops\" target=\"_blank\" rel=\"noopener\">\u003cem>Looper \u003c/em>score\u003c/a> which was built on a foundation of sampled clicks and pops that captured the film’s steampunk creakiness. Or, more elementally, the typewriter rhythms Mark Mothersbaugh used for his \u003cem>Royal Tenenbaums\u003c/em> score, emulating the film’s anachronistic storytelling themes.\u003c/p>\n\u003cp>For \u003cem>Rat Film, \u003c/em>a new documentary that explores Baltimore’s complicated history (as told through the city’s rat infestation), electronic artist Dan Deacon developed an elaborate system to get the rats themselves to make the music. Let’s just say \u003ca href=\"https://www.youtube.com/watch?v=YsJ9NrUtGik\" target=\"_blank\" rel=\"noopener\">it’s technical\u003c/a>. But in this track-by-track breakdown, he explains just how he did it, the challenges of making music that’s simultaneously uplifting and moody, and how he navigated seeming failure and happy accidents.\u003c/p>\n\u003chr>\n\u003ch3>“Redlining”\u003c/h3>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5DvVMuDY6A8md1iv26XgMv\" align=\"right\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“At the onset of the project, [director] Theo [Anthony] asked me if I could make music with rats. After some thought, my brain landed on the concept of an enclosure made out of theremins (one of the first electronic instruments ever invented and played by hand gestures). As the rats moved from one corner to another, the pitch and volume would change and create these odd harmonies. I was able to record not just the sound, but a digital conversion of the voltage, which proved the most useful. ‘Redlining,’ a piece for a Disklavier player piano (a self-playing piano that takes incoming MIDI data from a computer), is one of the products of that rat theremin performance/experiment. Using the rat movements as rhythmic data and a rough pitch contour, I began the process of editing together my favorite sections and conforming the note data to a scale. I wanted the tone to be emotionally ambivalent, in parallel with the narration. I wanted the viewer/listener to project their own feeling from their reactions to the content Theo was presenting. The music couldn’t be too steering or it would take away from the experience. This ideology was used throughout the film but I tried to most strongly apply it with this track.”\u003c/p>\n\u003cfigure id=\"attachment_13811646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Deacon-box-800x450.jpg\" alt=\"Dan Deacon positions a plexiglass case used to hold rats for the 'Rat Film' score.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Deacon-box.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Deacon positions a plexiglass case used to hold rats for the ‘Rat Film’ score. \u003ccite>(Domino Recording Co./Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Horn Phase”\u003c/h3>\n\u003cp>“This is one of the first pieces I wrote after seeing some raw, initial footage from Theo. The slow panning Google Earth footage of Baltimore thought of as a ‘video game’ was really disturbing to me. Sitting so heavy in the uncanny valley, I used the images’ unrealness as inspiration for a hanging, never settling or resolving sextet of synthetic brass. It made me really happy when Theo paired the piece with those images.”\u003c/p>\n\u003ch3>“Pelican”\u003c/h3>\n\u003cp>“‘Pelican’ is the exact opposite of ‘Horn Phase’ and the piece that came with the most input from Theo. It needed the feeling of falling back into your chair with an all-too familiar disbelief, like a musical shaking of your head in disappointment. But it needed to be light and airy, laid back and calm. The brilliant guitarist Steve Strohmeier came in and improvised over a loose structure for a few hours, leaving me with a vast collection of perfect riffs to assemble into a small ensemble of somber guitars.”\u003c/p>\n\u003cfigure id=\"attachment_13811647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-800x450.jpg\" alt=\"Will and Greg Kearney go rat fishing in East Baltimore.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore.-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Will-and-Greg-Kearney-go-rat-fishing-in-East-Baltimore..jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will and Greg Kearney go rat fishing in East Baltimore. \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“OCME”\u003c/h3>\n\u003cp>“‘OCME’ was the result of a mistake turned into a blessing at the end of an extremely long and trying day. Theo was over at my studio and we struggled with finding anything either of us felt happy with for this section. I was accidentally moving the MIDI data from the rat-theremin performance and dropped it into a synth-patch channel and all of a sudden these eerie, singing-saw-like sounds began coming out. It was a real ghost in the machine moment that I would never have planned if I tried.”\u003c/p>\n\u003ch3>“Harold”\u003c/h3>\n\u003cp>“Some of the first footage I saw — and one of the only sections I wrote to picture — was the introduction of [a man named] Harold and the Baltimore City Rat Rub Out team playing ping pong. I wanted something that complimented the ping pong sounds and the rat brain clicks that color the sound design at cut points. Growing up, my parents owned and operated a small, two-person pest control company. Harold’s viewpoints and outlook on life come across as very similar to that of my parents.”\u003c/p>\n\u003cfigure id=\"attachment_13811650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Baltimore-rats-800x450.jpg\" alt=\"Baltimore resident Harold Edmond in Theo Anthony's 'Rat Film'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Baltimore-rats.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baltimore resident Harold Edmond in Theo Anthony’s ‘Rat Film’ \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Reed Clouds”\u003c/h3>\n\u003cp>“‘Reed Clouds,’ a processed layering of several improvisations by one of my favorite musicians, Andrew Bernstein, was recorded in a large pantry off the kitchen in my apartment that I converted into an isolation booth. Bernie was over for a session to do some takes on another large project I was working on simultaneously. I asked him to improvise free, then to improvise over some loops I prepared. Afterwards, with all the various takes, I began altering and editing them into what I wanted to sound like a cloud or haze. As it was early on in the process, I sent it to Theo with no notes on placement and it lived in a few spots before eventually finding its home being paired with the pops of the rat brain and the images of driving through Baltimore.”\u003c/p>\n\u003ch3>“Seagull”\u003c/h3>\n\u003cp>“For ‘Seagull,’ I recorded cellist Owen Gardner in a similar fashion to the way I recorded Bernie for ‘Reed Clouds.’ A series of improvisations, first free and then directed, ‘Seagull’ is a layering of Owen’s masterful playing of a series of ‘seagull glissandi,’ a technique which yields a beautiful cycling of artificial harmonics. I asked him to play these seagull glisses for an extremely long time (mostly for my own pleasure). After the session, I watched some of the footage Theo had sent over and got inspired to focus on these seagull glisses. I slowed and pitched them down, layered them and applied a series of effects. (I’m now just realizing the other project I was working on also has a song called ‘Seagull’).”\u003c/p>\n\u003ch3>“Calhoun”\u003c/h3>\n\u003cp>“‘Calhoun’ is a variation of ‘Redlining’ with a different voicing realized using vibraphone samples.”\u003c/p>\n\u003cfigure id=\"attachment_13811632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-800x599.jpg\" alt=\"A mass of baby rats featured in 'Rat Film.'\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13811632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/06-f193c12a7ab04e559157b909d57c5d3e30e0c15d.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mass of baby rats featured in ‘Rat Film.’ \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Rat Poison”\u003c/h3>\n\u003cp>“After watching the raw material Theo gave me, I learned so many details about rampant systematic institutional racism the city and JHU [John’s Hopkins University] have been imposing for decades. It felt like a dreary, sickening haze imagining the boardroom conversations where people justified and normalized their practices. Using that reaction, I also tried to focus on the surface-level subject matter, the actual rat poison. Working towards a drugged-out, hazy feeling, I experimented with chords on a pillowy synth as the framework and then applied some rat Theremin data to a woodwind synth patch for the melodic content towards the end of the piece.”\u003c/p>\n\u003ch3>“Video Game”\u003c/h3>\n\u003cp>“‘Video Game’ is perhaps the first piece I wrote for the score after watching the Google footage of Baltimore and hearing the initial narration Theo has in place about the video game. I really like how digitally corroded the images were, where the streets are growing up into the wheel wells of cars like asphalt weeds, the trees morphing together with the bricks of the row homes. It was a horrifying set of images and I wanted overly synthetic sounds to pair with the corrosion I was seeing.”\u003c/p>\n\u003cfigure id=\"attachment_13811637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-800x450.jpg\" alt=\"Matt Fouse, also known as the Rat Czar, shows off his collection of weapons that he uses to hunt for rats in his Baltimore backyard.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/05_wide-0adf7d91eac46275ed368b583e93d5ec002ff7a6-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Fouse, also known as the Rat Czar, shows off his collection of weapons that he uses to hunt for rats in his Baltimore backyard. \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>“Harold’s Lament”\u003c/h3>\n\u003cp>“‘Harold’s Lament’ is another piece for cello performed by Owen Gardner. One of my favorite parts of this recording is the sound of the creaking Ikea chair Owen was sitting on that I grabbed from my kitchen for the session. Beyond Owen’s extended technique for kitchen chair, the piece is a structured improvisation, asking him to focus on extended techniques and effects, slowly drifting into a series of audio effects, and then layered with various other sections of the take.”\u003c/p>\n\u003ch3>“Map Overlays”\u003c/h3>\n\u003cp>“‘Map Overlays’ is a companion piece to ‘Redlining.’ Another piece of player piano, sculpted from the rat performance session (which, I should note, is seen throughout the film). For a great deal of the rat performance, the rats huddled up into a corner and sat still, leaving the Theremins droning with only very slight variation. At times during the recording, it seemed like the bulk of the experiment was a failure. But after getting the data and seeing these slight variations I found them really inspiring to work with. I applied the sections of stillness to a single note on the piano and octave, and layering of the note would change whenever there was a fluctuation in their small, huddled movements. I really enjoyed the effect and I don’t think I would have scored the section the same without it. We really had no idea what to expect from the rats and the Theremins. In hindsight, I couldn’t be happier with the result of that experiment. Not only for the music it helped create and inspire but because it marked the start of an extremely rewarding collaboration and, more importantly, a strong friendship with Theo.\u003c/p>\n\u003cfigure id=\"attachment_13811651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rat-King-800x450.jpg\" alt=\"Louis Eagle Warrior, celebrated musician and member of the Lenape Indian Nation, plays the flute in his living room.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rat-King.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Eagle Warrior, celebrated musician and member of the Lenape Indian Nation, plays the flute in his living room. \u003ccite>(MEMORY/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so lucky to have worked on this film with such a thoughtful and brilliant artist. Towards the end of the process, working together side-by-side in my studio was some of the most fun I had that summer. Everything about this process seemed open to experimentation, new directions, recontextualization. Nothing was precious, yet every idea was important and worth exploring to its fullest. I can’t thank Theo enough for entrusting me with the task of scoring this film.” \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=How+Dan+Deacon+Collaborated+With+Rats+To+Make+His+Latest+Film+Score&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Top Exec at Amazon Studios Put On Leave After Harassment Allegations",
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"content": "\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”3mOZu7REu8Hnb2yRwpwnP9Q6YkX60Hmi”]\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\u003c/p>\n\u003cp>https://youtu.be/WwQ-NH1rRT4\u003c/p>\n\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moonee’s mom, Halley (Bria Vinaite), seems barely more mature than her daughter. She has green-streaked hair and is unable to hold a job even at the local strip club. She’s not really cut out to be a mother, though she makes a general stab at being responsible by selling perfume (and sometimes her body) to tourists so she can pay their rent.\u003c/p>\n\u003cp>Halley means well, even if she can’t follow through. That’s enough to bring out the parental side of the Magic Castle’s curmudgeonly, long-suffering resident manager (Willem Dafoe), who rides herd over unruly tenants — and the occasional wayward egret — with almost alarming finesse.\u003c/p>\n\u003cp>This is Vinaite’s acting debut, and a striking one at that. Director Sean Baker found her on Instagram — he was following her account to show actors the qualities he wanted in the character. When he couldn’t find those qualities with established actors, he asked if Vinaite wanted to audition. She turned out to be a fascinating find — a fine complement to Prince’s tiny dynamo, who has the whole film riding on her tiny shoulders for quite a while.\u003c/p>\n\u003cp>\u003cem>The Florida Project\u003c/em> takes its title from the Disney organization’s in-house name for Disney World when it was still just a stack of blueprints on Uncle Walt’s desk in California. But there’s an unspoken irony in calling the film \u003cem>The Florida Project,\u003c/em> since the motels Moonee plays in have themselves devolved into housing projects.\u003c/p>\n\u003cp>That makes them fertile ground for Baker, whose reputation-making \u003cem>Tangerine\u003c/em> took place in an equally down-at-heels neighborhood in Los Angeles two years ago. Happily, the director’s aesthetic hasn’t been wrecked by his now having the money to pay for 35 mm cameras. Everything that was wonderful last time is even better here, from first-time performers who light up the screen to dialogue that is profane and \u003cem>very\u003c/em> funny for a while, then turns resonant and wrenching.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker has imbued this whole terrific movie with a child’s sense of discovery — the sort that can turn a decrepit, pastel corner of Orlando into a vibrant cinematic playground.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\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/WwQ-NH1rRT4'\n title='//www.youtube.com/embed/WwQ-NH1rRT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\u003c/a>. \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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\u003c/a>. \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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Homages and Tributes for the Thelonious Monk Centennial, But No Competition (For Now)",
"headTitle": "Homages and Tributes for the Thelonious Monk Centennial, But No Competition (For Now) | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.\u003c/p>\n\u003cp>Tom Carter — president and cofounder of the \u003ca href=\"http://monkinstitute.org/\">Thelonious Monk Institute of Jazz\u003c/a>, the nonprofit organization that runs the competition — cited a recent barrage of natural disasters, and the pursuant philanthropic strain, as factors in the decision.\u003c/p>\n\u003cp>“This is our only benefit each year,” he said. “We do all of our programs for free, year-round. So mixed with many other things is: This is not the time to be doing a benefit, with all of the money being raised around relief for these hurricanes and earthquakes, and so on.”\u003c/p>\n\u003cfigure id=\"attachment_13811092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg\" alt=\"Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013. \u003ccite>(Mahmut Ceylan/Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Institute operates a range of educational programs — the most visible of which is a two-year postgraduate program, the Thelonious Monk Institute of Jazz Performance, currently housed at the UCLA Herb Alpert School of Music. In partnership with UNESCO, the institute also plans and organizes International Jazz Day, held each April 30 as the culmination of Jazz Appreciation Month. Just yesterday, UNESCO \u003ca href=\"https://en.unesco.org/news/saint-petersburg-and-sydney-selected-international-jazz-day-global-host-cities\" target=\"_blank\" rel=\"noopener\">announced the next two global host cities\u003c/a> for International Jazz Day: Saint Petersburg, Russia (2018) and Sydney, Australia (2019).\u003c/p>\n\u003cp>Against this hum of organizational activity, the absence of a competition in 2017 is unfortunate for more than just the obvious reasons. In addition to being the centennial of Monk’s birth, 2017 marks the 30th anniversary of the Monk Competition, which has been the most prestigious and consequential event of its kind in jazz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since 1987, when its inaugural first prize went to pianist Marcus Roberts, the Monk Competition has produced a head-turning succession of poised young winners — including now-marquee names like saxophonists \u003ca href=\"http://www.npr.org/artists/14996492/joshua-redman\" target=\"_blank\" rel=\"noopener\">Joshua Redman\u003c/a> and Melissa Aldana, pianists \u003ca href=\"http://www.npr.org/artists/90602627/jacky-terrasson\" target=\"_blank\" rel=\"noopener\">Jacky Terrasson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/113277821/tigran-hamasyan\" target=\"_blank\" rel=\"noopener\">Tigran Hamasyan\u003c/a>, trumpeters \u003ca href=\"http://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> and Ryan Kisor, and singers \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> and \u003ca href=\"http://www.npr.org/artists/453239708/cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Cécile McLorin Salvant\u003c/a>. (The Monk Institute website has \u003ca href=\"http://monkinstitute.org/competition/past-winners-and-judges/\" target=\"_blank\" rel=\"noopener\">a comprehensive list\u003c/a> of past finalists and judges — one could build a deep bench by scanning who came in second and third each year.)\u003c/p>\n\u003cp>T.S. Monk, who describes himself as the gatekeeper of his father’s legacy, takes unabashed pride in the competition’s alumni circle. “Early on I said, ‘We want to really help develop the next generation of young jazz musicians,'” he noted. “I think I can say with a fair amount of confidence that we’ve probably put more actual stars in the marketplace than any other jazz organization.”\u003c/p>\n\u003cfigure id=\"attachment_13811093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-800x450.jpg\" alt=\"T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey. \u003ccite>(Imeh Akpanudosen/Getty Images for Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Competition has a rotating instrumental focus, and this year’s spotlight was to fall on the piano, another missed opportunity in this centennial year. Roughly a dozen semifinalists had been selected and notified by a jury committee — and they’re still in the running, despite some chatter that the competition had been canceled. “I don’t know where that rumor circulated, but that is not accurate,” Carter responded. “It’s postponed; it is not canceled. I’m not sure exactly when we’re going to have it, but it will be sometime after the first of the year.”\u003c/p>\n\u003cp>The most recent Monk Competition took place in November 2015, when Jazzmeia Horn won in the vocal category. One of the early signs that this year’s event might not proceed as planned was a conflicting engagement: several months ago, Jazz at Lincoln Center updated its schedule to show that T.S. Monk would be spending this week in New York, rather than Washington, D.C. The T.S. Monk Sextet appears on Tuesday and Wednesday at Dizzy’s Club Coca-Cola.\u003c/p>\n\u003cp>When asked directly whether he would be involved the Monk Competition going forward, he responded briskly: “I’m sure I will,” he said. “I’ve been involved in every competition we’ve ever had, and I don’t foresee that changing at all.”\u003c/p>\n\u003cp>While this year’s competition is on hold, there’s an abundance of Monk centennial activity to choose from. Pianist \u003ca href=\"http://www.npr.org/artists/17777248/dan-lo-perez\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a> is on tour with his fine project PanaMonk; John Beasley, another pianist and composer, has \u003ca href=\"http://wbgo.org/post/john-beasley-bearing-new-evidence-announces-his-monkestra-vol-2\" target=\"_blank\" rel=\"noopener\">a new album by his MONK’estra\u003c/a>, and will be at the Jazz Standard this Thursday through Saturday. The Institute of Jazz Studies at Rutgers in Newark has organized a monthlong series of events called Monktoberfest, including a conversation between T.S. Monk and Monk biographer Robin D.G. Kelley, moderated by WBGO’s Sheila Anderson. (That event is \u003ca href=\"https://www.eventbrite.com/e/in-conversation-robin-dg-kelley-and-ts-monk-with-sheila-anderson-tickets-38341682003?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing\" target=\"_blank\" rel=\"noopener\">today at noon\u003c/a>, at Express Newark.)\u003c/p>\n\u003cfigure id=\"attachment_13811094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png\" alt=\"Jason Moran performing 'In My Mind: Monk At Town Hall, 1959' at the Kennedy Center in 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e.png 1397w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran performing ‘In My Mind: Monk At Town Hall, 1959’ at the Kennedy Center in 2015. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Kennedy Center, where the competition was originally scheduled, a tribute was held this past Sunday by pianist Jason Moran, who will also present his project \u003ca href=\"http://www.npr.org/event/music/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\">IN MY MIND: Monk at Town Hall 1959\u003c/a> on Saturday at SFJAZZ.\u003c/p>\n\u003cp>At Jazz at Lincoln Center, a free Thelonious Monk Symposium will be held on Thursday and Friday. Thursday’s program will include Unheard Thelonious Monk Tapes, a listening party featuring previously unheard material, and insight from panelists including Monk biographer Robin D.G. Kelley. On Friday, Zev Feldman and Greg Thomas will discuss Monk’s recently issued \u003ca href=\"http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film\">soundtrack to \u003cem>Les Liaisons Dangereuses\u003c/em>\u003c/a>, and screen the film.\u003c/p>\n\u003cp>And Duke Performances, in Monk’s original home state of North Carolina, is presenting \u003ca href=\"https://dukeperformances.duke.edu/residencies/monk100/\">Monk@100\u003c/a>, an ambitious and intriguing 10-day concert series curated by pianist Ethan Iverson. The series kicks off next week with a three-day residency by The \u003ca href=\"http://www.npr.org/artists/111775333/jd-allen\">J.D. Allen\u003c/a> Trio, featuring guitarist \u003ca href=\"http://www.npr.org/artists/14982703/bill-frisell\">Bill Frisell\u003c/a> (Oct. 17), trumpeter \u003ca href=\"http://www.npr.org/artists/17972185/dave-douglas\">Dave Douglas\u003c/a> (Oct. 18) and pianist Kris Davis (Oct. 19). Moran will perform in a duo with percussionist \u003ca href=\"http://www.npr.org/artists/113090823/tyshawn-sorey\">Tyshawn Sorey\u003c/a> (Oct. 20), and a program called Monk Songbook (Oct. 21-22) will feature Iverson with a handful of other pianists.\u003c/p>\n\u003cp>From Oct. 23 to 26, Iverson will be in residence with a trio, featuring bassist David Williams and drummer Victor Lewis, and a succession of prominent saxophonists — including a few with personal experience in the Monk Competition, like Melissa Aldana (Oct. 23), \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\">Chris Potter\u003c/a> (Oct. 24) and Joshua Redman (Oct. 25).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>T.S. Monk characterized the outpouring of centennial tributes as a validation of sorts, and entirely separate from the issue of the competition. “When I was five years old, people would say to me: ‘Fifty years from now, your father will probably be more famous and his music will be more important than it is today,'” he said. “Today I’m 67 years old, and Thelonious is bigger, and his music is more important, than ever. So all of this attention on the centennial, for me, is confirmation of things that people told me when I was a little kid. It has certainly come to fruition. I’m amazed and very, very happy for him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Homages+and+Tributes+for+the+Thelonious+Monk+Centennial%2C+But+No+Competition+%28For+Now%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.\u003c/p>\n\u003cp>Tom Carter — president and cofounder of the \u003ca href=\"http://monkinstitute.org/\">Thelonious Monk Institute of Jazz\u003c/a>, the nonprofit organization that runs the competition — cited a recent barrage of natural disasters, and the pursuant philanthropic strain, as factors in the decision.\u003c/p>\n\u003cp>“This is our only benefit each year,” he said. “We do all of our programs for free, year-round. So mixed with many other things is: This is not the time to be doing a benefit, with all of the money being raised around relief for these hurricanes and earthquakes, and so on.”\u003c/p>\n\u003cfigure id=\"attachment_13811092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg\" alt=\"Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013. \u003ccite>(Mahmut Ceylan/Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Institute operates a range of educational programs — the most visible of which is a two-year postgraduate program, the Thelonious Monk Institute of Jazz Performance, currently housed at the UCLA Herb Alpert School of Music. In partnership with UNESCO, the institute also plans and organizes International Jazz Day, held each April 30 as the culmination of Jazz Appreciation Month. Just yesterday, UNESCO \u003ca href=\"https://en.unesco.org/news/saint-petersburg-and-sydney-selected-international-jazz-day-global-host-cities\" target=\"_blank\" rel=\"noopener\">announced the next two global host cities\u003c/a> for International Jazz Day: Saint Petersburg, Russia (2018) and Sydney, Australia (2019).\u003c/p>\n\u003cp>Against this hum of organizational activity, the absence of a competition in 2017 is unfortunate for more than just the obvious reasons. In addition to being the centennial of Monk’s birth, 2017 marks the 30th anniversary of the Monk Competition, which has been the most prestigious and consequential event of its kind in jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since 1987, when its inaugural first prize went to pianist Marcus Roberts, the Monk Competition has produced a head-turning succession of poised young winners — including now-marquee names like saxophonists \u003ca href=\"http://www.npr.org/artists/14996492/joshua-redman\" target=\"_blank\" rel=\"noopener\">Joshua Redman\u003c/a> and Melissa Aldana, pianists \u003ca href=\"http://www.npr.org/artists/90602627/jacky-terrasson\" target=\"_blank\" rel=\"noopener\">Jacky Terrasson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/113277821/tigran-hamasyan\" target=\"_blank\" rel=\"noopener\">Tigran Hamasyan\u003c/a>, trumpeters \u003ca href=\"http://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> and Ryan Kisor, and singers \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> and \u003ca href=\"http://www.npr.org/artists/453239708/cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Cécile McLorin Salvant\u003c/a>. (The Monk Institute website has \u003ca href=\"http://monkinstitute.org/competition/past-winners-and-judges/\" target=\"_blank\" rel=\"noopener\">a comprehensive list\u003c/a> of past finalists and judges — one could build a deep bench by scanning who came in second and third each year.)\u003c/p>\n\u003cp>T.S. Monk, who describes himself as the gatekeeper of his father’s legacy, takes unabashed pride in the competition’s alumni circle. “Early on I said, ‘We want to really help develop the next generation of young jazz musicians,'” he noted. “I think I can say with a fair amount of confidence that we’ve probably put more actual stars in the marketplace than any other jazz organization.”\u003c/p>\n\u003cfigure id=\"attachment_13811093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-800x450.jpg\" alt=\"T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey. \u003ccite>(Imeh Akpanudosen/Getty Images for Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Competition has a rotating instrumental focus, and this year’s spotlight was to fall on the piano, another missed opportunity in this centennial year. Roughly a dozen semifinalists had been selected and notified by a jury committee — and they’re still in the running, despite some chatter that the competition had been canceled. “I don’t know where that rumor circulated, but that is not accurate,” Carter responded. “It’s postponed; it is not canceled. I’m not sure exactly when we’re going to have it, but it will be sometime after the first of the year.”\u003c/p>\n\u003cp>The most recent Monk Competition took place in November 2015, when Jazzmeia Horn won in the vocal category. One of the early signs that this year’s event might not proceed as planned was a conflicting engagement: several months ago, Jazz at Lincoln Center updated its schedule to show that T.S. Monk would be spending this week in New York, rather than Washington, D.C. The T.S. Monk Sextet appears on Tuesday and Wednesday at Dizzy’s Club Coca-Cola.\u003c/p>\n\u003cp>When asked directly whether he would be involved the Monk Competition going forward, he responded briskly: “I’m sure I will,” he said. “I’ve been involved in every competition we’ve ever had, and I don’t foresee that changing at all.”\u003c/p>\n\u003cp>While this year’s competition is on hold, there’s an abundance of Monk centennial activity to choose from. Pianist \u003ca href=\"http://www.npr.org/artists/17777248/dan-lo-perez\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a> is on tour with his fine project PanaMonk; John Beasley, another pianist and composer, has \u003ca href=\"http://wbgo.org/post/john-beasley-bearing-new-evidence-announces-his-monkestra-vol-2\" target=\"_blank\" rel=\"noopener\">a new album by his MONK’estra\u003c/a>, and will be at the Jazz Standard this Thursday through Saturday. The Institute of Jazz Studies at Rutgers in Newark has organized a monthlong series of events called Monktoberfest, including a conversation between T.S. Monk and Monk biographer Robin D.G. Kelley, moderated by WBGO’s Sheila Anderson. (That event is \u003ca href=\"https://www.eventbrite.com/e/in-conversation-robin-dg-kelley-and-ts-monk-with-sheila-anderson-tickets-38341682003?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing\" target=\"_blank\" rel=\"noopener\">today at noon\u003c/a>, at Express Newark.)\u003c/p>\n\u003cfigure id=\"attachment_13811094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png\" alt=\"Jason Moran performing 'In My Mind: Monk At Town Hall, 1959' at the Kennedy Center in 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e.png 1397w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran performing ‘In My Mind: Monk At Town Hall, 1959’ at the Kennedy Center in 2015. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Kennedy Center, where the competition was originally scheduled, a tribute was held this past Sunday by pianist Jason Moran, who will also present his project \u003ca href=\"http://www.npr.org/event/music/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\">IN MY MIND: Monk at Town Hall 1959\u003c/a> on Saturday at SFJAZZ.\u003c/p>\n\u003cp>At Jazz at Lincoln Center, a free Thelonious Monk Symposium will be held on Thursday and Friday. Thursday’s program will include Unheard Thelonious Monk Tapes, a listening party featuring previously unheard material, and insight from panelists including Monk biographer Robin D.G. Kelley. On Friday, Zev Feldman and Greg Thomas will discuss Monk’s recently issued \u003ca href=\"http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film\">soundtrack to \u003cem>Les Liaisons Dangereuses\u003c/em>\u003c/a>, and screen the film.\u003c/p>\n\u003cp>And Duke Performances, in Monk’s original home state of North Carolina, is presenting \u003ca href=\"https://dukeperformances.duke.edu/residencies/monk100/\">Monk@100\u003c/a>, an ambitious and intriguing 10-day concert series curated by pianist Ethan Iverson. The series kicks off next week with a three-day residency by The \u003ca href=\"http://www.npr.org/artists/111775333/jd-allen\">J.D. Allen\u003c/a> Trio, featuring guitarist \u003ca href=\"http://www.npr.org/artists/14982703/bill-frisell\">Bill Frisell\u003c/a> (Oct. 17), trumpeter \u003ca href=\"http://www.npr.org/artists/17972185/dave-douglas\">Dave Douglas\u003c/a> (Oct. 18) and pianist Kris Davis (Oct. 19). Moran will perform in a duo with percussionist \u003ca href=\"http://www.npr.org/artists/113090823/tyshawn-sorey\">Tyshawn Sorey\u003c/a> (Oct. 20), and a program called Monk Songbook (Oct. 21-22) will feature Iverson with a handful of other pianists.\u003c/p>\n\u003cp>From Oct. 23 to 26, Iverson will be in residence with a trio, featuring bassist David Williams and drummer Victor Lewis, and a succession of prominent saxophonists — including a few with personal experience in the Monk Competition, like Melissa Aldana (Oct. 23), \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\">Chris Potter\u003c/a> (Oct. 24) and Joshua Redman (Oct. 25).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>T.S. Monk characterized the outpouring of centennial tributes as a validation of sorts, and entirely separate from the issue of the competition. “When I was five years old, people would say to me: ‘Fifty years from now, your father will probably be more famous and his music will be more important than it is today,'” he said. “Today I’m 67 years old, and Thelonious is bigger, and his music is more important, than ever. So all of this attention on the centennial, for me, is confirmation of things that people told me when I was a little kid. It has certainly come to fruition. I’m amazed and very, very happy for him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Homages+and+Tributes+for+the+Thelonious+Monk+Centennial%2C+But+No+Competition+%28For+Now%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Weinstein says he will take time to “conquer his demons.” He also says he will use the time to fight the National Rifle Association. Weinstein is a longtime donor to Democratic candidates and liberal causes. \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=Amid+Harassment+Reports%2C+Harvey+Weinstein+Takes+Leave+Of+Absence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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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"rss": "https://www.cityarts.net/feed/"
}
},
"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"
},
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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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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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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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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